Underwear to Outerwear

(Persian clothing of the 16th Century)

THL Ghadah Falak Noor bint Safi ‘Abdu ‘llah
M.K.A. Ashby McKenney

“The appearance of the Safavid dynasty is one of the most important turning–points in the
history of Persia and of Persian costume “(Goetz). “The aim of Persian miniatures was
not to Illustrate historical chronicles, but rather to embellish manuscripts of famous poetic
classics of Persian literature especially the national epic… Although they did not aim to
illustrate reality, the artist depicted the characters in the contemporary fashions of their
time.” (Scarce.)
Utilizing and extracting information from resources we have at hand such as written
accounts, miniatures and extents one can extrapolate information and gain a better
understanding of garments and how they looked. To say that Garments did not change for
hundreds of years is not quite true. Changes to Persian garments were sometimes small and
slow to develop, and did so over time. Since so few extents survive from the sixteenth
century we also can look at previous surviving pieces and compare these, to written
accounts and miniatures.

Some written accounts reveal little in the way of clues to the manner of dress. Such as the
account of Michelle Membrẻ 1539-42
“Their clothes are not narrow like those of the Ottomans, but wide, as if they are wearing
Paigiami.”
European travelers describe the Safavid royal costume on various occasions In 1598/99
Abel Pinçon, who accompanies the Sherleys, reports; has this to say:
“His Majesty [Shāh ‘Ābbas ]… was clad in a short garb without robe., which is against the
custom of Mohammedans, and he wore a gold brocade doublet and tight breeches of the
same material. On his head was a turban adorned with many precious stones and rich
plumes.”
Thomas Herbert gives this descriptive account in 1539-42 of garments. Herbert found
Imām Qulī Khān at Shirāz, richly dressed;
“his coat was of blue satin very richly embroidered, with silver, upon which he wore a
robe of extraordinary length; glorious to the eye, for it was so thick-powdered with
Oriental pearl and glittering gems as made the ground of it imperspicable. His turban or
mandil [mandil], as of the finest white silk interwoven with gold and bestudded with
pearl[s] and carbuncles; his scabbard was set all over with rubies, pearls and emeralds,
his sandals has the like embroidery.”
Sir John Chardin’s detailed description of garments from the mid seventeenth century are a
valuble tool when compared to period miniatures to and help in viewing the period garment
equivalent in miniatures and extent pieces.
“The shirt is long, and covers their Knees, passing over their Drawers, instead of being put
into them. It is open on the right Side, upon the Pap, to the Stomach, and on the sides
below, as ours are, having no Neck to it, only stitch’d as the Shifts of our Women are in
Europe. “

-1-
Pirihan: Shirt or shift. (Iranica.com)

Male Pirihan/Talisman shirt

These types of shirts were worn by men into battle not only to protect the wearer from
harm, also to protect the wearer from being unjust in inflicting harm against an enemy in
battle. Since the pirihan is an undergarment. Often depicted white, not necessarily always
so. This garment is depicted as the garment worn closest to the skin.

Persian Shirt, Painted Linen Dated 1583 thought to be man’s garment, this particular
garment does have side gores However no seam lines to indicate underarm gussets. This
pirihan does have a slit in the center of the neckline down to the navel.

-2-
 Male Pirihan in Miniatures

Man in pirihan, (detail), The Thief Dervish in white pirihan, (detail) a

discovered in the bedchamber 1429 gathering of Dervishes, 1580-90

Red pirihan peeking through at the

Pirihan on a clothesline neckline under the Qaba (detail) A
Father’s Discourse on Love, 1556

Pirihan in white peeking through at the

neckline under the qaba and joba. (detail) Pirihan peeking out at the base of the
Khwaja ‘abdallah Ansari at the neck, under two coats (detail) A Youth
booksellers 1560 with a Golden Pillow, 1560

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Female Pirihan This extent is made of white cotton with embroidery, this particular
piece is unfinished as there is no neckline opening. There are currently no female
extent pirihan from the 16th Century for study so we resort to using extents from
previous regions and eras with similar styles of dress. In Miniatures the female
pirihan as with the male is depicted worn closest to the skin, however with the
female version, there is often an indication of a closure at the base of the throat, and
opening “down to the navel”, often in view. Since ladies were also shown wearing
coats open or not entirely buttoned up. The layers are shown more clearly for
women than then men in miniatures

14th century cotton embroidered

undershirt thought to be that of a Detail of embroidery
woman’s garment.

-4-
 Women’s Pirihan in miniatures

Girl in Salwar and Pirihan, (detail) Girl

Two ladies, gold colored pirihan under Smoking
blue qaba and red joba, the one behind is
wearing a red pirihan under a green qaba.
Detail, Nightmare of Zahhak 1525-35.

Woman breastfeeding, wearing blue

Yellow Pirihan, peeking though under a pirihan under a tan qaba (detail) Life in
deep V necked qaba, (detail) Qay’s first the Country, The Nomad encampment of
glimpses of Layla Layla’s Tribe. 1539-43

Yellow/Orange pirihan shown open to

navel with closure at top of shirt, under Dark colored pirihan showing under the
green qaba Lady Primping (detail) long sleeved qaba, note the closure at the
base f the throat. (detail) Life in Town
1593-94

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Child’s Tunic
Children depicted in miniatures are not particularly common. When one does see children
in a miniature, they are generally shown, as infants or boys playing. The garments
children are wearing are similar to that of adults. This includes all layers of garments,
shoes and accessories

Late 13th-early 14th C Child’s tunic linen embroidered with dark brown silk in pattern
darning and running stitch.

Childs Tunic, Cream Linen with

shoulder bands woven in brown Silk
El-Drounka, Egypt 9-10th Century. Childs Tunic. Cream linen. Bands
woven in brown wool. El-Drounka.
Egypt 11-12th Century.

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 Children in Miniatures

Child in a white tunic, Light blue coat

and red and white striped “gored
Child wearing two coats, boots and hat, hat”(detail) Nushirvan receives an
(detail) The Simple Peasant Entreats the Embassy from the King of Hud late
Salesman not to sell hi wonderful 1530’s
Donkey 1556-65

Children wearing tunics playing, the Above, Boys playing a game, (detail) A
traveler and the dervish (detail) 1500 Depraved man commits Bestiality and is
berated by Satan, 1556-65, below, child
sits on his mother’s lap

Child in blue tunic wanting to be picked

up (detail) Layla and Majnun swoon at
their last meeting 1445-46

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Libas: (lee-bās) Underwear, generally men are depicted wearing libas or “underwear”.
This early version of men’s boxers is usually viewed in miniatures generally as a
white garment, on the legs. May be of color as well. Next to the Pirihan this
garment is also worn the layer closest to the body. Sometimes referred to as “short
trousers”

Examples of a Portion of two pair of short linen & hemp trousers. North Caucasus 8-10th
Century Metropolitan museum of art.

“Dolls Trousers” from Moshchevaja

Balka, found with caftan, and dress
1972,

Knee-long pants çakşur made of Crepe

( Bürümcük) 16th Century, Topkapi
Palace Museum 13/778

Men wearing Libas, Building of the

Libas or “Underwear” Detail white libas
castle of Khwarnag 1494-95 (Detail)
with red drawstring.

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Čaķčur, (leggings,) stockings, or socks:
Generally worn by men, they are “tube like” covering the foot and leg ending just above the
knee and tied into place with some type of garter just below the knee. In miniatures the
leggings appear to be worn either with libas or salwar. Sometimes they appear to be
attached to the trousers other times tied just under the knee.

Chardin describes the leggings as:

"The Stockins are of Cloth, and all of a Piece, as I have said, that is, they are cut like a
Sack, and not according to the Shape of the Leg; they come but just up to the Knees, below
which they tie them; they put a Piece of red Leather, very well stitch’d, to the Heel of them,
to hinder the Heel of the Shoe, which is sharp, from doing it any harm, and piercing thro’,
which it would do in three or four Days time”

A pair of linen leggings. North Caucasus A pair of linen and hemp leggings North
8-10th Century, After conservation in Caucasus, 8th –10th Century
2000

Extent čaķčur (leggings), 16th Century

Picture Courtesy Heather Harrington

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 Čaķčur, in Miniature

Groom wearing blue leggings, (detail)

Horseman and his groom 1560,
Servants wearing various colours of
leggings, the servant three from the right
does not appear to be wearing leggings
only salwar and shoes. Detail from
Siyavush receives gifts from Afrasiyab’s
peace envoy. 1530.

Red leggings (detail) throwing down the

impostor 1581

Light blue leggings, with Light colored

Blue leggings, (detail) Nushirvan receives tie under the knee. Near the tongue of the
an Embassy from the King of Hud mid shoe is a lighter color possibly where the
1530’s silk ends and the foot portion of the
legging is in another more durable fabric,
such as linen. (detail) Youth with a lud
1594-95

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 Above, yellow leggings, (detail) The poor
Red colored leggings with matching man and the Prince 1582. Below dark
bindings, (detail), The simple peasant leggings with a floral pattern, from the
entreats the salesman not to sell his same miniature.
wonderful donkey 1556-65

Red leggings, (detail) Bandits attack the

Caravan of Aynie and Riva 1556-65

Dark Green Leggings over plaid pants

(detail) Majnun approaches the camp of
Flesh tone leggings, (detail) a father Layla’s caravan
advises his son about love, 1556-65

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Salwar: (salvar, shalwar, shalvar) Pants, While a complete extant garment of Salwar for
16th Century Safavid Persia, has yet to be found, we can compare those existing
salwar form Turkey, India and Egypt to miniatures. one written account indicates
that salwar are “Loose ankle-length trousers” (Thompson), Comparing this
statement with miniatures indicate these were worn by both men and women.
Salwar were worn in many colors and patterns.

Salwar, 16th C Topkapi (Atasov)

Childs Salwar made for Süleyman circa ”The shape of this fragment suggests that
1510, note the covered feet (Atil) it is from the lower end of a trouser leg
trouser leg that narrowed towards the
ankle” (Ellis)

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 Salwar in Miniatures

Ladies preparing a picnic 1575, detail of

Solid color ladies salwar, detail, Majnun the bottom part of ladies trouser leg
in chains brought by a beggar woman to similar to the extent fragment.
Layla’s tent 1525-35

Detail of ladies salwar, similar to the

fragment above. Detail Majnun comes
Polo game, late 1520’s (detail) man before Layli disguised as a sheep 1556-65
wearing salwar,

A royal hunt (detail) 1540-45, yellow

salwar Red Salwar, Rustam Astonished by the
Witch he cut in half (detail) January 1518

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 Green salwar with pattern (detail) The
Blue patterned salwar, Rostam Lassoes Arab Berates his Guest for attempting to
Rakhsh (detail) 1525 pay him for his Hospitality 1556-65

Light Blue Salwar, (detail) The Flight of

the Tortoise 1556-65
Salwar hanging on a clothesline, (detail)

Orange Salwar, (detail) Irāj offers to visit Man wearing peach salwar, (detail) The
his Brothers 1525 Pir rejects the Ducks as Presents by the
Murid 1556-65

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Qaba “Cross Over” Variation:
This particular coat may be a remnant of the Mongol rule of Persia, it can be seen in some
miniatures in the 16th Century.

Again Chardin gives an exceptionally detailed account of these cross over styled coats:

“as wide as a Women’s Petticoat, but very strait above, passing twice over the Stomach,
and is fasten’d under their Arms, the first round under the left Arm, and the other which is
uppermost, under the right Arm. This Gown is cut sloaping, in the Manner you see it in the
Figure, which on the Side. The Sleeves are narrow, but as they are much longer than they
should be, they Plait ‘em at the Top of the Arm, and button ‘em at the Wrist. The
Gentlemen likewise wear the Cabai [this is Chardin’s translation of the Persian word
qāba] after the Georgian Manner, which are not different from others, only that they are
open
upon the Stomach, with Buttons and Loops.”

Persian Coat 1600 (cross over qaba)

Detail, coat ties

Pattern detail of Coat

Pictures Courtesy Melinda Haren

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 “Cross over” Qaba Coat in miniatures

Joseph Enthroned (detail) 1550 Timur feasts at the Occasion of the

Marriage of his Grandsons (detail), 1578-
80

A Prince and Princess Seated on a Carpet

in a Garden (detail) 1558
Above detail, short sleeve cross over coat
with the ties going down the side of the
body to waist. A Prince Enthroned
Surrounded by attendants, 1425-30,
Detail below, the long sleeve version
being worn by two men of the court

Amir Khusraw, presents a book of poetry

to Alaūddin Khalji (detail) 1503-4

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Kay Khusraw Installs Luhrasp as King, Conversation between father and son,
(detail), 1493-94 (detail) 1550-60

Kay Khrusraw with Afrasiyab’s Women

(detail) 1493-94
Zahhak Enthroned, (detail) 1576-77

An Armed Prince before the Safavid Prince Enthroned (detail) 1458-59

Monarch (detail) 1550-60 Long sleeve coat with ties along the side
to waist.

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Qabā: (kāh-bay): Cloak/Coat buttoned down the front. This is both a male and female
garment. These coats are worn often in layers of one or two. Variations of these layers may
be viewed in Persian miniatures. When worn in two layers, the outer qaba may be referred
to as Ruyi Qaba and the under qaba referred to as a Ziri Qaba.

“A long-sleeved coat with the design of a man hurling a rock at a dragon Sixteenth
Century, Silk Lampas with metal thread, The Coat is made from blue silk patterned in
ivory, yellow brown and light green with gold and silver metallic threads.”(Thompson)

Detail of coat, left is neckline, Center Design of fabric, right hemline.

Above three photos courtesy Melinda Haren

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Extent Qaba (embroidered)

“Safavid Coat Embroidered in Silk darning stitch Keshan c 1600”

Qaba In Miniatures:

The Shahs war prizes are pledged for Princess entertaining early sixteenth
(detail) Short sleeve over a long sleeve century, (detail women wearing various
qaba qaba layers.)

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Men wearing various qaba, (detail) Women in qaba, (detail) Ladies preparing
Coronation if Khrusraw 1539-1542 a picnic 1571

Soltān Hoasayn Mirzā Bāyqarā

Enthroned, from a Divān of Soltān
Lady wearing a short sleeve qaba over a Hosayn (detail) 1530
long sleeve qaba, (detail) Kay Khosrow
converses with Giv. Shiraz style third
quarter 16th century.

Ladies in Qaba, (detail) The love of

Majnun 1575

Male Musician in a long and short version

of qaba, Court scene in a garden (detail)
1581

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Men in qaba, (detail) Alexander building
a wall. 1576-77
Man in long and short sleeve qaba,
(detail) The fickle old lover is knocked
off the rooftop 1556

Man in long sleeved qaba ends tucked

into sash, carrying pillows into building.
(detail) The dervish his beloved’s hair. Woman tending food on the fire, wearing
1556-65 long and short qaba, (detail) Yusuf is
rescued from the well 1556-65

Lady wearing long and short qaba,

(detail) Composition of Identical
calligraphies in Nastal’līq 1561 Maiden in long sleeved qaba, (detail)
Yousuf preaches to Zulaykhās maidens in
her garden 1556-65

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Joba: (Jō-bāh) A long loose fitting gown (coat) with long sleeves worn as the outer
most “coat” layer. The sleeves of this garment are worn very long, often depicted as a
hanging “sleeve”.

Joba, (above left) silk double cloth, red enriched with silver thread circa 1600.

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 Joba in Miniatures

Man wearing joba, Slyāyush receives

gifts from Afrāslyāb’s peace envoy Woman sleeping wearing a joba, detail,
(detail) 1530 Ardashir and the slave girl 1527-28

Man in joba detail Kushraw on the Barham Gur in the red pavilion 1575.
throne. 1524-25 Detail woman in Blue joba over a qaba

Pictorial suggestion for detachable

sleeves, on a woman’s joba, The Nomad Slit for in sleeve for joba worn by a
Encampment of Layla’s Tribe (detail) female servant. Bahrām in the Turquoise
1539-43 pavilion (detail) 1520

23
Woman dancing wearing a joba without Safavid Courtier, signed by ‘Abdu al-
sleeves, note the buttons/loops, on the Aziz, (detail) Safavid Iran 1566
sleeve portion of her outermost coat.
(detail) 1548

Woman wearing blue Joba, detail

Homāy and Homāyun Entertained 1483-
Nushirkwan listens to the Owls (detail) 85
1525

Portrait of a Safavid Prince Ruler and his

cupbearer, Prince wearing a Joba (detail)
Before 1545

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 Footwear:
Men and women both wore shoes; Men wore boots, upon occasion, women in miniatures
are wearing boots outdoors or for travel. In his travels Chardin describes shoes for the
People of Quality Peasants and poor in the following”
“ The Shoes are of different Sorts or Fashions n Persia; but they are all without Ears, and not a
bit open on the sides; they are nail’d quite under the Heel, and they trim the Sole of the Shoe with
little Nails at eh place where the Bottom of the Foot bears, to make it last longer. You see the
Figure of the Fashion of the Shoes, which People of Quality wear, which are made like Women’s
Slippers, that they throw them off the easier, when they are got into their Houses; because their
Floors are cover’d with Carpets. These Shoes are Green Shagreen, or some other Colors; the
Sole; which is always a single one, is as thin as a Past-board, but is the best leather in the world.
None but these sort of Shoes have Heels, the rest are flat. ….
“The Poor people make their shoes of Camels Leather, because it lasts much longer than any
other; but it is a soft Leather, that takes Water like a sponge.”
“ The Peasants, make the soles of their shoes with Rags and Shreds of Linnen Cloth, Threaded a
breast, and very close. These soles, tho’ they are thick are very light, and they can never wear
them out; they call them Pabouch Quive, i.e. Shoes made of rags.”

Most of the extent shoes and boots are made of leather, some still showing their applique’
and embroidery upon them. The overall shapes of these extent shoes and boots resemble
portions of above descriptions. These extents also reflect what we see in miniature
paintings from the sixteenth century.

Bath rasps in the form of a pair of shoes. Kirman early 17th Century British Museum,
“Various uses, including a pair of vases, have been suggested for these pair of shoes, it is
most unlikely, despite their authentic shape, that they were ever worn.” (Canby)

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 Extent Boots and shoes

Inlaid appliqué palace shoe in red and

blue leather. 17th century. Topkapi
Palace Museum (Picture Courtesy of
Leather Boot, with Embroidery 16th Lisa Kelly)
century, Topkapi Palace Museum. .
These boots are similar in style to those
often viewed in Persian miniatures

2 Turkish slippers from different pairs.

Date unknown. The style of the appliqué
Sultan Selim II's appliquéd leather boots, suggests a date in the 17th century.
Topkapi Saray, 16th Century (picture (Picture and text, courtesy of Lisa Kelly)
courtesy Lisa Kelly)

16th century slippers. Topkapi Saray

Museum. ( picture Courtesy of Lisa Short boot, this particular boot is meant
Kelly) for the outdoors, it also is very helpful in
determining proper shape and style. 16th
century.

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 Footwear in Miniatures

Boots, (detail) The Aziz and Zulaykha

Enter the Capitol of Egypt and the Bahram Chubin listening to the prophecy
Egyptians come out the Greet them. of a sorceress 1585.
1556-65

Persian “slipper” style shoes. Ardashir

Woman wearing boots (detail) Sultan and the slave girl 1527-28
Sanjar and the old Woman 1539-43

Boots, (detail) The Aziz and Zulaykha

Male wearing boots under armor, (detail) Enter the Capitol of Egypt and the
Kay Khushraw slays Afrasyab in the Egyptians come out the Greet them.
name of Siyauusgh 1525-30 1556-65

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 Shoes:

Men’s shoes, detail from life in a town

Black shoes with heels and white shoes,
flats, (detail) Yosif gives a Royal
banquet in Honor of his Marriage 1556-
65

Seated princess, with a spray of flowers,

1540. Detail, women’s shoes.
Persian “slipper” style shoes (detail)
Ardashir and the slave girl 1527-28

Ladies shoes, Flirtatious lovers, (detail)

1565-70 Male shoes, white, (detail) the
Physicians Duel 1540

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 Bibliography
Abolala Soudavar, Art of The Persian Courts, Rizzoli Press, 1992

Atil, Esin, The Age of Süleyman the Magnificent, National Gallery of Art, Washington,
Harry N Abrams New York, 1987

Burnham, Dorothy, Cut My Cote., Royal Ontario Museum, 1973

Canby, Sheila R, The Golden age of Persian Art 1501-1722, Harry N Abrams Inc
Publishers, 1999

----- Persian Painting, Interlink Publishing Group, 2005

Chardin, Sir John, Sir John Chardin Travels in Persia 1673-1677, Dover Publications,
1988

Carboni, Stefano ed. Venice and the Islamic World 828-1797, Yale University Press,
English Edition, 2007

Среанеазиатские миниатюрьі XVI-XVIII вв, встүпитеΛвная Н. В. Дьякоңовой

Под редақцией Λ. Т. Тюзадьяна ИздатеΛьсТьо НАУКА москва 1964

Ellis, Marianne, Embroideries and Samplers from Islamic Egypt, Ashmolean Museum
Oxford 2001

Ferrier, R.W. The Arts of Persia, Yale University Press New Haven & London 1989

Grabar, Oleg, Mostly Miniatures: An Introduction to Persian Painting, Princeton

University Press, 2000

Hillenbrand, Robert ed. Persian Paintings from the Mongols to the Qajars, I.B. Tauris
Publishers. 2000

Lowry, Glenn D., Susan Nemazee, A Jeweler’s Eye: Islamic arts of the Book from the
Vever Collection, Arthur M Sackler Gallery, Smithsonian Institution, Washington DC
1988

Loukonine, Vladimir and Anatoli, Ivanoff, Persian Lost Treasures, Sirocco 2003

Maslenitsya, S., Persian Art in the Collection of the Museum of Oriental Art. Aurora
Publishers Leningrad 1975

Membré, Michele. Mission to the Lord Sophy of Persia (1539-1542) Trustees of the
Gibb Memorial, 1999

Palace of Gold and Light, treasures from the Topkapi, Istanbul. Palace Arts Foundation,
Istanbul, 2000 (Exhibition catalogue)

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Pope, Arthur Uphram, A Survey of Persian Art from Prehistoric times to the Present,
Vol. V. Oxford University Press 1967

-----A Survey of Persian Art from Prehistoric times to the Present,

Vol. VI. Oxford University Press 1967

-----A Survey of Persian Art from Prehistoric times to the Present,

Vol. IX. Oxford University Press 1967

-----A Survey of Persian Art from Prehistoric times to the Present,

Vol. XII Oxford University Press 1967

----- Persian Art, Dryden Press, 1945

Roxburgh, David. The Persian Album 1400-1600 From Dispersal to Collection. Yale
University Press. 2005

Scarce, Jennifer, Women's Costume of the Near and Middle East, Rutledge, Curzon.
2002

Simpson, Marianne, S, Sultan Ibrahims Mirza’s Haft Awrang, Yale University Press,
1997

Sims, Eleanor, Peerless Images, Yale University Press, 2002

Scott, Phillipa, The Book of Silk, Thames and Hudson 1993

The Hermitage Museum, Persian Paintings of the 16th-18th Centuries 1996

Thompson, John and Sheila, Canby, Hunt for Paradise: Court Arts of Safavid Iran 1501-
1576, Skira, 2003

Welch, Anthony. Artists for the Shah: Late sixteenth Century painting at the Imperial
Court
Of Iran. Yale University Press 1986

Welch, Stuart Cary, Persian Painting: Five Royal Safavid Manuscripts of the Sixteenth
Century, George Brazillier, 1976

----- Wonders of the Age, Fogg Art Museum 1979

----- A Kings Book of Kings: the Shahnemeh of Shah Tahmasp, Metropolitan

Museum or art 1976

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 Articles:

Kajintai, Kobuko, “A Man’s Caftan and Leggings from the North Caucasus of the Eight
to

Tenth Century: A Conservator’s report.” Metropolitan Museum Journal Vol. 36 (2001):

pp 85-124 JSTOR Web 15/5/2008

Knauer, Elfriede, “A Man’s Caftan and Leggings from the North Caucasus of the Eight to
Tenth Century: A Genealogical Study.” Metropolitan Museum Journal Vol. 36 (2001):
pp 125-154 JSTOR Web 15/5/2008
Fashion at the Ottoman Court, P Art Culture Antiques, Issue 3, Spring Summer 2000

People:
My Heartfelt thank you the following people for their encouragement and guidance.
Seamus Kendrick (Jamie McKenney)
Mistress Safia al Khansaa’ (Heather Harrington)
Duchess Roxane Farabi Shahzadeh (Melinda Haren)
Mistress Rozalynd of Thornabee on Tees (Shelley Featherstone)
Vicountess Safiye al-Konstantiniyye ( Lisa Kelly)
Baroness Zanab Yasmine ( Kate MacKenzie
Baron Afrasiyab al- Isfahani (Kevin Ludwig)
Urtatim al-Qurtubiyya bint 'abd al-Karim al-hakam al-Fassi (Ellen Perlman)

Websites of Interest
http://www.willofyre.com/MEgarbhaven.html
(Mistress Safia’s Middle Eastern Garb Haven)
http://safiye.myphotoalbum.com/view_album.php?set_albumName=album03&page=1
(Mostly Ottoman, there are some pictures of Persian garb she has made. Beautiful pieces)
http://www.imagesonline.bl.uk/index.asp
http://www.metmuseum.org/
http://www.metmuseum.org/Works_of_Art/department.asp?dep=14
http://www.asia.si.edu/collections/default.htm
http://cmes.hmdc.harvard.edu/files/miniatures/
http://www.hurstgallery.com/exhibit/recent/IndianPersianPaintings/index.php
http://www.asia.si.edu/exhibitions/online/loveYearning/base.html
http://www.iranica.com/newsite/
http://www.textileasart.com/index2.html
http://valkyrja.shawwebspace.ca/pages/
(Ottoman handout very detailed)
http://home.earthlink.net/~lilinah/courtyard.html
(Lady Urtatim’s website of various “Near and Middle Eastern Cultures”)
http://home.earthlink.net/~lilinah/Rashid/Rashid0.html
(More of Master Rahsid’s schematics and garb patterns may be found here)

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