<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2709">
    <dcterms:title><![CDATA[Eskandar in Battle with the Zangis, from a dispersed manuscript of the Quintet (Khamseh) by Nizami (d. 1209), Iran, Shiraz, ca. 1576, Ink and gold on paper and opaque watercolor AKM420]]></dcterms:title>
    <dcterms:description><![CDATA[N/A]]></dcterms:description>
    <dcterms:creator><![CDATA[Nizami (d. 1209)]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[ca. 1576]]></dcterms:date>
    <dcterms:contributor><![CDATA[Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 41.2 x 27 cm<br /><br />Materials: Ink and gold on paper and opaque watercolor]]></dcterms:format>
    <dcterms:language><![CDATA[Persian]]></dcterms:language>
    <dcterms:identifier><![CDATA[AKM 420]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Iran, Shiraz]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2706">
    <dcterms:title><![CDATA[Prayer Carpet, Turkey, 19th century, Cotton, pile-woven, On loan from the Marshall &amp; Marilyn R. Wolf Collection, Toronto, LI2019.17.1]]></dcterms:title>
    <dcterms:description><![CDATA[This carpet&#039;s size, design, and wear pattern reveal that it is a prayer rug, of a type popular in Turkey, Syria, and Iran. The symbolic forms woven into the carpet--prayer niche (mihrab), lamp, candles, incense burner, and ewers--bring its user imaginatively into the sacred space of the mosque, and even the holy site of Mecca itself. The border style suggests that the carpet was woven by Armenian Christian women for sale to Muslim customers.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Wolf Collection]]></dcterms:publisher>
    <dcterms:date><![CDATA[19th century]]></dcterms:date>
    <dcterms:rights><![CDATA[Wolf Collection]]></dcterms:rights>
    <dcterms:format><![CDATA[Materials: Cotton, pile-woven]]></dcterms:format>
    <dcterms:identifier><![CDATA[M.M. Wolf Collection LI2019.17.1]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Turkey]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2703">
    <dcterms:title><![CDATA[Mughal Men Admiring the Miraculous Ice Lingam at Amarnath, India, ca. 1600, Opaque watercolour and gold on paper, AKM154]]></dcterms:title>
    <dcterms:description><![CDATA[Pilgrimage is both a spiritual journey and an experience of wonder. This painting depicts a visit by three men to the Amarnath Cave, a shrine located in the Himalayan Mountains of Kashmir, where they marvel at a natural ice pillar or stalagmite. For the devout Hindu, the phallic form of the ice reveals the powerful presence of the divine Mahadeva, a form of Shiva with the power to answer all prayers. The Amarnath Cave continues to be a pilgrimage destination for both Muslims and Hindus today.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[ca. 1600]]></dcterms:date>
    <dcterms:contributor><![CDATA[Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 27.6 x 20.1 cm<br /><br />Materials: Opaque watercolour and gold on paper]]></dcterms:format>
    <dcterms:language><![CDATA[Arabic]]></dcterms:language>
    <dcterms:identifier><![CDATA[AKM154]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[India]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2700">
    <dcterms:title><![CDATA[Book of Hours: Canon Grandel’s Prayer Book, France, Lille, 15th century, Gold and iron gall ink on parchment, On loan from Western University, Archives &amp; Special Collections, MS BX2080.C365 1500]]></dcterms:title>
    <dcterms:description><![CDATA[Prayer books in the Christian tradition (or &#039;Books of Hours&#039;) list the regular set times and appropriate prayers for every day of the year. The Latin masculine word endings of the prayers reveal that this book was made for a male user, perhaps a monk at the Capuchin friary in the northern French city of Lille. MicroCT scans show that this book has a &#039;ghost binding&#039;--empty sewing holes and other traces of the original medieval binding, removed more than 300 years ago when the book was rebound with its current cover.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Western University ]]></dcterms:publisher>
    <dcterms:date><![CDATA[15th century<br />
]]></dcterms:date>
    <dcterms:rights><![CDATA[Western University]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 12.2 x 9.0 cm<br /><br />Materials: Gold and iron gall ink on parchment]]></dcterms:format>
    <dcterms:language><![CDATA[Latin]]></dcterms:language>
    <dcterms:identifier><![CDATA[Western University MS BX2080.C365 1500]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[France, Lille]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2697">
    <dcterms:title><![CDATA[Prayer Book (Dala&#039;il al-Khayrat), Turkey, Istanbul, 1793 CE / 1207 AH, Gilt and embossed leather binding; opaque watercolour, ink and gold on paper, AKM382]]></dcterms:title>
    <dcterms:description><![CDATA[Prayer books in various faith traditions provide virtual pathways to spiritual journeys in the form of pilgrimage maps. For Muslims, the Dala&#039;il al-Khayrat (Arabic, &quot;Waymarks of Benefits&quot;) is the most important of these. Composed in northwestern Africa in the mid- fifteenth century by Muhammad ibn Sulayman al-Jazuli, Moroccan mystic and Sufi (d. 1465), it immediately became hugely popular, travelling west to east across the continents from Senegal to Turkestan to eastern China. There are three of these prayer books in the exhibition; the first one is in the introductory section.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[1793 CE / 1207 AH]]></dcterms:date>
    <dcterms:contributor><![CDATA[Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 15.2 x 10.5 x 1.2 cm<br /><br />Materials: Gilt and embossed leather binding; opaque watercolour, ink and gold on paper]]></dcterms:format>
    <dcterms:language><![CDATA[Arabic]]></dcterms:language>
    <dcterms:identifier><![CDATA[AKM 382]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Turkey, Istanbul]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2694">
    <dcterms:title><![CDATA[Pilgrimage Certificate with Illustration of the Ka&#039;ba, Saudi Arabia or India, 1778 CE / 1192 AH, Ink, opaque watercolour and silver on laid paper, AKM528]]></dcterms:title>
    <dcterms:description><![CDATA[This pilgrimage (hajj) certificate shows the holy city of Mecca, with the Ka&#039;ba at center and various monuments surrounding it. The style of the domed arches at the map&#039;s edge suggests that they may have been painted by Indian artists in Arabia. Like the stylized map on the tile seen at right, this image would have provided a way for the pious Muslim to imaginatively re-tread the path of pilgrimage, as well as to share that journey with those still waiting to depart. The inscription reveals that this certificate belonged to a woman, Bibi Khanum, who paid Sayyid &#039;Ali Wali to perform the pilgrimage in her place, perhaps due to poor health. His seal appears below, guaranteeing the completion of Bibi Khanum&#039;s spiritual obligation.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[1778 CE / 1192 AH]]></dcterms:date>
    <dcterms:contributor><![CDATA[Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: H: 44.5 cm  W: 85.0 cm<br /><br />Materials: Ink, opaque watercolour and silver on laid paper]]></dcterms:format>
    <dcterms:language><![CDATA[Arabic]]></dcterms:language>
    <dcterms:identifier><![CDATA[AKM 528]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Saudi Arabia or India]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2691">
    <dcterms:title><![CDATA[Tile, Turkey, Iznik, ca. 1640-43, Stonepaste; slip and polychrome painted under transparent glaze, AKM587]]></dcterms:title>
    <dcterms:description><![CDATA[Physical travel is not the only form of journey: imaginative travel, guided by diagram or text, also provides access to new horizons. This rectangular tile, which would have been installed in a mosque or in a private home, depicts a stylized map of the holy city of Mecca, with the focal point of pilgrimage (Arabic, Ka&#039;ba; literally, &#039;cube&#039;) at its center. Maps similar to this one appear in prayer books such as the Dala&#039;il al- Khayrat, hajj certificates and scrolls, carpets and wall paintings.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[ca. 1640-43]]></dcterms:date>
    <dcterms:contributor><![CDATA[Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 52x32 cm<br /><br />Materials: Stonepaste; slip and polychrome painted under transparent glaze]]></dcterms:format>
    <dcterms:language><![CDATA[Arabic]]></dcterms:language>
    <dcterms:identifier><![CDATA[AKM 587]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Turkey, Iznik]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2688">
    <dcterms:title><![CDATA[Tale of Karma Wangzin and her Travels Between Life and Death, Tibet, 17th-18th century, Ink on paper, On loan from the Thomas Fisher Rare Book Library, Tibetan MSS 00026]]></dcterms:title>
    <dcterms:description><![CDATA[This handwritten loose-leaf book (Tibetan, pecha) tells the story of a Buddhist woman named Alak Karma Wangzin who was a delog--that is, a person who dies briefly and then revives, and therefore can reveal the mysteries of life after death. Karma Wangzin tells how she entered 18 different Buddhist realms of hell--both hot and cold--before returning to her body. This pecha is written in the formal Tibetan uchen script (literally &#039;with a head&#039;).]]></dcterms:description>
    <dcterms:publisher><![CDATA[Thomas Fisher Rare Book Library]]></dcterms:publisher>
    <dcterms:date><![CDATA[ 17th-18th century]]></dcterms:date>
    <dcterms:rights><![CDATA[Thomas Fisher Rare Book Library]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: L: 7.7 W: 38.5  H: 4.3cm <br /><br />Materials: Ink on paper]]></dcterms:format>
    <dcterms:language><![CDATA[Tibetan]]></dcterms:language>
    <dcterms:identifier><![CDATA[Fisher Tibetan MSS 00026]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Tibet]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2685">
    <dcterms:title><![CDATA[A Page from a manuscript of the Diamond Sutra, Tibet, 19th-20th century, Manuscript on paper, On loan from the Royal Ontario Museum, 952.151.1]]></dcterms:title>
    <dcterms:description><![CDATA[The Buddha teaches his disciple Subhuti how to achieve the perfection of wisdom on this page from the Diamond Sutra, composed in Sanskrit in India around the first century CE, and translated into Tibetan in the eighth century. This woodblock-printed page is difficult to date, but its classical Tibetan language preserves an early form of the text. It is believed that a sacred place is created wherever the Diamond Sutra is recited; therefore, the physical book provides protection against dangers, purifies the mind, and dispels illusions, while its individual pages can be folded and placed in shrines or carried by travelers for protection.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Royal Ontario Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[19th-20th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Royal Ontario Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Royal Ontario Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: Frame dims: H 13 1/2" x L 25 3/4" x D 1 1/4<br /><br />Materials: Woodblock print on paper]]></dcterms:format>
    <dcterms:language><![CDATA[Sanskrit]]></dcterms:language>
    <dcterms:identifier><![CDATA[ROM 952.151.15]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Tibet]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2682">
    <dcterms:title><![CDATA[Amulet, Iran, 19th century, Gold, chased and hammered, AKM624.2]]></dcterms:title>
    <dcterms:description><![CDATA[The suspension loops of this gold amulet, a portable talisman, indicate that it would have been attached to a chain or cord, either worn around the neck or secured to a belt. Its inscribed Qur&#039;anic verses offer blessings (Arabic, barakat) on the wearer, while the elongated shape reveals that a piece of paper rolled up into a scroll may have been kept inside, perhaps Qur&#039;anic verses written in the exquisitely tiny &#039;dust script&#039; or ghubari.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[19th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: L: 8.5 cm<br /><br />Materials: Gold, chased and hammered]]></dcterms:format>
    <dcterms:language><![CDATA[Arabic]]></dcterms:language>
    <dcterms:identifier><![CDATA[AKM 624.2 ]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Iran]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2679">
    <dcterms:title><![CDATA[Miniature Qur&#039;an Case, Iran, 19th century, Gold, chased and hammered, AKM624.1]]></dcterms:title>
    <dcterms:description><![CDATA[Known as a bazuband, this type of Qur&#039;an case was worn as an arm ornament. A silk string would be threaded through the palmette-shaped loops on either side of the box and tied around the bicep of a pious and wealthy person. Whether worn on the arm or around the neck, miniature Qur&#039;an cases were portable talismans that offered the protective powers of the divine word, through both holy verses inscribed on the object and the sacred text contained inside.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[19th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 5.3 cm<br /><br />Materials: Gold, chased and hammered]]></dcterms:format>
    <dcterms:language><![CDATA[Arabic]]></dcterms:language>
    <dcterms:identifier><![CDATA[AKM 624.1]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Iran]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2676">
    <dcterms:title><![CDATA[Pendant, Spain, Granada, 15th century, Silver, cloisonné, enamel, AKM954]]></dcterms:title>
    <dcterms:description><![CDATA[This talisman from Islamic Spain is a striking example of cloisonné enamel, created when coloured glass paste is added between strips of metal and heated. The vivid orange, green, and blue of this pendant were likely achieved by using coarsely ground glass, as larger particles maintain a greater intensity of colour. The arched form evokes the prayer niche (Arabic, mihrab), connecting the intimate scale of this talisman with the grand scale of mosque architecture, while spiritual benefits are conveyed through the &#039;Hand of Fatima&#039; (Khamseh) and the opening verses of the Qur&#039;an&#039;s Sura al-Mashad.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[15th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: Height 10cm<br /><br />Materials: Silver, cloisonné, enamel]]></dcterms:format>
    <dcterms:language><![CDATA[Arabic]]></dcterms:language>
    <dcterms:identifier><![CDATA[AKM 954]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Spain, Granada]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2673">
    <dcterms:title><![CDATA[Qur&#039;an Case, Egypt, 11th century, Gold; filigree, granulation, &#039;rope wire&#039; AKM598]]></dcterms:title>
    <dcterms:description><![CDATA[This unique case was designed to hold a miniature Qur&#039;an, which would have been worn as a talisman to protect the wearer. A single loop at the upper right of the case indicates that this valuable object would have been suspended on a chain or cord. The exquisite detail of its construction and ornamentation convey reverence for the Qur&#039;anic text, which is at once holy book, precious jewel, and source of spiritual reward.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[11th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 4.7 x 3.9 cm<br /><br />Materials: Gold; filigree, granulation, 'rope wire']]></dcterms:format>
    <dcterms:identifier><![CDATA[AKM 598]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Egypt]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2670">
    <dcterms:title><![CDATA[Printed Amulet with Box, Egypt, 11th century, Paper, lead, AKM508.a-b]]></dcterms:title>
    <dcterms:description><![CDATA[In addition to Qur&#039;anic and other devotional inscriptions, amulets often display magic squares--symmetrical arrangements of equal numbers, arranged on vertical, horizontal, and diagonal axes--in regular patterns called wafq, murabba&#039;, or buduh. One of the most popular of these is the 4 × 4 magic square, also known as &#039;Plato&#039;s Square,&#039; named after the Greek philosopher. The consistency of the alphanumeric pattern across the various axes is a charming puzzle that also evokes the profound harmony of the cosmos.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[11th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: Amulet: 7.2 x 5.5 cm; Case: 2.7 x 1.3 cm<br /><br />Materials: Paper, lead]]></dcterms:format>
    <dcterms:language><![CDATA[Arabic]]></dcterms:language>
    <dcterms:identifier><![CDATA[AKM 508 A-B]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Egypt]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2667">
    <dcterms:title><![CDATA[Talismanic Chart, Iran, 19th century Ink on gazelle skin, AKM536]]></dcterms:title>
    <dcterms:description><![CDATA[Whether hung on a wall or carried on the body, talismans covered with ornate inscriptions were believed to provide protection and secure blessings (Arabic, barakat). The gazelle skin shown here is inked with magic squares and inscriptions, promising protection from disease, plague, the devil, and the evil eye. Its subtle crease marks suggest that this chart was folded into a smaller bundle, perhaps nestled within a now-lost container.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[19th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 68.5 x 53.5 cm<br /><br />Materials: Ink on gazelle skin]]></dcterms:format>
    <dcterms:language><![CDATA[Arabic]]></dcterms:language>
    <dcterms:identifier><![CDATA[AKM 536]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Iran, Shiraz]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2664">
    <dcterms:title><![CDATA[Meditation on the Crucifixion (Darsana Mahyawi), Ethiopia, 19th century, On parchment with textile cover and skin carrying case (mahadar) On loan from the Thomas Fisher Rare Book Library, MSS 03004]]></dcterms:title>
    <dcterms:description><![CDATA[A vivid Asian-inspired European textile forms the cover, bookmark, and carrying strap of this East African volume, handwritten in the Ge&#039;ez language used in the Ethiopian Orthodox Tewahedo Church. The manuscript, a private devotional text read during Lent, is worn on the body, inside the animal skin case (mahadar, from the Amharic word hdar, &#039;to sleep&#039;). The book&#039;s sacred container is kept closed when not in use--symbolically evoking the womb of Jesus&#039;s mother, Mary--and may be hung on a wall for safekeeping.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Thomas Fisher Rare Book Library]]></dcterms:publisher>
    <dcterms:date><![CDATA[19th century]]></dcterms:date>
    <dcterms:rights><![CDATA[Thomas Fisher Rare Book Library]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 17.1 x 13.2 x 6.3cm for the book (+69.5cm for the strip of cloth extending from the base of the spine); 21.0 x 18.0 x 7.5cm for the case (closed, + a bit extra for the various straps etc.)<br /><br />Materials: On parchment with textile cover and skin carrying case (mahadar)]]></dcterms:format>
    <dcterms:language><![CDATA[Ge&#039;ez]]></dcterms:language>
    <dcterms:identifier><![CDATA[Fisher MSS 03004]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Ethiopia]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2661">
    <dcterms:title><![CDATA[Balarama Slays Rukmi, King of Kalinga, from a dispersed manuscript of the Legend of the Blessed One (Bhagavata Purana), India, Rajasthan, Mewar (or Delhi-Agra region), ca. 1540 Opaque watercolour on paper, AKM131]]></dcterms:title>
    <dcterms:description><![CDATA[The Hindu Legend of the Blessed One (Bhagavata Purana) celebrates the god Vishnu, who descends to Earth in various forms to restore the balance of the universe. This page comes from a now-dispersed copy featuring paintings on one side and the Sanskrit text on the other, depicting Krishna (at lower left) as he watches his brother Balarama in the act of killing King Rukmi. This book format lies midway between the horizontal rectangular pages of the palm-leaf (pothi) style typical of Sanskrit manuscripts and the vertical pages of Islamic books.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[ca. 1540 ]]></dcterms:date>
    <dcterms:contributor><![CDATA[Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Materials: Opaque watercolour on paper]]></dcterms:format>
    <dcterms:language><![CDATA[Sanskrit]]></dcterms:language>
    <dcterms:identifier><![CDATA[AKM131]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[India, Rajasthan, Mewar (or Delhi-Agra region)]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2658">
    <dcterms:title><![CDATA[Spiritual Couplets (Masnavi) by Maulana Jalal al-Din Rumi (1207-73), India, Kashmir, 24th December 1827 CE / 5th Jumada al-Thani, 1243 AH, Black ink, red ink, opaque watercolour, and gold leaf on paper, On loan from Western University, Archives &amp; Special Collections, PK6481.M8 1827]]></dcterms:title>
    <dcterms:description><![CDATA[The sweet lyrics of Rumi (Maulana Jalal ad-Din Muhammad Rumi) are among the gems of world literature, and his Spiritual Couplets (Masnavi) is one of the most well-known works of Islamic Sufism. This copy&#039;s small nasta&#039;liq script, arranged in ornate horizontal and vertical verses and ornamented with vibrant blue and gold, was written by the scribe Ahmadallah, also called Hakim Masih al-Zaman, who was also the author of a medical treatise (Khulasat al-tibb).]]></dcterms:description>
    <dcterms:creator><![CDATA[Maulana Jalal al-Din Rumi (1207-73)]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Western University ]]></dcterms:publisher>
    <dcterms:date><![CDATA[24th December 1827 CE / 5th Jumada al-Thani, 1243 AH]]></dcterms:date>
    <dcterms:rights><![CDATA[Western University]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 21.9 x 12.5 cm<br /><br />Materials: Black ink, red ink, opaque watercolour, and gold leaf on paper]]></dcterms:format>
    <dcterms:language><![CDATA[Sanskrit]]></dcterms:language>
    <dcterms:identifier><![CDATA[Western University, PK6481.M8 1827]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[India, Kashmir]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2655">
    <dcterms:title><![CDATA[The Fire Ordeal of Siyavush, from a manuscript of the Book of Kings (Shahnameh) by Firdausi (d.1020), Copied by Mahmud ibn Mahmud al-Jamali, Iran, Shiraz, ca. 1457, Opaque watercolour, ink and gold on paper, AKM268]]></dcterms:title>
    <dcterms:description><![CDATA[This painting depicts Prince Siyavush, whose story is told in Firdausi&#039;s Shahnameh, the Persian epic of kings and heroes, and among the most famous epic poems of world literature. Like Joseph in Egypt, the young prince is endangered when he refuses the amorous advances of an older woman. When his stepmother accuses him falsely, Prince Siyavush insists upon undergoing ordeal by fire. Dressed all in white and mounted on a black stallion, Siyavush embodies purity and innocence as he comes through the flames unscathed.]]></dcterms:description>
    <dcterms:creator><![CDATA[Mahmud ibn Mahmud al-Jamali]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[ca. 1457]]></dcterms:date>
    <dcterms:contributor><![CDATA[Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 33.8 x 24.6cm<br /><br />Materials: Opaque watercolour, ink and gold on paper ]]></dcterms:format>
    <dcterms:language><![CDATA[Persian]]></dcterms:language>
    <dcterms:identifier><![CDATA[AKM 268]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Iran, Shiraz]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2652">
    <dcterms:title><![CDATA[Robe, Turkey, late 19th century, Velvet, silk lining, embroidered with metal thread, On loan from the Marshall and Marilyn R. Wolf Collection, Toronto, LI2019.17.5]]></dcterms:title>
    <dcterms:description><![CDATA[Tailored for the senior rabbi of a synagogue in Bukhara, in modern-day Uzbekistan, this spectacular robe draws on a long Ottoman tradition of ornately decorated textiles. The robe, which would only have been worn on special occasions, features embroidery that evokes the Star of David or Shield of David, an important Jewish symbol. These patterns would have been dramatically displayed when the rabbi turned his back to the congregation before revealing the Torah scroll.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Wolf Collection]]></dcterms:publisher>
    <dcterms:date><![CDATA[late 19th century]]></dcterms:date>
    <dcterms:rights><![CDATA[Wolf Collection]]></dcterms:rights>
    <dcterms:format><![CDATA[Materials: Velvet, silk lining, embroidered with metal thread]]></dcterms:format>
    <dcterms:identifier><![CDATA[M.M. Wolf Collection LI2019.17.5]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Turkey]]></dcterms:coverage>
</rdf:Description></rdf:RDF>
