↗Bahram Gur Arrives at the House of a Merchant, text page (recto); Bahram Gur Slays a Dragon (verso), from a Shahnama (Book of Kings) of Firdausi (940–1019 or 1025), known as the Great Mongol Shahnama
Creator not recorded
#7F6C5B#B0A28E#9C8A77#D8D0C4#DDD6CA#C7BAA3Estimated from six colour groups in the museum image, including visible paper or borders. Reproduction and lighting affect the result; these are image-area proportions, not pigment measurements.
John L. Severance Fund · The Cleveland Museum of Art
Image: public domain (CC0) · Museum record & image source ↗
Creator not recorded by the museum
Transforming the spirit—not beautifying the mortal body—may have been the purpose of adding golden lips and jewelry to this painting. Egyptian-style burial customs and arts persisted throughout Greek, Roman, and Byzantine rule over Egypt (305 BCE–641 CE). The woman depicted in this panel lived between cultures. Her or her family’s choice of mummification reflected historical Egyptian practices of creating a physical “duplicate” for the deceased’s soul to rest in, and their decision to color her lips gold here may symbolize how death transformed her into an akh (effective spirit). In contrast, the choice of her clothing and hairstyle showed her embrace of contemporary ideals of Hellenic (Greco-Roman) Egyptian identity.
Collection text · The Cleveland Museum of Art · CC0Start with what you can see: shapes, surface, colour and scale. How might the listed materials affect the way this object was made and experienced?
Looking prompt · an invitation to observe, not a historical interpretation.
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