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Collection of poems (divan), á¸¤Äfiáº“ at the court of Sultan GhiyÄsÌ± al-DÄ«n, Walters Manuscript W.636, fol. 101b

An illustrated copy of the collection of poems (DÄ«vÄn) by Shams al-DÄ«n Muá¸¥ammad á¸¤Äfiz al-ShÄ«rÄzÄ« who flourished in the 7th AH / 14th CE century. The present codex was copied by MullÄ Muá¸¥ammad QÄsim HamadÄnÄ« in 1210 AH /1796 CE in India and contains 48 miniatures. An illustrated copy of the collection of poems (DÄ«vÄn) by Shams al-DÄ«n Muá¸¥ammad á¸¤Äfiz al-ShÄ«rÄzÄ« who flourished in the 7th AH / 14th CE century. The present codex was copied by MullÄ Muá¸¥ammad QÄsim HamadÄnÄ« in 1210 AH /1796 CE in India and contains 48 miniatures.

Illuminated Manuscript Collected works (Kulliyat), Walters Art Museum Ms. 617, fol. 328a

An illuminated and illustrated copy of the collected works of Sa`di (d.691/1292) (KullÄ«yÄt-i SaÊ¿dÄ«) containing, among others, his GulistÄn and BustÄn. The present manuscript was penned by an anonymous calligrapher in Shiraz (Iran) in 934 AH / 1527 CE. A couple in the garden being served wine. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=22469. An illuminated and illustrated copy of the collected works of Sa`di (d.691/1292) (KullÄ«yÄt-i SaÊ¿dÄ«) containing, among others, his GulistÄn and BustÄn. The present manuscript was penned by an anonymous calligrapher in Shiraz (Iran) in 934 AH / 1527 CE. A couple in the garden being served wine. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=22469

Illuminated Manuscript, Book of Hours, Decorated Initial, Walters Art Museum Ms. W.165, fol. 131r

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. Office of the Dead. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. Office of the Dead.

Collection of poems (divan), á¸¤Äfiáº“ taken by the beauty of a young woman, Walters Manuscript W.636, fol. 141a

An illustrated copy of the collection of poems (DÄ«vÄn) by Shams al-DÄ«n Muá¸¥ammad á¸¤Äfiz al-ShÄ«rÄzÄ« who flourished in the 7th AH / 14th CE century. The present codex was copied by MullÄ Muá¸¥ammad QÄsim HamadÄnÄ« in 1210 AH /1796 CE in India and contains 48 miniatures. An illustrated copy of the collection of poems (DÄ«vÄn) by Shams al-DÄ«n Muá¸¥ammad á¸¤Äfiz al-ShÄ«rÄzÄ« who flourished in the 7th AH / 14th CE century. The present codex was copied by MullÄ Muá¸¥ammad QÄsim HamadÄnÄ« in 1210 AH /1796 CE in India and contains 48 miniatures.

Illuminated Manuscript, Book of Hours, St. Catherine, Walters Art Museum Ms. W.165, fol. 123v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage.

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 Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) 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 manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. FarhÄd carves a picture of his beloved ShÄ«rÄ«n 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 Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) 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 manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. FarhÄd carves a picture of his beloved ShÄ«rÄ«n in the rock. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 111b

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures.ShÄ«rÅ«yah stabbing Khusraw, his father. 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 Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures.ShÄ«rÅ«yah stabbing Khusraw, his father. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 144b

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. Nawfal, MajnÅ«nâ€™s friend, fighting with LaylÃ¡â€™s tribe. 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 Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. Nawfal, MajnÅ«nâ€™s friend, fighting with LaylÃ¡â€™s tribe. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

Illuminated Manuscript of Five Poems (Quintet), Walters Art Museum Ms. W.605, fol. 277a

An elegant copy of the "Quintet" (Khamsah) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) penned by AbÅ« Bakr ShÄh ibn á¸¤asan ibn Ê¿AlÄ« al-ShahrastÄnÄ« and illuminated by JamÄl al-DÄ«n ibn Muá¸¥ammad al-á¹¢iddÄ«qÄ« al-Iá¹£fahÄnÄ« between 892 AH / 1486 CE and 900 AH / 1494-05 CE. The page depicts Khusraw asking pardon from ShÄ«rÄ«n. An elegant copy of the "Quintet" (Khamsah) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) penned by AbÅ« Bakr ShÄh ibn á¸¤asan ibn Ê¿AlÄ« al-ShahrastÄnÄ« and illuminated by JamÄl al-DÄ«n ibn Muá¸¥ammad al-á¹¢iddÄ«qÄ« al-Iá¹£fahÄnÄ« between 892 AH / 1486 CE and 900 AH / 1494-05 CE. The page depicts Khusraw asking pardon from ShÄ«rÄ«n.

The garden party from Collection of poems (divan), Walters Art Museum Ms. W.631, fol.150b

An anonymous decorated and illustrated copy of the collection of poems (DÄ«vÄn) by Shams al-DÄ«n Muá¸¥ammad á¸¤Äfiz al-ShÄ«rÄzÄ« who flourished in the 7th AH / 14th CE century. The present copy, containing four miniatures, was penned in an elegant nastaÊ¿lÄ«q hand in 946 AH / 1539 CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=19560. An anonymous decorated and illustrated copy of the collection of poems (DÄ«vÄn) by Shams al-DÄ«n Muá¸¥ammad á¸¤Äfiz al-ShÄ«rÄzÄ« who flourished in the 7th AH / 14th CE century. The present copy, containing four miniatures, was penned in an elegant nastaÊ¿lÄ«q hand in 946 AH / 1539 CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=19560

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 106a

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. Khusraw and ShÄ«rÄ«n in their wedding chamber (smudged). The inscription on the right reads al-sulá¹Än al-Ê¿Ädil. 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 Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. Khusraw and ShÄ«rÄ«n in their wedding chamber (smudged). The inscription on the right reads al-sulá¹Än al-Ê¿Ädil. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

Collection of poems (divan), á¸¤Äfiáº“ and a tavern keeper, Walters Manuscript W.636, fol. 95b

An illustrated copy of the collection of poems (DÄ«vÄn) by Shams al-DÄ«n Muá¸¥ammad á¸¤Äfiz al-ShÄ«rÄzÄ« who flourished in the 7th AH / 14th CE century. The present codex was copied by MullÄ Muá¸¥ammad QÄsim HamadÄnÄ« in 1210 AH /1796 CE in India and contains 48 miniatures. An illustrated copy of the collection of poems (DÄ«vÄn) by Shams al-DÄ«n Muá¸¥ammad á¸¤Äfiz al-ShÄ«rÄzÄ« who flourished in the 7th AH / 14th CE century. The present codex was copied by MullÄ Muá¸¥ammad QÄsim HamadÄnÄ« in 1210 AH /1796 CE in India and contains 48 miniatures.

Collection of poems (divan), á¸¤Äfiáº“ at a party with his friends, Walters Manuscript W.636, fol. 78b

An illustrated copy of the collection of poems (DÄ«vÄn) by Shams al-DÄ«n Muá¸¥ammad á¸¤Äfiz al-ShÄ«rÄzÄ« who flourished in the 7th AH / 14th CE century. The present codex was copied by MullÄ Muá¸¥ammad QÄsim HamadÄnÄ« in 1210 AH /1796 CE in India and contains 48 miniatures. An illustrated copy of the collection of poems (DÄ«vÄn) by Shams al-DÄ«n Muá¸¥ammad á¸¤Äfiz al-ShÄ«rÄzÄ« who flourished in the 7th AH / 14th CE century. The present codex was copied by MullÄ Muá¸¥ammad QÄsim HamadÄnÄ« in 1210 AH /1796 CE in India and contains 48 miniatures.

Illuminated Manuscript Collected works (Kulliyat), Walters Art Museum Ms. 617, fol. 32b

An illuminated and illustrated copy of the collected works of Sa`di (d.691/1292) (KullÄ«yÄt-i SaÊ¿dÄ«) containing, among others, his GulistÄn and BustÄn. The present manuscript was penned by an anonymous calligrapher in Shiraz (Iran) in 934 AH / 1527 CE. Illuminated incipit page of KitÄb-i GulistÄn in white ink. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=22469. An illuminated and illustrated copy of the collected works of Sa`di (d.691/1292) (KullÄ«yÄt-i SaÊ¿dÄ«) containing, among others, his GulistÄn and BustÄn. The present manuscript was penned by an anonymous calligrapher in Shiraz (Iran) in 934 AH / 1527 CE. Illuminated incipit page of KitÄb-i GulistÄn in white ink. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=22469

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 213b

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. The folio represents BahrÄm GÅ«r in the green pavilion. 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 Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. The folio represents BahrÄm GÅ«r in the green pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 88b

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures.Khusraw coming on horseback to visit ShÄ«rÄ«n. 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 Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures.Khusraw coming on horseback to visit ShÄ«rÄ«n. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

Illuminated Manuscript of Five Poems (Quintet), Walters Art Museum Ms. W.605, fol. 257a

An elegant copy of the "Quintet" (Khamsah) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) penned by AbÅ« Bakr ShÄh ibn á¸¤asan ibn Ê¿AlÄ« al-ShahrastÄnÄ« and illuminated by JamÄl al-DÄ«n ibn Muá¸¥ammad al-á¹¢iddÄ«qÄ« al-Iá¹£fahÄnÄ« between 892 AH / 1486 CE and 900 AH / 1494-05 CE. The present codex, opening with a double-page decoration and the inscription giving the name of the author and the title of the work,contains four additional illuminated headpieces with the names of the individual books and 26 repainted miniatures. The page depicts BahrÄm GÅ«r killing a dragon. An elegant copy of the "Quintet" (Khamsah) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) penned by AbÅ« Bakr ShÄh ibn á¸¤asan ibn Ê¿AlÄ« al-ShahrastÄnÄ« and illuminated by JamÄl al-DÄ«n ibn Muá¸¥ammad al-á¹¢iddÄ«qÄ« al-Iá¹£fahÄnÄ« between 892 AH / 1486 CE and 900 AH / 1494-05 CE. The present codex, opening with a double-page decoration and the inscription giving the name of the author and the title of the work,contains four additional illuminated headpieces with the names of the individual books and 26 repainted miniatures. The page depicts BahrÄm GÅ«r killing a dragon.

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 Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) 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 manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. This is the right side of a double-page illuminated opening for the first poem KitÄb-i Makhzan-i asrÄr. 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 Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) 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 manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. This is the right side of a double-page illuminated opening for the first poem KitÄb-i Makhzan-i asrÄr. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Incipit page with illuminated headpiece, Walters Manuscript W.666, fol. 22b

This is an illuminated and illustrated copy of the á¸ªamse (quintet) of the Ottoman Turkish poet and scholar Ê¿Aá¹ÄÊ¾ullÄh bin Yaá¸¥yÃ¡ Ê¿Aá¹ÄÊ¾Ä« (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niáº“ÄmÄ« GanjavÄ« (d. 605 AH / 1209 CE) and the Khamsah of AmÄ«r Khusraw DihlavÄ« (d. 725 AH / 1325 CE). This Ottoman copy of Ê¿Aá¹ÄÊ¾Ä«'s work ends with a portion of his DÄ«vÄn (fols. 142b-151b) instead of the fifth poem (mesnevi), á¸¤ilyet Ã¼l-efkÄr. The text, written in nastaÊ¿lÄ«q script, was copied by á¸ªeyrullah á¸ªeyrÄ« Ã‡ÄvuÅŸzade 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 á¸ªamse (quintet) of the Ottoman Turkish poet and scholar Ê¿Aá¹ÄÊ¾ullÄh bin Yaá¸¥yÃ¡ Ê¿Aá¹ÄÊ¾Ä« (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niáº“ÄmÄ« GanjavÄ« (d. 605 AH / 1209 CE) and the Khamsah of AmÄ«r Khusraw DihlavÄ« (d. 725 AH / 1325 CE). This Ottoman copy of Ê¿Aá¹ÄÊ¾Ä«'s work ends with a portion of his DÄ«vÄn (fols. 142b-151b) instead of the fifth poem (mesnevi), á¸¤ilyet Ã¼l-efkÄr. The text, written in nastaÊ¿lÄ«q script, was copied by á¸ªeyrullah á¸ªeyrÄ« Ã‡ÄvuÅŸzade 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.

Koran, Text page with marginal illumination, Walters Manuscript W.555, fol. 12b

This illuminated fragment of the Qur'an contains chapter 25 (SÅ«rat al-furqÄn), verses 21-32 and 39-78; chapter 26 (SÅ«rat al-shuÊ¿arÄÊ¾); and chapter 27 (SÅ«rat al-naml), up to verse 40. It probably dates to the late fifth century AH / eleventh CE or early sixth century AH / twelfth CE. The text is written in the New Abbasid (broken cursive) style in black ink and is vocalized with red dots and blue circles, the latter for sukÅ«n. Single verses are separated by illuminated rosettes, and groups of five verses are indicated by the letter hÄÊ¾ in the form of a teardrop in the margins. Marginal medallions are also used for larger verse groups. The black leather binding is modern. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=11860. This illuminated fragment of the Qur'an contains chapter 25 (SÅ«rat al-furqÄn), verses 21-32 and 39-78; chapter 26 (SÅ«rat al-shuÊ¿arÄÊ¾); and chapter 27 (SÅ«rat al-naml), up to verse 40. It probably dates to the late fifth century AH / eleventh CE or early sixth century AH / twelfth CE. The text is written in the New Abbasid (broken cursive) style in black ink and is vocalized with red dots and blue circles, the latter for sukÅ«n. Single verses are separated by illuminated rosettes, and groups of five verses are indicated by the letter hÄÊ¾ in the form of a teardrop in the margins. Marginal medallions are also used for larger verse groups. The black leather binding is modern. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=11860

Five poems (quintet), The poet Ê¿Aá¹ÄÊ¾Ä« talking to a learned man in a tavern, Walters Manuscript W.666, fol. 44a

This is an illuminated and illustrated copy of the á¸ªamse (quintet) of the Ottoman Turkish poet and scholar Ê¿Aá¹ÄÊ¾ullÄh bin Yaá¸¥yÃ¡ Ê¿Aá¹ÄÊ¾Ä« (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niáº“ÄmÄ« GanjavÄ« (d. 605 AH / 1209 CE) and the Khamsah of AmÄ«r Khusraw DihlavÄ« (d. 725 AH / 1325 CE). This Ottoman copy of Ê¿Aá¹ÄÊ¾Ä«'s work ends with a portion of his DÄ«vÄn (fols. 142b-151b) instead of the fifth poem (mesnevi), á¸¤ilyet Ã¼l-efkÄr. The text, written in nastaÊ¿lÄ«q script, was copied by á¸ªeyrullah á¸ªeyrÄ« Ã‡ÄvuÅŸzade 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 á¸ªamse (quintet) of the Ottoman Turkish poet and scholar Ê¿Aá¹ÄÊ¾ullÄh bin Yaá¸¥yÃ¡ Ê¿Aá¹ÄÊ¾Ä« (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niáº“ÄmÄ« GanjavÄ« (d. 605 AH / 1209 CE) and the Khamsah of AmÄ«r Khusraw DihlavÄ« (d. 725 AH / 1325 CE). This Ottoman copy of Ê¿Aá¹ÄÊ¾Ä«'s work ends with a portion of his DÄ«vÄn (fols. 142b-151b) instead of the fifth poem (mesnevi), á¸¤ilyet Ã¼l-efkÄr. The text, written in nastaÊ¿lÄ«q script, was copied by á¸ªeyrullah á¸ªeyrÄ« Ã‡ÄvuÅŸzade 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.

Five poems (quintet), Incipit page with illuminated headpiece, Walters Manuscript W.666, fol. 1b

This is an illuminated and illustrated copy of the á¸ªamse (quintet) of the Ottoman Turkish poet and scholar Ê¿Aá¹ÄÊ¾ullÄh bin Yaá¸¥yÃ¡ Ê¿Aá¹ÄÊ¾Ä« (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niáº“ÄmÄ« GanjavÄ« (d. 605 AH / 1209 CE) and the Khamsah of AmÄ«r Khusraw DihlavÄ« (d. 725 AH / 1325 CE). This Ottoman copy of Ê¿Aá¹ÄÊ¾Ä«'s work ends with a portion of his DÄ«vÄn (fols. 142b-151b) instead of the fifth poem (mesnevi), á¸¤ilyet Ã¼l-efkÄr. The text, written in nastaÊ¿lÄ«q script, was copied by á¸ªeyrullah á¸ªeyrÄ« Ã‡ÄvuÅŸzade 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 á¸ªamse (quintet) of the Ottoman Turkish poet and scholar Ê¿Aá¹ÄÊ¾ullÄh bin Yaá¸¥yÃ¡ Ê¿Aá¹ÄÊ¾Ä« (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niáº“ÄmÄ« GanjavÄ« (d. 605 AH / 1209 CE) and the Khamsah of AmÄ«r Khusraw DihlavÄ« (d. 725 AH / 1325 CE). This Ottoman copy of Ê¿Aá¹ÄÊ¾Ä«'s work ends with a portion of his DÄ«vÄn (fols. 142b-151b) instead of the fifth poem (mesnevi), á¸¤ilyet Ã¼l-efkÄr. The text, written in nastaÊ¿lÄ«q script, was copied by á¸ªeyrullah á¸ªeyrÄ« Ã‡ÄvuÅŸzade 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.

Illuminated Manuscript, Gospels of Freising, Canon tables, Walters Art Museum Ms. W.4, fol. 25v

This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon tables I and II. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital â€œturning the pagesâ€ presentation of this manuscript and downloadable PDFs, visit the Walters Art Museumâ€™s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/. This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon tables I and II. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital â€œturning the pagesâ€ presentation of this manuscript and downloadable PDFs, visit the Walters Art Museumâ€™s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Five poems (quintet), Åžeyh Baba and his men, Walters Manuscript W.666, fol. 42b

This is an illuminated and illustrated copy of the á¸ªamse (quintet) of the Ottoman Turkish poet and scholar Ê¿Aá¹ÄÊ¾ullÄh bin Yaá¸¥yÃ¡ Ê¿Aá¹ÄÊ¾Ä« (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niáº“ÄmÄ« GanjavÄ« (d. 605 AH / 1209 CE) and the Khamsah of AmÄ«r Khusraw DihlavÄ« (d. 725 AH / 1325 CE). This Ottoman copy of Ê¿Aá¹ÄÊ¾Ä«'s work ends with a portion of his DÄ«vÄn (fols. 142b-151b) instead of the fifth poem (mesnevi), á¸¤ilyet Ã¼l-efkÄr. The text, written in nastaÊ¿lÄ«q script, was copied by á¸ªeyrullah á¸ªeyrÄ« Ã‡ÄvuÅŸzade 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 illustration depicts Åžeyh Baba and his men capturing a group of brigands who robbed their tekke (dervish lodge). This is an illuminated and illustrated copy of the á¸ªamse (quintet) of the Ottoman Turkish poet and scholar Ê¿Aá¹ÄÊ¾ullÄh bin Yaá¸¥yÃ¡ Ê¿Aá¹ÄÊ¾Ä« (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niáº“ÄmÄ« GanjavÄ« (d. 605 AH / 1209 CE) and the Khamsah of AmÄ«r Khusraw DihlavÄ« (d. 725 AH / 1325 CE). This Ottoman copy of Ê¿Aá¹ÄÊ¾Ä«'s work ends with a portion of his DÄ«vÄn (fols. 142b-151b) instead of the fifth poem (mesnevi), á¸¤ilyet Ã¼l-efkÄr. The text, written in nastaÊ¿lÄ«q script, was copied by á¸ªeyrullah á¸ªeyrÄ« Ã‡ÄvuÅŸzade 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 illustration depicts Åžeyh Baba and his men capturing a group of brigands who robbed their tekke (dervish lodge).

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 250a

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. BahrÄm GÅ«r meeting a shepherd who hung his dog on a tree. 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 Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. BahrÄm GÅ«r meeting a shepherd who hung his dog on a tree. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

Birds of Hindustan: luchas, called bÅ«qalamÅ«n, and partridges (Memoirs of Babur), Walters Art Museum Ms. W.596, fol.31b

Written originally in Chaghatay Turkish and later translated into Persian, BÄburnÄmah is the story of a Timurid ruler of Fergana (Central Asia), áº’ahÄ«r al-DÄ«n Muá¸¥ammad BÄbur (866 AH /1483 CE - 937 AH / 1530 CE), who conquered northern India and established the Mughal Empire. The present codex, being a fragment of a dispersed copy, was executed most probably in the late 10th AH /16th CE century. It contains 30 mostly full-page miniatures in fine Mughal style by at least two different artists. Another major fragment of this work (57 folios) is in the State Museum of Eastern Cultures, Moscow. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=1759. Written originally in Chaghatay Turkish and later translated into Persian, BÄburnÄmah is the story of a Timurid ruler of Fergana (Central Asia), áº’ahÄ«r al-DÄ«n Muá¸¥ammad BÄbur (866 AH /1483 CE - 937 AH / 1530 CE), who conquered northern India and established the Mughal Empire. The present codex, being a fragment of a dispersed copy, was executed most probably in the late 10th AH /16th CE century. It contains 30 mostly full-page miniatures in fine Mughal style by at least two different artists. Another major fragment of this work (57 folios) is in the State Museum of Eastern Cultures, Moscow. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=1759

Five poems (quintet), The poet Ê¿Aá¹ÄÊ¾Ä« talking to a learned man in a tavern, Walters Manuscript W.666, fol. 44a

This is an illuminated and illustrated copy of the á¸ªamse (quintet) of the Ottoman Turkish poet and scholar Ê¿Aá¹ÄÊ¾ullÄh bin Yaá¸¥yÃ¡ Ê¿Aá¹ÄÊ¾Ä« (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niáº“ÄmÄ« GanjavÄ« (d. 605 AH / 1209 CE) and the Khamsah of AmÄ«r Khusraw DihlavÄ« (d. 725 AH / 1325 CE). This Ottoman copy of Ê¿Aá¹ÄÊ¾Ä«'s work ends with a portion of his DÄ«vÄn (fols. 142b-151b) instead of the fifth poem (mesnevi), á¸¤ilyet Ã¼l-efkÄr. The text, written in nastaÊ¿lÄ«q script, was copied by á¸ªeyrullah á¸ªeyrÄ« Ã‡ÄvuÅŸzade 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 á¸ªamse (quintet) of the Ottoman Turkish poet and scholar Ê¿Aá¹ÄÊ¾ullÄh bin Yaá¸¥yÃ¡ Ê¿Aá¹ÄÊ¾Ä« (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niáº“ÄmÄ« GanjavÄ« (d. 605 AH / 1209 CE) and the Khamsah of AmÄ«r Khusraw DihlavÄ« (d. 725 AH / 1325 CE). This Ottoman copy of Ê¿Aá¹ÄÊ¾Ä«'s work ends with a portion of his DÄ«vÄn (fols. 142b-151b) instead of the fifth poem (mesnevi), á¸¤ilyet Ã¼l-efkÄr. The text, written in nastaÊ¿lÄ«q script, was copied by á¸ªeyrullah á¸ªeyrÄ« Ã‡ÄvuÅŸzade 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.

Illuminated Manuscript Turkish version of Sindbadnama, Walters Art Museum Ms. W.662, fol. 33a

Tuá¸¥fet Ã¼l-aá¸«yÄr. Folio from an Ottoman Turkish version of the well-known story of Sindbad (SindbÄdnÄmah) made from the Persian by Ê¿AbdÃ¼lkerÄ«m bin Muá¸¥ammed during the reign of Sultan Sulayman (Soliman) (reg.926 AH / 1520 CE - 974 AH / 1566 CE) and entitled Tuá¸¥fet Ã¼l-aá¸«yÄr. This anonymous copy contains six illustrations made in the 10th century AH /16th CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=35391. Tuá¸¥fet Ã¼l-aá¸«yÄr. Folio from an Ottoman Turkish version of the well-known story of Sindbad (SindbÄdnÄmah) made from the Persian by Ê¿AbdÃ¼lkerÄ«m bin Muá¸¥ammed during the reign of Sultan Sulayman (Soliman) (reg.926 AH / 1520 CE - 974 AH / 1566 CE) and entitled Tuá¸¥fet Ã¼l-aá¸«yÄr. This anonymous copy contains six illustrations made in the 10th century AH /16th CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=35391

Illuminated Manuscript, Gospels of Freising,Canon tables, Walters Art Museum Ms. W.4, fol. 26v

This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon II. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital â€œturning the pagesâ€ presentation of this manuscript and downloadable PDFs, visit the Walters Art Museumâ€™s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/. This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon II. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital â€œturning the pagesâ€ presentation of this manuscript and downloadable PDFs, visit the Walters Art Museumâ€™s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Birds of Hindustan: starlings, called pandÄvalÄ« (Memoirs of Babur), Walters Art Museum Ms. W.596, fol.31a

Written originally in Chaghatay Turkish and later translated into Persian, BÄburnÄmah is the story of a Timurid ruler of Fergana (Central Asia), áº’ahÄ«r al-DÄ«n Muá¸¥ammad BÄbur (866 AH /1483 CE - 937 AH / 1530 CE), who conquered northern India and established the Mughal Empire. The present codex, being a fragment of a dispersed copy, was executed most probably in the late 10th AH /16th CE century. It contains 30 mostly full-page miniatures in fine Mughal style by at least two different artists. Another major fragment of this work (57 folios) is in the State Museum of Eastern Cultures, Moscow. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=1759. Written originally in Chaghatay Turkish and later translated into Persian, BÄburnÄmah is the story of a Timurid ruler of Fergana (Central Asia), áº’ahÄ«r al-DÄ«n Muá¸¥ammad BÄbur (866 AH /1483 CE - 937 AH / 1530 CE), who conquered northern India and established the Mughal Empire. The present codex, being a fragment of a dispersed copy, was executed most probably in the late 10th AH /16th CE century. It contains 30 mostly full-page miniatures in fine Mughal style by at least two different artists. Another major fragment of this work (57 folios) is in the State Museum of Eastern Cultures, Moscow. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=1759

Collection of poems (divan), King Solomon seated on his throne carried by demons, Walters Manuscript W.636, fol. 125a

An illustrated copy of the collection of poems (DÄ«vÄn) by Shams al-DÄ«n Muá¸¥ammad á¸¤Äfiz al-ShÄ«rÄzÄ« who flourished in the 7th AH / 14th CE century. The present codex was copied by MullÄ Muá¸¥ammad QÄsim HamadÄnÄ« in 1210 AH /1796 CE in India and contains 48 miniatures. An illustrated copy of the collection of poems (DÄ«vÄn) by Shams al-DÄ«n Muá¸¥ammad á¸¤Äfiz al-ShÄ«rÄzÄ« who flourished in the 7th AH / 14th CE century. The present codex was copied by MullÄ Muá¸¥ammad QÄsim HamadÄnÄ« in 1210 AH /1796 CE in India and contains 48 miniatures.

Collection of poems (divan), Moses, holding a fiery rod, comes to meet his future wife, Walters Manuscript W.636, fol. 5

An illustrated copy of the collection of poems (DÄ«vÄn) by Shams al-DÄ«n Muá¸¥ammad á¸¤Äfiz al-ShÄ«rÄzÄ« who flourished in the 7th AH / 14th CE century. The present codex was copied by MullÄ Muá¸¥ammad QÄsim HamadÄnÄ« in 1210 AH /1796 CE in India and contains 48 miniatures. An illustrated copy of the collection of poems (DÄ«vÄn) by Shams al-DÄ«n Muá¸¥ammad á¸¤Äfiz al-ShÄ«rÄzÄ« who flourished in the 7th AH / 14th CE century. The present codex was copied by MullÄ Muá¸¥ammad QÄsim HamadÄnÄ« in 1210 AH /1796 CE in India and contains 48 miniatures.

Illuminated Manuscript, Gospels of Freising, Canon tables, Walters Art Museum Ms. W.4, fol. 28v

This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon III. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital â€œturning the pagesâ€ presentation of this manuscript and downloadable PDFs, visit the Walters Art Museumâ€™s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/. This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon III. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital â€œturning the pagesâ€ presentation of this manuscript and downloadable PDFs, visit the Walters Art Museumâ€™s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 243b

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. 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 Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

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 Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) 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 manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n 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 Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) 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 manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n 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

Illuminated Manuscript of Five Poems (Quintet), Walters Art Museum Ms. W.605, fol. 292a

An elegant copy of the "Quintet" (Khamsah) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) penned by AbÅ« Bakr ShÄh ibn á¸¤asan ibn Ê¿AlÄ« al-ShahrastÄnÄ« and illuminated by JamÄl al-DÄ«n ibn Muá¸¥ammad al-á¹¢iddÄ«qÄ« al-Iá¹£fahÄnÄ« between 892 AH / 1486 CE and 900 AH / 1494-05 CE. .BahrÄm GÅ«r in the green pavilion. An elegant copy of the "Quintet" (Khamsah) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) penned by AbÅ« Bakr ShÄh ibn á¸¤asan ibn Ê¿AlÄ« al-ShahrastÄnÄ« and illuminated by JamÄl al-DÄ«n ibn Muá¸¥ammad al-á¹¢iddÄ«qÄ« al-Iá¹£fahÄnÄ« between 892 AH / 1486 CE and 900 AH / 1494-05 CE. .BahrÄm GÅ«r in the green pavilion.

Illuminated Manuscript of Five Poems (Quintet), Walters Art Museum Ms. W.605, fol. 315b

An elegant copy of the "Quintet" (Khamsah) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) penned by AbÅ« Bakr ShÄh ibn á¸¤asan ibn Ê¿AlÄ« al-ShahrastÄnÄ« and illuminated by JamÄl al-DÄ«n ibn Muá¸¥ammad al-á¹¢iddÄ«qÄ« al-Iá¹£fahÄnÄ« between 892 AH / 1486 CE and 900 AH / 1494-05 CE. An elegant copy of the "Quintet" (Khamsah) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) penned by AbÅ« Bakr ShÄh ibn á¸¤asan ibn Ê¿AlÄ« al-ShahrastÄnÄ« and illuminated by JamÄl al-DÄ«n ibn Muá¸¥ammad al-á¹¢iddÄ«qÄ« al-Iá¹£fahÄnÄ« between 892 AH / 1486 CE and 900 AH / 1494-05 CE.

Corvey Gospel fragment, Page from Luke's Gospel, Walters Art Museum Ms. W.751, fol. 2v

This manuscript consists of four folios from a Gospel Book that was likely made at the monastery of Corvey in Western Germany during the last quarter of the tenth century. Dating to the reign of Otto I, these pages offer a magnificent example of early Ottonian manuscript illumination. The heavily ornamented pages, which introduce the Gospels of Luke and John, shine with gold and jewel-like colors against dyed purple grounds. These pages combine monumental classicizing square capitals on purple grounds with rich and complex interlace. This fragment contains the opening pages of Luke (fols. 93-94) and John (fols. 137-138) that were originally part of Ms. 10 from the Bibliotheque Municipale in Rheims, a Gospel Book originally owned by the Chapter Library of the Cathedral of Rheims until it was confiscated, along with the rest of the cathedral's manuscripts, during the French Revolution. Related manuscripts include Pierpont Morgan Library Ms. M. 755 and New York Public Library Ms. 1. This manuscript consists of four folios from a Gospel Book that was likely made at the monastery of Corvey in Western Germany during the last quarter of the tenth century. Dating to the reign of Otto I, these pages offer a magnificent example of early Ottonian manuscript illumination. The heavily ornamented pages, which introduce the Gospels of Luke and John, shine with gold and jewel-like colors against dyed purple grounds. These pages combine monumental classicizing square capitals on purple grounds with rich and complex interlace. This fragment contains the opening pages of Luke (fols. 93-94) and John (fols. 137-138) that were originally part of Ms. 10 from the Bibliotheque Municipale in Rheims, a Gospel Book originally owned by the Chapter Library of the Cathedral of Rheims until it was confiscated, along with the rest of the cathedral's manuscripts, during the French Revolution. Related manuscripts include Pierpont Morgan Library Ms. M. 755 and New York Public Library Ms. 1.

Five poems (quintet), Åžeyh Nizameddin saving the life of HÃ¼srev-i Hindi, Walters Manuscript W.666, fol. 37a

This is an illuminated and illustrated copy of the á¸ªamse (quintet) of the Ottoman Turkish poet and scholar Ê¿Aá¹ÄÊ¾ullÄh bin Yaá¸¥yÃ¡ Ê¿Aá¹ÄÊ¾Ä« (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niáº“ÄmÄ« GanjavÄ« (d. 605 AH / 1209 CE) and the Khamsah of AmÄ«r Khusraw DihlavÄ« (d. 725 AH / 1325 CE). This Ottoman copy of Ê¿Aá¹ÄÊ¾Ä«'s work ends with a portion of his DÄ«vÄn (fols. 142b-151b) instead of the fifth poem (mesnevi), á¸¤ilyet Ã¼l-efkÄr. The text, written in nastaÊ¿lÄ«q script, was copied by á¸ªeyrullah á¸ªeyrÄ« Ã‡ÄvuÅŸzade 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 á¸ªamse (quintet) of the Ottoman Turkish poet and scholar Ê¿Aá¹ÄÊ¾ullÄh bin Yaá¸¥yÃ¡ Ê¿Aá¹ÄÊ¾Ä« (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niáº“ÄmÄ« GanjavÄ« (d. 605 AH / 1209 CE) and the Khamsah of AmÄ«r Khusraw DihlavÄ« (d. 725 AH / 1325 CE). This Ottoman copy of Ê¿Aá¹ÄÊ¾Ä«'s work ends with a portion of his DÄ«vÄn (fols. 142b-151b) instead of the fifth poem (mesnevi), á¸¤ilyet Ã¼l-efkÄr. The text, written in nastaÊ¿lÄ«q script, was copied by á¸ªeyrullah á¸ªeyrÄ« Ã‡ÄvuÅŸzade 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.

Illuminated Manuscript of Five Poems (Quintet), Walters Art Museum Ms. W.605, fol. 73b

An elegant copy of the "Quintet" (Khamsah) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) penned by AbÅ« Bakr ShÄh ibn á¸¤asan ibn Ê¿AlÄ« al-ShahrastÄnÄ« and illuminated by JamÄl al-DÄ«n ibn Muá¸¥ammad al-á¹¢iddÄ«qÄ« al-Iá¹£fahÄnÄ« between 892 AH / 1486 CE and 900 AH / 1494-05 CE. The present codex, opening with a double-page decoration and the inscription giving the name of the author and the title of the work,contains four additional illuminated headpieces with the names of the individual books and 26 repainted miniatures. The page depicts LaylÃ¡ in a garden in the company of young women. An elegant copy of the "Quintet" (Khamsah) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) penned by AbÅ« Bakr ShÄh ibn á¸¤asan ibn Ê¿AlÄ« al-ShahrastÄnÄ« and illuminated by JamÄl al-DÄ«n ibn Muá¸¥ammad al-á¹¢iddÄ«qÄ« al-Iá¹£fahÄnÄ« between 892 AH / 1486 CE and 900 AH / 1494-05 CE. The present codex, opening with a double-page decoration and the inscription giving the name of the author and the title of the work,contains four additional illuminated headpieces with the names of the individual books and 26 repainted miniatures. The page depicts LaylÃ¡ in a garden in the company of young women.

Illuminated Manuscript of Yusuf and Zulayka, Walters Art Museum Ms. W.644, fol. 50b

A leaf from an anonymous copy of the famous story of Joseph and the Potypha's wife (YÅ«suf va ZulaykhÄ) by NÅ«r al-DÄ«n JÄmÄ« (d.898 AH / 1492 CE) executed in the 10th AH / 16th CE century and containing three illustrations. Here Zulayka travels to the betrothed chosen for her by her father. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=30608. A leaf from an anonymous copy of the famous story of Joseph and the Potypha's wife (YÅ«suf va ZulaykhÄ) by NÅ«r al-DÄ«n JÄmÄ« (d.898 AH / 1492 CE) executed in the 10th AH / 16th CE century and containing three illustrations. Here Zulayka travels to the betrothed chosen for her by her father. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=30608

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

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, 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 KitÄb-i Iskandar nÄmah. 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 Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, 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 KitÄb-i Iskandar nÄmah. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

Illuminated Manuscript of Yusuf and Zulayka, Walters Art Museum Ms. W.644, fol. 116a

A leaf from an anonymous copy of the famous story of Joseph and the Potypha's wife (YÅ«suf va ZulaykhÄ) by NÅ«r al-DÄ«n JÄmÄ« (d.898 AH / 1492 CE) executed in the 10th AH / 16th CE century and containing three illustrations. Here Egyptian women are stunned by Zulayka's beauty. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=30608. A leaf from an anonymous copy of the famous story of Joseph and the Potypha's wife (YÅ«suf va ZulaykhÄ) by NÅ«r al-DÄ«n JÄmÄ« (d.898 AH / 1492 CE) executed in the 10th AH / 16th CE century and containing three illustrations. Here Egyptian women are stunned by Zulayka's beauty. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=30608

Koran, Illuminated headpiece with arabesque design and marginal medallion at left, Walters Manuscript W.555, fol. 1a

This illuminated fragment of the Qur'an contains chapter 25 (SÅ«rat al-furqÄn), verses 21-32 and 39-78; chapter 26 (SÅ«rat al-shuÊ¿arÄÊ¾); and chapter 27 (SÅ«rat al-naml), up to verse 40. It probably dates to the late fifth century AH / eleventh CE or early sixth century AH / twelfth CE. The text is written in the New Abbasid (broken cursive) style in black ink and is vocalized with red dots and blue circles, the latter for sukÅ«n. Single verses are separated by illuminated rosettes, and groups of five verses are indicated by the letter hÄÊ¾ in the form of a teardrop in the margins. Marginal medallions are also used for larger verse groups. The black leather binding is modern. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=11860. This illuminated fragment of the Qur'an contains chapter 25 (SÅ«rat al-furqÄn), verses 21-32 and 39-78; chapter 26 (SÅ«rat al-shuÊ¿arÄÊ¾); and chapter 27 (SÅ«rat al-naml), up to verse 40. It probably dates to the late fifth century AH / eleventh CE or early sixth century AH / twelfth CE. The text is written in the New Abbasid (broken cursive) style in black ink and is vocalized with red dots and blue circles, the latter for sukÅ«n. Single verses are separated by illuminated rosettes, and groups of five verses are indicated by the letter hÄÊ¾ in the form of a teardrop in the margins. Marginal medallions are also used for larger verse groups. The black leather binding is modern. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=11860

Five poems (quintet), Sultan Murad IV receiving homage from his subjects, Walters Manuscript W.666, fol. 28a

This is an illuminated and illustrated copy of the á¸ªamse (quintet) of the Ottoman Turkish poet and scholar Ê¿Aá¹ÄÊ¾ullÄh bin Yaá¸¥yÃ¡ Ê¿Aá¹ÄÊ¾Ä« (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niáº“ÄmÄ« GanjavÄ« (d. 605 AH / 1209 CE) and the Khamsah of AmÄ«r Khusraw DihlavÄ« (d. 725 AH / 1325 CE). This Ottoman copy of Ê¿Aá¹ÄÊ¾Ä«'s work ends with a portion of his DÄ«vÄn (fols. 142b-151b) instead of the fifth poem (mesnevi), á¸¤ilyet Ã¼l-efkÄr. The text, written in nastaÊ¿lÄ«q script, was copied by á¸ªeyrullah á¸ªeyrÄ« Ã‡ÄvuÅŸzade 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 á¸ªamse (quintet) of the Ottoman Turkish poet and scholar Ê¿Aá¹ÄÊ¾ullÄh bin Yaá¸¥yÃ¡ Ê¿Aá¹ÄÊ¾Ä« (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niáº“ÄmÄ« GanjavÄ« (d. 605 AH / 1209 CE) and the Khamsah of AmÄ«r Khusraw DihlavÄ« (d. 725 AH / 1325 CE). This Ottoman copy of Ê¿Aá¹ÄÊ¾Ä«'s work ends with a portion of his DÄ«vÄn (fols. 142b-151b) instead of the fifth poem (mesnevi), á¸¤ilyet Ã¼l-efkÄr. The text, written in nastaÊ¿lÄ«q script, was copied by á¸ªeyrullah á¸ªeyrÄ« Ã‡ÄvuÅŸzade 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.

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 221a

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. The folio represents BahrÄm GÅ«r in the golden pavilion. 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 Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. The folio represents BahrÄm GÅ«r in the golden pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

Illuminated Manuscript of Five Poems (Quintet), Walters Art Museum Ms. W.605, fol. 211b

An elegant copy of the "Quintet" (Khamsah) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) penned by AbÅ« Bakr ShÄh ibn á¸¤asan ibn Ê¿AlÄ« al-ShahrastÄnÄ« and illuminated by JamÄl al-DÄ«n ibn Muá¸¥ammad al-á¹¢iddÄ«qÄ« al-Iá¹£fahÄnÄ« between 892 AH / 1486 CE and 900 AH / 1494-05 CE. The present codex, opening with a double-page decoration and the inscription giving the name of the author and the title of the work,contains four additional illuminated headpieces with the names of the individual books and 26 repainted miniatures. The page depicts The incipit page with the headpiece and an inscription in gold ink KitÄb-i Khusraw va ShÄ«rÄ«n. An elegant copy of the "Quintet" (Khamsah) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) penned by AbÅ« Bakr ShÄh ibn á¸¤asan ibn Ê¿AlÄ« al-ShahrastÄnÄ« and illuminated by JamÄl al-DÄ«n ibn Muá¸¥ammad al-á¹¢iddÄ«qÄ« al-Iá¹£fahÄnÄ« between 892 AH / 1486 CE and 900 AH / 1494-05 CE. The present codex, opening with a double-page decoration and the inscription giving the name of the author and the title of the work,contains four additional illuminated headpieces with the names of the individual books and 26 repainted miniatures. The page depicts The incipit page with the headpiece and an inscription in gold ink KitÄb-i Khusraw va ShÄ«rÄ«n.

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 305b

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures.The folio represents Iskandar admiring his portrait ordered by NÅ«shÄbah. 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 Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures.The folio represents Iskandar admiring his portrait ordered by NÅ«shÄbah. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

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