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Qazvin museum Stock Photos and Images
Album leaf (muraqqa') of nasta'liq, signed Imad al Hassani (Mir Imad al Mulk Qazvini Hassani), Iran, Qazvin, c. 1600 AD, ink, watercolour, and gold on paper Aga Khan Museum Toronto, Canada DSC06877 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-album-leaf-muraqqa-of-nastaliq-signed-imad-al-hassani-mir-imad-al-142556759.htmlRMJ7X0GR–Album leaf (muraqqa') of nasta'liq, signed Imad al Hassani (Mir Imad al Mulk Qazvini Hassani), Iran, Qazvin, c. 1600 AD, ink, watercolour, and gold on paper Aga Khan Museum Toronto, Canada DSC06877
Old traditional Muslim marriage ceremony in the Middle East, carving in the Qazvin museum of Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/old-traditional-muslim-marriage-ceremony-in-the-middle-east-carving-in-the-qazvin-museum-of-iran-image211273201.htmlRFP7M93D–Old traditional Muslim marriage ceremony in the Middle East, carving in the Qazvin museum of Iran
Painting, Qazvin school, 16th century, Reza Abbasi Museum, Tehran, Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/painting-qazvin-school-16th-century-reza-abbasi-museum-tehran-iran-image271758903.htmlRMWP3K73–Painting, Qazvin school, 16th century, Reza Abbasi Museum, Tehran, Iran
77 Album leaf (muraqqa'), signed Muhammad Husayn (Mulla Muhammad Husayn Tabrizi), Iran, Qazvin, c. 1575 AD, ink, watercolour, and gold on paper - Aga Khan Museum - Toronto, Canada - DSC06883 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/77-album-leaf-muraqqa-signed-muhammad-husayn-mulla-muhammad-husayn-tabrizi-iran-qazvin-c-1575-ad-ink-watercolour-and-gold-on-paper-aga-khan-museum-toronto-canada-dsc06883-image209956864.htmlRMP5GA3C–77 Album leaf (muraqqa'), signed Muhammad Husayn (Mulla Muhammad Husayn Tabrizi), Iran, Qazvin, c. 1575 AD, ink, watercolour, and gold on paper - Aga Khan Museum - Toronto, Canada - DSC06883
Two Youths Romping. Dimensions: 15.62 in. high 10.37 in. wide (39.7 cm high 26.3 cm wide). Date: late 16th century. This line drawing, tinted with greenish tan, depicts two youths playing and frolicking, with one boy grasping the other from behind. The figures wear small turbans with gold highlights, one with a tassel and the other with a blue appendage, and garments decorated with floral motifs. The drawing was done in the Qazvin style after Shaykh Muhammad, but it does not exhibit the master's expert skill. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/two-youths-romping-dimensions-1562-in-high-1037-in-wide-397-cm-high-263-cm-wide-date-late-16th-century-this-line-drawing-tinted-with-greenish-tan-depicts-two-youths-playing-and-frolicking-with-one-boy-grasping-the-other-from-behind-the-figures-wear-small-turbans-with-gold-highlights-one-with-a-tassel-and-the-other-with-a-blue-appendage-and-garments-decorated-with-floral-motifs-the-drawing-was-done-in-the-qazvin-style-after-shaykh-muhammad-but-it-does-not-exhibit-the-masters-expert-skill-museum-metropolitan-museum-of-art-new-york-usa-image213331224.htmlRMPB2248–Two Youths Romping. Dimensions: 15.62 in. high 10.37 in. wide (39.7 cm high 26.3 cm wide). Date: late 16th century. This line drawing, tinted with greenish tan, depicts two youths playing and frolicking, with one boy grasping the other from behind. The figures wear small turbans with gold highlights, one with a tassel and the other with a blue appendage, and garments decorated with floral motifs. The drawing was done in the Qazvin style after Shaykh Muhammad, but it does not exhibit the master's expert skill. Museum: Metropolitan Museum of Art, New York, USA.
Chehel Sotoun pavilion, Forty Columns Palace, Calligraphic Museum, Qazvin, Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-chehel-sotoun-pavilion-forty-columns-palace-calligraphic-museum-qazvin-89101315.htmlRFF4XWHR–Chehel Sotoun pavilion, Forty Columns Palace, Calligraphic Museum, Qazvin, Iran
Abd al Aziz and Aqa Mirek (attr.),The Seven Sleepers of Ephesus Discovered by Alexander the Great, Folio from a Falnama (Book of Omens) 1550s Qazvin, Metmuseum Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-abd-al-aziz-and-aqa-mirek-attrthe-seven-sleepers-of-ephesus-discovered-132507293.htmlRMHKG6B9–Abd al Aziz and Aqa Mirek (attr.),The Seven Sleepers of Ephesus Discovered by Alexander the Great, Folio from a Falnama (Book of Omens) 1550s Qazvin, Metmuseum
An Iranian couple sit under an arch on the Kolah Farangi, a museum in Qazvin province, 91 Miles (165 Km) west of Tehran, Iran on November 7, 2007. (UPI Photo/Mohammad Kheirkhah) Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/an-iranian-couple-sit-under-an-arch-on-the-kolah-farangi-a-museum-in-qazvin-province-91-miles-165-km-west-of-tehran-iran-on-november-7-2007-upi-photomohammad-kheirkhah-image257464801.htmlRMTXTEYD–An Iranian couple sit under an arch on the Kolah Farangi, a museum in Qazvin province, 91 Miles (165 Km) west of Tehran, Iran on November 7, 2007. (UPI Photo/Mohammad Kheirkhah)
Courtyard of the seraglio , Qazvin by Eugène Flandin Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-courtyard-of-the-seraglio-qazvin-by-eugne-flandin-137908297.htmlRMJ0A7C9–Courtyard of the seraglio , Qazvin by Eugène Flandin
QAZVIN, IRAN - APRIL 5, 2018: Fighter plane at the Martyr's graveyard in Qazvin, Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/qazvin-iran-april-5-2018-fighter-plane-at-the-martyrs-graveyard-in-qazvin-iran-image454416958.htmlRF2HB8DD2–QAZVIN, IRAN - APRIL 5, 2018: Fighter plane at the Martyr's graveyard in Qazvin, Iran
Doha, Qatar - 1 May 2024: Textile with Figural Decoration, Iran, Qazvin, 1575-1600 CE, silk and metal-wrapped thread Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/doha-qatar-1-may-2024-textile-with-figural-decoration-iran-qazvin-1575-1600-ce-silk-and-metal-wrapped-thread-image608210609.htmlRF2X9EARD–Doha, Qatar - 1 May 2024: Textile with Figural Decoration, Iran, Qazvin, 1575-1600 CE, silk and metal-wrapped thread
Youth with a Falcon, late 10th century AH/AD 16th century-early 11th century AH/AD 17th century. This Safavid drawing was likely produced in Qazvin or Isfahan. Gilt and blue pigment are used to highlight the figure's clothing. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/youth-with-a-falcon-late-10th-century-ahad-16th-century-early-11th-century-ahad-17th-century-this-safavid-drawing-was-likely-produced-in-qazvin-or-isfahan-gilt-and-blue-pigment-are-used-to-highlight-the-figures-clothing-image571916501.htmlRM2T6D199–Youth with a Falcon, late 10th century AH/AD 16th century-early 11th century AH/AD 17th century. This Safavid drawing was likely produced in Qazvin or Isfahan. Gilt and blue pigment are used to highlight the figure's clothing.
. Bonner zoologische Beiträge : Herausgeber: Zoologisches Forschungsinstitut und Museum Alexander Koenig, Bonn. Biology; Zoology. A new social vole from Turkey 7. Fig. 5. Localities where Microtus cfr. irani was examined in Iran. Star denotes position of Shiraz, the type locality of M irani. 1 - Western Azerbaijan, 23 km north-north-east Khaneh; 2 - Eastern Azerbaijan, 5 km south-east Mianeh; 3 - Kurdistan, 1.5 km south of Divandarreh; 4 - Kurdistan, vicinity of Sanadaj; 5 - Kangavar; 6 - Lurestan, 1.5 km north-west of Ham; 7 - Lurestan, Al'ígúdarz; 8 - Tehran, 18 km west of Karadj; Qazvin, 15 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/bonner-zoologische-beitrge-herausgeber-zoologisches-forschungsinstitut-und-museum-alexander-koenig-bonn-biology-zoology-a-new-social-vole-from-turkey-7-fig-5-localities-where-microtus-cfr-irani-was-examined-in-iran-star-denotes-position-of-shiraz-the-type-locality-of-m-irani-1-western-azerbaijan-23-km-north-north-east-khaneh-2-eastern-azerbaijan-5-km-south-east-mianeh-3-kurdistan-15-km-south-of-divandarreh-4-kurdistan-vicinity-of-sanadaj-5-kangavar-6-lurestan-15-km-north-west-of-ham-7-lurestan-algdarz-8-tehran-18-km-west-of-karadj-qazvin-15-image234491157.htmlRMRHDYT5–. Bonner zoologische Beiträge : Herausgeber: Zoologisches Forschungsinstitut und Museum Alexander Koenig, Bonn. Biology; Zoology. A new social vole from Turkey 7. Fig. 5. Localities where Microtus cfr. irani was examined in Iran. Star denotes position of Shiraz, the type locality of M irani. 1 - Western Azerbaijan, 23 km north-north-east Khaneh; 2 - Eastern Azerbaijan, 5 km south-east Mianeh; 3 - Kurdistan, 1.5 km south of Divandarreh; 4 - Kurdistan, vicinity of Sanadaj; 5 - Kangavar; 6 - Lurestan, 1.5 km north-west of Ham; 7 - Lurestan, Al'ígúdarz; 8 - Tehran, 18 km west of Karadj; Qazvin, 15
Album leaf (muraqqa') of nasta'liq, signed Imad al Hassani (Mir Imad al Mulk Qazvini Hassani), Iran, Qazvin, c. 1600 AD, ink, watercolour, and gold on paper Aga Khan Museum Toronto, Canada DSC06877 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/album-leaf-muraqqa-of-nastaliq-signed-imad-al-hassani-mir-imad-al-image155528345.htmlRMK10WYN–Album leaf (muraqqa') of nasta'liq, signed Imad al Hassani (Mir Imad al Mulk Qazvini Hassani), Iran, Qazvin, c. 1600 AD, ink, watercolour, and gold on paper Aga Khan Museum Toronto, Canada DSC06877
Ancient stone age goat or deer and other archaeological objects from the Middle East for exhibition at the Qazvin museum in Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/ancient-stone-age-goat-or-deer-and-other-archaeological-objects-from-the-middle-east-for-exhibition-at-the-qazvin-museum-in-iran-image211273111.htmlRFP7M907–Ancient stone age goat or deer and other archaeological objects from the Middle East for exhibition at the Qazvin museum in Iran
Painting, Shahnameh, Qazvin school, 1576, Reza Abbasi Museum, Tehran, Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/painting-shahnameh-qazvin-school-1576-reza-abbasi-museum-tehran-iran-image271758912.htmlRMWP3K7C–Painting, Shahnameh, Qazvin school, 1576, Reza Abbasi Museum, Tehran, Iran
Dutch East Indiaman. Artist: Wenceslaus Hollar (Bohemian, Prague 1607-1677 London). Dimensions: Sheet: 5 9/16 × 9 5/16 in. (14.2 × 23.7 cm). Series/Portfolio: Dutch Ships. Date: 1647. Dutch East Indiaman; six men on a raft caulking the planks of hull of vessel in harbour, with carpenters at work on the deck; fully fitted-out ship careened in the water to right, with sailors on a raft treating the under-water timber among clouds of black smoke. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/dutch-east-indiaman-artist-wenceslaus-hollar-bohemian-prague-1607-1677-london-dimensions-sheet-5-916-9-516-in-142-237-cm-seriesportfolio-dutch-ships-date-1647-dutch-east-indiaman-six-men-on-a-raft-caulking-the-planks-of-hull-of-vessel-in-harbour-with-carpenters-at-work-on-the-deck-fully-fitted-out-ship-careened-in-the-water-to-right-with-sailors-on-a-raft-treating-the-under-water-timber-among-clouds-of-black-smoke-museum-metropolitan-museum-of-art-new-york-usa-image212877791.htmlRMPA9BP7–Dutch East Indiaman. Artist: Wenceslaus Hollar (Bohemian, Prague 1607-1677 London). Dimensions: Sheet: 5 9/16 × 9 5/16 in. (14.2 × 23.7 cm). Series/Portfolio: Dutch Ships. Date: 1647. Dutch East Indiaman; six men on a raft caulking the planks of hull of vessel in harbour, with carpenters at work on the deck; fully fitted-out ship careened in the water to right, with sailors on a raft treating the under-water timber among clouds of black smoke. Museum: Metropolitan Museum of Art, New York, USA.
Interior ceiling with stalactite shape and water basins, Forty Columns Palace, Chehel Sotoun, Museum, Qazvin, Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-interior-ceiling-with-stalactite-shape-and-water-basins-forty-columns-89102076.htmlRMF4XXH0–Interior ceiling with stalactite shape and water basins, Forty Columns Palace, Chehel Sotoun, Museum, Qazvin, Iran
Mosque and tomb Qazvin by Pascal Coste Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-mosque-and-tomb-qazvin-by-pascal-coste-137908259.htmlRMJ0A7AY–Mosque and tomb Qazvin by Pascal Coste
Doha, Qatar - 1 May 2024: Textile with Figural Decoration, Iran, Qazvin, 1575-1600 CE, silk and metal-wrapped thread Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/doha-qatar-1-may-2024-textile-with-figural-decoration-iran-qazvin-1575-1600-ce-silk-and-metal-wrapped-thread-image608210705.htmlRF2X9EAXW–Doha, Qatar - 1 May 2024: Textile with Figural Decoration, Iran, Qazvin, 1575-1600 CE, silk and metal-wrapped thread
![The Story of Nushirwan and his Minister, "The Third Discourse on Diverse Events and Disorder in Life" from a Khamsa (Quintet) of Nizami (1141-1209), 1555-65. This scene is from the Makhzan al-Ashrar, the first of the Quintet. Although more historically oriented than the following poems, it served more as a vehicle for moralizing tales than for historical events. In this scene Nushirwan asks the sage Buzurgmihr to explain what the owls perched on a ruined building are saying. He explains that one owl is offering the other as many ruined cities as he likes in exchange for his daughter' Stock Photo](https://c8.alamy.com/comp/2A52MXE/the-story-of-nushirwan-and-his-minister-quotthe-third-discourse-on-diverse-events-and-disorder-in-lifequot-from-a-khamsa-quintet-of-nizami-1141-1209-1555-65-this-scene-is-from-the-makhzan-al-ashrar-the-first-of-the-quintet-although-more-historically-oriented-than-the-following-poems-it-served-more-as-a-vehicle-for-moralizing-tales-than-for-historical-events-in-this-scene-nushirwan-asks-the-sage-buzurgmihr-to-explain-what-the-owls-perched-on-a-ruined-building-are-saying-he-explains-that-one-owl-is-offering-the-other-as-many-ruined-cities-as-he-likes-in-exchange-for-his-daughter-2A52MXE.jpg "The Story of Nushirwan and his Minister, "The Third Discourse on Diverse Events and Disorder in Life" from a Khamsa (Quintet) of Nizami (1141-1209), 1555-65. This scene is from the Makhzan al-Ashrar, the first of the Quintet. Although more historically oriented than the following poems, it served more as a vehicle for moralizing tales than for historical events. In this scene Nushirwan asks the sage Buzurgmihr to explain what the owls perched on a ruined building are saying. He explains that one owl is offering the other as many ruined cities as he likes in exchange for his daughter' Stock Photo")
The Story of Nushirwan and his Minister, "The Third Discourse on Diverse Events and Disorder in Life" from a Khamsa (Quintet) of Nizami (1141-1209), 1555-65. This scene is from the Makhzan al-Ashrar, the first of the Quintet. Although more historically oriented than the following poems, it served more as a vehicle for moralizing tales than for historical events. In this scene Nushirwan asks the sage Buzurgmihr to explain what the owls perched on a ruined building are saying. He explains that one owl is offering the other as many ruined cities as he likes in exchange for his daughter' Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-story-of-nushirwan-and-his-minister-quotthe-third-discourse-on-diverse-events-and-disorder-in-lifequot-from-a-khamsa-quintet-of-nizami-1141-1209-1555-65-this-scene-is-from-the-makhzan-al-ashrar-the-first-of-the-quintet-although-more-historically-oriented-than-the-following-poems-it-served-more-as-a-vehicle-for-moralizing-tales-than-for-historical-events-in-this-scene-nushirwan-asks-the-sage-buzurgmihr-to-explain-what-the-owls-perched-on-a-ruined-building-are-saying-he-explains-that-one-owl-is-offering-the-other-as-many-ruined-cities-as-he-likes-in-exchange-for-his-daughter-image330130598.htmlRM2A52MXE–The Story of Nushirwan and his Minister, "The Third Discourse on Diverse Events and Disorder in Life" from a Khamsa (Quintet) of Nizami (1141-1209), 1555-65. This scene is from the Makhzan al-Ashrar, the first of the Quintet. Although more historically oriented than the following poems, it served more as a vehicle for moralizing tales than for historical events. In this scene Nushirwan asks the sage Buzurgmihr to explain what the owls perched on a ruined building are saying. He explains that one owl is offering the other as many ruined cities as he likes in exchange for his daughter'
Album leaf (muraqqa'), signed Muhammad Husayn (Mulla Muhammad Husayn Tabrizi), Iran, Qazvin, c. 1575 AD, ink, watercolour, and gold on paper Aga Khan Museum Toronto, Canada DSC06883 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-album-leaf-muraqqa-signed-muhammad-husayn-mulla-muhammad-husayn-tabrizi-142556761.htmlRMJ7X0GW–Album leaf (muraqqa'), signed Muhammad Husayn (Mulla Muhammad Husayn Tabrizi), Iran, Qazvin, c. 1575 AD, ink, watercolour, and gold on paper Aga Khan Museum Toronto, Canada DSC06883
Ancient Babylonian king statue from Mesopotamia in the history museum of Qazvin, Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/ancient-babylonian-king-statue-from-mesopotamia-in-the-history-museum-of-qazvin-iran-image211273188.htmlRFP7M930–Ancient Babylonian king statue from Mesopotamia in the history museum of Qazvin, Iran
Painting, Shahnameh, Qazvin school, 1576, Reza Abbasi Museum, Tehran, Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/painting-shahnameh-qazvin-school-1576-reza-abbasi-museum-tehran-iran-image271758919.htmlRMWP3K7K–Painting, Shahnameh, Qazvin school, 1576, Reza Abbasi Museum, Tehran, Iran
Hero and Dragon. Dimensions: H. 8 11/16 in. (22 cm) W. 5 5/8 in. (14.3 cm). Date: third quarter 16th century. In a rocky landscape a hunter on horseback plunges his sword through the neck of a dragon that has sunk its fangs into a small deer. A pair of deer and two rabbits scatter in the foreground. With its blue tinted rocks and gold dragon's wings, this is a finished drawing, despite the narrative suggestion of its subject matter. Various heroes in the 'Shahnama', the Persian national epic, combat dragons, but this image evokes rather than illustrates these manly acts. Museum: Metropoli Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/hero-and-dragon-dimensions-h-8-1116-in-22-cm-w-5-58-in-143-cm-date-third-quarter-16th-century-in-a-rocky-landscape-a-hunter-on-horseback-plunges-his-sword-through-the-neck-of-a-dragon-that-has-sunk-its-fangs-into-a-small-deer-a-pair-of-deer-and-two-rabbits-scatter-in-the-foreground-with-its-blue-tinted-rocks-and-gold-dragons-wings-this-is-a-finished-drawing-despite-the-narrative-suggestion-of-its-subject-matter-various-heroes-in-the-shahnama-the-persian-national-epic-combat-dragons-but-this-image-evokes-rather-than-illustrates-these-manly-acts-museum-metropoli-image212877848.htmlRMPA9BT8–Hero and Dragon. Dimensions: H. 8 11/16 in. (22 cm) W. 5 5/8 in. (14.3 cm). Date: third quarter 16th century. In a rocky landscape a hunter on horseback plunges his sword through the neck of a dragon that has sunk its fangs into a small deer. A pair of deer and two rabbits scatter in the foreground. With its blue tinted rocks and gold dragon's wings, this is a finished drawing, despite the narrative suggestion of its subject matter. Various heroes in the 'Shahnama', the Persian national epic, combat dragons, but this image evokes rather than illustrates these manly acts. Museum: Metropoli
Bazaar and mosque entrance , Qazvin by Eugène Flandin Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-bazaar-and-mosque-entrance-qazvin-by-eugne-flandin-137908298.htmlRMJ0A7CA–Bazaar and mosque entrance , Qazvin by Eugène Flandin
Shah Tahmasp I (1514-1576) Seated in a Landscape, c. 1575. Shah Tahmasp I, the second ruler of Iran’s Safavid dynasty, is shown kneeling pensively on a carpet under a willow on the banks of a stream, a book at his side. The luxurious fabrics of his robe and his bolster pillow, with sprigs and cloud motifs in gold, indicate his wealth and privilege. Even the fine white cloth of his turban is edged in gold, topped by a small cluster of jewels. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/shah-tahmasp-i-1514-1576-seated-in-a-landscape-c-1575-shah-tahmasp-i-the-second-ruler-of-iranx2019s-safavid-dynasty-is-shown-kneeling-pensively-on-a-carpet-under-a-willow-on-the-banks-of-a-stream-a-book-at-his-side-the-luxurious-fabrics-of-his-robe-and-his-bolster-pillow-with-sprigs-and-cloud-motifs-in-gold-indicate-his-wealth-and-privilege-even-the-fine-white-cloth-of-his-turban-is-edged-in-gold-topped-by-a-small-cluster-of-jewels-image330117825.htmlRM2A524J9–Shah Tahmasp I (1514-1576) Seated in a Landscape, c. 1575. Shah Tahmasp I, the second ruler of Iran’s Safavid dynasty, is shown kneeling pensively on a carpet under a willow on the banks of a stream, a book at his side. The luxurious fabrics of his robe and his bolster pillow, with sprigs and cloud motifs in gold, indicate his wealth and privilege. Even the fine white cloth of his turban is edged in gold, topped by a small cluster of jewels.
Album leaf (muraqqa'), signed Muhammad Husayn (Mulla Muhammad Husayn Tabrizi), Iran, Qazvin, c. 1575 AD, ink, watercolour, and gold on paper Aga Khan Museum Toronto, Canada DSC06883 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/album-leaf-muraqqa-signed-muhammad-husayn-mulla-muhammad-husayn-tabrizi-image155528346.htmlRMK10WYP–Album leaf (muraqqa'), signed Muhammad Husayn (Mulla Muhammad Husayn Tabrizi), Iran, Qazvin, c. 1575 AD, ink, watercolour, and gold on paper Aga Khan Museum Toronto, Canada DSC06883
Beautiful silk road wooden door - close up on decorations at the archaeological museum of Qazvin, Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/beautiful-silk-road-wooden-door-close-up-on-decorations-at-the-archaeological-museum-of-qazvin-iran-image211273166.htmlRFP7M926–Beautiful silk road wooden door - close up on decorations at the archaeological museum of Qazvin, Iran
Painting, Shahnameh, Qazvin school, 1576, Reza Abbasi Museum, Tehran, Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/painting-shahnameh-qazvin-school-1576-reza-abbasi-museum-tehran-iran-image271758963.htmlRMWP3K97–Painting, Shahnameh, Qazvin school, 1576, Reza Abbasi Museum, Tehran, Iran
Portrait of a Lady Holding a Flower. Artist: Painted by Muhammadi of Herat (active Qazvin, ca. 1570-78; Herat, ca. 1578-87). Dimensions: H. 4 5/8 in. (11.7 cm) W. 2 11/16 in. (6.8 cm). Date: 1565-75. This charming portrait of a young woman holding daisies is by the well-known sixteenth-century Persian painter Muhammadi of Herat. It exhibits the hallmarks of his elegant style, seen especially in the delicate rendering of the facial features and the detailed attention to the woman's garb. The page bears the stamp of the Safavid ruler Shah 'Abbas I (r. 1587-1629), indicating that it belonged to Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-a-lady-holding-a-flower-artist-painted-by-muhammadi-of-herat-active-qazvin-ca-1570-78-herat-ca-1578-87-dimensions-h-4-58-in-117-cm-w-2-1116-in-68-cm-date-1565-75-this-charming-portrait-of-a-young-woman-holding-daisies-is-by-the-well-known-sixteenth-century-persian-painter-muhammadi-of-herat-it-exhibits-the-hallmarks-of-his-elegant-style-seen-especially-in-the-delicate-rendering-of-the-facial-features-and-the-detailed-attention-to-the-womans-garb-the-page-bears-the-stamp-of-the-safavid-ruler-shah-abbas-i-r-1587-1629-indicating-that-it-belonged-to-image213323031.htmlRMPB1KKK–Portrait of a Lady Holding a Flower. Artist: Painted by Muhammadi of Herat (active Qazvin, ca. 1570-78; Herat, ca. 1578-87). Dimensions: H. 4 5/8 in. (11.7 cm) W. 2 11/16 in. (6.8 cm). Date: 1565-75. This charming portrait of a young woman holding daisies is by the well-known sixteenth-century Persian painter Muhammadi of Herat. It exhibits the hallmarks of his elegant style, seen especially in the delicate rendering of the facial features and the detailed attention to the woman's garb. The page bears the stamp of the Safavid ruler Shah 'Abbas I (r. 1587-1629), indicating that it belonged to
Inside a house , Qazvin by Eugène Flandin Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-inside-a-house-qazvin-by-eugne-flandin-137908300.htmlRMJ0A7CC–Inside a house , Qazvin by Eugène Flandin
Princess with Wine Bottle and Cup (recto), c. 1550-1600. Single-page depictions of courtly figures became popular in Iran during the 1500s. The subject here conveys Safavid ideals of female beauty. Long dark hair falls in jeweled braids down to her ankles, while shorter tendrils frame her full, smooth face. She is shown in the three-quarter profile favored in Persian painting. The contrasting colours of the bright blue of her robe and the orange of her sash and tunic beneath are features of Safavid fashion. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/princess-with-wine-bottle-and-cup-recto-c-1550-1600-single-page-depictions-of-courtly-figures-became-popular-in-iran-during-the-1500s-the-subject-here-conveys-safavid-ideals-of-female-beauty-long-dark-hair-falls-in-jeweled-braids-down-to-her-ankles-while-shorter-tendrils-frame-her-full-smooth-face-she-is-shown-in-the-three-quarter-profile-favored-in-persian-painting-the-contrasting-colours-of-the-bright-blue-of-her-robe-and-the-orange-of-her-sash-and-tunic-beneath-are-features-of-safavid-fashion-image330114370.htmlRM2A5206X–Princess with Wine Bottle and Cup (recto), c. 1550-1600. Single-page depictions of courtly figures became popular in Iran during the 1500s. The subject here conveys Safavid ideals of female beauty. Long dark hair falls in jeweled braids down to her ankles, while shorter tendrils frame her full, smooth face. She is shown in the three-quarter profile favored in Persian painting. The contrasting colours of the bright blue of her robe and the orange of her sash and tunic beneath are features of Safavid fashion.
The Ducks Carry the Tortoise over a Village, from Anvar i Suhayli, paintings attrib. Sadiqi Beg, Iran, Qazvin, dated November 8, 1593, ink, watercolour, gold Aga Khan Museum Toronto, Canada DSC06865 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-the-ducks-carry-the-tortoise-over-a-village-from-anvar-i-suhayli-paintings-143458293.htmlRMJ9B2ED–The Ducks Carry the Tortoise over a Village, from Anvar i Suhayli, paintings attrib. Sadiqi Beg, Iran, Qazvin, dated November 8, 1593, ink, watercolour, gold Aga Khan Museum Toronto, Canada DSC06865
Ancient Palaeolithic stone age animal statues from Mesopotamia and Iran at the Qazvin archaeological museum, Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/ancient-palaeolithic-stone-age-animal-statues-from-mesopotamia-and-iran-at-the-qazvin-archaeological-museum-iran-image211273157.htmlRFP7M91W–Ancient Palaeolithic stone age animal statues from Mesopotamia and Iran at the Qazvin archaeological museum, Iran
Painting, Shahnameh, Qazvin school, 16th century, Reza Abbasi Museum, Tehran, Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/painting-shahnameh-qazvin-school-16th-century-reza-abbasi-museum-tehran-iran-image271758967.htmlRMWP3K9B–Painting, Shahnameh, Qazvin school, 16th century, Reza Abbasi Museum, Tehran, Iran
A Princely Hunt. Dimensions: Painting: H. 6 15/16 in. (17.6 cm) W. 4 9/16 in. (11.6 cm) Page: H. 11 3/4 in. (29.8 cm) W. 7 9/16 in. (19.2 cm) Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm). Date: late 16th century. Following the death of Shah Tahmasp in 1576 royal art patronage declined and artists sought outlets other than the court for their works. Artists increasingly made drawings that owners could include in albums that functioned like portable art galleries. One of the most influential masters in this period, Muhammadi of Herat, apparently served the Uzbeks, where he specia Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/a-princely-hunt-dimensions-painting-h-6-1516-in-176-cm-w-4-916-in-116-cm-page-h-11-34-in-298-cm-w-7-916-in-192-cm-mat-h-19-14-in-489-cm-w-14-14-in-362-cm-date-late-16th-century-following-the-death-of-shah-tahmasp-in-1576-royal-art-patronage-declined-and-artists-sought-outlets-other-than-the-court-for-their-works-artists-increasingly-made-drawings-that-owners-could-include-in-albums-that-functioned-like-portable-art-galleries-one-of-the-most-influential-masters-in-this-period-muhammadi-of-herat-apparently-served-the-uzbeks-where-he-specia-image213264394.htmlRMPAY0WE–A Princely Hunt. Dimensions: Painting: H. 6 15/16 in. (17.6 cm) W. 4 9/16 in. (11.6 cm) Page: H. 11 3/4 in. (29.8 cm) W. 7 9/16 in. (19.2 cm) Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm). Date: late 16th century. Following the death of Shah Tahmasp in 1576 royal art patronage declined and artists sought outlets other than the court for their works. Artists increasingly made drawings that owners could include in albums that functioned like portable art galleries. One of the most influential masters in this period, Muhammadi of Herat, apparently served the Uzbeks, where he specia
Imam Hussein Zadeh , Qazvin by Eugène Flandin Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-imam-hussein-zadeh-qazvin-by-eugne-flandin-137908295.htmlRMJ0A7C7–Imam Hussein Zadeh , Qazvin by Eugène Flandin
Persian Verses (verso), c. 1450-1500. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/persian-verses-verso-c-1450-1500-image330111924.htmlRM2A51W3G–Persian Verses (verso), c. 1450-1500.
Old public baths of the Middle East and Silk Road in a historical museum in Qazvin, Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/old-public-baths-of-the-middle-east-and-silk-road-in-a-historical-museum-in-qazvin-iran-image211273613.htmlRFP7M9J5–Old public baths of the Middle East and Silk Road in a historical museum in Qazvin, Iran
Painting, Shahnameh, Qazvin school, 1576, Reza Abbasi Museum, Tehran, Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/painting-shahnameh-qazvin-school-1576-reza-abbasi-museum-tehran-iran-image271758917.htmlRMWP3K7H–Painting, Shahnameh, Qazvin school, 1576, Reza Abbasi Museum, Tehran, Iran
Plate with king hunting rams. Culture: Sasanian. Dimensions: H. 1 7/8 in. (4.6 cm), Diam. 8 5/8 in. (21.9 cm). Date: ca. A.D. mid-5th-mid-6th century. The king as hunter had become a standard royal image on silver plates during the reign of Shapur II (A.D. 310-379). The theme, symbolizing the prowess of Sasanian rulers, was used to decorate these royal plates, which were often sent as gifts to neighboring courts. The king has various royal attributes: a crown and fillet, covered globe, nimbus with beaded border, and beaded chest halter with fluttering ribbons. The identity of the Sasanian kin Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/plate-with-king-hunting-rams-culture-sasanian-dimensions-h-1-78-in-46-cm-diam-8-58-in-219-cm-date-ca-ad-mid-5th-mid-6th-century-the-king-as-hunter-had-become-a-standard-royal-image-on-silver-plates-during-the-reign-of-shapur-ii-ad-310-379-the-theme-symbolizing-the-prowess-of-sasanian-rulers-was-used-to-decorate-these-royal-plates-which-were-often-sent-as-gifts-to-neighboring-courts-the-king-has-various-royal-attributes-a-crown-and-fillet-covered-globe-nimbus-with-beaded-border-and-beaded-chest-halter-with-fluttering-ribbons-the-identity-of-the-sasanian-kin-image213366418.htmlRMPB3K16–Plate with king hunting rams. Culture: Sasanian. Dimensions: H. 1 7/8 in. (4.6 cm), Diam. 8 5/8 in. (21.9 cm). Date: ca. A.D. mid-5th-mid-6th century. The king as hunter had become a standard royal image on silver plates during the reign of Shapur II (A.D. 310-379). The theme, symbolizing the prowess of Sasanian rulers, was used to decorate these royal plates, which were often sent as gifts to neighboring courts. The king has various royal attributes: a crown and fillet, covered globe, nimbus with beaded border, and beaded chest halter with fluttering ribbons. The identity of the Sasanian kin
Caravanserai-i-Shah , Qazvin by Eugène Flandin Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-caravanserai-i-shah-qazvin-by-eugne-flandin-137908294.htmlRMJ0A7C6–Caravanserai-i-Shah , Qazvin by Eugène Flandin
Picnic in the Mountains; Single Page Illustration, c. 1550-1600. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/picnic-in-the-mountains-single-page-illustration-c-1550-1600-image330112098.htmlRM2A51W9P–Picnic in the Mountains; Single Page Illustration, c. 1550-1600.
Traditional Middle East sweets and cuisine prepared by Muslim women in a scene represented at the archaeological museum of Qazvin, Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/traditional-middle-east-sweets-and-cuisine-prepared-by-muslim-women-in-a-scene-represented-at-the-archaeological-museum-of-qazvin-iran-image211273497.htmlRFP7M9E1–Traditional Middle East sweets and cuisine prepared by Muslim women in a scene represented at the archaeological museum of Qazvin, Iran
Painting, Shahnameh, Qazvin school, 18th century, Reza Abbasi Museum, Tehran, Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/painting-shahnameh-qazvin-school-18th-century-reza-abbasi-museum-tehran-iran-image271758924.htmlRMWP3K7T–Painting, Shahnameh, Qazvin school, 18th century, Reza Abbasi Museum, Tehran, Iran
' A Lion', Folio from a Dispersed Nuzhatnama-i 'Ala'i of Shahmardan ibn Abi'l Khayr. Author: Shamardan ibn Abi 'l Khayr (active 11th century). Dimensions: Page: 3 in. (7.6 cm) W. 4 1/8in. (10.5cm) Mat: H. 14 1/4 in. (36.2 cm) W. 19 1/4 in. (48.9 cm) Frame: H. 16 3/4 in. (42.5 cm) W. 21 3/4 in. (55.2 cm). Date: early 17th century. The encyclopaedic text from which this page comes was written between 1095 and 1119 and consists of two parts, one devoted to the three kingdoms of nature, including humans, animals, agriculture and minerals and the other to various sciences and pseudosciences. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/a-lion-folio-from-a-dispersed-nuzhatnama-i-alai-of-shahmardan-ibn-abil-khayr-author-shamardan-ibn-abi-l-khayr-active-11th-century-dimensions-page-3-in-76-cm-w-4-18in-105cm-mat-h-14-14-in-362-cm-w-19-14-in-489-cm-frame-h-16-34-in-425-cm-w-21-34-in-552-cm-date-early-17th-century-the-encyclopaedic-text-from-which-this-page-comes-was-written-between-1095-and-1119-and-consists-of-two-parts-one-devoted-to-the-three-kingdoms-of-nature-including-humans-animals-agriculture-and-minerals-and-the-other-to-various-sciences-and-pseudosciences-image213371226.htmlRMPB3W4X–' A Lion', Folio from a Dispersed Nuzhatnama-i 'Ala'i of Shahmardan ibn Abi'l Khayr. Author: Shamardan ibn Abi 'l Khayr (active 11th century). Dimensions: Page: 3 in. (7.6 cm) W. 4 1/8in. (10.5cm) Mat: H. 14 1/4 in. (36.2 cm) W. 19 1/4 in. (48.9 cm) Frame: H. 16 3/4 in. (42.5 cm) W. 21 3/4 in. (55.2 cm). Date: early 17th century. The encyclopaedic text from which this page comes was written between 1095 and 1119 and consists of two parts, one devoted to the three kingdoms of nature, including humans, animals, agriculture and minerals and the other to various sciences and pseudosciences.
Royal Mosque and terraces of houses, Qazvin by Eugène Flandin Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-royal-mosque-and-terraces-of-houses-qazvin-by-eugne-flandin-137908293.htmlRMJ0A7C5–Royal Mosque and terraces of houses, Qazvin by Eugène Flandin
Abd al Aziz and Aqa Mirek (attr.),The Seven Sleepers of Ephesus Discovered by Alexander the Great, Folio from a Falnama (Book of Omens) 1550s Qazvin, Metmuseum Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-abd-al-aziz-and-aqa-mirek-attrthe-seven-sleepers-of-ephesus-discovered-136437454.htmlRMHWY7A6–Abd al Aziz and Aqa Mirek (attr.),The Seven Sleepers of Ephesus Discovered by Alexander the Great, Folio from a Falnama (Book of Omens) 1550s Qazvin, Metmuseum
Princess with Wine Bottle and Cup (recto); Persian Verses (verso), c. 1550-1600 (recto); c. 1450-1500 (verso). Single-page depictions of courtly figures became popular in Iran during the 1500s. The subject here conveys Safavid ideals of female beauty. Long dark hair falls in jeweled braids down to her ankles, while shorter tendrils frame her full, smooth face. She is shown in the three-quarter profile favored in Persian painting. The contrasting colours of the bright blue of her robe and the orange of her sash and tunic beneath are features of Safavid fashion. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/princess-with-wine-bottle-and-cup-recto-persian-verses-verso-c-1550-1600-recto-c-1450-1500-verso-single-page-depictions-of-courtly-figures-became-popular-in-iran-during-the-1500s-the-subject-here-conveys-safavid-ideals-of-female-beauty-long-dark-hair-falls-in-jeweled-braids-down-to-her-ankles-while-shorter-tendrils-frame-her-full-smooth-face-she-is-shown-in-the-three-quarter-profile-favored-in-persian-painting-the-contrasting-colours-of-the-bright-blue-of-her-robe-and-the-orange-of-her-sash-and-tunic-beneath-are-features-of-safavid-fashion-image330114417.htmlRM2A5208H–Princess with Wine Bottle and Cup (recto); Persian Verses (verso), c. 1550-1600 (recto); c. 1450-1500 (verso). Single-page depictions of courtly figures became popular in Iran during the 1500s. The subject here conveys Safavid ideals of female beauty. Long dark hair falls in jeweled braids down to her ankles, while shorter tendrils frame her full, smooth face. She is shown in the three-quarter profile favored in Persian painting. The contrasting colours of the bright blue of her robe and the orange of her sash and tunic beneath are features of Safavid fashion.
Four ancient metal spearheads from the Middle East at the Qazvin museum of Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/four-ancient-metal-spearheads-from-the-middle-east-at-the-qazvin-museum-of-iran-image211273021.htmlRFP7M8W1–Four ancient metal spearheads from the Middle East at the Qazvin museum of Iran
Painting, Holy man with camel, Qazvin school, 16th century, Reza Abbasi Museum, Tehran, Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/painting-holy-man-with-camel-qazvin-school-16th-century-reza-abbasi-museum-tehran-iran-image271758949.htmlRMWP3K8N–Painting, Holy man with camel, Qazvin school, 16th century, Reza Abbasi Museum, Tehran, Iran
'The Seven Sleepers of Ephesus', Folio from a Falnama (Book of Omens). Dimensions: Painting: H. 23 in. (58.4 cm) W. 17 3/4 in. (45.1 cm) Mat : H. 28 in. (71.1 cm) W. 22 in. (55.9 cm) Frame: H. 30 1/2 in. (77.5 cm) W. 24 1/2 in. (62.2 cm). Date: 1550s. This exceptionally large folio depicts seven Christian men, known as the Seven Sleepers and their dog Qitmir, who escaped persecution by miraculously sleeping in a cave for 309 years. The contrasts between the dark cave and the colorful rocks, the commotion outside and the peaceful sleepers inside reinforce the narrative. The crowned figu Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-seven-sleepers-of-ephesus-folio-from-a-falnama-book-of-omens-dimensions-painting-h-23-in-584-cm-w-17-34-in-451-cm-mat-h-28-in-711-cm-w-22-in-559-cm-frame-h-30-12-in-775-cm-w-24-12-in-622-cm-date-1550s-this-exceptionally-large-folio-depicts-seven-christian-men-known-as-the-seven-sleepers-and-their-dog-qitmir-who-escaped-persecution-by-miraculously-sleeping-in-a-cave-for-309-years-the-contrasts-between-the-dark-cave-and-the-colorful-rocks-the-commotion-outside-and-the-peaceful-sleepers-inside-reinforce-the-narrative-the-crowned-figu-image213315756.htmlRMPB1ABT–'The Seven Sleepers of Ephesus', Folio from a Falnama (Book of Omens). Dimensions: Painting: H. 23 in. (58.4 cm) W. 17 3/4 in. (45.1 cm) Mat : H. 28 in. (71.1 cm) W. 22 in. (55.9 cm) Frame: H. 30 1/2 in. (77.5 cm) W. 24 1/2 in. (62.2 cm). Date: 1550s. This exceptionally large folio depicts seven Christian men, known as the Seven Sleepers and their dog Qitmir, who escaped persecution by miraculously sleeping in a cave for 309 years. The contrasts between the dark cave and the colorful rocks, the commotion outside and the peaceful sleepers inside reinforce the narrative. The crowned figu
Master and Disciple in a Garden Pavillion; Single Page Illustration, c. 1570-1590s. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/master-and-disciple-in-a-garden-pavillion-single-page-illustration-c-1570-1590s-image330106099.htmlRM2A51HKF–Master and Disciple in a Garden Pavillion; Single Page Illustration, c. 1570-1590s.
Old Middle East public baths rooftop view in Qazvin, Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/old-middle-east-public-baths-rooftop-view-in-qazvin-iran-image211273447.htmlRFP7M9C7–Old Middle East public baths rooftop view in Qazvin, Iran
Painting, Battle of Rostam and Sohrab, Shahnameh, Qazvin school, 1576, Reza Abbasi Museum, Tehran, Iran Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/painting-battle-of-rostam-and-sohrab-shahnameh-qazvin-school-1576-reza-abbasi-museum-tehran-iran-image271758914.htmlRMWP3K7E–Painting, Battle of Rostam and Sohrab, Shahnameh, Qazvin school, 1576, Reza Abbasi Museum, Tehran, Iran
'Muhammad Revives the Sick Boy', Folio from a Falnama (Book of Omens) of Ja'far al-Sadiq. Dimensions: Painting: H. 23 1/16 in. (58.6 cm) W. 17in. (43.2cm) Mat : H. 28 in. (71.1 cm) W. 22 in. (55.9 cm) Frame: H. 30 1/2 in. (77.5 cm) W. 24 1/2 in. (62.2 cm). Date: 1550s. This illustration belonged to a Falnama, or book of divination, which was used to predict the future and tell fortunes. Once believed to be a depiction of Jesus raising Lazarus from the dead, the subject matter has now been identified as an event from the life of the Prophet Muhammad, who is shown veiled (a pictorial conv Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/muhammad-revives-the-sick-boy-folio-from-a-falnama-book-of-omens-of-jafar-al-sadiq-dimensions-painting-h-23-116-in-586-cm-w-17in-432cm-mat-h-28-in-711-cm-w-22-in-559-cm-frame-h-30-12-in-775-cm-w-24-12-in-622-cm-date-1550s-this-illustration-belonged-to-a-falnama-or-book-of-divination-which-was-used-to-predict-the-future-and-tell-fortunes-once-believed-to-be-a-depiction-of-jesus-raising-lazarus-from-the-dead-the-subject-matter-has-now-been-identified-as-an-event-from-the-life-of-the-prophet-muhammad-who-is-shown-veiled-a-pictorial-conv-image213258035.htmlRMPAXMPB–'Muhammad Revives the Sick Boy', Folio from a Falnama (Book of Omens) of Ja'far al-Sadiq. Dimensions: Painting: H. 23 1/16 in. (58.6 cm) W. 17in. (43.2cm) Mat : H. 28 in. (71.1 cm) W. 22 in. (55.9 cm) Frame: H. 30 1/2 in. (77.5 cm) W. 24 1/2 in. (62.2 cm). Date: 1550s. This illustration belonged to a Falnama, or book of divination, which was used to predict the future and tell fortunes. Once believed to be a depiction of Jesus raising Lazarus from the dead, the subject matter has now been identified as an event from the life of the Prophet Muhammad, who is shown veiled (a pictorial conv
![Nushirwan Listens to the Owls (recto); the Story of Nushirwan and his Minister, "The Third Discourse on Diverse Events and Disorder in Life" (verso) from a Khamsa (Quintet) of Nizami (1141-1209), 1555-65. This scene is from the Makhzan al-Ashrar, the first of the Quintet. Although more historically oriented than the following poems, it served more as a vehicle for moralizing tales than for historical events. In this scene Nushirwan asks the sage Buzurgmihr to explain what the owls perched on a ruined building are saying. He explains that one owl is offering the other as many ruined c Stock Photo](https://c8.alamy.com/comp/2A51MTY/nushirwan-listens-to-the-owls-recto-the-story-of-nushirwan-and-his-minister-quotthe-third-discourse-on-diverse-events-and-disorder-in-lifequot-verso-from-a-khamsa-quintet-of-nizami-1141-1209-1555-65-this-scene-is-from-the-makhzan-al-ashrar-the-first-of-the-quintet-although-more-historically-oriented-than-the-following-poems-it-served-more-as-a-vehicle-for-moralizing-tales-than-for-historical-events-in-this-scene-nushirwan-asks-the-sage-buzurgmihr-to-explain-what-the-owls-perched-on-a-ruined-building-are-saying-he-explains-that-one-owl-is-offering-the-other-as-many-ruined-c-2A51MTY.jpg "Nushirwan Listens to the Owls (recto); the Story of Nushirwan and his Minister, "The Third Discourse on Diverse Events and Disorder in Life" (verso) from a Khamsa (Quintet) of Nizami (1141-1209), 1555-65. This scene is from the Makhzan al-Ashrar, the first of the Quintet. Although more historically oriented than the following poems, it served more as a vehicle for moralizing tales than for historical events. In this scene Nushirwan asks the sage Buzurgmihr to explain what the owls perched on a ruined building are saying. He explains that one owl is offering the other as many ruined c Stock Photo")
Nushirwan Listens to the Owls (recto); the Story of Nushirwan and his Minister, "The Third Discourse on Diverse Events and Disorder in Life" (verso) from a Khamsa (Quintet) of Nizami (1141-1209), 1555-65. This scene is from the Makhzan al-Ashrar, the first of the Quintet. Although more historically oriented than the following poems, it served more as a vehicle for moralizing tales than for historical events. In this scene Nushirwan asks the sage Buzurgmihr to explain what the owls perched on a ruined building are saying. He explains that one owl is offering the other as many ruined c Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/nushirwan-listens-to-the-owls-recto-the-story-of-nushirwan-and-his-minister-quotthe-third-discourse-on-diverse-events-and-disorder-in-lifequot-verso-from-a-khamsa-quintet-of-nizami-1141-1209-1555-65-this-scene-is-from-the-makhzan-al-ashrar-the-first-of-the-quintet-although-more-historically-oriented-than-the-following-poems-it-served-more-as-a-vehicle-for-moralizing-tales-than-for-historical-events-in-this-scene-nushirwan-asks-the-sage-buzurgmihr-to-explain-what-the-owls-perched-on-a-ruined-building-are-saying-he-explains-that-one-owl-is-offering-the-other-as-many-ruined-c-image330108603.htmlRM2A51MTY–Nushirwan Listens to the Owls (recto); the Story of Nushirwan and his Minister, "The Third Discourse on Diverse Events and Disorder in Life" (verso) from a Khamsa (Quintet) of Nizami (1141-1209), 1555-65. This scene is from the Makhzan al-Ashrar, the first of the Quintet. Although more historically oriented than the following poems, it served more as a vehicle for moralizing tales than for historical events. In this scene Nushirwan asks the sage Buzurgmihr to explain what the owls perched on a ruined building are saying. He explains that one owl is offering the other as many ruined c
![Nushirwan Listens to the Owls (recto): Illustration and Text, Persian Verses, from a Manuscript of the Khamsa of Nizami, Makhzan al-Asrar [Treasure of Secrets], 1555-65. This scene is from the Makhzan al-Ashrar, the first of the Quintet. Although more historically oriented than the following poems, it served more as a vehicle for moralizing tales than for historical events. In this scene Nushirwan asks the sage Buzurgmihr to explain what the owls perched on a ruined building are saying. He explains that one owl is offering the other as many ruined cities as he likes in exchange for his daughte Stock Photo](https://c8.alamy.com/comp/2A51MTH/nushirwan-listens-to-the-owls-recto-illustration-and-text-persian-verses-from-a-manuscript-of-the-khamsa-of-nizami-makhzan-al-asrar-treasure-of-secrets-1555-65-this-scene-is-from-the-makhzan-al-ashrar-the-first-of-the-quintet-although-more-historically-oriented-than-the-following-poems-it-served-more-as-a-vehicle-for-moralizing-tales-than-for-historical-events-in-this-scene-nushirwan-asks-the-sage-buzurgmihr-to-explain-what-the-owls-perched-on-a-ruined-building-are-saying-he-explains-that-one-owl-is-offering-the-other-as-many-ruined-cities-as-he-likes-in-exchange-for-his-daughte-2A51MTH.jpg "Nushirwan Listens to the Owls (recto): Illustration and Text, Persian Verses, from a Manuscript of the Khamsa of Nizami, Makhzan al-Asrar [Treasure of Secrets], 1555-65. This scene is from the Makhzan al-Ashrar, the first of the Quintet. Although more historically oriented than the following poems, it served more as a vehicle for moralizing tales than for historical events. In this scene Nushirwan asks the sage Buzurgmihr to explain what the owls perched on a ruined building are saying. He explains that one owl is offering the other as many ruined cities as he likes in exchange for his daughte Stock Photo")
Nushirwan Listens to the Owls (recto): Illustration and Text, Persian Verses, from a Manuscript of the Khamsa of Nizami, Makhzan al-Asrar [Treasure of Secrets], 1555-65. This scene is from the Makhzan al-Ashrar, the first of the Quintet. Although more historically oriented than the following poems, it served more as a vehicle for moralizing tales than for historical events. In this scene Nushirwan asks the sage Buzurgmihr to explain what the owls perched on a ruined building are saying. He explains that one owl is offering the other as many ruined cities as he likes in exchange for his daughte Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/nushirwan-listens-to-the-owls-recto-illustration-and-text-persian-verses-from-a-manuscript-of-the-khamsa-of-nizami-makhzan-al-asrar-treasure-of-secrets-1555-65-this-scene-is-from-the-makhzan-al-ashrar-the-first-of-the-quintet-although-more-historically-oriented-than-the-following-poems-it-served-more-as-a-vehicle-for-moralizing-tales-than-for-historical-events-in-this-scene-nushirwan-asks-the-sage-buzurgmihr-to-explain-what-the-owls-perched-on-a-ruined-building-are-saying-he-explains-that-one-owl-is-offering-the-other-as-many-ruined-cities-as-he-likes-in-exchange-for-his-daughte-image330108593.htmlRM2A51MTH–Nushirwan Listens to the Owls (recto): Illustration and Text, Persian Verses, from a Manuscript of the Khamsa of Nizami, Makhzan al-Asrar [Treasure of Secrets], 1555-65. This scene is from the Makhzan al-Ashrar, the first of the Quintet. Although more historically oriented than the following poems, it served more as a vehicle for moralizing tales than for historical events. In this scene Nushirwan asks the sage Buzurgmihr to explain what the owls perched on a ruined building are saying. He explains that one owl is offering the other as many ruined cities as he likes in exchange for his daughte
Bahram Gur and Azada, from a Shahnama (Book of Kings) of Firdausi (940-1019 or 1025), 1500s. This image from an unfinished painting depicts one of the most popular episodes from the life of the pre-Islamic Persian king Bahram Gur (reigned AD 420-38). A famed hunter, he was challenged by his concubine, Azada, to strike a donkey through its foot and ear with a single arrow. Azada is in the upper right playing the harp on a camel. Bahram Gur successfully meets her challenge at the bottom of the page; he tossed a rock into the donkey’s ear, then fired when the animal tried to kick it loose. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/bahram-gur-and-azada-from-a-shahnama-book-of-kings-of-firdausi-940-1019-or-1025-1500s-this-image-from-an-unfinished-painting-depicts-one-of-the-most-popular-episodes-from-the-life-of-the-pre-islamic-persian-king-bahram-gur-reigned-ad-420-38-a-famed-hunter-he-was-challenged-by-his-concubine-azada-to-strike-a-donkey-through-its-foot-and-ear-with-a-single-arrow-azada-is-in-the-upper-right-playing-the-harp-on-a-camel-bahram-gur-successfully-meets-her-challenge-at-the-bottom-of-the-page-he-tossed-a-rock-into-the-donkeyx2019s-ear-then-fired-when-the-animal-tried-to-kick-it-loose-image330076262.htmlRM2A507HX–Bahram Gur and Azada, from a Shahnama (Book of Kings) of Firdausi (940-1019 or 1025), 1500s. This image from an unfinished painting depicts one of the most popular episodes from the life of the pre-Islamic Persian king Bahram Gur (reigned AD 420-38). A famed hunter, he was challenged by his concubine, Azada, to strike a donkey through its foot and ear with a single arrow. Azada is in the upper right playing the harp on a camel. Bahram Gur successfully meets her challenge at the bottom of the page; he tossed a rock into the donkey’s ear, then fired when the animal tried to kick it loose.
Figure Lassoing a Horse Illustrated Page from an Unidentified Manuscript (recto), 1400s-1500s. The handsome youth lassoing the feisty colt in this painting is Rustam, the Shahnama 's most popular hero. A favorite episode for artists, this event marks a turning point in the fortunes of Iran and offers the artist a wonderful pictorial opportunity. It occurs in a time of trouble for Iran—the throne is empty and a foreign army has invaded the land. The country needs a mighty warrior to fight for her, and the young Rustam is ready for the challenge—once he finds a horse that can bear Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/figure-lassoing-a-horse-illustrated-page-from-an-unidentified-manuscript-recto-1400s-1500s-the-handsome-youth-lassoing-the-feisty-colt-in-this-painting-is-rustam-the-shahnama-s-most-popular-hero-a-favorite-episode-for-artists-this-event-marks-a-turning-point-in-the-fortunes-of-iran-and-offers-the-artist-a-wonderful-pictorial-opportunity-it-occurs-in-a-time-of-trouble-for-iranx2014the-throne-is-empty-and-a-foreign-army-has-invaded-the-land-the-country-needs-a-mighty-warrior-to-fight-for-her-and-the-young-rustam-is-ready-for-the-challengex2014once-he-finds-a-horse-that-can-bear-image330089016.htmlRM2A50RWC–Figure Lassoing a Horse Illustrated Page from an Unidentified Manuscript (recto), 1400s-1500s. The handsome youth lassoing the feisty colt in this painting is Rustam, the Shahnama 's most popular hero. A favorite episode for artists, this event marks a turning point in the fortunes of Iran and offers the artist a wonderful pictorial opportunity. It occurs in a time of trouble for Iran—the throne is empty and a foreign army has invaded the land. The country needs a mighty warrior to fight for her, and the young Rustam is ready for the challenge—once he finds a horse that can bear
Camel and Groom; Single Page Illustration, c. 1545-1576. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/camel-and-groom-single-page-illustration-c-1545-1576-image330081087.htmlRM2A50DP7–Camel and Groom; Single Page Illustration, c. 1545-1576.
Aulad Tied to a Plane Tree, from a Shahnama by Firdausi, 1575-1600. This large-scale illustration reflects a new aesthetic with simpler paintings of isolated figures which artists signed for less sophisticated patrons in the marketplace, replacing the previous idealized court style as a result of decreased support under Shah ‘Abbas (reigned 1587-1629). Instead, he improved the infrastructure to increase international trade and the country’s wealth. The scene depicts Aulad who guided the legendary hero Rustam through numerous ordeals. Since Aulad was not entirely trusted, Rustam o Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/aulad-tied-to-a-plane-tree-from-a-shahnama-by-firdausi-1575-1600-this-large-scale-illustration-reflects-a-new-aesthetic-with-simpler-paintings-of-isolated-figures-which-artists-signed-for-less-sophisticated-patrons-in-the-marketplace-replacing-the-previous-idealized-court-style-as-a-result-of-decreased-support-under-shah-x2018abbas-reigned-1587-1629-instead-he-improved-the-infrastructure-to-increase-international-trade-and-the-countryx2019s-wealth-the-scene-depicts-aulad-who-guided-the-legendary-hero-rustam-through-numerous-ordeals-since-aulad-was-not-entirely-trusted-rustam-o-image330075800.htmlRM2A5071C–Aulad Tied to a Plane Tree, from a Shahnama by Firdausi, 1575-1600. This large-scale illustration reflects a new aesthetic with simpler paintings of isolated figures which artists signed for less sophisticated patrons in the marketplace, replacing the previous idealized court style as a result of decreased support under Shah ‘Abbas (reigned 1587-1629). Instead, he improved the infrastructure to increase international trade and the country’s wealth. The scene depicts Aulad who guided the legendary hero Rustam through numerous ordeals. Since Aulad was not entirely trusted, Rustam o
