Riding Across Central Asia: Images Of The Mongolian Horse In Islamic Art

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"The Funeral of Isfandiyar," Leaf from the Great Mongol Shahnama, ca. 1325–35. Iran (probably Tabriz). Ink, gold, and colors on paper. Joseph Pulitzer Bequest, 1933 (33.70)

More about This Exhibition The Mongolian horse—a small, tireless, and agile animal that was instrumental to the movement of the Mongol armies across Central Asia—has come to symbolize the introduction of new cultures and traditions to the eastern Islamic world. Both the realistic and symbolic depiction of horses in Islamic art were examined in the exhibition "Riding across Central Asia: Images of the Mongolian Horse in Islamic Art," which was on view at The Metropolitan Museum of Art from April 26, 2000 through November 12, 2000. Featuring approximately twenty-five objects in all media—including stone, ceramics, metalwork, and works on paper, as well as two saddles from Central Asia—the exhibition focused primarily on the Seljuq and Ilkhanid periods (ca. 12th–14th century) in Iran. The Seljuqs were a nomadic Turkic people, originating in Central Asia, who settled mainly in Iran and Anatolia starting in the 11th century. The Ilkhanids—the Mongols of Iran—trace their origins to Hulagu, a grandson of Chingiz Khan, who led the Mongol invasion of the Middle East in the mid-13th century. The exhibition was made possible by The Hagop Kevorkian Fund. More about the Objects on View Educational Programs Exhibition Organizers

More about the Objects on View
A luster-painted wall tile from the period of Ilkhanid rule (13th century) features two Ilkhanid horsemen against a densely foliated background. Swords ready, the horsemen are shown at the moment of collision, as both hunt the same antelope. In another Ilkhanid work, a horse is depicted drawing the funeral bier of the Mongol hero Isfandiyar in an illustrated leaf (1320–30) from the Persian epic, the Shahnama ("The Book of Kings"). The scroll painting Grooms and Horses by Three Generations of the Chao Family represents China's Yüan dynasty (1278–1368)—which was founded by Kublai Khan, another grandson of Chingiz Khan. These works invite comparisons between two contemporary but stylistically distinct painting traditions.

The Golden Horde was a Mongol state that comprised most of Russia from the mid-13th to the 14th century. A carved stone tympanum, possibly from the house of a prince of the Golden Horde in the Caucasus region near the Caspian coast, depicts a horseman and his mount. Certain elements of the costume—such as the cloud collar and trappings—are typical of the post-Ilkhanid period. This carved tympanum is probably from the late-14th century.

Several Seljuq works, including colorful overglaze painted ceramics and a carved roundel, were also on view in the exhibition.

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Educational Programs
A variety of educational programs were offered in conjunction with the exhibition, including lectures, gallery talks, and a series of documentary films.

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Exhibition Organizers
The exhibition was organized by Stefano Carboni, associate curator, and Suzan Yalman, research assistant in the Department of Islamic Art. Exhibition design was by Michael Langley, exhibition designer; graphic design was by Constance Norkin, graphic designer; and lighting was by Zack Zanolli, lighting designer, all of the Museum's Design Department.

The Metropolitan Museum's presentation of "Riding across Central Asia: Images of the Mongolian Horse in Islamic Art" coincided with the Festival of Mongolia, a citywide celebration of Mongolian culture. The festival was organized by the Permanent Mission of Mongolia to the United Nations.

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