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Five poems (quintet), Illuminated frontispiece with shamsah, Walters Manuscript W.624, fol. 1a

This is a deluxe copy of the Khamsah (quintet) of Amīr Khusraw Dihlavī (d. 725 AH / 1325 CE). The manuscript was written in nastaʿlīq script by one of the greatest calligraphers of the Mughal atelier, Muḥammad Ḥusayn al-Kashmīrī, honored with the epithet Zarrīn Qalam (golden pen). This copy of Dihlavī's Khamsah, likely produced in Lahore (present-day Pakistan) in the late tenth century AH / sixteenth CE, is associated with the patronage of Akbar (r. 963-1014 AH / 1556-1605 CE). The manuscript bears the names of a number of painters and illuminators. The illustrations bear ascriptions to the following artists: Laʿl (Lāl), Manūhar, Sānwalah, Farrukh, Alīqulī, Dharamdās, Narsing, Jagannāth, Miskīnā, Mukund, and Sūrdās Gujarātī. The illuminators are Ḥusayn Naqqāsh, Manṣūr Naqqāsh, Khvājah Jān Shīrāzī, and Luṭf Allāh Muẕahhib. The borders are all elaborately illuminated with animal, bird, and geometric motifs, as well as human figures engaged in such activities as hunting, praying, and reading. The lacquer binding, decorated with pictorial scenes, is contemporary with the manuscript. Eight leaves from this copy of the Khamsah of Dihlavī are housed in the Metropolitan Museum of Art (13.228.26-33). This illuminated frontispiece has a central twelve-pointed star (shamsah). The page is further decorated with floral motifs executed in gold. There are five seals. This is a deluxe copy of the Khamsah (quintet) of Amīr Khusraw Dihlavī (d. 725 AH / 1325 CE). The manuscript was written in nastaʿlīq script by one of the greatest calligraphers of the Mughal atelier, Muḥammad Ḥusayn al-Kashmīrī, honored with the epithet Zarrīn Qalam (golden pen). This copy of Dihlavī's Khamsah, likely produced in Lahore (present-day Pakistan) in the late tenth century AH / sixteenth CE, is associated with the patronage of Akbar (r. 963-1014 AH / 1556-1605 CE). The manuscript bears the names of a number of painters and illuminators. The illustrations bear ascriptions to the following artists: Laʿl (Lāl), Manūhar, Sānwalah, Farrukh, Alīqulī, Dharamdās, Narsing, Jagannāth, Miskīnā, Mukund, and Sūrdās Gujarātī. The illuminators are Ḥusayn Naqqāsh, Manṣūr Naqqāsh, Khvājah Jān Shīrāzī, and Luṭf Allāh Muẕahhib. The borders are all elaborately illuminated with animal, bird, and geometric motifs, as well as human figures engaged in such activities as hunting, praying, and reading. The lacquer binding, decorated with pictorial scenes, is contemporary with the manuscript. Eight leaves from this copy of the Khamsah of Dihlavī are housed in the Metropolitan Museum of Art (13.228.26-33). This illuminated frontispiece has a central twelve-pointed star (shamsah). The page is further decorated with floral motifs executed in gold. There are five seals.

Lion

Smiling young women in colored hat

Five poems (quintet), King Solomon and two demons, Walters Manuscript W.624, fol. 94b detail

This is a deluxe copy of the Quintet (Khamsah) of Amīr Khusraw Dihlavī (d.725 AH /1325 CE). Although now incomplete, this manuscript was penned in nastaʿlīq script by the famous late 16th century Mughal calligrapher Muḥammad Ḥusayn Zarrīn Qalam al-Kashmīrī and decorated by a number of illuminators and painters. Its illustrations are signed by eleven painters: Laʿl (Lāl), Manūhar, Sānwalah, Farrukh, Alīqulī, Dharamdās, Narsing, Jagannāth, Miskīnā, Mukund, and Sūrdās Gujarātī. On the other hand, its headpieces and a medallion are inscribed with the names of Ḥusayn Naqqāsh, Manṣūr Naqqāsh, Khvājah Jān Shīrāzī, and Luṭf Allāh Muẕahhib. The codex has beautifully decorated borders with vegetal, bird, animal motifs and human figures. The figures are portrayed in various traditional activities such as praying, reading and hunting. This illustration depicts the story of two divs (demons) who, out of boredom, wreak havoc on the world. Recognizing the dangers of idleness, the wise King Solomon consigns them to a life of futile activity: filling the sea with sand and the desert with water. The inscription naming the artist ‘Ali Quli is composed in red ink at the bottom of the page. This is a deluxe copy of the Quintet (Khamsah) of Amīr Khusraw Dihlavī (d.725 AH /1325 CE). Although now incomplete, this manuscript was penned in nastaʿlīq script by the famous late 16th century Mughal calligrapher Muḥammad Ḥusayn Zarrīn Qalam al-Kashmīrī and decorated by a number of illuminators and painters. Its illustrations are signed by eleven painters: Laʿl (Lāl), Manūhar, Sānwalah, Farrukh, Alīqulī, Dharamdās, Narsing, Jagannāth, Miskīnā, Mukund, and Sūrdās Gujarātī. On the other hand, its headpieces and a medallion are inscribed with the names of Ḥusayn Naqqāsh, Manṣūr Naqqāsh, Khvājah Jān Shīrāzī, and Luṭf Allāh Muẕahhib. The codex has beautifully decorated borders with vegetal, bird, animal motifs and human figures. The figures are portrayed in various traditional activities such as praying, reading and hunting. This illustration depicts the story of two divs (demons) who, out of boredom, wreak havoc on the world. Recognizing the dangers of idleness, the wise King Solomon consigns them to a life of futile activity: filling the sea with sand and the desert with water. The inscription naming the artist ‘Ali Quli is composed in red ink at the bottom of the page.

Babur being entertained in Ghaznī by Jahāngīr Mīrzā, from Illuminated manuscript Baburnama (Memoirs of Babur), Walt

Written originally in Chaghatay Turkish and later translated into Persian, Bāburnāmah is the story of a Timurid ruler of Fergana (Central Asia), Ẓahīr al-Dīn Muḥammad Bābur (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, Bāburnāmah is the story of a Timurid ruler of Fergana (Central Asia), Ẓahīr al-Dīn Muḥammad Bābur (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

Angelic Wing

Vintage map of Hyderabad 1900s

Vintage map of Hyderabad 1900s

Bow Lake

Historical Num-Ti-Jah Lodge at Bow Lake in Banff National Park

Historical Num-Ti-Jah Lodge at Bow Lake in Banff National Park

Tiken Jah Fakoly Avril 2014

Tiken Jah Fakoly Avril 2014

Mughal art Motif abstract floral frame

Mughal art Motif abstract floral frame

African Artist Tiken Jah Fakoly, Cote d`Ivoire singing in a SABC recording studio

African Artist Tiken Jah Fakoly, Cote d`Ivoire singing in a SABC recording studio

God ganja. idol Jah gives rasta. Reggae Rastafarian hat and dreadlocks. Rastaman deity. Jamaican deity brings gifts

God ganja. idol Jah gives rasta. Reggae Rastafarian hat and dreadlocks. Rastaman deity. Jamaican deity brings gifts

Rastafarian portrait

Rastafarian portrait

Africa 3d map

Rastafarian

Young woman going to smoke

Rastafarian portrait

Rastafarian portrait

Historical Num-Ti-Jah Lodge near Bow Lake in Banff National Park, Canada

Historical Num-Ti-Jah Lodge near Bow Lake in Banff National Park, Canada

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