sērag-ē abar sāg ī gul ī nargis (The inscription tells us that this painting was made by Shafi Abbasi, a famous artist, to the order of Shah Abbas II (1653, Bib. Nat., Paris)

šīrēn ō maškōg ī husrō rased kē ped xvāb ast (The Loves of Khusrow and Shirin, by Nizami, Ispahan, about 1624, Bib. Nat. Paris)

husrō abarvēž bē ō diz-ē rased kū dōšīdag ī ōy šīrēn ped panāhīh grift ēsted. (The Loves of Khusrow and Shirin, by Nizami, Ispahan, about 1624, Bib. Nat. Paris)

rēdak-ē nibēg-ē ped dast Line drawing, very late 16th century; executed at Ispahan in the reign of Shah Abbas in a very expressive style, which becomes later on that of Riza Abbasi; Louvre, Paris)

rēdak-ē nibēg-ē pehipursed (It was made at Ispahan about 1620, by Riza Abbasi, Brit. Mus. London)

mayyār (line drawing heightened with gold, by a pupil of Agha riza, who worked in the manner of Riza Abbasi. Ispahan, about 1620, Bib. Nat. Paris)

nigār ī dibīr-ē pārsī kē mōzag-ē raxšgōn peymuxt ēsted; skārābdān-aš kanār ī xvēš (This painting by Riza Abbasi is in an unusual manner; the signature of Riza Abbasi has been intentinally effaced. Ispahan, about 1620, Bib. Nat. Paris)

kenīg ped gyāg ī xvēškārīh ī xvēš

bānūg-ē ped dar ī spāhān (by Muhammad-Kasim Tabrizi, middle of 17th century. Georges Tabbagh Collection, Paris)

bānūg-ē ped dar ī tabrīz(Line drawing, Tabriz, about 1505, Louvre, Paris)

bānūg-ē ped dar ī spāhān (attributed to Sadik, late 16th century; Bib. Nat., Paris

ātašgāh Fire Altars near Naksh i Rustam

ahrmen, dēvān sālār, u-š guhūdagān abāg. abū ma‘šar, mādayān abar axtarmārīh (On the tablet in the hand of Ahrmen we read that the painting was made at Cairo by a Persian, Kanbar-Ali of Shiraz; about 1250, Bib. Nat., Paris)

tīr ī abāxtarīg juxt ī ohrmazd ī abāxtarīg ped nēmasp; azēr panz star ī vyābānīg, vahrām, xvar, kēvān, māh, ud anāhid. abū ma‘šar, mādayān abar axtarmārīh (Cairo, about 1250, Bib. Nat., Paris)