<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/2579">
    <dcterms:title><![CDATA[Robe (Chapan), Central Asia, 19th century, Silk and cotton, woven, braided trim, On loan from the Marshall and Marilyn R. Wolf Collection, Toronto, LI2016.24.14]]></dcterms:title>
    <dcterms:description><![CDATA[Central Asia is known as the land of textiles, where the art of producing resist-dyed and woven (ikat) fabrics reached its height in the nineteenth century. These robes (chapans), worn by both men and women, were made from silk or velvet and, later, a combination of cotton and silk. Ikat textiles include astonishing combinations of bold colour and abstract design, with talismanic motifs that light up the otherwise stark terrain of Central Asia. These two robes tell the story of the vivid Uzbek markets that lined the Silk Roads: the dark blue chapan shows the pride of Bukhara<br />
style in the Persian &#039;cloud-like&#039; (abra) technique and features predominant yellow and red colours, and the yellow chapan follows the Uzbek chapan tradition while introducing new colours and patterns that would appeal to buyers in Chinese markets.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Wolf Collection]]></dcterms:publisher>
    <dcterms:date><![CDATA[19th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Photographer Credit: Courtesy of the Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Wolf Collection]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions: 206 cm x 125 cm<br />
<br />
Materials: Silk and cotton, woven, braided trim]]></dcterms:format>
    <dcterms:identifier><![CDATA[M.M. Wolf Collection LI2016.24.14]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Central Asia]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2576">
    <dcterms:title><![CDATA[Robe (Chapan), Uzbekistan, 19th century, Silk, warp resist-dyed and woven, braided trim, On loan from the Marshall and Marilyn R. Wolf Collection, Toronto, LI2016.24.4]]></dcterms:title>
    <dcterms:description><![CDATA[Central Asia is known as the land of textiles, where the art of producing resist-dyed and woven (ikat) fabrics reached its height in the nineteenth century. These robes (chapans), worn by both men and women, were made from silk or velvet and, later, a combination of cotton and silk. Ikat textiles include astonishing combinations of bold colour and abstract design, with talismanic motifs that light up the otherwise stark terrain of Central Asia. These two robes tell the story of the vivid Uzbek markets that lined the Silk Roads: the dark blue chapan shows the pride of Bukhara style in the Persian &#039;cloud-like&#039; (abra) technique and features predominant yellow and red colours, and the yellow chapan follows the Uzbek chapan tradition while introducing new colours and patterns that would appeal to buyers in Chinese markets.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Wolf Collection]]></dcterms:publisher>
    <dcterms:date><![CDATA[19th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Photographer Credit: Courtesy of the Aga Khan Museum]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Wolf Collection]]></dcterms:rights>
    <dcterms:format><![CDATA[Materials: Silk, warp resist-dyed and woven, braided trim]]></dcterms:format>
    <dcterms:identifier><![CDATA[M.M. Wolf Collection LI2016.24.4]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Uzbekistan]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2573">
    <dcterms:title><![CDATA[Two Fighting Camels, Iran, Isfahan, ca. 1630, Ink and opaque watercolour on paper, AKM75]]></dcterms:title>
    <dcterms:description><![CDATA[A camel fight--whether featuring two-humped camels or the one-humped dromedaries seen here--is a frequent theme in the art of Iran and Mughal India reflecting the importance of camels in transport, trade, and culture. The sense of violent movement evoked by the image conveys the power of this essential animal, while the mirroring of the two figures demonstrates the artist&#039;s skill.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[ca. 1630]]></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: 25.1 × 37.1 cm<br />
<br />
Materials: Ink and opaque watercolour on paper]]></dcterms:format>
    <dcterms:identifier><![CDATA[AKM75]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Iran, Isfahan]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2570">
    <dcterms:title><![CDATA[Bowl, Iran, Kashan, early 13th century Fritware, lustre-painted, AKM557]]></dcterms:title>
    <dcterms:description><![CDATA[Both horse and camel appear in the striking images of this conical bowl, where a rider is painted at the center, surrounded by a merchant caravan, while the bowl&#039;s sides depict six camels laden with bags, led by an attendant. The camels almost seem to step forward, providing a sense of motion that follows the circular form of the vessel. The figures glimmer with gold against a white background, while trees with a checkerboard pattern and branches with small leaves complete the landscape setting of the caravan.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[Early 13th 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: Diameter: 17 cm, Height: 8 cm<br />
<br />
Materials: Fritware, lustre-painted]]></dcterms:format>
    <dcterms:identifier><![CDATA[AKM557]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Iran, Kashan]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2567">
    <dcterms:title><![CDATA[Qur&#039;an On Cloth, India, 31 July 1718 CE /3 Ramadan 1130 AH to 11 July 1720 CE / 5 Ramadan 1132 AH, Cloth, hand-written, ink, paint and gold leaf, AKM487]]></dcterms:title>
    <dcterms:description><![CDATA[The fusion of Persian and Indian art found in eighteenth-century Mughal India is embodied in this Qur&#039;an written on cloth. Its various scripts--the minute ghubari (&#039;dust&#039;) of the text, with chapter headings in majestic red thuluth--demonstrate the scribe&#039;s skill, adorned by the red and black forms that mark each verse and the five large roundels evoking the name of God (bismillah) in gold and polychrome. The scribe adds his name, Munshi &#039;Abd Khan al-Qadiri, along with the dates that reveal how long it took him to create this masterpiece: almost exactly two years. A gift to the governor of Allahabad, Amir &#039;Abdalla, this portable textile-book would confer blessings and protection on his military campaigns.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[ 31 July 1718 CE /3 Ramadan 1130 AH to 11 July 1720 CE / 5 Ramadan 1132 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: 111.8 x 241.4 cm<br />
<br />
Materials: Cloth, hand-written, ink, paint and gold leaf]]></dcterms:format>
    <dcterms:language><![CDATA[Arabic]]></dcterms:language>
    <dcterms:identifier><![CDATA[AKM487]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[India]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2564">
    <dcterms:title><![CDATA[Qur&#039;an Manuscript, Ethiopia, Harar, late 18th century, Black and red ink on paper, On loan from the Thomas Fisher Rare Book Library, MSS 05330]]></dcterms:title>
    <dcterms:description><![CDATA[This East African Qur&#039;an was produced in Harar, the capital of a vibrant Islamic emirate that co-existed with the Christian and Jewish communities of Ethiopia. Harar&#039;s scribes developed a distinctive style of Arabic script that is related to bihari Indian Qur&#039;ans, such as the &#039;Gwalior Qur&#039;an&#039; at left. The manuscript&#039;s Italian paper, with its &#039;three moons&#039; (tre lune) watermark, is evidence of the important commercial and cultural ties that link the Mediterranean Sea to the Indian Ocean, and the central role of the Horn of Africa in that trade and exchange.]]></dcterms:description>
    <dcterms:publisher><![CDATA[Thomas Fisher Rare Book Library]]></dcterms:publisher>
    <dcterms:date><![CDATA[Late 18th 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: 33.1 x 23.8 x 6.4cm<br />
<br />
Materials: Black and red ink on paper]]></dcterms:format>
    <dcterms:language><![CDATA[Arabic]]></dcterms:language>
    <dcterms:identifier><![CDATA[Fisher MSS 05330]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Ethiopia, Harar]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2558">
    <dcterms:title><![CDATA[Learned Man, Attributed to Basawan, India, 1575-80, Ink and opaque watercolour on paper, AKM906]]></dcterms:title>
    <dcterms:description><![CDATA[Both the reader&#039;s thoughtful expression and the tenderness with which he holds the book, as a cat purrs at his feet, express the sensation of being completely immersed in reading. This drawing is executed in the &#039;half pen&#039; (Persian, nim qalam) technique developed in the sixteenth century, which is related to European grisaille, a method of painting or drawing in grey monochrome that was used to imitate sculpture and engravings. Basawan, a renowned Hindu artist at Akbar&#039;s court, reinvented the Western techniques he encountered through European books and prints brought by Christian missionaries to India.]]></dcterms:description>
    <dcterms:creator><![CDATA[Attributed to Basawan]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[1575-80]]></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: 23.1 x 15.2 cm<br />
<br />
Materials: Ink and opaque watercolour on paper]]></dcterms:format>
    <dcterms:identifier><![CDATA[AKM906]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[India]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2552">
    <dcterms:title><![CDATA[Qur&#039;an Scroll, Copied by Zayn al-&#039;Abidin Isfahani, Iran, 1847, Opaque watercolour, gold, and ink on paper, AKM492]]></dcterms:title>
    <dcterms:description><![CDATA[This magnificent Qur&#039;an was copied in 1847 on a narrow paper scroll that is more than five metres (sixteen feet) long. Its tiny &#039;dust&#039; script (ghubar) is a miniature form of naskh that was originally developed for the minute messages conveyed by carrier pigeons. Employing ghubar on a scroll makes it possible to copy the whole Qur&#039;an in an easily portable form while creating a pleasing -- and amazing -- visual effect.]]></dcterms:description>
    <dcterms:creator><![CDATA[Zayn al-&#039;Abidin Isfahani]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
    <dcterms:date><![CDATA[1847]]></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: Opaque watercolour, gold, and ink on paper]]></dcterms:format>
    <dcterms:language><![CDATA[Arabic]]></dcterms:language>
    <dcterms:identifier><![CDATA[AKM492]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Iran]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2539">
    <dcterms:title><![CDATA[Oral Torah (Mishnah), Egypt, Cairo, 9th c. CE (?), Ink on parchment, On loan from the Thomas Fisher Rare Book Library, Friedberg MSS 9-001]]></dcterms:title>
    <dcterms:description><![CDATA[These Mishnah (Oral Torah) leaves come from the Cairo Genizah, the famed storeroom discovered in a synagogue&#039;s attic containing 400,000 carefully preserved document fragments dating from the ninth to nineteenth centuries. In the Jewish tradition, sacred texts in Hebrew cannot be discarded, so the Genizah held these objects until they could be properly buried. This long-forgotten treasury of manuscripts, circulated across the Mediterranean and as far as South Asia, attests to centuries of close interaction among Jews, Muslims, and Christians. These leaves come from the Tractates Niddah and Ukzin, on Jewish laws of purity and impurity regarding the dead, food, and the body. Other leaves from the same original codex are now dispersed across collections worldwide.]]></dcterms:description>
    <dcterms:source><![CDATA[https://librarysearch.library.utoronto.ca/permalink/01UTORONTO_INST/14bjeso/alma991106248762206196]]></dcterms:source>
    <dcterms:publisher><![CDATA[Thomas Fisher Rare Books Library]]></dcterms:publisher>
    <dcterms:date><![CDATA[9th c. CE (?)]]></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[Materials:  Ink on parchment<br />
]]></dcterms:format>
    <dcterms:language><![CDATA[Hebrew]]></dcterms:language>
    <dcterms:identifier><![CDATA[Friedberg MSS 9-001]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Cairo, Egypt]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2537">
    <dcterms:title><![CDATA[Assignment - A Book&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[An Omeka assignment for an undergraduate or graduate course, based on building a public-facing scholarly digital exhibit in Omeka, studying a premodern book together with relevant comparators from GLAM (Gallery, Library, Archive, Museum) institutions.]]></dcterms:description>
    <dcterms:creator><![CDATA[Alexandra Bolintineanu]]></dcterms:creator>
    <dcterms:date><![CDATA[Fall 2019]]></dcterms:date>
    <dcterms:rights><![CDATA[CC-NC-BY]]></dcterms:rights>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2536">
    <dcterms:title><![CDATA[Pothi book under micro-CT]]></dcterms:title>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2535">
    <dcterms:title><![CDATA[Illustration of a link/loop stitch sewing on an Islamic book]]></dcterms:title>
    <dcterms:description><![CDATA[A line drawing of a link/loop stitch sewing on an Islamic book. The image features six quires (gatherings of folded pages) stacked horizontally, one on top of the other. The quires are connected at the spine by two seams of link/loop stitch running perpendicular to the spines of the quires.]]></dcterms:description>
    <dcterms:creator><![CDATA[Karin Scheper]]></dcterms:creator>
    <dcterms:rights><![CDATA[Karin Scheper]]></dcterms:rights>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2532">
    <dcterms:title><![CDATA[Book of Hours: Canon Grandel’s Prayer Book, France, Lille, 15th century, Western University, Archives &amp; Special Collections, MS BX2080.C365 1500]]></dcterms:title>
    <dcterms:description><![CDATA[Prayer books in the Christian tradition (or ‘Books of Hours’) 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 ‘ghost binding’ – 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, Music Library]]></dcterms:publisher>
    <dcterms:date><![CDATA[15th century]]></dcterms:date>
    <dcterms:rights><![CDATA[Western University]]></dcterms:rights>
    <dcterms:format><![CDATA[Dimensions:  12.2 x 9.0 cm<br />
Materials:  Gold and iron gall ink on paper]]></dcterms:format>
    <dcterms:identifier><![CDATA[Western University MS BX2080.C365 1500]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Lille, France]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2510">
    <dcterms:title><![CDATA[A Court Atelier folio from a manuscript of the Ethics of Nasir, Pakistan, Lahore, ca. 1590 – 1595, Opaque watercolour, ink and gold on paper, AKM 288.12]]></dcterms:title>
    <dcterms:description><![CDATA[Produced in a Mughal court in Lahore, this image comes from a late 16th-century manuscript on Ethics by author Nasir al-Din Tusi (1201-1274) and includes the name of the manuscript painter, Sanju. The artist has chosen to illustrate his own arduous working conditions, depicting a manuscript workshop much like the one he must have operated in at the spacious and architecturally splendid court. The master craftsman, depicted as the largest of all the figures to show his authority, is seated on the right in a brown tunic and green shawl being fanned by an attendant. He is correcting and instructing a young apprentice, who holds a page from a manuscript on a board balanced on his knee, watercolours in shells, a rectangular pencase, and inks arranged on the ground in front of him. Additional members of the workshop toil on other parts of the manuscript production process. Scribes and painters seated in the center copy out text and paintings on fresh pages. Next to the bubbling fountain inside a tranquil and beautiful walled garden, a craftsman burnishes paper by rubbing it vigorously against a board with a smooth stone to create a polished and smooth writing surface; his fellow craftsman, wearing an orange tunic, rubs his wrists and waits his turn to continue the work.]]></dcterms:description>
    <dcterms:creator><![CDATA[Nasir al-Din Tusi (1201-1274)]]></dcterms:creator>
    <dcterms:creator><![CDATA[Sanjua, the painter]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Aga Khan Museum<br />
]]></dcterms:publisher>
    <dcterms:date><![CDATA[1590-95<br />
]]></dcterms:date>
    <dcterms:rights><![CDATA[Aga Khan Museum]]></dcterms:rights>
    <dcterms:format><![CDATA[Material:  Opaque watercolour, ink, and gold on paper<br />
Dimensions:  23.9 x 14.2 cm]]></dcterms:format>
    <dcterms:identifier><![CDATA[AKM288.12]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Pakistan, Lahore]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2508">
    <dcterms:title><![CDATA[Book Formats Wall Graphic]]></dcterms:title>
    <dcterms:description><![CDATA[This wall graphic of book formats along the Silk Roads features diagrams and brief definitions of a scroll, a pothi book, a concertina or accordion book, and a codex. <br />
<br />
The diagram consists of line diagrams: on the upper row, scroll and pothi book; on the lower row, concertina and codex. Under each diagram are definitions, as follows:<br />
<br />
A scroll is a roll made of joined sheets.<br />
The Qur’an scroll, AKM492, is an<br />
example.<br />
<br />
A pothi is made of single sheets<br />
bound with string or wrapped with<br />
a cloth wrapper and tie.  The Tantra of the Five Protectresses, Thomas Fisher Rare<br />
Book Library MSS 00015, is an example of a pothi.<br />
<br />
A concertina or accordion is a folded scroll. The Iranian Concertina Album in the<br />
Permanent Gallery, AKM275, is an<br />
example.<br />
<br />
A codex is made of folded or single<br />
sheets usually bound at one edge.<br />
The Shahnameh, AKM269, is an example of a codex; the Record of the Pilgrimage Journey, AKM681, is an example of a codex from Asia.]]></dcterms:description>
    <dcterms:creator><![CDATA[Aurelia Moreton-Gotwals<br />
Melissa Moreton<br />
Patricia Bentley<br />
Christine Elson]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Aga Khan Museum]]></dcterms:publisher>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2450">
    <dcterms:title><![CDATA[Pilgrimage Route for the River Alakananda, from Haridwar to Badrinath in Garhwal, India, Garhwal, early 18th century, Cloth, painted, On loan from the Marshall &amp; Marilyn R. Wolf Collection, Toronto, LI2021.30.2 ]]></dcterms:title>
    <dcterms:description><![CDATA[This monumental map follows India’s Ganges River and one of its sources, the Alakananda, from the point of view of a Hindu pilgrim travelling from one shrine to the next, following the path of the rivers from left to right. Beginning at Devprayag, where the rivers meet, we pass villages, temples, pilgrim hostels, and shrines, including the famous Narasimha Temple at Joshimath where Hindu priests would bring treasures from other shrines to avoid the harsh winter.]]></dcterms:description>
    <dcterms:publisher><![CDATA[The Marshall &amp; Marilyn R. Wolf Collection]]></dcterms:publisher>
    <dcterms:date><![CDATA[early 18th century]]></dcterms:date>
    <dcterms:contributor><![CDATA[Photography credits: ]]></dcterms:contributor>
    <dcterms:identifier><![CDATA[LI2021.30.2]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[India, Garhwal]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2448">
    <dcterms:title><![CDATA[Scribal Implements, Turkey, 18th - 19th centuries, Mixed materials and techniques, AKM622.1-13]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;The pen is a key that opens the door to the necessities of life.&quot; These Ottoman tools of the scribe feature exquisite workmanship in steel and brass with precious inlays of gold, silver, ivory, and turquoise. The elegant execution of these tools - including scissors and ruler, pen accessories and inkwells - reflects the view that beautiful instruments are essential to beautiful writing. Lavishly decorated with delicate metalwork and painted designs under varnish, these precision instruments are a link to scribes and bookmakers of the past.]]></dcterms:description>
    <dcterms:format><![CDATA[Dimensions:  Length (max.) 28.8 cm<br /><br />Material:  Mixed materials and techniques]]></dcterms:format>
    <dcterms:identifier><![CDATA[AKM 622.1.-13]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Turkey]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2445">
    <dcterms:title><![CDATA[The Tomb of Alexander the Great in a folio from a dispersed Khamseh (Quintet) of Amir Khosrow Dihlavi (d. 1325), ca. 1450, Opaque watercolour and gold on paper, AKM15]]></dcterms:title>
    <dcterms:description><![CDATA[This manuscript painting depicts three courtiers of Alexander the Great, wearing robes with tiraz weavings on their sleeves, dutifully gathering at his tomb to mourn him. ]]></dcterms:description>
    <dcterms:format><![CDATA[Dimensions:  34.1 x 25.2 cm<br /><br />Material:  Opaque watercolour and gold on paper]]></dcterms:format>
    <dcterms:identifier><![CDATA[AKM15]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[India, Delhi]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2442">
    <dcterms:title><![CDATA[Tiraz Textile, Egypt, mid-12th century, Linen tabby, with red and yellow silk tapestry-woven bands, AKM304]]></dcterms:title>
    <dcterms:description><![CDATA[Beautiful but fragile textiles are among the rarest items to survive from the medieval Silk Roads. Often only a few fragments remain, such as the hem of a sleeve or collar, as in the delicate tapestry-woven script (Arabic tiraz, derived from the Persian word for &#039;embroidery&#039;) seen here. Tiraz inscriptions like this one, showing the ruler&#039;s name, were popular in Egypt during the Fatimid period (909-1171). This one invokes blessings on its owner, while the small medallions feature the playful figure of a hare or bird.]]></dcterms:description>
    <dcterms:format><![CDATA[Dimensions:  25 x 27.5 cm<br><br>Material:  Linen tabby, with red and yellow silk tapestry-woven bands]]></dcterms:format>
    <dcterms:identifier><![CDATA[AKM304]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Egypt]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://booksalongthesilkroads.library.utoronto.ca/items/show/2439">
    <dcterms:title><![CDATA[Devotional Anthology: Song of the Lord (Bhagavad Gita) and other works, India, Kashmir, 17th -19th century, Carbon black ink and pigments on paper with textile covering, On loan from the Thomas Fisher Rare Book Library, MSS 01106]]></dcterms:title>
    <dcterms:description><![CDATA[The contents (Sanskrit text and Hindu iconography), materials (Islamic burnished paper and Indian textiles), and format (Islamic-style binding) of this manuscript containing the Hindu Bhagavad Gita all illuminate the fecund encounter of Persian and South Asian cultures in the valley of Kashmir. Poised for battle against his kinsmen, the prince Arjuna cannot go on. At this crucial moment, his chariot driver - the god Krishna in disguise - suddenly reveals himself as a manifestation of Vishnu, encompassing all gods and even the universe itself. Arjuna&#039;s princely dress and courtly posture are those of the Muslim Mughal court, while Krishna&#039;s unveiling draws upon Hindu concepts of the holy.]]></dcterms:description>
    <dcterms:format><![CDATA[Dimensions:  15.5 x 12.0 x 5.7cm +11.3 for the flap<br /><br />Material:  Carbon black ink and pigments on paper, textile]]></dcterms:format>
    <dcterms:identifier><![CDATA[Fisher MSS 01106]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Kashmir]]></dcterms:coverage>
</rdf:Description></rdf:RDF>
