<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/2649">
    <dcterms:title><![CDATA[Book Stand, Ethiopia, 20th century, Wood, carved and painted, On loan from the Thomas Fisher Rare Book Library]]></dcterms:title>
    <dcterms:description><![CDATA[Ethiopia&#039;s long history of Christian devotional reading can be seen in this carved and painted wooden book stand, recalling the famous monumental metalwork stands used for communal reading in the churches of the holy city of Lalibela, in northern Ethiopia. This folding stand, meant to hold a Ge&#039;ez language Bible or other holy book, features two large paintings on the inner surface. The Crucifixion at left and Jesus accompanied by Mary and Joseph at right provide a contemplative setting for book reading and display.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Thomas Fisher Rare Book Library]]></dcterms:publisher>
    <dcterms:date><![CDATA[20th century]]></dcterms:date>
    <dcterms:rights><![CDATA[Thomas Fisher Rare Book Library]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: Book is 15 x 9 x 4 cm. Stand is 26cm x 17 cm x 13 cm when opened<br /><br />Materials: Wood, carved and painted]]></dcterms:format>
    <dcterms:identifier><![CDATA[Fisher Ethiopian book stand - no accession number, cataloguing in process]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Ethiopia]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2646">
    <dcterms:title><![CDATA[Layli and Majnun at School, from a manuscript of the Quintet (Khamseh) by Nizami (d. 1209), Iran, Shiraz, 1527, Opaque watercolour, gold, ink, paper AKM270]]></dcterms:title>
    <dcterms:description><![CDATA[This intimate scene depicts the doomed lovers Layli and Majnun, as Qais--later called &#039;the mad one&#039; (Persian, majnun) due to his extravagant passion--meets Layli for the first time in their shared schoolroom. The highly detailed painting depicts activities typical of the sixteenth-century schoolyard, where the students practice their writing skills and study books; one poor scholar is being punished by a schoolmaster. This volume&#039;s dark leather gilded binding is original, its spine adorned with verses praising the poet, Nizami.]]></dcterms:description>
    <dcterms:creator><![CDATA[Nizami (d. 1209)]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[1527]]></dcterms:date>
    <dcterms:contributor><![CDATA[Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 33.5 cm x 21.3 cm x 5.7 cm<br /><br />Materials: Opaque watercolour, gold, ink, paper]]></dcterms:format>
    <dcterms:language><![CDATA[Persian ]]></dcterms:language>
    <dcterms:identifier><![CDATA[AKM270]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Iran, Shiraz]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2643">
    <dcterms:title><![CDATA[Four Divisions (Arba&#039;ah Turim), Author: Jacob ben Asher, Printers: David and Samuel Ibn Nahmias, Turkey, Istanbul, 1493, Ink on paper, printed, On loan from the Thomas Fisher Rare Book Library, Friedberg 00131]]></dcterms:title>
    <dcterms:description><![CDATA[This unbound volume is among the earliest printed books produced in the Mediterranean region. Printed in Istanbul in 1493 by brothers David and Samuel Ibn Nahmias, the four volumes of this Hebrew-language treatise concern devotional, ritualistic, marital, and civil law. The Ibn Nahmias brothers arrived in Istanbul with their movable Hebrew type and other printing materials after Sultan Bayezid II offered shelter to Jewish refugees expelled from Spain in 1492.]]></dcterms:description>
    <dcterms:creator><![CDATA[Jacob ben Asher; David and Samuel Ibn Nahmias]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Thomas Fisher Rare Book Library]]></dcterms:publisher>
    <dcterms:date><![CDATA[1493]]></dcterms:date>
    <dcterms:rights><![CDATA[Thomas Fisher Rare Book Library]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 27.2 x 20.0 x 1.4cm<br /><br />Materials: Ink on paper, printed]]></dcterms:format>
    <dcterms:language><![CDATA[Hebrew]]></dcterms:language>
    <dcterms:identifier><![CDATA[Fisher Friedberg MSS 00131]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Turkey, Istanbul]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2639">
    <dcterms:title><![CDATA[Bookbinding Brochure]]></dcterms:title>
    <dcterms:description><![CDATA[A brochure explaining different book formats and the typical features of the Islamic codex]]></dcterms:description>
    <dcterms:creator><![CDATA[Aga Khan Museum]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2627">
    <dcterms:title><![CDATA[Corpse Stories (Ro dngos grub) Scroll written in dbu med script, Tibet, 20th century, Ink on paper, Thomas Fisher Rare Book Library, Tibetan MSS 00006]]></dcterms:title>
    <dcterms:description><![CDATA[This handwritten Tibetan scroll contains a story collection which, like many tales-within-tales, begins with a challenge: a prince is tasked with bringing a particular corpse from a remote cemetery in the mountains, but he must not say a word to it. During their return, the corpse begins to tell a story so entrancing that the prince replies -- and, immediately, the corpse escapes. Each time the prince catches the corpse, it tells another story; the prince replies, and the hunt begins again.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Thomas Fisher Rare Book Library]]></dcterms:publisher>
    <dcterms:date><![CDATA[20th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Photographer Credit: Jessica Lockhart (photographer), courtesy of the Thomas Fisher Rare Book Library]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Thomas Fisher Rare Book Library]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 35.0cm wide by 14 or 15 metres long when fully unrolled<br />
<br />
Materials: Ink on paper]]></dcterms:format>
    <dcterms:language><![CDATA[Tibetan]]></dcterms:language>
    <dcterms:identifier><![CDATA[Fisher Tibetan MSS 00006]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Tibet]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2624">
    <dcterms:title><![CDATA[Group of Sages in Discussion, Iran, Isfahan, 1650, Opaque watercolour, ink on paper, AKM186]]></dcterms:title>
    <dcterms:description><![CDATA[A closely packed cluster of sages surrounds the boy at lower left, offering knowledge and advice to the young prince. The diverse group of sheiks and ascetics includes Iranian, Uzbek and Mughal Indian scholars, the books on their laps and writing implements in their hands signaling the collective wisdom they bring. The painter, Ali- qoli&#039; Jobbadar, is described in Iranian sources as a &quot;Frank&quot; or foreigner (farangi), suggesting that he might have been a European convert to Islam; phrases in Georgian script on some of his paintings suggest that Georgia may have been his country of origin.]]></dcterms:description>
    <dcterms:creator><![CDATA[Ali Qoli]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[1650]]></dcterms:date>
    <dcterms:contributor><![CDATA[Photographer Credit: Courtesy of the Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 33.4x21cm<br />
<br />
Materials: Opaque watercolour, ink on paper]]></dcterms:format>
    <dcterms:identifier><![CDATA[AKM186]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Iran, Isfahan]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2621">
    <dcterms:title><![CDATA[Manuscript of Provisions for the Hereafter (Zad al-Ma&#039;ad), Iran, 1895-96 CE / 1313 AH, Manuscript: ink on paper, Binding: leather, pasteboard, lacquer, paint, AKM277]]></dcterms:title>
    <dcterms:description><![CDATA[Lacquered bindings like this black and gold one, featuring flower and bird motifs, were popular in the nineteenth century. The central design displays a rosebush in various stages of bloom, with three nightingales perched<br />
on its stems. Bindings came to include braided patterns, animals, human figures, mandorlas, and rosettes -- decorative elements derived from the encounter with new cultures as the Islamic world expanded both East and West. Inscriptions on the doublures of this manuscript provide the date of its completion and the name of the painter: Mahmud Shirazi.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[1895-96 CE / 1313 AH]]></dcterms:date>
    <dcterms:contributor><![CDATA[Photographer Credit: Courtesy of the Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Materials: <br />
<br />
Manuscript: ink on paper<br />
<br />
Binding: leather, pasteboard, lacquer, paint]]></dcterms:format>
    <dcterms:identifier><![CDATA[AKM277]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Iran]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2618">
    <dcterms:title><![CDATA[Qur&#039;an Manuscript, Iran, 1853-54 CE / 1270 AH, Manuscript: paper, ink, opaque watercolour and gold, Binding: leather, pasteboard, lacquer, paint, AKM493]]></dcterms:title>
    <dcterms:description><![CDATA[This Qur&#039;an provides an example of a lacquered book binding, a Persian technique that was first developed in the fifteenth century but became highly popular in the eighteenth and nineteenth centuries. These glossy bindings are created by building up a layer of gesso and lacquer on top of a lightweight pasteboard cover; after painting this surface with a design, several more layers of lacquer are applied, sometimes with ground mother-of-pearl for added iridescence. Finally, the surface is smoothed and polished to a high shine.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[1853-54 CE / 1270 AH]]></dcterms:date>
    <dcterms:contributor><![CDATA[Photographer Credit: Courtesy of the Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Materials: <br />
<br />
Manuscript: paper, ink, opaque watercolour and gold <br />
<br />
Binding: leather, pasteboard, lacquer, paint]]></dcterms:format>
    <dcterms:language><![CDATA[Arabic]]></dcterms:language>
    <dcterms:identifier><![CDATA[AKM493]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Iran]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2615">
    <dcterms:title><![CDATA[Hymnal, Turkey, Istanbul, 17th century, On parchment, Binding: leather, tooled and stamped over wood, On loan from the Thomas Fisher Rare Book Library, MSS 01281]]></dcterms:title>
    <dcterms:description><![CDATA[This tiny hymnal (Greek, irmologion), a collection of Christian religious songs, may have been produced in Istanbul. The thriving city, formerly known as Constantinople, capital of the Byzantine Empire until 1453, was a vibrant centre for manuscript production where Greek Orthodox Christian and Ottoman Islamic books were crafted side by side. With its burnished paper and leather covers tooled with a central almond-shaped stamp, this Christian manuscript reflects the influence of Islamic craft practices. The small handheld book contains syllabic notation for songs performed during the early morning service. The earliest hymnals date to the mid-tenth century, but few of these manuscripts survive due to heavy use in worship.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Thomas Fisher Rare Book Library]]></dcterms:publisher>
    <dcterms:date><![CDATA[17th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Photographer Credit: Thomas Fisher Rare Book Library]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Thomas Fisher Rare Book Library]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 16.9 x 11.8 x 5.5cm<br />
<br />
Materials: On parchment]]></dcterms:format>
    <dcterms:language><![CDATA[Greek]]></dcterms:language>
    <dcterms:identifier><![CDATA[Fisher MSS 01281]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Turkey, Istanbul]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2612">
    <dcterms:title><![CDATA[Leather Folder, Turkey, 1817-18 CE / 1233 AH, Leather, pasteboard, tooled and stamped, AKM1006]]></dcterms:title>
    <dcterms:description><![CDATA[This leather folder or document case (Turkish cilbend or ciltbend) is made with semi-rigid pasteboard covered by fine leather and impressed with a raised design. The innovative techniques developed by bookbinders were made possible by the lightweight and impressionable surface of the pasteboard. The decorative tooling here is made from a single stamp reused to decorate many books. The raised tooling, stamped on the cover in Persian, reads: &#039;Prevent sorrow from flowering in your heart / By always reading the book of joy.&#039; The three technologies seen in this case -- pasteboard, gold tooling, and decorative leatherwork -- had an enormous impact on European bookbinding beginning in the fifteenth and sixteenth centuries.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[1817-18 CE / 1233 AH]]></dcterms:date>
    <dcterms:contributor><![CDATA[Photographer Credit: Courtesy of the Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: H. 28.1 cm × W. 17.5 cm<br />
<br />
Materials: Leather, pasteboard, tooled and stamped]]></dcterms:format>
    <dcterms:language><![CDATA[Farsi]]></dcterms:language>
    <dcterms:identifier><![CDATA[AKM1006]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Turkey]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2609">
    <dcterms:title><![CDATA[Bookbinding, Outer Cover and Doublure, Iran, early 18th century, Leather, pasteboard, gold, marbled paper, AKM990]]></dcterms:title>
    <dcterms:description><![CDATA[Paper, imported from China beginning in the eighth century, was soon adopted as a writing medium as well as a decorative surface for marbling, with distinctive techniques developed in the fifteenth century in Safavid Iran and Ottoman Turkey, as well as in India. So-called &#039;Turkish paper&#039; was highly sought by European markets to decorate books both inside and outside. This marbled paper doublure is in the Turkish &#039;combed&#039; style (taraklı), named after the comb or rake-like tool that is pulled through the ink before the paper is dipped.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[early 18th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Photographer Credit: Courtesy of the Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 20.2x11.8cm<br />
<br />
Materials: Leather, pasteboard, gold, marbled paper]]></dcterms:format>
    <dcterms:identifier><![CDATA[AKM990]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Iran]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2606">
    <dcterms:title><![CDATA[Bookbinding, Turkey, possibly early 18th century Leather, pasteboard, gold, silver, AKM989]]></dcterms:title>
    <dcterms:description><![CDATA[Paper, imported from China beginning in the eighth century, was soon adopted as a writing medium as well as a decorative surface for marbling, with distinctive techniques developed in the fifteenth century in Safavid Iran and Ottoman Turkey, as well as in India. So-called &quot;Turkish paper&quot; was highly sought by European markets to decorate books both inside and outside. This marbled paper doublure is in the Turkish &#039;combed&#039; style (taraklı), named after the comb or rake-like tool that is pulled through the ink before the paper is dipped.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[possibly early 18th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Photographer Credit: Courtesy of the Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 21.2 x 14 cm<br />
<br />
Materials: Leather, pasteboard, gold, silver]]></dcterms:format>
    <dcterms:identifier><![CDATA[AKM989]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Turkey]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2603">
    <dcterms:title><![CDATA[Bookbinding, Turkey, 17th century Leather, pasteboard, gold, AKM394]]></dcterms:title>
    <dcterms:description><![CDATA[The shifting tastes of Ottoman patrons can be seen in these two bindings, whose covers feature a distinctive pendant extending from a central medallion. Often beautifully decorated with tooled, stamped, painted, and filigreed leather, some Ottoman bindings also include flowers adorned with coloured paint, gold, and silver. Others include tooled and gilded leaf-like (rumi) motifs or stamped scrolling branches. The Ottoman style also features a gradual elongation of the pendants radiating from a central almond-shaped mandorla, a motif that is still seen in modern Turkish bindings.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[17th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Photographer Credit: Courtesy of the Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: H. 20.4 cm × W. 12.4 cm<br />
<br />
Materials: Leather, pasteboard, gold]]></dcterms:format>
    <dcterms:identifier><![CDATA[AKM394]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Turkey]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2600">
    <dcterms:title><![CDATA[Bookbinding, Afghanistan, Herat, ca. 1580, Leather, pasteboard, gold, lapis blue, green, red, blue and black paint, AKM387]]></dcterms:title>
    <dcterms:description><![CDATA[The intricate golden covers of this book were tooled using a large stamp pressed into the covers along a horizontal central line, creating a perfectly symmetrical design. Now missing the characteristic envelope flap, these covers were likely produced in the Khurasan region (today&#039;s Afghanistan), where artisans developed their own decorative style featuring tiny flower and leaf shapes (rumi). The inner covers (or &#039;doublures&#039;) visible in the mirror are embellished using a technique called kaat&#039;i, where gilded filigree leatherwork covers a strikingly vivid painted ground.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[ca. 1580]]></dcterms:date>
    <dcterms:contributor><![CDATA[Photographer Credit: Courtesy of the Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Materials: Leather, pasteboard, gold, lapis blue, green, red, blue and black paint]]></dcterms:format>
    <dcterms:identifier><![CDATA[AKM387]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Afghanistan, Herat]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2597">
    <dcterms:title><![CDATA[Binding, Upper and Lower Doublures, Afghanistan, Herat, ca. 1520, Leather, pasteboard, gold, green and blue paint, AKM983.A-B]]></dcterms:title>
    <dcterms:description><![CDATA[Although this looks like the outside cover of a book, it is actually the highly decorated lining of the inner cover, or &#039;doublure.&#039; Islamic doublures, created using the same techniques as the outer covers, were treated as equally important by both artisans and patrons. Doublures are often better preserved than outer covers because they are protected inside the closed book. This inner cover illustrates the highly developed skill of leather filigree work, a delicate decorative leatherworking technique that lays a finely cut latticework of curved scroll and thin leaf forms over a multi-colored background to create contrast and depth.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[ca. 1520]]></dcterms:date>
    <dcterms:contributor><![CDATA[Photographer Credit: Courtesy of the Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 35 x 21.6 cm<br />
<br />
Materials: Leather, pasteboard, gold, green and blue paint]]></dcterms:format>
    <dcterms:identifier><![CDATA[AKM983.A-B]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Afghanistan, Herat]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2594">
    <dcterms:title><![CDATA[Outer Cover of a Binding, Turkey or Syria, 14th or 15th century Leather, pasteboard, grey paint, AKM976]]></dcterms:title>
    <dcterms:description><![CDATA[These book covers, made in the fourteenth or fifteenth century, exemplify a style of Islamic cover decoration and manuscript illumination that dates to the ninth century, featuring a central medallion with interlocking squares and pendants terminating in a palmette motif. Tooling -- impressions made on leather using metal tools or intricately designed stamps -- is central to the art of the Islamic book. This ornate decoration employs two different tooling techniques (with and without gold leaf), finished with finely painted and tooled lines along the border.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[14th or 15th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Photographer Credit: Courtesy of the Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 13.3x 20.3cm<br />
<br />
Materials: Leather, pasteboard, grey paint]]></dcterms:format>
    <dcterms:identifier><![CDATA[AKM976]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Turkey or Syria]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2591">
    <dcterms:title><![CDATA[Pencase, Iran, 19th century, Wood, lacquer,  papier-mâché, paint, On loan from the Royal Ontario Museum, 975.267.2]]></dcterms:title>
    <dcterms:description><![CDATA[A pencase (qalamdan), carried tucked into a shawl tied around the waist, is the symbolic badge of the scribe&#039;s vocation. While some scribes served the general public, preparing documents for those unable to write, others worked for highly educated employers, providing the artistry of their pen as a well-compensated professional service. Lacquered pen cases, made of  papier-mâché or pasteboard and decorated with water-based paints, became very fashionable during the nineteenth century in Iran, reflecting the influence of European artistic traditions. This pencase with rounded ends and sliding tray shows European-style figures, while the high quality of the decoration attests to the status of the scribe.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Royal Ontario Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[19th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Photographer Credit: Royal Ontario Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Royal Ontario Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 22.6 × 4 × 4.1 cm<br />
<br />
Materials: Wood, lacquer,  papier-mâché, paint]]></dcterms:format>
    <dcterms:identifier><![CDATA[ROM 975.267.2]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Iran]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2588">
    <dcterms:title><![CDATA[Book Stand, Iran, 18th century, Wood and bone inlay, On loan from the Royal Ontario Museum, 948.84.6]]></dcterms:title>
    <dcterms:description><![CDATA[Book stands are used in a wide range of devotional traditions -- Hinduism, Sikhism, Christianity, and Islam -- to protect and pay respect to the book, and to present it to the readers gathered around it. An example of the Islamic book stand (rehal, rahle, or rihal) is seen here, decorated with wood and bone inlay; others might be elegantly carved or painted. This portable furniture, folded for storage, could easily be carried along trade routes, facilitating prayer and the display of the Qur&#039;an by merchants and travellers.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Royal Ontario Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[18th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Photographer Credit: Royal Ontario Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Royal Ontario Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 25.6 x 42.5 x 17.4 cm<br />
<br />
Materials: Wood and bone inlay]]></dcterms:format>
    <dcterms:identifier><![CDATA[ROM 948.84.6]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Iran]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2585">
    <dcterms:title><![CDATA[Box and Cover, China, Jingdezhen, Jiangxi province, 1506 – 1521, Slab-built porcelain with cobalt-blue paint and glaze AKM806]]></dcterms:title>
    <dcterms:description><![CDATA[The rectangular form of this porcelain box to hold writing tools, with a stepped base and gently curved lid adorned with roundels containing stylized Arabic inscriptions, suggests that the scribes who used it served the Muslim bureaucrats or merchants whose settlements lined the coast of China, facilitating trade along the Silk Roads. The Jiajing mark identifies its Chinese origin, while the illegibility of the inscriptions suggests that the artisan was not trained in Arabic calligraphy.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[1506-1521]]></dcterms:date>
    <dcterms:contributor><![CDATA[Photographer Credit: Courtesy of the Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: H. 9.1 cm × W. 21.4 cm × D. 12.6 cm<br />
<br />
Materials: Slab-built porcelain with cobalt-blue paint and glaze]]></dcterms:format>
    <dcterms:identifier><![CDATA[AKM806]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[China, Jingdezhen, Jiangxi province]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2582">
    <dcterms:title><![CDATA[Inkwell, Iran, 12th century Bronze, silver-inlaid AKM605]]></dcterms:title>
    <dcterms:description><![CDATA[Known in Arabic as mihbara and in Persian as dawat, inkwells like this one were an essential tool for medieval scribes, protecting the ink from dirt and enabling it to be transported easily. The two loops on either side may have been used as slots for a handle or sling. While inkwells were sometimes made from glass or wood, the rich bronze inlaid with silver seen here suggests that its scribe served a high-ranking bureaucrat.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[12th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Courtesy of the Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 14 x 10.2 cm<br />
<br />
Materials: Bronze, silver-inlaid]]></dcterms:format>
    <dcterms:language><![CDATA[Arabic]]></dcterms:language>
    <dcterms:identifier><![CDATA[AKM605]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Iran]]></dcterms:coverage>
</rdf:Description></rdf:RDF>
