Royal Reception in a Landscape, left folio from the double frontispiece of a Shahnama (Book of Kings) of Firdausi (Persian, about 940–1019 or 1025), previewed as a 16 by 20 inch giclée reproduction.

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Royal Reception in a Landscape, left folio from the double frontispiece of a Shahnama (Book of Kings) of Firdausi (Persian, about 940–1019 or 1025)1444

Opaque watercolor, ink, gold, and silver on paper

Overall: 32.7 x 22 cm (12 7/8 x 8 11/16 in.); Image: 26.1 x 20.7 cm (10 1/4 x 8 1/8 in.)

Courtesy of the Cleveland Museum of Art · 1956.10.a

The royal feast is set in a green landscape dotted with flowers and blossoming bushes against a gold sky with wisps of blue and white clouds. More about this work

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Format

Archival pigment inks on Hahnemühle Photo Rag, a 308 gsm cotton paper, with a white border.

Size

At this size the museum's file prints at 193 ppi: sharp at arm's length, a little softer than the smaller sizes up close.

Size
16 × 20 in · image 12¼ × 17½
Paper
Hahnemühle Photo Rag, 308 gsm
Price
$56

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About this work

The royal feast is set in a green landscape dotted with flowers and blossoming bushes against a gold sky with wisps of blue and white clouds. The group of figures in the upper left includes a falconer, horses, attendants, and two hunting cheetahs, while servers transport food and drink in gold and ceramic vessels, some presumably Chinese blue and white porcelain. Possibly this banquet was offered after a courtly hunt, a prestigious symbol of power and wealth. Among the groups of men sitting on elaborate carpets are three Chinese officials, identifiable by their black hats, kneeling together on the ground. Although their presence indicates the presence of foreign cultures within the Timurid court, the painting also reveals that not all are welcome to the feast; in the bottom half of the page a guard wields a stick to drive a group of men out of the garden.

Text from the Cleveland Museum of Art.

How it was made

Opaque watercolour
Watercolour made opaque with white or chalk and laid in flat, even layers. Persian and Indian painters ground their colours from minerals, applied them with the finest brushes and burnished the finished page.
Watercolour
Pigment in gum arabic, thinned with water and laid in transparent washes. Nothing white is painted: the light is the paper showing through.
Ink on paper
Ink made from soot and animal glue, ground with water on an inkstone. A single brush can give a hair-fine line or a broad wash, and nothing can be corrected.
Rights and the museum’s record

Public domain. The Cleveland Museum of Art has dedicated this image to the public domain under CC0, so anyone may copy, adapt and use it, for any purpose, without asking. Our prints and files are reproductions made from the museum’s image; the museum doesn’t endorse them.

Object number
1956.10.a
Credit
Courtesy of the Cleveland Museum of Art
Type
Manuscript
Department
Islamic Art
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