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Simple spiral drawings that form five point star

Simple spiral drawings that form five point star

Marking of the fingers, such as one, two, three, four, five.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 4b

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. The Prophet Muhammad is depicted ascending on Buraq led by the angel Gabriel. 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. The Prophet Muhammad is depicted ascending on Buraq led by the angel Gabriel. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five point Star Union Logo infinity vector. Teamwo

Home of the five towers

Home of the five towers, Spain square, Cadiz

Several bullets

Studio shot of several 9mm hollow point bullets on white background. Studio shot of several 9mm hollow point bullets on white background

Hollow point bullets

A group of hollow point bullets

Five-Point Colorful Cartoon Star Collection For Flash Video Game Rewards , Bonuses And Stickers

Five-Point Colorful Cartoon Star Collection For Flash Video Game Rewards , Bonuses And Stickers

Five-Point Colorful Cartoon Star Set For Flash Video Game Rewards , Bonuses And Stickers

Five-Point Colorful Cartoon Star Set For Flash Video Game Rewards , Bonuses And Stickers

Five dices in straight order from left to right isolated on white background

Five point Star Union Logo Looped infinity vector.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 93a

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 and Shīrīn in the palace. 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 and Shīrīn in the palace. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 110a

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. Shīrūyah stabbing Khusraw, his father. 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. Shīrūyah stabbing Khusraw, his father. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Red Ball-point pen and notepad

Notepad with numbers written on it, and a red ball-point pen in white background. Notepad with numbers written on it, and a red ball-point pen in white background.

Counting hands from one to five, isolated on white background

Black-tailed Deer Stag

A five-point buck stag Black-tailed Deer on green meadow facing the camera with a background of green shrubs. A five-point buck stag Black-tailed Deer on green meadow facing the camera with a background of green shrubs.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 68a

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 and Shīrīn sit enthroned. 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 and Shīrīn sit enthroned. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 193b

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 fighting 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 fighting the Zanghis. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five red cube to play.

Five red cube to play on a glass table. Five red cube to play on a glass table

Five-Point Colorful Cartoon Star Set For Flash Video Game Rewards , Bonuses And Stickers

Five-Point Colorful Cartoon Star Set For Flash Video Game Rewards , Bonuses And Stickers

Star Line Icon. Five Point Favourite Favorite Rating Rate Christmas Bookmark Black White Graphic Clipart Vector EPS Shape

Number five on the start of a running track

Number five on the start of a running track for background used

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 168a

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 white 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 white pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 154a

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 yellow 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 yellow pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five-point star icon. White background. Vector illustration.

Young man appreciates the service on a five-point scale. A five star rating. Concept on the topic of benchmarking

Young man appreciates the service on a five-point scale. A five star rating. Concept on the topic of benchmarking

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 119b

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. This illuminated incipit page with headpiece begins the Haft paykar. 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. This illuminated incipit page with headpiece begins the Haft paykar. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Birthday background five years

Birthday green background with cake,five years. Birthday green background with cake,five years

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 15a

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. Riding through a ruined village, the Sasanian Nūshirvān and his Prime Minster Dastūr see two owls talking. 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. Riding through a ruined village, the Sasanian Nūshirvān and his Prime Minster Dastūr see two owls talking. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 145b

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 black 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 black pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 258b

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 in search of the fountain of life passes by a cave, before which sit the prophets Khiḍr and Ilyās. 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 in search of the fountain of life passes by a cave, before which sit the prophets Khiḍr and Ilyās. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

The Jianmen is located at Qianmen. It's a very famous view point of Beijing. Chinese people built is in Min dynasty. It is five hundred and seventy years old. The Jianmen is located at Qianmen. It's a very famous view point of Beijing. Chinese people built is in Min dynasty. It is five hundred and seventy years old.

Five twisted arrows

Illustration with orange twisted arrows on white. Illustration with orange twisted arrows on white

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

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 104b

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. The reconciliation of Khusraw and Shīrīn. 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. The reconciliation of Khusraw and Shīrīn. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 1b

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. This is the right side of a double-page illuminated opening for the first poem Kitāb-i Makhzan-i asrār. 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. This is the right side of a double-page illuminated opening for the first poem Kitāb-i Makhzan-i asrār. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

The Jianmen is located at Qianmen. It's a very famous view point of Beijing. Chinese people built is in Min dynasty. It is five hundred and seventy years old. The Jianmen is located at Qianmen. It's a very famous view point of Beijing. Chinese people built is in Min dynasty. It is five hundred and seventy years old.

Five dices stacked in ordered tilt tower isolated on white background. Five dices stacked in ordered tilt tower isolated on white background

Five green leaves on one stem, isolated on white. Five green leaves on one stem, isolated on white

Five mouses, isolated on white, clipping path included

Stars Vector Icons Set Flat Single Color Solid and Outlines

Stars Vector Icons Set Flat Single Color Solid and Outlines

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 33b

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. This illuminated incipit page introduces the story of Khusraw va Shīrīn. 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. This illuminated incipit page introduces the story of Khusraw va Shīrīn. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five point star

Five point star

Home of the five towers

Home of the five towers, Spain square, Cadiz

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 268b

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. Aristotle (Arisṭū) teaching his students. 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. Aristotle (Arisṭū) teaching his students. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Green leave on a black background. Green leave on a black background

Five Point Green Leaf isolated on white background

Five Point Green Leaf isolated on white background

Counting hands, from one to five, isolated on white background, no shadow

Five red cube to play.

Five red cube to play on a glass table. Five red cube to play on a glass table

Five red cube to play.

Five red cube to play on a glas table. Five red cube to play on a glas table.

Star Icon Five Point 5 Christmas Success Achieve Achievement Blank Empty Rate Favorite Favourite Shape Sign Symbol EPS Vector

The Jianmen is located at Qianmen. It's a very famous view point of Beijing. Chinese people built is in Min dynasty. It is five hundred and seventy years old. The Jianmen is located at Qianmen. It's a very famous view point of Beijing. Chinese people built is in Min dynasty. It is five hundred and seventy years old.

The Jianmen is located at Qianmen. It's a very famous view point of Beijing. Chinese people built is in Min dynasty. It is five hundred and seventy years old. The Jianmen is located at Qianmen. It's a very famous view point of Beijing. Chinese people built is in Min dynasty. It is five hundred and seventy years old.

Five-point Star Isolated

Five-point Star Isolated

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 2a

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. This is the left side of an illuminated double-page opening initiating the poem Makhzan-i asrār. 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. This is the left side of an illuminated double-page opening initiating the poem Makhzan-i asrār. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 29b

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. At a court gathering an old woman speaks with a confidant of King Jamshīd. 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. At a court gathering an old woman speaks with a confidant of King Jamshīd. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five point stars collection

Five point stars collection

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 160a

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 blue 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 blue pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Dice perspective

Perspective with five dice on green surface.Selective focus on the first die. Perspective with five dice on green surface.Selective focus on the first die.

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 261b

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. This illuminated incipit page introduces the Iqbālnāmah, which is the second 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. This illuminated incipit page introduces the Iqbālnāmah, which is the second part of Iskandarnāmah. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

The Jianmen is a part of (The Front Gate)Qianmen. It's a very famous view point of Beijing. Chinese people built is in Min dynasty. It is five hundred and seventy years old.

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