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                <text>Garden Carpet, Central Persia</text>
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                <text>Carpet illustrating the four gardens of Jannah (The Garden of Paradise in Islam). The carpet is made of cotton, silk and wool. </text>
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                <text>Central Persia; &#13;
Currim, Mumtaz. 2012. Jannat : Paradise in Islamic Art / Edited by Mumtaz Currim. Mumbai: Marg Foundation.</text>
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                <text>early 17th century</text>
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                <text>Canticle of the Birds - Debating the Journey (Garden of Paradise)</text>
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                <text>A modern painting from a collection of Farkhondeh Ahmadzadeh's tryptic sets of paintings depicting the 13th century epic poem titled "Conference of the Birds" by Attar of Nishapur. In this scene, the Garden of Paradise, or Jannat is depicted through the character's spiritual journey. </text>
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                <text>Harmony in Art Collection&#13;
https://harmonyinart.com/portfolio/debating-the-journey/</text>
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                <text>Farkhondeh Ahmadzadeh</text>
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                <text>Farkhondeh Ahmadzadeh</text>
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                <text>Modern suzani. Rectangular hanging suzani consisting of a center field of large floral sprays and multicolor palmettes with tendrils and leaves. The central field is surrounded by a border of floral bands and leafy scrolls. Fabric is a cream colored silk. </text>
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                <text>Kasimbaeva Madina</text>
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                <text>Donated by: Arts and Culture Development Foundation</text>
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                <text>Creative Commons; The Trustees of the British Museum</text>
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                <text>Pomegranates on AKM PS24 Robe</text>
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                <text>Zoomed in photograph focusing on the pomegranate motif surrounding the borders of the AKM PS24 robe</text>
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                <text>Central Asia; Current: Aga Khan Museum</text>
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                <text>The suzani, a weaving style practiced in both Uzbekistan and Tajikistan, is featured in Ura Tube style&#13;
(Gillow 2010, 43).</text>
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                <text>Gillow, John. 2010. Textiles of the Islamic World. New York: Thames &amp; Hudson.&#13;
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                <text>suzani; photocopy of suzani</text>
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                <text>Quilt Facing - Pomegranate Motifs</text>
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                <text>Quilt facing, or bedding, from the Ottoman empire embroidered with continuous patterns of the pomegranate motif.  The pomegranates are faced with two large serrated leaves on either side of the fruit. This style of border is common among seventieth to eighteenth century Ottoman embroideries . </text>
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                <text>Ottoman Empire, Turkey, Asia</text>
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                <text>Philadelphia Museum of Art</text>
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                <text>embroidered quilt facing; linen plain weave with silk embroidery. </text>
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                  <text>A ROBE by any other name</text>
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                  <text>For Nomadic tribes especially, the wool robe served as a source of protection against the harsh winters, protecting travelling men, women and children on their journeys across the Steppes. Beyond its survival purposes, the robe also served as a object of distinction, signifying an individual's association with a tribe, religion or political group. Regardless of what these robes were called and their varying purposes, each culture and people had its own version of the robe.&#13;
As you flip through the following images depicting variations of robe styles across the Central Asia and the Middle East, consider the following possibilities for similarities in the robes:&#13;
&#13;
encounters (both peaceful and discordant) between peoples and cultures as a source of exchange for textiles, motifs and styles.&#13;
similar fashion choices as a reaction to climate and geography.&#13;
differences in fashion as a possible indicator of political, religious or cultural alliances.</text>
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                <text>textile; woven and embroidered</text>
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As you flip through the following images depicting variations of robe styles across the Central Asia and the Middle East, consider the following possibilities for similarities in the robes:&#13;
&#13;
encounters (both peaceful and discordant) between peoples and cultures as a source of exchange for textiles, motifs and styles.&#13;
similar fashion choices as a reaction to climate and geography.&#13;
differences in fashion as a possible indicator of political, religious or cultural alliances.</text>
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                <text>"A member of the Iranian royal household wearing a brocade coat"&#13;
(Allsen 1997, 119)</text>
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                <text>Allsen, Thomas T. 1997. Commodity and Exchange in the Mongol Empire : a Cultural History of Islamic Textiles / Thomas T. Allsen. Cambridge ;: Cambridge University Press</text>
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                  <text>For Nomadic tribes especially, the wool robe served as a source of protection against the harsh winters, protecting travelling men, women and children on their journeys across the Steppes. Beyond its survival purposes, the robe also served as a object of distinction, signifying an individual's association with a tribe, religion or political group. Regardless of what these robes were called and their varying purposes, each culture and people had its own version of the robe.&#13;
As you flip through the following images depicting variations of robe styles across the Central Asia and the Middle East, consider the following possibilities for similarities in the robes:&#13;
&#13;
encounters (both peaceful and discordant) between peoples and cultures as a source of exchange for textiles, motifs and styles.&#13;
similar fashion choices as a reaction to climate and geography.&#13;
differences in fashion as a possible indicator of political, religious or cultural alliances.</text>
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                <text>Painting: Persian Costume</text>
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                <text>Portrait of a young man seated on a carpet, holding a dagger in one hand while preparing to smoke from a hookah. On top of the hookah is a container with tassels.  &#13;
(The British Museum)</text>
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                <text>Qajar Dynasty, Iran</text>
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                <text>1842, late 19th Century</text>
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                <text>Bequeathed by: Baroness Zouche</text>
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1921,0614,0.1.3</text>
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                <text>Harun al-Rashid, "In The Palace of the 'Abbasid Caliph"</text>
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                <text>Miniature painting taken from a Nigaristan manuscript (East Azerbaijan, province of Iran). The miniature features the grandeur of the Caliph Harun al-Rashid's palace. In the painting, his vizer is seated at the top of the room, receiving guests on behalf of the Caliph who is not pictured. In Thousand and One Nights, the Caliph is depicted as "The Well-Guided" whose rise to power and wise actions paint him as a strong, well-suited ruler for Baghdad. The Caliph is perhaps more well-known for his support of the arts, literature and science which led to his creation of the "House of Wisdom", the Grand Library of Baghdad. He is also known for his grand gift to Charlemagne, the King of the Franks, to whom he sent an elephant to Europe as a gift for the European ruler. </text>
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                <text>Author: Ahmad Muhammad Ghaffari of Kashan. &#13;
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                <text>Kitab-i Nigaristan, (Kashan, Iran, likely made in a Shiraz workshop)</text>
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                <text>Persian, written in the Nastaliq script. </text>
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