《凯·卡武斯登上天空》，Shah Tahmap《国王的书》第134r页 - 美国大都会艺术博物馆展品查阅

品名（中）	《凯·卡武斯登上天空》，Shah Tahmap《国王的书》第134r页
品名（英）	"Kai Kavus Ascends to the Sky", Folio 134r from the Shahnama (Book of Kings) of Shah Tahmasp
入馆年号	1970年，1970.301.21
策展部门	伊斯兰艺术（Islamic Art）
创作者	Abu'l Qasim Firdausi【935 至 1020】【伊朗人】
创作年份	公元 1500 - 公元 1555
创作地区	制造于: 伊朗, 大不里士（Made in: Iran, Tabriz）
分类	密码（Codices）
尺寸	Painting: 高 11 3/16 英寸 (28.4 厘米) 宽 7 3/16 英寸 (18.3 厘米) Page: 高 18 5/8 英寸 (47.3 厘米) 宽 12 9/16 英寸 (31.9 厘米) Mat: 高 22 英寸 (55.9 厘米) 宽 16 英寸 (40.6 厘米)
介绍（中）	凯·卡武斯（Kai Kavus）是一位长寿的强大国王和反复无常的统治者。有一天，在打猎时，一个伪装成英俊青年的潜水员接近了他。心怀不轨的魔鬼开始赞美他，说他的王权——"君王的荣耀——是如此辉煌，以至于他应该从天上统治世界。国王被这个想法所诱惑，命令他的仆人为他建造一个金色的宝座，然后他在四只饥饿的鹰的帮助下将其举到空中，这些老鹰绑在王座的角落，顶部放置了多汁的肉饵。漂浮的宝座很快就遇到了灾难：当鸟儿疲惫不堪时，飞行的座椅——以及它不听话的统治者——坠落在地上。虽然这幅画比其他插图更清醒，但它在构图严谨和幽默许可之间取得了完美的平衡。重建筑宝座的庄严升起由画作下部的人物观察和评论。他们的惊讶表现在众所周知的将手指放在嘴边的手势上，如左边的角色所示，最右边的孩子以询问的姿态拉着他父亲的外衣，以及中间人物的斜倚姿势，他可以更舒适地欣赏这一事件。
介绍（英）	Kai Kavus was a long-lived powerful king and a capricious ruler. One day, while hunting, he was approached by a div disguised as a handsome youth. The ill-natured devil began praising him, saying that his royal farr–”the kingly glory–was of such splendor that he should reign the world from the heavens. Seduced by this idea, the king ordered his servants to build him a golden throne, which he then lifted up in the air with the help of four hungry eagles tied to the throne's corners at whose top were placed succulent baits of meat. The floating throne floating quickly met disaster: when the birds tired out, the flying seat–and its heedless ruler–plunged to earth. Although more sober than other illustrations, this painting displays a perfect balance of compositional rigor and humorous license. The solemn ascension of the heavily built throne is observed and commented upon by the figures in the lower register of the painting. Their amazement is expressed by the well-known gesture of bringing the finger to the mouth, as seen in the character on the left, by the kid on the far right pulling his father's tunic in an interrogatory attitude, and by the reclining pose of the figure at the center, who could appreciate the event more comfortably.