The ascent of Muhammad to heaven (mi’rāj) – Sulṭān Muḥammad,

miraj_by_sultan_muhammad
The ascent of Muhammad to heaven (mi’rāj) by Sultan Muhammad This is a featured picture on the Turkish language Wikipedia (Seçkin resimler) and is considered one of the finest images. Sultan Muhammad-between 1539 and 1543 Medium- opaque watercolor and ink on paper Dimensions 28.7 × 18.6 cm (11.2 × 7.3 in)

Sulṭān Muḥammad, (flourished 16th century, Ṣafavid Iran), one of the greatest of Persian painters and the most notable artist of the Ṣafavid school at Tabrīz.

During the period 1495–1522 Sulṭān Muḥammad was probably the leading exponent of the Turkmen school of painting current in western Iran under the White Sheep and Black Sheep Turkmens. This school was marked by dynamic verve, illogical perspectives, concealed grotesques, violent colours, and a strong tendency to see excess as a source of virtue. This Dionysiac style was well suited to the fervent temperament of Shāh Esmāʿīl I. Yet in 1522, when the aged painter Behzād of Herāt came to reside at the court with several of his disciples, Sulṭān Muḥammad began to be influenced by the balanced, harmonious, and humane school of Herāt. The result was a magnificent blend of all the best elements of Persian painting. Sulṭān Muḥammad also found the perfect patron, the young shāh Ṭahmāsp I, son of Esmāʿīl, who took paint ing lessons from him. No doubt Ṭahmāsp’s predilection for Herāt painting also influenced the work of Sulṭān Muḥammad.

During the period 1520–38 Sulṭān Muḥammad worked along with the other court artists on the great Shāh-nāmeh of Ṭahmāsp. With Shaykh-zādeh, a pupil of Behzād, he illustrated a Divān of Ḥāfiz and a Divān of the Turkish poet Mīr ʿAlī Shīr Navāʿī in 1526 and 1527. He also worked (1539–43) on the Khamseh of Neẓāmī, illustrated for Shāh Ṭahmāsp. Soon after this the Shāh turned away from painting, convinced that it was a frivolous and irreligious diversion, and though some of the Shāh’s relatives continued to act as patrons, Sulṭān Muḥammad seems to have painted no more. His son, Mīrzā ʿAlī (Muḥammadī), already a notable artist, became one of the leading painters of the next generation.

Sulṭān Muḥammad’s style was diverse, and he was considered a master by his contemporaries. In composition, colour, draftsmanship, verve, wit, and profundity he is clearly one of the greatest painters of the Islāmic world, on a par with Behzād.


Image referrences- Jon Thompson, Sheila R. Canby (eds)., Hunt for paradise, court art of Safavid Iran, 1501-1576, cat. exh. New York, Asia Society Museum, 2003-2004, Milan, Skira Editore, 2003, p. 117-118, n°4.29

Attribution: Sultan Muhammad [Public domain], via Wikimedia Commons

Biography:  Article: Encyclopedia Britannica. 2018. Sulṭān Muḥammad | Persian painter | Britannica.com. [ONLINE] Available at: https://www.britannica.com/biography/Sultan-Muhammad. [Accessed 30 April 2018].

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2018-04-16: Monochrome Monday — Jennifer Sawicky Photography

I’m starting the week off with an adorable baby elephant that I had the pleasure of spending part of my last morning on safari with. It never hurts to start the week with something sweet Wishing you all a fantastic week ahead.

via 2018-04-16: Monochrome Monday — Jennifer Sawicky Photography

Birds of the Far South-1

Birds of the Far South

Via https://cindyknoke.com/2018/03/13/birds-of-the-far-south-pt-i/

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There are lots of birdies in the southern hemisphere! They can fly where humans (and boats) flounder.

Via https://cindyknoke.com/2018/03/13/birds-of-the-far-south-pt-i/

Round the Fire – John Chuchman

cta2bpic

Remember the time

when the sun went down

and the only source of light we had

other than the changing moon

and firmament of stars

was

Fire?

No?

For millions of years,

we sat around fires,

gazing into the flames and embers

with cold and darkness at our backs,

as if in silent meditation.

The Fire

was a comfort to us,

a source of heat,

a source of light,

a source of protection;

dangerous,

but with care,

controllable.

The Fire

gave us relaxation

at the end of the day;

in its warm flickering light,

we could tell stories,

talk about the day,

or just sit Silently

seeing the reflection of our minds

in the ever-changing flames

and magical glowing embers.

The Fire

made the darkness bearable,

and helped us feel secure and safe,

calming, reliable, restoring,

meditative and necessary.

Unfortunately

this ritual of Fire

has disappeared

from our everyday lives

and with it

almost all opportunities

to be still.

 

So, join me,

Up North on Torch Lake

sitting around the Fire,

or wherever you are,

Being Present in the Moment,

not trying to get anywhere,

simply dwelling in our thoughts and feelings,

that in a simpler time,

people found in

Sitting Around the Fire.

John Chuchman received 2nd March 2018

John’s Website: www.sacredtorch.com

John’s Blog: https://sacredtorch.blogspot.com

John’s Books: https://www.amazon.com/John-Chuchman/e/B002BLJKAW

 

I’m A Duck That Does Not Give A Quack! — Through Open Lens

F/6.3, 1/500, ISO 250. Hooded Merganser ( Female ) 2 Guys walking down the street. One walks into a bar, the other ducks. Interesting Fact: The female chooses the nest site, and may start scouting for next year’s tree cavity at the end of each breeding season. Nest cavities can be in live or dead […]

via I’m A Duck That Does Not Give A Quack! — Through Open Lens

I’m A Duck That Does Not Give A Quack! — Through Open Lens

Hooded Merganser ( Female )

2 Guys walking down the street.

One walks into a bar, the other ducks.

Interesting Fact:  The female chooses the nest site, and may start scouting for next year’s tree cavity at the end of each breeding season. Nest cavities can be in live or dead trees and are usually close to water. Cavities are typically 10–50 feet off the ground, up to about 90 feet. Hooded Mergansers nest readily in boxes, preferring those with wood shavings or nest material from previous uses. They prefer cavities with 3–5 inch openings.

via I’m A Duck That Does Not Give A Quack! — Through Open Lens