Dear Susanne- and everyone else,
Richard Wolfe certainly thinks that the use of marbling on these notes
was a type of security device akin to a watermark that confirmed the
authenticity of the note to the bearer. However there is a little bit
of a mystery about how and where it was done and by whom. For the
notes that were printed by Bache, the grandson of Ben Franklin, it is
said that Franklin supplied the paper. The marbling on that note is on
the reverse side, and then printed over top, not just a border as seen
Sometimes a link as it appears in the message has been cut off. I try
and add brackets to the from and back, as this helps to preserve the
format, but not always. You can copy and paste teh entire link, and
sometimes this works better. However, I will explain how you can get
to the images from the home pages.
For the piece from the Museum of Iran:
The home page is :
sometimes I find it easier to load the home page, then add the rest of
the link once it is loaded in address bar.
The Divan of Anvari can be found by going to:
On the bar across the screen, click on the link for "museums". A
drop-down list will appear. Click on "Collections Online". This will
bring up a screen from which you can search all of the collections. I
typed in "Divan of Anvari" in the box under "Title". 28 images (not 50
as first mmentioned) of this marvelous manuscript appear. The link I
tried to send to the group is the second one that pops up, featuring a
painting by the artist BASAWAN. Click on the link. Then click on the
image to enlarge it. Not a bad image, though not as detailed as the
Japanese e-museum. The marbling is very pale on these leaves, but it
is easier to see some of it on the leaves that are without painting and
feature only calligraphy. It does not specifically say it,
As I mentioned befroe, this manuscript is important to our history due
to the sheer volume of marbled papers used, and the manner in which
both the paintings and calligrapy are executed directly over the
marbled paper surface. I have observed this more often in pieces from
India, and then to a lesser extent from Iran. I just found a book
containing an image of an Ottoman example, but I have not encountered
paintings directly over marbling from Ottoman Turkey before, as usually
marbling is used as a border and adhered to a finished painting.
and for Gail- thanks for your repsonse, though i must confess I am
still just a student plunking along, here. For many years I thought
the lotus sutra depicted in Ann Chambers book was an actual fan- and
just a single item, not an entire book...and I've told other people as
much in classes and workshops. The vague description given is
misleading. It just says "fan-shaped sutra". So it is nice to learn
that there are more- a lot more! and I'm still learning. It seems
that every time I dive into this ocean there are luminous precious
pearls waiting to be found and then scattered for everyone to see.
I mentioned the Japanese book Ocho No Bijutsu. I got a copy through
interlibrary loan. Here is the full citation:
Ocho no bijutsu : Genji monogatari emaki to sanjurokunin kashu / henshu
shippitsu Shirahata Yoshi. Published: Tokyo : Gakushu Kenkyusha, 1977.
Shohan. 210 p. : ill. (some color, some folded), maps ; 38 cm.
Refer to numbers 43, 79, and 83. Number 43 is black and white. It
features a nature scene. The suminagashi is like the water, which
flows around painted rocks and hills. It is really lovely and a very
successful composition. The overall effect makes the suminagashi
really looks like flowing water. The other paintings are scenes of
Heian court life.