Harvard Art Museums > 2002.50.2: Khusraw and Shirin with Courtiers and Pomegranates (painting, verso; text, recto), folio from a manuscript of the Khamsa (Khusraw and Shirin) by Nizami Manuscripts Collections Search Exit Deep Zoom Mode Zoom Out Zoom In Reset Zoom Full Screen Add to Collection Order Image Copy Link Copy Citation Citation"Khusraw and Shirin with Courtiers and Pomegranates (painting, verso; text, recto), folio from a manuscript of the Khamsa (Khusraw and Shirin) by Nizami , 2002.50.2,” Harvard Art Museums collections online, Dec 22, 2024, https://hvrd.art/o/149309. Reuse via IIIF Toggle Deep Zoom Mode Download This object does not yet have a description. Identification and Creation Object Number 2002.50.2 Title Khusraw and Shirin with Courtiers and Pomegranates (painting, verso; text, recto), folio from a manuscript of the Khamsa (Khusraw and Shirin) by Nizami Classification Manuscripts Work Type manuscript folio Date 1584 Places Creation Place: Middle East, Iran, Shiraz Period Safavid period Culture Persian Persistent Link https://hvrd.art/o/149309 Physical Descriptions Medium Ink, opaque watercolor and gold on paper Dimensions 40.2 x 26.3 cm (15 13/16 x 10 3/8 in.) Provenance Recorded Ownership History [Christies, London, 18 October 1994, lot 30]. [Mansour Gallery, London, by 1994 or 1995], sold; to Stanford and Norma Jean Calderwood, Belmont, MA (1994 or 1995 - 2002), gift; to Harvard Art Museums, 2002. Acquisition and Rights Credit Line Harvard Art Museums/Arthur M. Sackler Museum, The Norma Jean Calderwood Collection of Islamic Art Accession Year 2002 Object Number 2002.50.2 Division Asian and Mediterranean Art Contact am_asianmediterranean@harvard.edu Permissions The Harvard Art Museums encourage the use of images found on this website for personal, noncommercial use, including educational and scholarly purposes. To request a higher resolution file of this image, please submit an online request. Descriptions Description Nizami’s romance Khusraw va Shirin involves historical figures of pre-Islamic Iran, principally the Sasanian king Khusraw II Parviz (r. 590–628) and the Armenian princess Shirin. Young Prince Khusraw, enticed by his friend Shapur’s description of a beautiful and virtuous princess he had seen in Armenia, sent Shapur off to find her and bring her to Iran. Shapur, a skilled artist, drew a series of portraits of Khusraw, and, upon viewing them, Shirin fell in love with the handsome prince and set out for his kingdom, while Khusraw himself left Iran to seek the princess in Armenia. Following a series of failed encounters, the couple met, but their marriage was postponed for many years by a series of obstacles. In this painting the soon-to-be newlyweds are shown seated in a lavishly decorated architectural setting with male courtiers or sages and female attendants. The illuminated text boxes form part of the palace structure, contributing to the elaboration of the pictorial surface. Four maidens stand on the tiled roof, and two more are seated on a balcony. In the main hall, where the wedding reception will take place, the figures gesture in animated conversation. Several trays of pomegranates—symbolic of love, sexuality, and procreation—are placed on the carpet beside the guests. Published Catalogue Text: In Harmony: The Norma Jean Calderwood Collection of Islamic Art , written 2013106 Khusraw and Shirin, from Khusraw va Shīrīn Recto: text and illustration Verso: text Folio: 40.2 × 26.3 cm (15 13/16 × 10 3/8 in.) 2002.50.2 Published: Christie’s 1994a, lot 30. Nizami’s romance Khusraw va Shīrīn involves historical figures of pre-Islamic Iran, principally the Sasanian king Khusraw II Parviz (r. 590–628) and the Armenian princess Shirin. Young Prince Khusraw, enticed by his friend Shapur’s description of a beautiful and virtuous princess he had seen in Armenia, sent Shapur off to find her and bring her to Iran. Shapur, a skilled artist, drew a series of portraits of Khusraw, and, upon viewing them, Shirin fell in love with the handsome prince and set out for his kingdom, while Khusraw himself left Iran to seek the princess in Armenia. Following a series of failed encounters, the couple met, but their marriage was postponed for many years by a series of obstacles. In this painting the soon-to-be newlyweds are shown seated in a lavishly decorated architectural setting with male courtiers or sages and female attendants. The illuminated text boxes form part of the palace structure, contributing to the elaboration of the pictorial surface. Four maidens stand on the tiled roof, and two more are seated on a balcony. In the main hall, where the wedding reception will take place, the figures gesture in animated conversation. Several trays of pomegranates—symbolic of love, sexuality, and procreation—are placed on the carpet beside the guests. Mika M. Natif Publication History Mary McWilliams, ed., In Harmony: The Norma Jean Calderwood Collection of Islamic Art, exh. cat., Harvard Art Museums (Cambridge, MA, 2013), p. 244, cat. 106, ill. Exhibition History In Harmony: The Norma Jean Calderwood Collection of Islamic Art, Harvard Art Museums, Cambridge, 01/31/2013 - 06/01/2013 Arghavan Khosravi: Black Rain, Rose Art Museum, Brandeis University, 08/03/2023 - 10/22/2023 Verification Level This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Asian and Mediterranean Art at am_asianmediterranean@harvard.edu
