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Recumbent Lioness

The subject of the recumbent lioness is known from a corpus of drawings and paintings executed during the late Timurid and Safavid periods. With slight variations, these artworks depict the lioness in a pose of relaxation, tethered by a chain attached to a belled collar. The drawings share a technique that uses stippling or short lines (without hatching) to convey the contours and mass of the lioness as well as the texture of her coat. In this example, fine lines and dots of reddish brown, black, and white have been applied over the ivory-colored paper. Around the muzzle, ear tips, belly, and rump, white opaque watercolor is introduced, contrasting with the lines and dots and lending the drawing greater depth. The lioness’s eyes, collar, and chain are accented with gold. Now mounted on a sheet of modern paper, the drawing lacks any trace of a signature or attribution, but it can be linked through a sequence of closely related works to a prototype originated by the renowned artist Kamal al-Din Bihzad (d. 1535–36). Two extant examples carry credible attributions to Bizhad, and more are either ascribed to him or signed by other artists, such as Murad or Shah Muhammad Isfahani. Judging by the number of imitative responses, the recumbent lioness was one of Bihzad’s most appreciated artworks, whose resonance endured into the seventeenth century.

Department of Islamic & Later Indian Art Stanford and Norma Jean Calderwood Belmont MA (by 1998-2002) gift; to Harvard Art Museums 2002. Harvard Art Museums/Arthur M. Sackler Museum The Norma Jean Calderwood Collection of Islamic Art

early to mid-16th century 16th century Safavid period 1500 1550

Iranian

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Title: Recumbent Lioness

Description:

The subject of the recumbent lioness is known from a corpus of drawings and paintings executed during the late Timurid and Safavid periods.

With slight variations, these artworks depict the lioness in a pose of relaxation, tethered by a chain attached to a belled collar.

The drawings share a technique that uses stippling or short lines (without hatching) to convey the contours and mass of the lioness as well as the texture of her coat.

In this example, fine lines and dots of reddish brown, black, and white have been applied over the ivory-colored paper.

Around the muzzle, ear tips, belly, and rump, white opaque watercolor is introduced, contrasting with the lines and dots and lending the drawing greater depth.

The lioness’s eyes, collar, and chain are accented with gold.

Now mounted on a sheet of modern paper, the drawing lacks any trace of a signature or attribution, but it can be linked through a sequence of closely related works to a prototype originated by the renowned artist Kamal al-Din Bihzad (d.

1535–36).

Two extant examples carry credible attributions to Bizhad, and more are either ascribed to him or signed by other artists, such as Murad or Shah Muhammad Isfahani.

Judging by the number of imitative responses, the recumbent lioness was one of Bihzad’s most appreciated artworks, whose resonance endured into the seventeenth century.

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