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Extra info for A Guide to the Wrightsman Galleries at the Metropolitan Museum of Art/E0720P
31. TSM, B. 200, fol. 149a; see Atasoy, Garden, ﬁg. 10, p. 31. TSM, H. 1339, fol. 16b; see Nurhan Atasoy, Ota¯-æ Hümayun: Osmanlæ çadærlaræ = Imperial Ottoman Tents (Istanbul, 2000), p. 56. TSM, H. 1339, fol. 110b–111a; see Atasoy, Tents, p. 16. TSM, H. 1365, fol. 34a; see Atasoy, Tents, p. 17. 10. 11. 12. 13. 14. 15. 16. 19 Military Museum, Istanbul, inv. no. 26537; see Nurhan Atasoy, Ota¯-æ Hümayun: Osmanlæ çadærlaræ = Imperial Ottoman Tents (Istanbul, 2000), p. 147, ﬁg. 77; also see Resimli Kitap 3, 17 (Mart 1326 [March 1910]): 468.
106–7; Ernst J. Grube, “Notes on Ottoman Painting in the 15th Century,” Essays in Islamic Art and Architecture in Honor of Katharina OttoDorn, ed. Abbas Daneshvari (Malibu, 1981), pp. 52–53; Francis Richard, Splendeurs persanes: manuscrits du XIIe au XVIIe siècle (Paris, 1997), p. 47. Ünver, ~skender-nâme, ll. 3243–48. Ünver, ~skender-nâme, ll. 8625–40. T. 6131, T. 6132, T. 6133. Ivan Stchoukine and Fehmi Edhem, Manuscrits orientaux illustrés de la Bibliothèque de l’Université d’Istanbul (Paris, 1933), p.
Brazen Hold. His aim is to rescue his sisters, who have been imprisoned and held by the Turanian Arjasp. His third ordeal comprises slaying a vicious dragon. As with Ahmedî’s ~skender, the prince has a horse-pulled wooden carriage with swords protruding from its sides. When Isfandiyar meets the dragon, the monster tries to devour the entire chariot, but the blades stick in its throat. 9 Ahmedî therefore appropriates Isfandiyar’s attributes, with some minor modiﬁcations, for his own hero, ~skender, to underline his courage and skill.
A Guide to the Wrightsman Galleries at the Metropolitan Museum of Art/E0720P by N. Y.) Metropolitan Museum of Art (New York