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                <text>AKM PS24 Robe- Front</text>
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                <text>20th-century Central Asian robe displayed in the Aga Khan Museum (Toronto) in Hidden Stories: Books Along the Silk Roads exhibit (exhibited during 2021-2022). The felted robe features four embroidered stories ranging from different cultures, religions, and ages. The robe depicts scenes deriving from the Qur'an, the Shahnameh, the Khamsa of Nizami, Thousand and One Nights and sources of Greek and Persian poetry.</text>
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                <text>Central Asia; Current: Aga Khan Museum</text>
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                <text>Aga Khan Museum</text>
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                <text>20th century</text>
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                <text>Aga Khan Museum</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>photograph of robe</text>
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            <description>A name given to the resource</description>
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                <text>AKM PS24 Robe Embroidery of Vamiq and Azra</text>
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                <text>Photograph of AKM PS24 Robe, focusing on the back bottom-left panel of the robe, depicting a scene with Vamiq and Azra. A story deriving from the eleventh-century Iranian poet, Unṣurī in his work titled, "The Virgin and Her Lover". The story is an epic retelling of the Greek 1st century story of Parthenope and Metiochus. In this embroidery, Vamiq and Azra are seated on a carpet, facing one another, seemingly in conversation. The scene likely depicts their debate over "Eros" or the effigy of love, as found in both the Persian and Greek tellings of the story.  The Farsi script above the embroidered characters is not legible but one decipherable word in the sentence appears to mention the word "agree" , perhaps referencing Vamiq and Azra's discussion of love and their potential agreement with their interpretations.</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Central Asia; Current: Aga Khan Museum</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>Aga Khan Museum</text>
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                <text>20th century</text>
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                <text>Aga Khan Museum</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Creative Commons</text>
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                <text>photograph of robe</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Solomon: The Great King and Prophet</text>
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              <description>An account of the resource</description>
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                  <text>A visual comparison of the depictions of Solomon, the wise king and Prophet of Islamic and Persian storytelling. In these depictions, notice the common motifs of Solomon enthroned above all creatures and mankind, his ability to communicate with creatures, and his control over demons (Persian: &lt;em&gt;Divs&lt;/em&gt;, Arabic: &lt;em&gt;Jinn&lt;/em&gt;)</text>
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            <description>A name given to the resource</description>
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                <text>Solomon takes advice from the animals, from Lights of Canopus (Anvar-i-Suhayli)</text>
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                <text>Illuminated manuscript taken from the 13th century copy of the "Anvar-i Suhayli", (The Lights of Canopus). In this illustration, the wisdom of King Solomon is portrayed through his ability to converse with all mankind and creatures, including animals. Solomon's depiction of wisdom through the use of animals is a common storytelling tactic in Persian and Islamic depictions of the wise king. The following excerpt from the Chester Beatty Online Collection provides further detail for the depicted scene: "One day, he had the opportunity to drink the water of life, and to live forever. Hesitating, he decided first to take advice from the animals and birds. They all gathered at his court, and discussed the great decision. The heron advised the king not to choose immortality. There was only enough water for one person, the bird said, so if Solomon were to drink it, then he would outlive everyone he loved."</text>
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                <text>Dhanu (painter)</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Manuscript of "Lights of Canopus" (Anvar-i-Suhayli); Agra, India</text>
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                <text>Chester Beatty Museum, Dublin (Online Collections)&#13;
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                <text>1595-1600 (Mughal India</text>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>Chester Beatty Online Collections</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Creative Commons</text>
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                <text>illuminated manuscript</text>
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                <text>Persian in Nasta'liq script</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Solomon: The Great King and Prophet</text>
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              <description>An account of the resource</description>
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                  <text>A visual comparison of the depictions of Solomon, the wise king and Prophet of Islamic and Persian storytelling. In these depictions, notice the common motifs of Solomon enthroned above all creatures and mankind, his ability to communicate with creatures, and his control over demons (Persian: &lt;em&gt;Divs&lt;/em&gt;, Arabic: &lt;em&gt;Jinn&lt;/em&gt;)</text>
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                <text>Solomon Enthroned, from the Book of Solomon (Suleymannama)</text>
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                <text>Illuminated manuscript illustrating Solomon enthroned at the top centre of the illustration. The illustration of the wise and powerful king features him above horizantal rows of his subjects. Simillarly to the AKM PS24 robe, the character known in Islamic tellings as the "Jinn", or in Persian tellings as "Divs" (demon) are pictured on the second row from the bottom of the page, as large, horned creatures. In the Qur'an and the Shahnameh, King Solomon is titled as the "King of the Jinn", possessing the power to control and communicate with all creatures including the demons who he summons to do his work. The manuscript was dedicated to Ottoman Sultan Bayazid. Source: (https://viewer.cbl.ie/viewer/image/T_406_1/1/)</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Manuscript author: Firdausi of Bursa. Artist is unknown. </text>
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                <text>Book of Solomon, Suleymannama (Istanbul, Turkey)</text>
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                <text>Chester Beatty Museum, Dublin (Online Collections)</text>
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                <text>1480 - 1510</text>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>Chester Beatty Online Collections</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Creative Commons</text>
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                <text>illuminated manuscript</text>
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                <text>Persian and Arabic written in the Naskh script.</text>
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            <description>A name given to the resource</description>
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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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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Author: Ahmad Muhammad Ghaffari of Kashan. &#13;
Scribe: Ahmad al-Shirazi</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Kitab-i Nigaristan, (Kashan, Iran, likely made in a Shiraz workshop)</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>Aga Khan Museum</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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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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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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Reference: MAK Online Collection</text>
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