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A font panel installed as an album page
(لوحة خط مثبته كصفحة ألبوم)

Title	A font panel installed as an album page
Title Original	لوحة خط مثبته كصفحة ألبوم
Author	Mir Ali Al-Hrawi (calligrapher)
Author Original	مير علي الهراوي الخطاط
Publication Date:	935-955 AH (calligraphy), 1040-1050 AH (frame) / 1530-1550 AD (calligraphy), 1630-1640 AD (frame)
Publication Place	Usbekistan, Bukhara (calligraphy), India (border) - Rietberg Museum
Subject	Ink, gold and opaque watercolor on paper
Type	Other
Language	Undetermined
Digital	Yes
Manuscript	Yes
Physical Dimensions	الارتفاع: 37.6 سم، العرض: 25.6 سم
Library:	Museum With No Frontiers
Library Asset ID	RVA 1040
Record ID	object;EPM;sw;Mus21;18;ar
Library Location	Rietberg Museum
Date	935-955 AH (calligraphy), 1040-1050 AH (frame) / 1530-1550 AD (calligraphy), 1630-1640 AD (frame)
Notes	This page with calligraphy and a floral border originally belonged to one of the albums (muraqqa) compiled for the Mughal ruler Shah Jahan (r. 1037-1068 AH / 1628-1658 AD). The frame consists of two tendrils intertwined with leaves and few flower heads such as peony, lotus and roses. With its defined gold lines and colors that suggest enamel, it is reminiscent of the harsh stone-setting work (pietra dura) characteristic of the Shah Jahan period. Rings of winding branches are enlivened by pairs of naturally occurring birds. It is this interplay between simplification and naturalism that is important for aesthetic appeal and visual pleasure. The four-line calligraphy is the work of Mir Ali Al-Hrawi. He was born in Herat in the year 881 AH / 1476 AD, and after his basic education he studied under Sultan Ali Mashhadi. After the Uzbeks captured Herat in 934 AH / 1528 AD, Mir Ali Al-Harawi, who had become famous, was brought to Bukhara, where he worked until his death in 963 AH / 1556 AD. Among Mir Ali Al-Harawi’s great admirers was Shah Tahmasp’s nephew, Sultan Ibrahim Mirza (947-985 AH / 1540-1577 AD). Milady), who owned several albums of calligraphy by the most important calligraphers. Later, Shah Jahan also became a major collector of this art, and it is possible that some of his Mir Ali manuscripts were in the possession of Ibrahim Mirza.
Sample Text	Axel Langer “Calligraphy painting mounted as an album page” in Explore Islamic Art Collections. Museum Without Borders, 2026. https://islamicart.museumwnf.org/database_item.php?id=object;EPM;sw;Mus21;18;ar
Bu sayfanın künyesi	Prepared by:Axel LANGER

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Museum With No Frontiers

A font panel installed as an album page

(لوحة خط مثبته كصفحة ألبوم)

Author Mir Ali Al-Hrawi (calligrapher)

Author Original مير علي الهراوي الخطاط

Publication Date 935-955 AH (calligraphy), 1040-1050 AH (frame) / 1530-1550 AD (calligraphy), 1630-1640 AD (frame)

Publication Place Usbekistan, Bukhara (calligraphy), India (border) - Rietberg Museum

Subject Ink, gold and opaque watercolor on paper

Type Other

Language Undetermined

Digital Yes

Manuscript Yes

Physical Dimensions الارتفاع: 37.6 سم، العرض: 25.6 سم

Library Museum With No Frontiers

Library Asset ID RVA 1040

Record ID object;EPM;sw;Mus21;18;ar

Library Location Rietberg Museum

Date 935-955 AH (calligraphy), 1040-1050 AH (frame) / 1530-1550 AD (calligraphy), 1630-1640 AD (frame)

Notes This page with calligraphy and a floral border originally belonged to one of the albums (muraqqa) compiled for the Mughal ruler Shah Jahan (r. 1037-1068 AH / 1628-1658 AD). The frame consists of two tendrils intertwined with leaves and few flower heads such as peony, lotus and roses. With its defined gold lines and colors that suggest enamel, it is reminiscent of the harsh stone-setting work (pietra dura) characteristic of the Shah Jahan period. Rings of winding branches are enlivened by pairs of naturally occurring birds. It is this interplay between simplification and naturalism that is important for aesthetic appeal and visual pleasure. The four-line calligraphy is the work of Mir Ali Al-Hrawi. He was born in Herat in the year 881 AH / 1476 AD, and after his basic education he studied under Sultan Ali Mashhadi. After the Uzbeks captured Herat in 934 AH / 1528 AD, Mir Ali Al-Harawi, who had become famous, was brought to Bukhara, where he worked until his death in 963 AH / 1556 AD. Among Mir Ali Al-Harawi’s great admirers was Shah Tahmasp’s nephew, Sultan Ibrahim Mirza (947-985 AH / 1540-1577 AD). Milady), who owned several albums of calligraphy by the most important calligraphers. Later, Shah Jahan also became a major collector of this art, and it is possible that some of his Mir Ali manuscripts were in the possession of Ibrahim Mirza.

Sample Text Axel Langer “Calligraphy painting mounted as an album page” in Explore Islamic Art Collections. Museum Without Borders, 2026. https://islamicart.museumwnf.org/database_item.php?id=object;EPM;sw;Mus21;18;ar

Bu sayfanın künyesi Prepared by:Axel LANGER