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Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 33b

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niẓāmī Ganjavī (d.605 AH / 1209 CE) executed by Yār Muḥammad al-Haravī in 922 AH / 1516 CE. Written in four columns in black nastaʿlīq script, this manuscripts opens with a double-page decorative composition signed by ʿAbd al-Wahhāb ibn ʿAbd al-Fattāḥ ibn ʿAlī, of which this is one side. It contains 35 miniatures. Illuminated headpiece with the inscription in white ink on blue background giving the title of the book Kitāb-i Khusraw va Shīrīn. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272. An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niẓāmī Ganjavī (d.605 AH / 1209 CE) executed by Yār Muḥammad al-Haravī in 922 AH / 1516 CE. Written in four columns in black nastaʿlīq script, this manuscripts opens with a double-page decorative composition signed by ʿAbd al-Wahhāb ibn ʿAbd al-Fattāḥ ibn ʿAlī, of which this is one side. It contains 35 miniatures. Illuminated headpiece with the inscription in white ink on blue background giving the title of the book Kitāb-i Khusraw va Shīrīn. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

Dagger is old Turkish weapon

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 351b

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niẓāmī Ganjavī (d.605 AH / 1209 CE) executed by Yār Muḥammad al-Haravī in 922 AH / 1516 CE. Written in four columns in black nastaʿlīq script, this manuscripts opens with a double-page decorative composition signed by ʿAbd al-Wahhāb ibn ʿAbd al-Fattāḥ ibn ʿAlī, of which this is one side. It contains 35 miniatures. Illuminated headpiece with the inscription in white ink on blue background giving the title of the book Kitāb-i Iqbāl nāmah. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272. An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niẓāmī Ganjavī (d.605 AH / 1209 CE) executed by Yār Muḥammad al-Haravī in 922 AH / 1516 CE. Written in four columns in black nastaʿlīq script, this manuscripts opens with a double-page decorative composition signed by ʿAbd al-Wahhāb ibn ʿAbd al-Fattāḥ ibn ʿAlī, of which this is one side. It contains 35 miniatures. Illuminated headpiece with the inscription in white ink on blue background giving the title of the book Kitāb-i Iqbāl nāmah. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

Cartoon road to the mosque with a beautiful landscape

Illustration of Cartoon road to the mosque with a beautiful landscape

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 185b

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niẓāmī Ganjavī (d.605 AH / 1209 CE) executed by Yār Muḥammad al-Haravī in 922 AH / 1516 CE. Written in four columns in black nastaʿlīq script, this manuscripts opens with a double-page decorative composition signed by ʿAbd al-Wahhāb ibn ʿAbd al-Fattāḥ ibn ʿAlī, of which this is one side. It contains 35 miniatures. Illuminated headpiece with the inscription in white ink on blue background giving the title of the book Kitāb-i Haft paykar. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272. An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niẓāmī Ganjavī (d.605 AH / 1209 CE) executed by Yār Muḥammad al-Haravī in 922 AH / 1516 CE. Written in four columns in black nastaʿlīq script, this manuscripts opens with a double-page decorative composition signed by ʿAbd al-Wahhāb ibn ʿAbd al-Fattāḥ ibn ʿAlī, of which this is one side. It contains 35 miniatures. Illuminated headpiece with the inscription in white ink on blue background giving the title of the book Kitāb-i Haft paykar. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

Quran book, dried dates fruit and red rosary beads isolated on white background.

Quran book, dried dates fruit and red rosary beads isolated on white background.

Arabic lantern with burning candle and moon on dark green background. Ramadan Kareem, Raya Hari

Arabic lantern with burning candle and moon on dark green background. Ramadan Kareem, Raya Hari

Top view of beautiful decorated and served colorful food

Top view of beautiful decorated and served colorful food for iftar dinner on the white table during ramadan feast at home

Illustration of the cityscape of Istanbul

Black paper cut in mosque shape with colorful city bokeh light background.

Black paper cut in mosque shape with colorful city bokeh light background.

Eid mubarak and arabic calligraphy

Eid Mubarak with Arabic calligraphy for the celebration of Muslim community festival. Eid Mubarak with Arabic calligraphy for the celebration of Muslim community festival

Arabic Coffee with Date Fruit

Arabic Coffee with Dates Fruit isolated on white Background. Arabic Coffee with Dates Fruit isolated on white Background

Shining decorative half moon with star on blue night starry sky

Shining decorative half moon with star on blue night starry sky

Man praying in mosque

Man praying in mosque with his back to the camera

Minaret of a mosque in Tehran

Selective focus Holy Quran written arabic calligraphy meaning of Al Quran with gavel isolated on white background.

Selective focus Holy Quran written arabic calligraphy meaning of Al Quran with gavel isolated on white background.

Sheikh Zayed Grand Mosque, Abu-Dhabi, UAE

Sheikh Zayed Grand Mosque at dusk, Abu-Dhabi, UAE. Sheikh Zayed Grand Mosque at dusk, Abu-Dhabi, UAE

Illuminated Manuscript of a Gloss on a Commentary on the Koran, Illuminated opening page with a rectangular headpiece, Walters Ar

A gloss (ḥāshiyah) by Kemalpaşazade (d. 940 AH / 1533 CE) on the commentary on the Koran (Qur’an) composed by ʿAbd Allāh al-Bayḍawī (d. ca. 685 AH / 1286 CE) and entitled Anwār al-tanzīl. Transcribed in 966 AH / 1558 CE, this elegant copy was made from the author's holograph by ʿUthmān ibn Manṣūr. This is the decorated incipit page with a rectangular headpiece carrying the doxological formula (basmalah) written in white tawqīʿ script on gold background. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=2150. A gloss (ḥāshiyah) by Kemalpaşazade (d. 940 AH / 1533 CE) on the commentary on the Koran (Qur’an) composed by ʿAbd Allāh al-Bayḍawī (d. ca. 685 AH / 1286 CE) and entitled Anwār al-tanzīl. Transcribed in 966 AH / 1558 CE, this elegant copy was made from the author's holograph by ʿUthmān ibn Manṣūr. This is the decorated incipit page with a rectangular headpiece carrying the doxological formula (basmalah) written in white tawqīʿ script on gold background. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=2150

Mevlana museum mosque in Konya, Turkey

Mevlana museum mosque in Konya background, Turkey. Mevlana museum mosque in Konya background, Turkey

Hazrati Imam Complex Main Mosque Tashkent, Uzbekistan

Back View on the Hazrati Imam Complex Main Mosque Tashkent, Uzbekistan

Ornamental Arabic lantern with burning candle and moon on dark blue background. Ramadan Kareem

Ornamental Arabic lantern with burning candle and moon on dark blue background. Ramadan Kareem

Mosque tall minaret, Tehran, Iran

Illuminated Manuscript, Poem (masnavi), Walters Art Museum Ms. W.642, fol. 2a

This is a copy of the well-known poem (mas̱navī) Subḥat al-abrār ('The Rosary of the Righteous') by Nūr al-Dīn ʿAbd al-Raḥmān ibn Aḥmad Jāmī (d. 898 AH / 1492 CE). Penned in nastaʿlīq script by Ḥaydar al-Ḥusaynī in 965 AH / 1557-8 CE, the codex opens with an illuminated double-page inscribed with the title and author's name. The text area of later pages are framed by decorated borders and gold-sprinkled margins. The binding is contemporary with the textblock. The left side of an illuminated double-page incipit with the top panel inscribed with the author's name in white tawqīʿ/riqāʿ script on gold background. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=6402. This is a copy of the well-known poem (mas̱navī) Subḥat al-abrār ('The Rosary of the Righteous') by Nūr al-Dīn ʿAbd al-Raḥmān ibn Aḥmad Jāmī (d. 898 AH / 1492 CE). Penned in nastaʿlīq script by Ḥaydar al-Ḥusaynī in 965 AH / 1557-8 CE, the codex opens with an illuminated double-page inscribed with the title and author's name. The text area of later pages are framed by decorated borders and gold-sprinkled margins. The binding is contemporary with the textblock. The left side of an illuminated double-page incipit with the top panel inscribed with the author's name in white tawqīʿ/riqāʿ script on gold background. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=6402

Ramadan Kareem Greeting Card with Golden Mosque and Crescent Moon on Blue Paper Cut Background

Ramadan Kareem Greeting Card with Golden Mosque and Crescent Moon on Blue Paper Cut Background

Arabic lantern with burning candle and moon on dark green background. Ramadan Kareem, Raya Hari

Arabic lantern with burning candle and moon on dark green background. Ramadan Kareem, Raya Hari

Moroccan interior with variety of spices on shelves

Moroccan interior with variety of spices on shelves and herbal tea in the middle of the room

Minarets of an old mosque. Minarets of an old mosque

Photo taken in Lebanon 2010. Photo taken in Lebanon 2010

Mandala seamless pattern. Floral ethnic abstract

Mandala seamless pattern. Floral ethnic abstract

Ornamental Arabic lantern with burning candle and moon on dark blue background. Ramadan Kareem

Ornamental Arabic lantern with burning candle and moon on dark blue background. Ramadan Kareem

Gospel Book, Original treasure binding, Walters Manuscript W.540, Upper board outside

Upper and lower boards made of wood and covered with goatskin, with a rectangular goatskin flap attached to the lower board to protect the fore-edge; two silver plaques have been attached to the upper and lower boards and are joined across the spine through use of 3 sets of 5 silver chains; upper-board silver plaque depicts the Adoration of the Magi in a central, rectangular field, with the figures and decorative elements in repoussé and gilded, with carefully incised details and blue, green, and yellow enamel employed for spatial and decorative effects; outer border is filled with grape-cluster motifs within a green-enamel background and semi-precious gems in the shape of rosettes and crosses; lower-board silver plaque incorporates the same decorative elements and design as the upper-board, but the central scene depicts the Ascension of Christ, with the heavenly background filled in with a marbled white enamel and the earthly background below in blue; inner boards lined with blue linen. This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back. Upper and lower boards made of wood and covered with goatskin, with a rectangular goatskin flap attached to the lower board to protect the fore-edge; two silver plaques have been attached to the upper and lower boards and are joined across the spine through use of 3 sets of 5 silver chains; upper-board silver plaque depicts the Adoration of the Magi in a central, rectangular field, with the figures and decorative elements in repoussé and gilded, with carefully incised details and blue, green, and yellow enamel employed for spatial and decorative effects; outer border is filled with grape-cluster motifs within a green-enamel background and semi-precious gems in the shape of rosettes and crosses; lower-board silver plaque incorporates the same decorative elements and design as the upper-board, but the central scene depicts the Ascension of Christ, with the heavenly background filled in with a marbled white enamel and the earthly background below in blue; inner boards lined with blue linen. This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.

Illustration of the cityscape of istanbul

Rug made of flowers for a catholic procession. Rug made of flowers for a catholic procession

Gospel Book, Original treasure binding, Walters Manuscript W.540, Lower board outside

Upper and lower boards made of wood and covered with goatskin, with a rectangular goatskin flap attached to the lower board to protect the fore-edge; two silver plaques have been attached to the upper and lower boards and are joined across the spine through use of 3 sets of 5 silver chains; upper-board silver plaque depicts the Adoration of the Magi in a central, rectangular field, with the figures and decorative elements in repoussé and gilded, with carefully incised details and blue, green, and yellow enamel employed for spatial and decorative effects; outer border is filled with grape-cluster motifs within a green-enamel background and semi-precious gems in the shape of rosettes and crosses; lower-board silver plaque incorporates the same decorative elements and design as the upper-board, but the central scene depicts the Ascension of Christ, with the heavenly background filled in with a marbled white enamel and the earthly background below in blue; inner boards lined with blue linen. This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back. Upper and lower boards made of wood and covered with goatskin, with a rectangular goatskin flap attached to the lower board to protect the fore-edge; two silver plaques have been attached to the upper and lower boards and are joined across the spine through use of 3 sets of 5 silver chains; upper-board silver plaque depicts the Adoration of the Magi in a central, rectangular field, with the figures and decorative elements in repoussé and gilded, with carefully incised details and blue, green, and yellow enamel employed for spatial and decorative effects; outer border is filled with grape-cluster motifs within a green-enamel background and semi-precious gems in the shape of rosettes and crosses; lower-board silver plaque incorporates the same decorative elements and design as the upper-board, but the central scene depicts the Ascension of Christ, with the heavenly background filled in with a marbled white enamel and the earthly background below in blue; inner boards lined with blue linen. This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.

Illustration of the cityscape of Istanbul

Tajmahal in India.one of wonder in the world

Seamless vector tulip floral pattern

Seamless vector black and white tulip floral pattern. Seamless vector black and white tulip floral pattern

Muslim Female Friends looking at a laptop together

Muslim Female Friends looking at a laptop together. Outdoor shoot.

Valentine branch wallpaper includes love leaf. Valentine branch wallpaper includes love leaf

Mirror reflection of beautiful mosque during sunrise.

Mirror reflection of beautiful mosque during sunrise.

Beautiful Elegant Ramadan Kareem Lantern or Fanous

Beautiful Elegant Ramadan Kareem Lantern or Fanous

Black cityscape of Istanbul, Turkey

Muslim lamp with candle on table blurred fairy lights. Fanous as Ramadan symbol

Muslim lamp with candle on table against blurred fairy lights. Fanous as Ramadan symbol

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 2a

The second half of a beautifully illuminated double-page decoration containing two small medallions with inscription in white on blue background giving the name of the illuminator. The second half of a beautifully illuminated double-page decoration containing two small medallions with inscription in white on blue background giving the name of the illuminator.

Al Mawlid Al Nabawi Charif vector. Islamic Greeting Illustration design. Islmaic Typography in blue and gold color.

Al Mawlid Al Nabawi Charif vector. Islamic Greeting Illustration design. Islmaic Typography in blue and gold color.

Mandala seamless pattern. Floral ethnic abstract

Mandala seamless pattern. Floral ethnic abstract

Illuminated Manuscript, Poem (masnavi), Walters Art Museum Ms. W.642, fol. 1a

This is a copy of the well-known poem (mas̱navī) Subḥat al-abrār ('The Rosary of the Righteous') by Nūr al-Dīn ʿAbd al-Raḥmān ibn Aḥmad Jāmī (d. 898 AH / 1492 CE). Penned in nastaʿlīq script by Ḥaydar al-Ḥusaynī in 965 AH / 1557-8 CE, the codex opens with an illuminated double-page inscribed with the title and author's name. The text area of later pages are framed by decorated borders and gold-sprinkled margins. The binding is contemporary with the textblock. The right side of an illuminated double-page incipit with the top panel inscribed with the title of the poem in white tawqīʿ/riqāʿ script on gold background. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=6402. This is a copy of the well-known poem (mas̱navī) Subḥat al-abrār ('The Rosary of the Righteous') by Nūr al-Dīn ʿAbd al-Raḥmān ibn Aḥmad Jāmī (d. 898 AH / 1492 CE). Penned in nastaʿlīq script by Ḥaydar al-Ḥusaynī in 965 AH / 1557-8 CE, the codex opens with an illuminated double-page inscribed with the title and author's name. The text area of later pages are framed by decorated borders and gold-sprinkled margins. The binding is contemporary with the textblock. The right side of an illuminated double-page incipit with the top panel inscribed with the title of the poem in white tawqīʿ/riqāʿ script on gold background. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=6402

Muslim mosque on blue sky

Kazakh muslim orthodox islamic mosque. Kazakh muslim orthodox islamic mosque

Illuminated Manuscript Koran, Left side of a double-page opening with verses of the first chapter (Sūrat al-fātiḥah&#x29

An illuminated large size copy of the Koran (Qur'an) produced in the 11th century AH / 17th CE in Iran. Apart from using a number of scripts, such as naskh, muḥaqqaq and tawqīʿ, this codex features six pairs of decorated pages, two illuminated headpieces, as well as illuminated chapter headings, cloud-bands, and marginal decoration. The black morocco binding has a central piece in the form of a diamond with pendants on four sides. The inner covers, having a traditional dentelle decoration, features text from the "the verse of the throne" (āyat al-kursī), which is inscribed in the outer frame. The left side of a double-page opening decoration containing the text of the first chapter (Sūrat al-fātiḥah) inscribed in the center medallion in gold muḥaqqaq script on a blue background. An illuminated large size copy of the Koran (Qur'an) produced in the 11th century AH / 17th CE in Iran. Apart from using a number of scripts, such as naskh, muḥaqqaq and tawqīʿ, this codex features six pairs of decorated pages, two illuminated headpieces, as well as illuminated chapter headings, cloud-bands, and marginal decoration. The black morocco binding has a central piece in the form of a diamond with pendants on four sides. The inner covers, having a traditional dentelle decoration, features text from the "the verse of the throne" (āyat al-kursī), which is inscribed in the outer frame. The left side of a double-page opening decoration containing the text of the first chapter (Sūrat al-fātiḥah) inscribed in the center medallion in gold muḥaqqaq script on a blue background.

Holidays cookies Maamoul - Arab dessert. Ramadan food.

Holidays cookies Maamoul - Arab dessert usually made a few days before Eid al-Fitr, Easter, and Purim Holidays. Holidays cookies Maamoul - Arab dessert usually made a few days before Eid al-Fitr, Easter, and Purim Holidays.

muslim style's lantern shining

lighting with colors on muslim style's lantern shining

Illuminated Manuscript Koran, The right side of a double-page opening inscribed with verses of the first chapter (Sūrat al-

An illuminated large size copy of the Koran (Qur'an) produced in the 11th century AH / 17th CE in Iran. Apart from using a number of scripts, such as naskh, muḥaqqaq and tawqīʿ, this codex features six pairs of decorated pages, two illuminated headpieces, as well as illuminated chapter headings, cloud-bands, and marginal decoration. The black morocco binding has a central piece in the form of a diamond with pendants on four sides. The inner covers, having a traditional dentelle decoration, features text from the "the verse of the throne" (āyat al-kursī), which is inscribed in the outer frame. The right side of a double-page opening decoration containing the text of the first chapter (Sūrat al-fātiḥah) inscribed in the center medallion in gold muḥaqqaq script on a blue background. An illuminated large size copy of the Koran (Qur'an) produced in the 11th century AH / 17th CE in Iran. Apart from using a number of scripts, such as naskh, muḥaqqaq and tawqīʿ, this codex features six pairs of decorated pages, two illuminated headpieces, as well as illuminated chapter headings, cloud-bands, and marginal decoration. The black morocco binding has a central piece in the form of a diamond with pendants on four sides. The inner covers, having a traditional dentelle decoration, features text from the "the verse of the throne" (āyat al-kursī), which is inscribed in the outer frame. The right side of a double-page opening decoration containing the text of the first chapter (Sūrat al-fātiḥah) inscribed in the center medallion in gold muḥaqqaq script on a blue background.

Arabic Coffee with Date Fruit and The Holy Quran

Arabic Coffee with Dates Fruit and the Holy Quran isolated on white Background. Arabic Coffee with Dates Fruit and the Holy Quran isolated on white Background

Ornamental Arabic lantern with burning candle and moon on dark blue background. Ramadan Kareem

Ornamental Arabic lantern with burning candle and moon on dark blue background. Ramadan Kareem

Coloured arabian ornamental carvings

An Islamic art of Arabic lettersanceient coloured arabian decorative ornamental carvings on a wall. An Islamic art of Arabic lettersanceient coloured arabian decorative ornamental carvings on a wall

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 257b

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niẓāmī Ganjavī (d.605 AH / 1209 CE) executed by Yār Muḥammad al-Haravī in 922 AH / 1516 CE. Written in four columns in black nastaʿlīq script, this manuscripts opens with a double-page decorative composition signed by ʿAbd al-Wahhāb ibn ʿAbd al-Fattāḥ ibn ʿAlī, of which this is one side. It contains 35 miniatures. Illuminated headpiece with the inscription in white ink on blue background giving the title of the book Kitāb-i Iskandar nāmah. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272. An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niẓāmī Ganjavī (d.605 AH / 1209 CE) executed by Yār Muḥammad al-Haravī in 922 AH / 1516 CE. Written in four columns in black nastaʿlīq script, this manuscripts opens with a double-page decorative composition signed by ʿAbd al-Wahhāb ibn ʿAbd al-Fattāḥ ibn ʿAlī, of which this is one side. It contains 35 miniatures. Illuminated headpiece with the inscription in white ink on blue background giving the title of the book Kitāb-i Iskandar nāmah. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

Silhouette of a mosque at sunrise

Silhouette of a mosque at sunrise

lighting with colors on muslim style's lantern

lighting with colors on muslim style's lantern shining

Al Mawlid Al Nabawi Charif vector. Islamic Greeting Illustration design. Islmaic Typography in blue and gold color.

Al Mawlid Al Nabawi Charif vector. Islamic Greeting Illustration design. Islmaic Typography in blue and gold color.

Glamour portrait of a young beauty woman. Glamour portrait of a young beauty woman

Putra mosque during morning sunrise, the most famous tourist attraction in Malaysia

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