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

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

Portrait of woman in retro style .

Portrait of woman in retro style .

Breaking news. Television channel broadcasting service graphic headpiece banners vector template

Breaking news. Television channel broadcasting service graphic headpiece banners vector template

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

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

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

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

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

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

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

Fireman helmet photo frame 3d rendered

Fireman helmet photo frame 3d rendered for web

Illuminated Manuscript of a work on the duties of Muslims towards the Prophet with an account of his life, Original binding, Walte

The Incipit page with a w-shaped headpiece and gilt frame of an illuminated copy of the popular work on the duties of Muslims towards the Prophet Muhammad, known as al-Shifāʾ, by ʿIyāḍ al-Yaḥṣūbī (d. 544 AH / 1149 CE). This codex with gilt edges and a typical Turkish binding was executed by Salīm al-Rashīd in 1191 AH / 1777 CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=11962. The Incipit page with a w-shaped headpiece and gilt frame of an illuminated copy of the popular work on the duties of Muslims towards the Prophet Muhammad, known as al-Shifāʾ, by ʿIyāḍ al-Yaḥṣūbī (d. 544 AH / 1149 CE). This codex with gilt edges and a typical Turkish binding was executed by Salīm al-Rashīd in 1191 AH / 1777 CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=11962

Green, Beauty, Lady, Girl

Green, Beauty, Lady, Girl

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

Contractor pointing at model house

Contractor pointing at model house

Illuminated Manuscript of a work on the duties of Muslims towards the Prophet with an account of his life, Walters Art Museum, Ms

The Incipit page with a w-shaped headpiece and gilt frame of an illuminated copy of the popular work on the duties of Muslims towards the Prophet Muhammad, known as al-Shifāʾ, by ʿIyāḍ al-Yaḥṣūbī (d. 544 AH / 1149 CE). This codex with gilt edges and a typical Turkish binding was executed by Salīm al-Rashīd in 1191 AH / 1777 CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=11962. The Incipit page with a w-shaped headpiece and gilt frame of an illuminated copy of the popular work on the duties of Muslims towards the Prophet Muhammad, known as al-Shifāʾ, by ʿIyāḍ al-Yaḥṣūbī (d. 544 AH / 1149 CE). This codex with gilt edges and a typical Turkish binding was executed by Salīm al-Rashīd in 1191 AH / 1777 CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=11962

Vector close up portrait of pitbull dog, wearing the indian feather headpiece.

Vector close up portrait of pitbull dog, wearing the indian feather headpiece.

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

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

An elegant copy of the "Quintet" (Khamsah) of Niẓāmī Ganjavī (d.605 AH / 1209 CE) penned by Abū Bakr Shāh ibn Ḥasan ibn ʿAlī al-Shahrastānī and illuminated by Jamāl al-Dīn ibn Muḥammad al-Ṣiddīqī al-Iṣfahānī 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 Kitāb-i Khusraw va Shīrīn. An elegant copy of the "Quintet" (Khamsah) of Niẓāmī Ganjavī (d.605 AH / 1209 CE) penned by Abū Bakr Shāh ibn Ḥasan ibn ʿAlī al-Shahrastānī and illuminated by Jamāl al-Dīn ibn Muḥammad al-Ṣiddīqī al-Iṣfahānī 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 Kitāb-i Khusraw va Shīrīn.

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

Flower, Rose Family, Beauty, Rose

Flower, Rose Family, Beauty, Rose

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

White, Eyelash, Textile, Sleeve

Headpiece.

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

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

Hair, Skin, Head, Lip

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

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 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

Smile, Purple, Eyelash, Happy

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

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

Cooper Color Flourishes Collection on Dark Background.

Cooper Color Flourishes Collection on Dark Background.

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

Elegant straw hat and designer glasses

An elegant straw hat with ribbon and fashionable glasses laying on a old stone bench. An elegant straw hat with ribbon and fashionable glasses laying on a old stone bench.

Joint, Skin, Head, Lip

Bride

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

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

Shoulder, Dress, Comfort, Flash Photography

Illuminated incipit page with a headpiece containing a cartouche with the inscription in white ink Dīvān-i Ḥāfiẓ from Colle

An anonymous decorated and illustrated copy of the collection of poems (Dīvān) by Shams al-Dīn Muḥammad Ḥāfiz al-Shīrāzī who flourished in the 7th AH / 14th CE century. The present copy, containing four miniatures, was penned in an elegant nastaʿlīq 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 (Dīvān) by Shams al-Dīn Muḥammad Ḥāfiz al-Shīrāzī who flourished in the 7th AH / 14th CE century. The present copy, containing four miniatures, was penned in an elegant nastaʿlīq 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

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. 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

Vector close up portrait of pitbull dog, wearing the indian feather headpiece. Traditional boho chic decoration

Vector close up portrait of pitbull dog, wearing the indian feather headpiece. Traditional boho chic decoration

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

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

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

Mannequins displaying traditional Turkish costumes

Four mannequins wearing traditional colorful Turkish costumes with headdresses, . Black background. Four mannequins wearing traditional colorful Turkish costumes with headdresses, . Black background.

Striking Red Themed Woman With Creative Headpiece

Striking Red Themed Woman With Creative Headpiece

Bride

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

Photograph, Style, Tableware, Chair

Photograph, Style, Tableware, Chair, Vintage clothing, Monochrome

Young African beauty

Young African beauty

Hair, Pink, Human Hair Color, Eyebrow

Hair, Pink, Human Hair Color, Eyebrow

Vet Cat

Wedding Dress, Photograph, White, Bride

Wedding dress, Photograph, White, Bride, Flower, Dress

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 (Sūrat al-furqān), verses 21-32 and 39-78; chapter 26 (Sūrat al-shuʿarāʾ); and chapter 27 (Sūrat 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 sukūn. Single verses are separated by illuminated rosettes, and groups of five verses are indicated by the letter hāʾ 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 (Sūrat al-furqān), verses 21-32 and 39-78; chapter 26 (Sūrat al-shuʿarāʾ); and chapter 27 (Sūrat 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 sukūn. Single verses are separated by illuminated rosettes, and groups of five verses are indicated by the letter hāʾ 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

Fireman helmet 3d rendered

Fireman helmet 3d rendered for web and commercial

Vintage baby

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

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

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

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 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

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 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

South Asian woman wearing a gold crown, wrapped in gold fabric against a black backdrop

South Asian woman wearing a gold crown, wrapped in gold fabric against a black backdrop

Person in Roman toga costume at carnival party

A man all dressed up in a fancy dress costume of a Roman toga outfit having fun and winking at someone at a party at one of the carnivals. A man all dressed up in a fancy dress costume of a Roman toga outfit having fun and winking at someone at a party at one of the carnivals.

Fashion beauty portrait of young beautiful young woman with makeup and freckles on her face

Fashion beauty portrait of young beautiful young woman with makeup and freckles on her face

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