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Isfandiyar's 4th Course from the Shahnama in the Metropolitan Museum of Art, September 2019
Title: "Isfandiyar's Fourth Course: He Slays a Sorceress", Folio 435v from the Shahnama (Book of Kings) of Shah Tahmasp
Author: Abu'l Qasim Firdausi (Iranian, Paj ca. 940/41–1020 Tus)
Artist: Painting attributed to Qasim ibn 'Ali (Iranian, active ca. 1525–60)
Workshop director: Aqa Mirak (Iranian, active ca. 1525–1576 Qazvin)
Date: ca. 1525–30
Geography: Made in Iran, Tabriz
Medium: Opaque watercolor, ink, silver, and gold on paper
Dimensions: Painting:
H. 7 3/16 in. (18.3 cm)
W. 7 1/16 in. (18 cm)
Page:
H. 18 11/16 in. (47.5 cm)
W. 12 5/8 in. (32.1 cm)
Mat:
H. 22 in. (55.9 cm)
W. 16 in. (40.6 cm)
Classification: Codices
Credit Line: Gift of Arthur A. Houghton Jr., 1970
Accession Number: 1970.301.52
The hero Isfandiyar performs a series of feats, or "courses," parallel to those of Rustam. In this scene, Isfandiyar has slain a sorceress, who lies bleeding in the foreground next to a mountain stream whose once-silver water has tarnished to black. The squat figures reflect Qasim ibn 'Ali’s grounding in Turkmen painting, while the dramatically piled rocks and clouds are elements that were shared by painters of both Turkmen Tabriz and Timurid Herat background.
Text from: www.metmuseum.org/art/collection/search/452161
Author: Abu'l Qasim Firdausi (Iranian, Paj ca. 940/41–1020 Tus)
Artist: Painting attributed to Qasim ibn 'Ali (Iranian, active ca. 1525–60)
Workshop director: Aqa Mirak (Iranian, active ca. 1525–1576 Qazvin)
Date: ca. 1525–30
Geography: Made in Iran, Tabriz
Medium: Opaque watercolor, ink, silver, and gold on paper
Dimensions: Painting:
H. 7 3/16 in. (18.3 cm)
W. 7 1/16 in. (18 cm)
Page:
H. 18 11/16 in. (47.5 cm)
W. 12 5/8 in. (32.1 cm)
Mat:
H. 22 in. (55.9 cm)
W. 16 in. (40.6 cm)
Classification: Codices
Credit Line: Gift of Arthur A. Houghton Jr., 1970
Accession Number: 1970.301.52
The hero Isfandiyar performs a series of feats, or "courses," parallel to those of Rustam. In this scene, Isfandiyar has slain a sorceress, who lies bleeding in the foreground next to a mountain stream whose once-silver water has tarnished to black. The squat figures reflect Qasim ibn 'Ali’s grounding in Turkmen painting, while the dramatically piled rocks and clouds are elements that were shared by painters of both Turkmen Tabriz and Timurid Herat background.
Text from: www.metmuseum.org/art/collection/search/452161
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