Vaccine breakthrough hypoxemic COVID-19 pneumonia in patients with auto-Abs neutralizing type I IFNs

Life-threatening `breakthrough' cases of critical COVID-19 are attributed to poor or waning antibody response to the SARS- CoV-2 vaccine in individuals already at risk. Pre-existing autoantibodies (auto-Abs) neutralizing type I IFNs underlie at least 15% of critical COVID-19 pneumonia cases in unvaccinated individuals; however, their contribution to hypoxemic breakthrough cases in vaccinated people remains unknown. Here, we studied a cohort of 48 individuals ( age 20-86 years) who received 2 doses of an mRNA vaccine and developed a breakthrough infection with hypoxemic COVID-19 pneumonia 2 weeks to 4 months later. Antibody levels to the vaccine, neutralization of the virus, and auto- Abs to type I IFNs were measured in the plasma. Forty-two individuals had no known deficiency of B cell immunity and a normal antibody response to the vaccine. Among them, ten (24%) had auto-Abs neutralizing type I IFNs (aged 43-86 years). Eight of these ten patients had auto-Abs neutralizing both IFN-a2 and IFN-., while two neutralized IFN-omega only. No patient neutralized IFN-ss. Seven neutralized 10 ng/mL of type I IFNs, and three 100 pg/mL only. Seven patients neutralized SARS-CoV-2 D614G and the Delta variant (B.1.617.2) efficiently, while one patient neutralized Delta slightly less efficiently. Two of the three patients neutralizing only 100 pg/mL of type I IFNs neutralized both D61G and Delta less efficiently. Despite two mRNA vaccine inoculations and the presence of circulating antibodies capable of neutralizing SARS-CoV-2, auto-Abs neutralizing type I IFNs may underlie a significant proportion of hypoxemic COVID-19 pneumonia cases, highlighting the importance of this particularly vulnerable population

La Naissance de Tīmūr : une illustration inédite de l'Akbar-nāme

In 1990, the Guimet Museum was fortunate to purchase a newly discovered page from the first volume — now lost — of the famous Akbar-name, the chronicle of the reign of the Mughal emperor Akbar written by his biographer Abu'l Fazl. This page, which shows the birth of Amîr Tïmûr, Lord of the Astral Conjunction — and which is the work of two great painters of the imperial kitâb-khâne, Shiv Dâs and Miskïnà — ranks among the finest illustrations of this renowned manuscript. Moreover, given its peculiar subject — the birth, not of a Mughal prince or emperor, but of Amïr Tïmūr, the illustrious ancestor of the Mughal emperors — , it betrays in a very convincing way the Mughal rulers' enduring concern for dynastic and political legitimacy.Okada Amina. La Naissance de Tīmūr : une illustration inédite de l'Akbar-nāme. In: Arts asiatiques, tome 46, 1991. pp. 34-38

Un ekamukhaliṅga du Bihār au musée Guimet

Okada Amina. Un ekamukhaliṅga du Bihār au musée Guimet. In: Arts asiatiques, tome 45, 1990. pp. 145-147

Note sur un portrait moghol de la reine Anne de Danemark conservé au musée Guimet

Okada Amina. Note sur un portrait moghol de la reine Anne de Danemark conservé au musée Guimet. In: Arts asiatiques, tome 58, 2003. pp. 130-133

Mark Zebrowski, Gold, Silver and Bronze from Mughal India

Okada Amina. Mark Zebrowski, Gold, Silver and Bronze from Mughal India. In: Arts asiatiques, tome 54, 1999. pp. 170-171

Les peintres moghols et le thème de Tobie et de l'Ange

Moghul Painters and the theme of Tobias and the Angel. The Moghul painters — especially the artists at work in the reign of Emperor Akbar / 1556-1605 / — copied and adapted the European engravings brought to Moghul India by the Jesuit missionaries and as they did so, they gave prominence to certain themes which they untiringly repeated and interpreted ever more freely. One of these curiously recurrent themes is that of Tobias and the Angel to which the brush of the Moghul masters invariably lent a hybrid appearance, far removed from its initial iconographie representation but recognizable none the less. We know of several versions of these Moghul variations on the theme of Tobias and the Angel — though some have not always been identified as such — most of them painted at the end of the . 16th century. The Guimet Museum possesses two illustrations of this theme, signed by the painter-illuminator Hosein, who worked in the reign of Akbar and was schooled in the Persian tradition. Scrutiny of these two miniatures and comparison of them with other illustrations of the same period, also derived from the story of Tobias and the Archangel Raphael, show that the painters of Akbar's time, in their free adaptation of European engravings, drew as much if not more inspiration from the versions done by their fellow-artists from a European original, than from the original itself. This interplay of aesthetic correlations reveals the climate of intense emulation and fruitful exchange prevailing in the imperial painter's workshop, where the artists, eager to assess their own and each other's achievements, were constantly comparing their works.Okada Amina. Les peintres moghols et le thème de Tobie et de l'Ange. In: Arts asiatiques, tome 43, 1988. pp. 5-12

Mark Zebrowski, Gold, Silver and Bronze from Mughal India

Okada Amina. Mark Zebrowski, Gold, Silver and Bronze from Mughal India. In: Arts asiatiques, tome 54, 1999. pp. 170-171

Inde

Okada Amina. Inde. In: Arts asiatiques, tome 76, 2021. pp. 81-82

Un pichhavāī illustrant le Rāsa Maṇḍala, ou Danse de Kṛṣṇa et des Gopī, au musée Guimet

Okada Amina. Un pichhavāī illustrant le Rāsa Maṇḍala, ou Danse de Kṛṣṇa et des Gopī, au musée Guimet. In: Arts asiatiques, tome 49, 1994. pp. 121-122

Cinq dessins de Basâwan au musée Guimet

The Guimet Museum possesses five drawings by Basâwan which are rarely reproduced and consequently relatively little known by enthusiasts of Mughal miniatures. These drawings, executed about 1590 in lampblack on paper, reveal as much by their subjects as by their style, the artist's aesthetic development and the highly original and innovative character of his artistic talent. The first three drawings, Woman on a monster's head, Young woman and old man, and Allegorical figure, certainly show some of the almost unanimous infatuation aroused during the second half of the reign of the Emperor Akbar, by the chance discovery of European engravings with allegorical or religious subjects brought to India by missionaries. Basâwan, however, while readily conforming to the " exotism " then in vogue in the Imperial studio gave free rein to his imagination and adapted more than he copied the foreign prototypes that inspired him. The two other drawings, the Flute player and the Dervish reveal Basâwan's interest in and sympathy for the eccentric personages of his time and his taste for portraiture, no longer conceived as an essentially decorative and stereotyped art, but as an excellent means of capturing the subject's character. This exacting search for realism and psychological truth apparent in Basâwan's portraits under the reigns of the Emperor Jahângîr and the Emperor Shah Jahân was later to make portrait painting the expression par excellence of Mughal pictorial genius.Okada Amina. Cinq dessins de Basâwan au musée Guimet. In: Arts asiatiques, tome 41, 1986. pp. 82-88