id:			170802
accession number:	2013.303.b
share license status:	CC0
url:			https://clevelandart.org/art/2013.303.b
updated:		2023-03-22 03:04:57.924000

Calligraphy: Preface to the Anvar-i Suhaili, c. 1590. Northern India, Mughal court, 16th century. Ink on cream gold-decorated paper with gold-sprinkled blue paper borders, six lines of Persian calligraphy (verso); page: 36.1 x 24.8 cm (14 3/16 x 9 3/4 in.); text field: 16 x 8.3 cm (6 5/16 x 3 1/4 in.). The Cleveland Museum of Art, Gift in honor of Madeline Neves Clapp; Gift of Mrs. Henry White Cannon by exchange; Bequest of Louise T. Cooper; Leonard C. Hanna Jr. Fund; From the Catherine and Ralph Benkaim Collection 2013.303.b

title:				Calligraphy: Preface to the Anvar-i Suhaili
title in original language:	
series:				
series in original language:	
creation date:			c. 1590
creation date earliest:		1585
creation date latest:		1595
current location:		
creditline:			Gift in honor of Madeline Neves Clapp; Gift of Mrs. Henry White Cannon by exchange; Bequest of Louise T. Cooper; Leonard C. Hanna Jr. Fund; From the Catherine and Ralph Benkaim Collection
copyright:			

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culture:	Northern India, Mughal court, 16th century
technique:	ink on cream gold-decorated paper with gold-sprinkled blue paper borders, six lines of Persian calligraphy (verso)
department:	Indian and Southeast Asian Art
collection:	Indian Art - Mughal
type:		Calligraphy
find spot:	
catalogue raisonne: 

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CREATORS

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measurements: Page: 36.1 x 24.8 cm (14 3/16 x 9 3/4 in.); Text field: 16 x 8.3 cm (6 5/16 x 3 1/4 in.)
state of the work:	
edition of the work: 	

support materials:


inscriptions:

	inscription:	Banyavati inscription in Devenagari script in left margin describing the subject of the miniature: 'We failed to understand each other when we were together, the understanding in that respect may come to us on being separated".
	translation:	
	remark:		

	inscription:	Persian text in nasta‘liq script:
. . . and he also added illustrations and decorations and in truth an album was arranged that ever since the visage of rosy-cheeked beauties has been bedecked by their black sweet-smelling tresses, the like of the calligraphic lines that are written upon it have never been set upon any paper by a pen, and ever since the album of the sky has been illuminated by the luminosity of the moon and the sun, the light of the understanding . . .
	translation:	
	remark:		

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CURRENT EXHIBITIONS

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LEGACY EXHIBITIONS

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PROVENANCE

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fun fact:


digital description:


wall description:
The lovers have met in a remote wilderness location, away from the city shown in the distance. However, their affair has run its course, and they decide to part ways, each walking in opposite directions through an ominous landscape, where strange rock formations and an oversized serpent-slain by foxes gnawing on its innards-lend a sense of foreboding. As Mughal court painting developed into the last decades of the 16th century, artists began using increasingly muted colors and gentler shading techniques than they did in the more robust Adventures of Hamza at the left. The omission of a light source and shadows adds to a timeless, otherworldly impression to the landscape.
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RELATED WORKS

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CITATIONS

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IMAGES

web:	https://openaccess-cdn.clevelandart.org/2013.303.b/2013.303.b_web.jpg
print:	https://openaccess-cdn.clevelandart.org/2013.303.b/2013.303.b_print.jpg
full:	https://openaccess-cdn.clevelandart.org/2013.303.b/2013.303.b_full.tif