This picture is 17th century Persian, although originally found in Turkey. It is a leaf from a manuscript, 11 cm by 19.1 cm. The dancer is holding a vina, which is an Indian instrument. The picture is currently in the Museum of Fine Arts, Boston.
Recommended reading about Indian music
Saṅgītaśiromaṇi: A Medieval Handbook of Indian Music edited by Emmie Te Nijenhuis. Via Google Books.
Musical Instruments of the Indian Subcontinent by Allen Roda. Heilbrunn Timeline of Art History.
History of Indian music by P. Sambamoorthy. Via Internet Archive.
This is a brass amulet from Ghaznavid ruled Persia in the 10th century. The amulet is pierced and incised brass which is 2.4 cm in diametre. It is in the Los Angeles County Museum of Art.
This amulet case is silver inlaid with black niello and made between the 10th-11th century in Samanid ruled Iran. The niello is in curlicue and kufic inscription. The inscription is a blessing for a man named Hasan ibn Ahmad, probably the owner of the case. It would have held a verse of the Qur’an. The size is 4.6 cm by 4.3 cm by 1.2 cm. The amulet is in the the David Collection.
This amulet case is from the early 12th century Seljuk Empire. It is 3.4 cm wide, made of gold and decorated by repoussé with a kufic inscription. It was sold by Christies for £5,875 ($9,306).
This case is also gold decorated by repoussé but from north-east Iran ruled the Ghurid Dynasty. It is 4.5 cm wide, with a kufic inscription al-mulk li’llah or ‘Sovreignty is God’s’. It was sold by Christies for £16,100 ($32,764).
The cases would have held text from the Qur’an such as-
This scroll is from the 14th century to be kept in a case. It is 755 cm long and 10 cm wide. It contains 114 chapters of the Qur’an (or suras) as well as the 99 names of Allah. It is in the David Collection.
Islamic Jewelry in the Metropolitan Museum of Art by Marilyn Jenkins & Manuel Keene. Via Google Books.
Please see the previous post Islamic amulets for more recommended reading.
The page was done in the late 16th century, in Shiraz Iran. It is 32.1 x 18.1 cm, watercolour and gold on paper. The page shows what looks like an all male gathering, being entertained by musicians and male dancers. The page is in the Metropolitan Museum of Art.
This is a folio sheet from the Shahnama, a poem written by Hakīm Abu’l-Qāsim Ferdowsī Tūsī in the 11th century. However, this particular illumination was done in the Safavid period, between the years 1520-1530 C.E. The picture is 30.8 cm by 18.0 cm, in opaque watercolours. The page is in the Freer & Sackler Museum.
The one of the legends of the Shahnama is of Bahram Gur. The picture is the daughters of Barzin dancing for Bahram Gur. The dancer has possibly a belt in her left hand and an instrument slung over her body. The second dancer is possibly clapping. The instruments being played are a large tambour and a chang (or harp) player.
Princeton University has a Shahnama Project, where thumbnails of the Shahnama is able to be viewed.
The Persian Book of Kings: An Epitome of the Shahnama of Firdawsi translated by Basil William Robinson. Via Google Books.
History of the Chang by the Farabi School.
Traditional Iranian Music by the Toos Foundation.
Dance- Raqs written by A. Shapur Shahbazi & Robyn C. Friend. From Encyclopædia Iranica.
Research and Reconstruction of an Ancient Persian Harp from the International Art & Architecture Research Association.
The Conference of the Birds (also known as Mantiq al-Tayr) is a 12th century Persian poem written by Farīd ud-Dīn ‘Attār. This picture is from a Safavid book from the early 17th century. It is in the Metropolitan Museum of Art. In the poem, the birds of the world gather to choose a king, believing that it would bring harmony to all the birds. The hoopoe bird, wisest of the birds, persuades the other birds to seek out the Simurgh, which lives on Mount Qaf. The birds travel through the valleys of quest, love, gnosis, contentment, unity, wonder, and poverty. When they reach the Simurgh, only thirty birds remain. They see themselves reflected in the Simurgh, so see themselves. The poem is an allegory on the Sufi path to Allah through self-annihilation.
Bird Parliament by by Farid ud-Din Attar. Translated by Edward FitzGerald (1889).
The Conference of the Birds. In four parts.