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FALSE written with wooden blocks

FALSE written with wooden blocks

Gene Cloning. Plasmids and Recombinant DNA.

Gene Cloning. Plasmids and Recombinant DNA.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 197b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Iskandar’s victory over the Zanghis. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Iskandar’s victory over the Zanghis. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

File copy ink stamp

File copy ink stamp

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 17a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. An old woman approaches the throne of Sultan Sanjar to tell of her oppression. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. An old woman approaches the throne of Sultan Sanjar to tell of her oppression. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Rubber Stamps 2

Rubber Stamps 2

Toy Worker 12

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 86a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Khusraw announcing his marriage to Shakar. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Khusraw announcing his marriage to Shakar. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Digital Compact Discs

Digital Compact Discs

Retail store empty selves rack section

Retail store empty selves rack section

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 78b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Farhād carves a picture of his beloved Shīrīn in the rock. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Farhād carves a picture of his beloved Shīrīn in the rock. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Classic alphabet with modern long shadow effect

Classic alphabet with modern long shadow effect

Sunny View Buddha Expression_eps

Sunny View Buddha Expression_eps

Five poems (quintet), Tayyib and Tahir at a party with their rescuers in European attire, Walters Manuscript W.666, fol.

This is an illuminated and illustrated copy of the Ḫamse (quintet) of the Ottoman Turkish poet and scholar ʿAṭāʾullāh bin Yaḥyá ʿAṭāʾī (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niẓāmī Ganjavī (d. 605 AH / 1209 CE) and the Khamsah of Amīr Khusraw Dihlavī (d. 725 AH / 1325 CE). This Ottoman copy of ʿAṭāʾī's work ends with a portion of his Dīvān (fols. 142b-151b) instead of the fifth poem (mesnevi), Ḥilyet ül-efkār. The text, written in nastaʿlīq script, was copied by Ḫeyrullah Ḫeyrī Çāvuşzade in 1133 AH / 1721 CE. There are thirty-eight illustrations, and illuminated incipits introduce the different poems (fols. 1b, 22b, 63b, 107b, and 142b). The brown leather binding is original to the manuscript. This is an illuminated and illustrated copy of the Ḫamse (quintet) of the Ottoman Turkish poet and scholar ʿAṭāʾullāh bin Yaḥyá ʿAṭāʾī (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niẓāmī Ganjavī (d. 605 AH / 1209 CE) and the Khamsah of Amīr Khusraw Dihlavī (d. 725 AH / 1325 CE). This Ottoman copy of ʿAṭāʾī's work ends with a portion of his Dīvān (fols. 142b-151b) instead of the fifth poem (mesnevi), Ḥilyet ül-efkār. The text, written in nastaʿlīq script, was copied by Ḫeyrullah Ḫeyrī Çāvuşzade in 1133 AH / 1721 CE. There are thirty-eight illustrations, and illuminated incipits introduce the different poems (fols. 1b, 22b, 63b, 107b, and 142b). The brown leather binding is original to the manuscript.

Secrete Safe (Don t tell anyone..)

Secrete Safe (Don t tell anyone..)

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 180b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Incipit page with an illuminated headpiece introducing Sharafnāmah (the first part of Iskandarnāmah). See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Incipit page with an illuminated headpiece introducing Sharafnāmah (the first part of Iskandarnāmah). See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Toy Worker

Red rose

Classic alphabet with modern long shadow effect

Classic alphabet with modern long shadow effect

Michael Jackson smooth criminal performer

Michael Jackson smooth criminal performer

Face to face

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 165a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Bahrām Gūr in the sandal-wood pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niẓāmī Ganjavī (d.605 AH / 1209 CE). It does not include Laylá va Majnūn. The text was copied by a certain Yādkār the Calligrapher (al-Kātib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscript’s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting Bahrām Gūr hunting and Khusraw watching Shīrīn bathing. Bahrām Gūr in the sandal-wood pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

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