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)