24 ANNUAL REPOET SMITHSONIAN INSTITUTION, 1933 



32.46-32.47. Two illuminated pages {'unwdn). 



32.48. A prince holding a feast on a garden terrace in spring. 



32.49. A polo game. 



32.50. A prince with women of his household in a garden. 



32.51. A prince holding an audience. 



32.52. A lion with collar and bell chained to a post. Ink, color and gold. 



32.53. A scene of wine drinking in a garden. 



32.54. Men dancing on a terrace. 



32.64. Persian, sixteenth century. Bukhara school. A young woman with a 

 spray of lilies. Opaque colors and gold on paper. 



33.3. Arabic (Egypt), fourteenth century. An ornamental rosette, designed as 



a frontispiece for a Qur'dn (without inscription). Colors and gold on 

 paper. 



33.4. Persian, sixteenth-seventeenth century. A women in an orange coat rolling 



a thread between her palms. Opaque colors and gold on paper. 



STONE SCULPTURE 



East Indian, early second century, B.C. Sunga period. Two blocks of a 

 hard reddish sandstone, which formed two faces of a fence rail of the 

 Stupa of Bharhut. The designs carved in high relief are as follows: 



32.25. King Prasenajit visits the Buddha (Great Miracle of Sravastl). Inscrip- 



tion. 



82.26. Worship of a Stupa (parinirvana) . 



Curatorial work witlun the collection has been devoted to the 

 critical study of Armenian, Cliinese, and Japanese texts associated 

 with recent acquisitions; to the translation and identification of frag- 

 ments of Arabic and Persian texts on manuscript leaves; and to the 

 preparation of gallery books, containing descriptive notes for the 

 information of visitors. At the time of this writing, those for galleries 

 I-III have been completed; that for gallery IV is in preparation. 

 Other work includes that ordinarily associated with the study, cata- 

 loging, and exhibition of recent acquisitions in the field of oriental 

 fine arts. During the past year 979 objects and 325 photographs of 

 objects were submitted to the curator by other institutions, or by 

 private persons, for expert opinion as to their identity, provenance, 

 or historical or esthetic value. Twelve oriental inscriptions were 

 submitted for translation. Reports on these things were made to 

 owners or senders. 



Changes in exhibition have involved the rearrangement of seven 

 galleries, as follows: 



Gallery I Near Eastern art: Christian and Islamic Illuminated 



Manuscripts. 

 Gallery II Near Eastern Art: Arabic and Persian, tenth-fifteenth 



century. 



Gallery III Near Eastern Art: Persian, thirteenth-seventeenth century. 



Gallery IV East Indian Art. 



Gallery VIII American paintings, by Brush, Dewing, Melchers, Metcalf, 



Thayer, Tryon. 



