Calligraphic Composition

Reverse painting on glass is a decorative technique in which artists apply paint, gold leaf, and silver leaf to the back of a sheet of glass. The finished image is viewed from the opposite side, through the glass itself. It originated in Europe, but after the seventeenth century, it spread beyond Europe to China, India, Africa, and Iran. In Iran, the technique became popular in the early twentieth century when it was used to depict portraits of the rulers, princes, princesses, and royal and other couples.

This tughra-style calligraphic composition bears the names of God, and names of members of the house of the Prophet, starting with Allah, Muhammad, ‘Ali, Hasan, Husayn. It features the inscription "Ina fatahna laka fathun mubinan" (Indeed, We have granted you a clear and manifest victory, Qur’an 48:1) to the right and is surrounded by borders with rhyming poetry about the tragic Battle of Kerbala in nasta‘liq script.

TR.13.2.2026

Reverse painting on glass is a decorative technique in which artists apply paint, gold leaf, and silver leaf to the back of a sheet of glass. The finished image is viewed from the opposite side, through the glass itself. It originated in Europe, but after the seventeenth century, it spread beyond Europe to China, India, Africa, and Iran. In Iran, the technique became popular in the early twentieth century when it was used to depict portraits of the rulers, princes, princesses, and royal and other couples.

This example features a mirror-image (musanna) calligraphic design with the name of God (Allah) and members of the Prophet’s family: Muhammad, ‘Ali, Fatima, Hasan, and Husayn. It is enclosed in the shape of a cypress with a stem that sprouts into two paisley-shaped calligrams at the bottom. Two crowns are found on either side of the cypress at the very top.

TR.13.3.2026

Reverse painting on glass is a decorative technique in which artists apply paint, gold leaf, and silver leaf to the back of a glass panel. The image is then viewed from the front, through the glass. The technique began in Europe and, after the seventeenth century, spread to China, India, Africa, and Iran. In Iran, it became especially popular in the early twentieth century, when artists used it to create portraits of rulers, princes, princesses, and royal couples.

This panel features a bold inscription in nasta‘liq script that reads: "Ya Hazrat-i Ma‘sumeh alayhe salaam" ("O Her Holiness Ma‘sumeh, peace be upon her"), set against a glittering gold ground. Ma‘sumeh was the daughter of the eighth Shi‘i Imam, Musa Kazem, and the sister of Imam Reza. She is highly revered among Twelver Shi‘i believers. A grand shrine dedicated to her stands in the city of Qum.

TR.13.4.2026

Reverse painting on glass is a decorative technique in which artists apply paint, gold leaf, and silver leaf to the back of a glass panel. The image is then viewed from the front, through the glass. The technique began in Europe and, after the seventeenth century, spread to China, India, Africa, and Iran. In Iran, it became especially popular in the early twentieth century, when artists used it to create portraits of rulers, princes, princesses, and royal couples.

This example features a mirror-image (musanna) calligraphic design with the name of God (Allah) and members of the Prophet’s family: Muhammad, ‘Ali, Fatima, Hasan, and Husayn. In the name of Imam ‘Ali, the letter "lam" ends in two semicircular blades shaped like those of a tabarzin (a battle axe often associated with Sufi dervishes).

The composition also includes several other Shi‘i inscriptions, arranged within crowns, medallions, cartouches, and tughra-like forms. One inscription reads: "There is no youth but ‘Ali and no sword but Zu’l Fiqar." The entire design is framed by a Qur’anic verse, Ayat al-Kursi (the Throne Verse) from Surat al-Baqara (Surah 2, "The Cow"). In this work, the calligrapher demonstrates great skill by using a wide variety of innovative scripts.

TR.13.5.2026

Reverse painting on glass is a decorative technique in which artists apply paint, gold leaf, and silver leaf to the back of a glass panel. The image is then viewed from the front, through the glass. The technique began in Europe and, after the seventeenth century, spread to China, India, Africa, and Iran. In Iran, it became especially popular in the early twentieth century, when artists used it to create portraits of rulers, princes, princesses, and royal couples.

This architectural composition likely depicts the holy shrine of Ma‘sumeh in Qum. It contains an inscription in black on a glittery gold ground that reads "Oh, Her Holiness Ma’sumeh in a leaf-shaped medallion at the top.

Paintings depicting scenes from the Battle of Kerbala:

TR.13.6.2026

Reverse painting on glass is a decorative technique in which artists apply paint, gold leaf, and silver leaf to the back of a glass panel. The image is then viewed from the front, through the glass. The technique began in Europe and, after the seventeenth century, spread to China, India, Africa, and Iran. In Iran, it became especially popular in the early twentieth century, when artists used it to create portraits of rulers, princes, princesses, and royal couples.

This panel shows a scene from the Battle of Karbala, which took place in 680 CE in the desert city of Karbala. The battle was fought between the small group of followers and family members of Imam Husayn and the army of Yazid ibn Mu'awiya, the son of Mu'awiya I and the Umayyad caliph. Husayn refused to recognize Yazid’s authority, believing his rule to be unjust. As a result, Husayn and his small band of supporters were surrounded and attacked. In the battle, Husayn was killed, and nearly all his companions and family members were also martyred. Only one male member of his immediate family survived: Ali ibn Husayn Zayn al-‘Abidin. The Battle of Karbala became a defining event in Islamic history. It is central to Shi‘i identity and is widely regarded as a key moment in the development of the division between Sunni and Shi‘i Islam.

In this panel, Husayn is shown holding his dying son ‘Ali al-Akbar ibn Husayn, in his lap. The Persian inscription reads: "Amadan-i Imam [Husayn] be balin-i ‘Ali Akbar," which means, "The coming of Imam Husayn to the side of ‘Ali Akbar." The image captures a moment of deep grief, as a father mourns his mortally wounded son during one of the most tragic events in Islamic history.

TR.13.8.2026

Reverse painting on glass is a decorative technique in which artists apply paint, gold leaf, and silver leaf to the back of a glass panel. The image is then viewed from the front, through the glass. The technique began in Europe and, after the seventeenth century, spread to China, India, Africa, and Iran. In Iran, it became especially popular in the early twentieth century, when artists used it to create portraits of rulers, princes, princesses, and royal couples.

This small panel shows a scene from the Battle of Karbala, which took place in 680 CE in the desert city of Karbala. The battle was fought between the small group of followers and family members of Imam Husayn and the army of Yazid ibn Mu'awiya, the son of Mu'awiya I and the Umayyad caliph. Husayn refused to recognize Yazid’s authority, believing his rule to be unjust. As a result, Husayn and his small band of supporters were surrounded and attacked. In the battle, Husayn was killed, and nearly all his companions and family members were also martyred. Only one male member of his immediate family survived: ‘Ali ibn Husayn Zayn al-‘Abidin. The Battle of Karbala became a defining event in Islamic history. It is central to Shi‘i identity and is widely regarded as a key moment in the development of the division between Sunni and Shi‘i Islam.

The panel depicts Imam Husayn placing the Prophet’s signet ring in his son, ‘Ali Akbar’s mouth to comfort him and quench his thirst in the scorching desert of Karbala as his wife and her companions look on. The tents of the encampment are visible in the background.

TR.13.11.2026

Reverse painting on glass is a decorative technique in which artists apply paint, gold leaf, and silver leaf to the back of a glass panel. The image is then viewed from the front, through the glass. The technique began in Europe and, after the seventeenth century, spread to China, India, Africa, and Iran. In Iran, it became especially popular in the early twentieth century, when artists used it to create portraits of rulers, princes, princesses, and royal couples.

This panel shows a scene from the Battle of Karbala, which took place in 680 CE in the desert city of Karbala. The battle was fought between the small group of followers and family members of Imam Husayn and the army of Yazid ibn Mu'awiya, the son of Mu'awiya I and the Umayyad caliph. Husayn refused to recognize Yazid’s authority, believing his rule to be unjust. As a result, Husayn and his small band of supporters were surrounded and attacked. In the battle, Husayn was killed, and nearly all his companions and family members were also martyred. Only one male member of his immediate family survived: ‘Ali ibn Husayn Zayn al-‘Abidin. The Battle of Karbala became a defining event in Islamic history. It is central to Shi‘i identity and is widely regarded as a key moment in the development of the division between Sunni and Shi‘i Islam.

Large panel with scenes from the battle of Karbala—Hazrat-i ‘Abbas, Imam Husayn’s half-brother and standard-bearer, is shown on a white horse surrounded by scenes related to the battle and other narratives related to the Shi‘i Imams and personages such as Imam Reza. The image of ‘Abbas dominates the composition. He is regarded by Shi’is as a symbol of courage, loyalty, and self-sacrifice.

TR.13.12.2026

Reverse painting on glass is a decorative technique in which artists apply paint, gold leaf, and silver leaf to the back of a glass panel. The image is then viewed from the front, through the glass. The technique began in Europe and, after the seventeenth century, spread to China, India, Africa, and Iran. In Iran, it became especially popular in the early twentieth century, when artists used it to create portraits of rulers, princes, princesses, and royal couples.

This panel shows a scene from the Battle of Karbala, which took place in 680 CE in the desert city of Karbala. The battle was fought between the small group of followers and family members of Imam Husayn and the army of Yazid ibn Mu'awiya, the son of Mu'awiya I and the Umayyad caliph. Husayn refused to recognize Yazid’s authority, believing his rule to be unjust. As a result, Husayn and his small band of supporters were surrounded and attacked. In the battle, Husayn was killed, and nearly all his companions and family members were also martyred. Only one male member of his immediate family survived: ‘Ali ibn Husayn Zayn al-‘Abidin. The Battle of Karbala became a defining event in Islamic history. It is central to Shi‘i identity and is widely regarded as a key moment in the development of the division between Sunni and Shi‘i Islam.

The panel depicts the battle between Qasim-ibn Hasan and the son of Azraq-i Shami (also known as Ibn Azraq), the military commander of Yazid I, in which Qasim courageously raises members of Azraq’s troops with one hand. The inscription reads: Ya Qasim ibn Hasan (Ya Qasim, son of Hasan [nephew of Imam Husayn and grandson of Imam ‘Ali].

Other compositions:

TR.13.7.2026

Reverse painting on glass is a decorative technique in which artists apply paint, gold leaf, and silver leaf to the back of a glass panel. The image is then viewed from the front, through the glass. The technique began in Europe and, after the seventeenth century, spread to China, India, Africa, and Iran. In Iran, it became especially popular in the early twentieth century, when artists used it to create portraits of rulers, princes, princesses, and royal couples.

This panel is a shamayel (literally, likeness), or devotional image, depicting Imam ‘Ali and his two young sons, Hasan and Husayn—members of the Ahl al-Bayt (the House of the Prophet). Imam ‘Ali, Hasan, and Husayn are shown with haloes, emphasizing their sacred status.

TR.13.9.2026

Reverse painting on glass is a decorative technique in which artists apply paint, gold leaf, and silver leaf to the back of a glass panel. The image is then viewed from the front, through the glass. The technique began in Europe and, after the seventeenth century, spread to China, India, Africa, and Iran. In Iran, it became especially popular in the early twentieth century, when artists used it to create portraits of rulers, princes, princesses, and royal couples.

This small panel depicts a scene from the story of Jonah and the Whale (Yunus va Nahang), in which Jonah is emerging from the whale's mouth. This is a biblical narrative originating in the Hebrew Bible (Old Testament) that also appears in several surahs (chapters) in the Qur’an, most notably in Surah as-Saffat (37:139-148). Yunus, or Jonah, is referred to as Dhu’l-Nun (The One of the Fish). The story unfolds as follows: God commanded Jonah to go to the city of Nineveh and warn its people to repent. Jonah tried to flee by ship instead. A violent storm arose, and the sailors, blaming Jonah, threw him into the sea. He was swallowed by a "great fish" (often depicted in art as a whale). Jonah remained inside the creature for three days and three nights. After he prayed and repented, God commanded the fish to release him, and Jonah emerged alive onto dry land.

TR.13.10.2026

Reverse painting on glass is a decorative technique in which artists apply paint, gold leaf, and silver leaf to the back of a glass panel. The image is then viewed from the front, through the glass. The technique began in Europe and, after the seventeenth century, spread to China, India, Africa, and Iran. In Iran, it became especially popular in the early twentieth century, when artists used it to create portraits of rulers, princes, princesses, and royal couples.

This panel depicts the young Prophet Muhammad, haloed and holding a banner. It is signed "Tehran, ‘Abd al-Jalil." An inscription identifies the figure as "Nabia Muhammad fi Safar sana …" ("The Prophet Muhammad in the month of Safar in the year …"), though the exact year is not given. The painter’s signature appears in the lower left corner.

TR.13.13.2026

Reverse painting on glass is a decorative technique in which artists apply paint, gold leaf, and silver leaf to the back of a glass panel. The image is then viewed from the front, through the glass. The technique began in Europe and, after the seventeenth century, spread to China, India, Africa, and Iran. In Iran, it became especially popular in the early twentieth century, when artists used it to create portraits of rulers, princes, princesses, and royal couples.

This large panel depicts Buraq, the hybrid steed with the body of a horse, the face of a woman, and a gold peacock-feathered tail that carried the Prophet on his night journey (the mi‘raj) from Mecca to Jerusalem. The hand representing the Panj Tan or Five Holy Ones [in Shi’i belief) emerges from the saddle of the steed. An invocation with the inscription "Nasr min allah wa Fathun Qarib, (With the help of God, Victory is Near), is enclosed in a medallion at the center top. The work is signed: ‘Amal-i ‘Abbas-i Naqqash (the work of ‘Abbas the painter) and dated 1346 A.H./1927 CE.

TR.13.14.2026

Reverse painting on glass is a decorative technique in which artists apply paint, gold leaf, and silver leaf to the back of a glass panel. The image is then viewed from the front, through the glass. The technique began in Europe and, after the seventeenth century, spread to China, India, Africa, and Iran.

This small panel depicts "The Wish-Fulfilling Cow Kamadhenu and Her Calf." It is an Indian composition based on a Hindu mythological theme. In Hindu tradition, Kamadhenu is a divine, miraculous cow who grants wishes. She is often described as the mother of all cows and a symbol of sacred abundance. Kamadhenu represents prosperity, nourishment, fertility, and generosity. In this image, the calf nursing from Kamadhenu strengthens the meaning of fertility and life-giving power. The act of feeding highlights her role as a provider and sustainer. Overall, the panel celebrates themes of motherhood and the sustaining power of nature.

TR.13.15.2026

Reverse painting on glass is a decorative technique in which artists apply paint, gold leaf, and silver leaf to the back of a glass panel. The image is then viewed from the front, through the glass. The technique began in Europe and, after the seventeenth century, spread to China, India, Africa, and Iran. In Iran, it became especially popular in the early twentieth century, when artists used it to create portraits of rulers, princes, princesses, and royal couples.

This panel depicts Imam ‘Ali as a warrior in the service of faith. He is shown holding his sword and a shield, staring out at the visitor. The panel is signed: Tehran, ‘Abd al-Jalil – Shabih-i Amir (the likeness of Amir [referring to Imam ‘Ali [aka Amir al-mu’minin). This panel depicts Imam ‘Ali as a warrior in the service of faith. He is shown holding his sword and a shield as he stares out at the visitor. The panel is signed: Tehran, ‘Abd al-Jalil – Shabih-i Amir (the likeness of Amir [referring to Imam ‘Ali [aka Amir al-mu’minin). The image presents Imam ‘Ali as both a spiritual and military leader.Top of Form