"Bahram Gur in the Dark Palace on Saturday", Folio 207 from a Khamsa (Quintet) of Nizami of Ganja 931 1524–25 Nizami The artist has used the color black, which according to the text, should be all-pervasive, with elegant restraint. He has, like a skilled haute-couturier, avoided somberness and set off the black by contrasting it with both bright colors and light shades. Also its use in each costume and in the dome and spandrels of the architecture effectively unifies the composition. The air of courtly leisure in this miniature is particularly "Bahram Gur in the Dark Palac
"Bahram Gur in the Dark Palace on Saturday", Folio 207 from a Khamsa (Quintet) of Nizami of Ganja 931 1524–25 Nizami The artist has used the color black, which according to the text, should be all-pervasive, with elegant restraint. He has, like a skilled haute-couturier, avoided somberness and set off the black by contrasting it with both bright colors and light shades. Also its use in each costume and in the dome and spandrels of the architecture effectively unifies the composition. The air of courtly leisure in this miniature is particularly "Bahram Gur in the Dark Palace on Saturday", Folio 207 from a Khamsa (Quintet) of Nizami of Ganja. Painting by Shaikh Zada (Iranian, active 1510–1550). 931 1524–25. Ink, opaque watercolor, silver, and gold on paper. Made in present-day Afghanistan, Herat. Codices
Size: 2867px × 4000px
Photo credit: © MET/BOT / Alamy / Afripics
License: Licensed
Model Released: No
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