1530 (ca.), Qasim ibn 'Ali (attributed), Surhka Captured by Faramarz is Condemned by Rustam (from the Shahnama (Book of Kings) of Shah Tahmasp) -- Metropolitan Museum of Art (New York)
From the museum label:
The hero Rustam, shown here on horseback wearing a leopard-skin hat, launched war to avenge the death of Siyavush, whom the Turanian king Afrasiyab had executed. Rustam was determined to cause Afrasiyab the same pain by having his son, Surkha, captured and killed. The Chinese-style kite clouds, winding tree, and doll-like rendition of the figures' faces reflect Qasim inb 'Ali's grounding in the Turkmen painting tradition.
THE SHAHNAMA (BOOK OF KINGS) OF TAHMASP
The Shahnama of Shah Tahmasp is arguably the most luxuriously illustrated manuscript of Firdausi's epic ever produced. Illustrating the 759 folios of text written in superb nasta'liq script are 258 paintings of exquisite quality and artistic originality. This project was realized at the royal atelier in Tabriz and involved the preeminent artists of the time. The pages on display represent the diversity of the manuscript's hands, styles, and themes. In 1568, Shah Tahmasp presented the manuscript to the Ottoman sultan Selim II, and in 1970, Arthur A. Houghton Jr. donated seventy-eight of its paintings to The Metropolitan Museum of Art.
1530 (ca.), Qasim ibn 'Ali (attributed), Surhka Captured by Faramarz is Condemned by Rustam (from the Shahnama (Book of Kings) of Shah Tahmasp) -- Metropolitan Museum of Art (New York)
From the museum label:
The hero Rustam, shown here on horseback wearing a leopard-skin hat, launched war to avenge the death of Siyavush, whom the Turanian king Afrasiyab had executed. Rustam was determined to cause Afrasiyab the same pain by having his son, Surkha, captured and killed. The Chinese-style kite clouds, winding tree, and doll-like rendition of the figures' faces reflect Qasim inb 'Ali's grounding in the Turkmen painting tradition.
THE SHAHNAMA (BOOK OF KINGS) OF TAHMASP
The Shahnama of Shah Tahmasp is arguably the most luxuriously illustrated manuscript of Firdausi's epic ever produced. Illustrating the 759 folios of text written in superb nasta'liq script are 258 paintings of exquisite quality and artistic originality. This project was realized at the royal atelier in Tabriz and involved the preeminent artists of the time. The pages on display represent the diversity of the manuscript's hands, styles, and themes. In 1568, Shah Tahmasp presented the manuscript to the Ottoman sultan Selim II, and in 1970, Arthur A. Houghton Jr. donated seventy-eight of its paintings to The Metropolitan Museum of Art.