《狮子》，来自Shahmardan ibn Abi’l Khayr的分散的Nuzhatnama-i‘Ala’i的对开本 - 美国大都会艺术博物馆展品查阅

品名（中）	《狮子》，来自Shahmardan ibn Abi’l Khayr的分散的Nuzhatnama-i‘Ala’i的对开本
品名（英）	" A Lion", Folio from a Dispersed Nuzhatnama-i ‘Ala’i of Shahmardan ibn Abi’l Khayr
入馆年号	1913年，13.160.8
策展部门	伊斯兰艺术（Islamic Art）
创作者	Shamardan ibn Abi 'l Khayr【1075 至 1125】【伊朗人】
创作年份	公元 1600 - 公元 1625
创作地区	归属于: 伊朗, 可能是加兹温（Attributed to: Iran, possibly Qazvin）
分类	密码（Codices）
尺寸	Page: 高 3 英寸 (7.6 厘米) 宽 4 1/8英寸 (10.5厘米) Mat: 高 14 1/4 英寸 (36.2 厘米) 宽 19 1/4 英寸 (48.9 厘米) Frame: 高 16 3/4 英寸 (42.5 厘米) 宽 21 3/4 英寸 (55.2 厘米)
介绍（中）	这一页的百科全书文本写于1095年至1119年，由两部分组成，一部分专门介绍自然的三个王国，包括人类、动物、农业和矿产，另一部分介绍各种科学和伪科学。十九对开本，三十三幅图像现存，广泛分布在欧洲和北美的博物馆中。动物插图的特点是没有边际规则和地平线。然而，在这里，前景中的岩石和泥土以及动物大步穿过的芦苇为场景提供了一个明确的背景。这可能是16世纪和更早的波斯手稿插图中发现的许多芦苇中狮子的图像原型的结果。这份手稿中更典型的绘画作品是用水洗画岩石、树叶和花朵，而不是16世纪早期波斯绘画中习惯的饱和颜料，这让人想起了1600年左右一些伊斯法罕画家的作品中的类似处理。然而，一方面，这里缺乏伊斯法罕作品特有的书法线条轮廓，另一方面，缺乏其他流派的可供比较的图像，这使得将手稿分配到特定的生产地是站不住脚的。
介绍（英）	The encyclopaedic text from which this page comes was written between 1095 and 1119 and consists of two parts, one devoted to the three kingdoms of nature, including humans, animals, agriculture and minerals and the other to various sciences and pseudosciences. Nineteen folios with thirty-three images are extant and widely dispersed in museums in Europe and North America. The illustrations of animals are characterized by the absence of marginal rulings and a horizon line. However, here the rocks and earth in the foreground and reeds through which the animal strides provide a defined context for the scene. This may be a result of the many pictorial prototypes of lions in reeds that are found in sixteenth-century and earlier Persian manuscript illustration. More typical of the paintings in this manuscript is the painting of rocks, leaves and flowers with wash instead of the customary saturated pigments of early sixteenth-century Persian painting and recall the similar treatment in the work of some Isfahan painters around 1600. However, the absence here of the calligraphic line defining contours characteristic of those Isfahan works on the one hand and the dearth of closely comparable images from other schools on the other make the assignment of the manuscript to a specific place of production untenable.