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Illuminated Manuscript Koran, The left side of a double page of a table of divination (bibliomancy or tafa'ul), Wa

An illuminated large size copy of the Koran (Qur'an) produced in the 11th century AH / 17th CE in Iran. Apart from using a number of scripts, such as naskh, muḥaqqaq and tawqīʿ, this codex features six pairs of decorated pages, two illuminated headpieces, as well as illuminated chapter headings, cloud-bands, and marginal decoration. The black morocco binding has a central piece in the form of a diamond with pendants on four sides. The inner covers, having a traditional dentelle decoration, features text from the "the verse of the throne" (āyat al-kursī), which is inscribed in the outer frame. The left side of a table of divination (bibliomancy or tafa'ul) in Arabic executed in tawqīʿ and Persian in nastaʿlīq scripts. An illuminated large size copy of the Koran (Qur'an) produced in the 11th century AH / 17th CE in Iran. Apart from using a number of scripts, such as naskh, muḥaqqaq and tawqīʿ, this codex features six pairs of decorated pages, two illuminated headpieces, as well as illuminated chapter headings, cloud-bands, and marginal decoration. The black morocco binding has a central piece in the form of a diamond with pendants on four sides. The inner covers, having a traditional dentelle decoration, features text from the "the verse of the throne" (āyat al-kursī), which is inscribed in the outer frame. The left side of a table of divination (bibliomancy or tafa'ul) in Arabic executed in tawqīʿ and Persian in nastaʿlīq scripts.

Arabic calligraphy of the traditional Islamic art of the Basmala, for example, Ramadan and other festivals. Translation

Arabic calligraphy of the traditional Islamic art of the Basmala, for example, Ramadan and other festivals. Translation

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

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.

Shop of Persian carpets, Shiraz, Iran

Shop of Persian carpets, Shiraz, Iran

Art illustration: round gold medal with map and flag of iran

Burning and melting, Bride with mourners carrying the bridegroom's coffin, Walters Manuscript W.649, fol. 14a

Overcome with grief, the young Hindu woman accompanies her bridegroom’s coffin to the funeral pyre and decides to commit sati (self-immolation). An elegantly calligraphed, illuminated and illustrated copy of the poem Sūz va gudāz ('Burning and melting') by Nawʿī Khabūshānī (d.1019 AH /1610 CE) which recounts the love story of a Hindu girl who decides to burn herself on the pyre of her betrothed killed accidentally just before their marriage. Here the young man's coffin is being carried in the presence of his bride-to-be. The present codex was penned by Ibn Sayyid Murād al-Ḥusaynī and illustrated by Muḥammad ʿAlī Mashhadī in 1068 AH / 1657 CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=30391. Overcome with grief, the young Hindu woman accompanies her bridegroom’s coffin to the funeral pyre and decides to commit sati (self-immolation). An elegantly calligraphed, illuminated and illustrated copy of the poem Sūz va gudāz ('Burning and melting') by Nawʿī Khabūshānī (d.1019 AH /1610 CE) which recounts the love story of a Hindu girl who decides to burn herself on the pyre of her betrothed killed accidentally just before their marriage. Here the young man's coffin is being carried in the presence of his bride-to-be. The present codex was penned by Ibn Sayyid Murād al-Ḥusaynī and illustrated by Muḥammad ʿAlī Mashhadī in 1068 AH / 1657 CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=30391

Persian carpet

Animals of Hindustan small deer and cows called gīnī, from Illuminated manuscript Baburnama (Memoirs of Babur), Walter

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

India, Agra: Old fresco in a mausoleum

India, Agra: old painting on a wall of a mausoleum; symmetry for the flowers design in persian style. India, Agra: old painting on a wall of a mausoleum; symmetry for the flowers design in persian style

Illuminated Manuscript of Five Poems (Quintet), Walters Art Museum Ms. W.605, fol.1b

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 is the first of a double-page decoration containing the title and the author's name executed in gold thuluth script and placed in four cartouches. 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 is the first of a double-page decoration containing the title and the author's name executed in gold thuluth script and placed in four cartouches.

Collection of poems (divan), Double-page illustrated frontispiece depicting a court scene, Walters Art Museum Ms. W.628

This is an illuminated and illustrated manuscript copy of the Collection of poems (dīvān) by Shams al-Dīn Muḥammad Ḥāfiz al-Shīrāzī (fl. eighth century AH / fourteenth CE). It was written in black nasta‘līq script with chapter/section headings in gold ink by Zayn al-‘Ābidīn ‘Abd al-Raḥmān al-Jāmī in 918 AH / 1512 CE in Safavid Iran. The manuscript opens with an illuminated medallion (fol. 1a), followed by a double-page illustrated frontispiece (fols. 1b-2a). The text begins with an incipit page with illuminated headpiece (fol. 2b). There are three additional illustrations (fols. 24a, 49b, and 87a). The red leather binding, which is not original and may be attributed to late twelfth-century AH / eighteenth CE or thirteenth-century AH / nineteenth CE Turkey, has a scalloped medallion with gold-tooled decoration and borders. This is the left side of a double-page illustrated frontispiece, showing a falconer and four other attendants waiting in an outside courtyard. This is an illuminated and illustrated manuscript copy of the Collection of poems (dīvān) by Shams al-Dīn Muḥammad Ḥāfiz al-Shīrāzī (fl. eighth century AH / fourteenth CE). It was written in black nasta‘līq script with chapter/section headings in gold ink by Zayn al-‘Ābidīn ‘Abd al-Raḥmān al-Jāmī in 918 AH / 1512 CE in Safavid Iran. The manuscript opens with an illuminated medallion (fol. 1a), followed by a double-page illustrated frontispiece (fols. 1b-2a). The text begins with an incipit page with illuminated headpiece (fol. 2b). There are three additional illustrations (fols. 24a, 49b, and 87a). The red leather binding, which is not original and may be attributed to late twelfth-century AH / eighteenth CE or thirteenth-century AH / nineteenth CE Turkey, has a scalloped medallion with gold-tooled decoration and borders. This is the left side of a double-page illustrated frontispiece, showing a falconer and four other attendants waiting in an outside courtyard.

Illuminated Manuscript of Five Poems (Quintet), Walters Art Museum Ms. W.605, fol. 21b

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 King Nūshirvān hunting with Dastūr his vizier. 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 King Nūshirvān hunting with Dastūr his vizier.

Persian tablecloth.

Persian tablecloth.

Cat persian

Burning and melting, Bridegroom is buried under a collapsed building, Walters Manuscript W.649, fol. 13a

On the morning the young man and woman were to be wed, the bridegroom travels to the home of his beloved. On his way, he stops to rest in a mud building. As a result of heavy rains, the structure falls and buries the bridegroom and his companions alive. An elegantly calligraphed, illuminated and illustrated copy of the poem Sūz va gudāz ('Burning and melting') by Nawʿī Khabūshānī (d.1019 AH /1610 CE) which recounts the love story of a Hindu girl who decides to burn herself on the pyre of her betrothed killed accidentally just before their marriage. The present codex was penned by Ibn Sayyid Murād al-Ḥusaynī and illustrated by Muḥammad ʿAlī Mashhadī in 1068 AH / 1657 CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=30391. On the morning the young man and woman were to be wed, the bridegroom travels to the home of his beloved. On his way, he stops to rest in a mud building. As a result of heavy rains, the structure falls and buries the bridegroom and his companions alive. An elegantly calligraphed, illuminated and illustrated copy of the poem Sūz va gudāz ('Burning and melting') by Nawʿī Khabūshānī (d.1019 AH /1610 CE) which recounts the love story of a Hindu girl who decides to burn herself on the pyre of her betrothed killed accidentally just before their marriage. The present codex was penned by Ibn Sayyid Murād al-Ḥusaynī and illustrated by Muḥammad ʿAlī Mashhadī in 1068 AH / 1657 CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=30391

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

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 Bahrām Gūr killing a dragon. 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 Bahrām Gūr killing a dragon.

Burning and melting, Young Hindu girl before the Mughal Emperor Akbar, Walters Manuscript W.649, fol. 16a

The Mughal Emperor Akbar attempts to dissuade the young Hindu girl from committing sati (self-immolation). An elegantly calligraphed, illuminated and illustrated copy of the poem Sūz va gudāz ('Burning and melting') by Nawʿī Khabūshānī (d.1019 AH /1610 CE) which recounts the love story of a Hindu girl who decides to burn herself on the pyre of her betrothed killed accidentally just before their marriage. The present codex was penned by Ibn Sayyid Murād al-Ḥusaynī and illustrated by Muḥammad ʿAlī Mashhadī in 1068 AH / 1657 CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=30391. The Mughal Emperor Akbar attempts to dissuade the young Hindu girl from committing sati (self-immolation). An elegantly calligraphed, illuminated and illustrated copy of the poem Sūz va gudāz ('Burning and melting') by Nawʿī Khabūshānī (d.1019 AH /1610 CE) which recounts the love story of a Hindu girl who decides to burn herself on the pyre of her betrothed killed accidentally just before their marriage. The present codex was penned by Ibn Sayyid Murād al-Ḥusaynī and illustrated by Muḥammad ʿAlī Mashhadī in 1068 AH / 1657 CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=30391

Five poems (quintet), Şeyh Gülşeni setting out with his disciples on a voyage, Walters Manuscript W.666, fol. 41a

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.

Persian carpets

Persian carpets

Five poems (quintet), Ottoman Turks fighting the Polish army, Walters Manuscript W.666, fol. 6a

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.

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

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

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. 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.

Five poems (quintet), Ottoman fleet, Walters Manuscript W.666, fol. 5a

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 illustration depicts the Ottoman fleet, led by Hüseyn Paşa, setting out from the Black Sea against the Polish army. 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 illustration depicts the Ottoman fleet, led by Hüseyn Paşa, setting out from the Black Sea against the Polish army.

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

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 page depicts Khusraw asking pardon from 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 page depicts Khusraw asking pardon from Shīrīn.

Persian seamless ornament

Seamless wallpaper in vintage style. EPS 8 vector illustration. Seamless wallpaper in vintage style. EPS 8 vector illustration.

Babur, during his second Hindustan campaign, riding a raft from Kunar back to Atar, from Illuminated manuscript Baburnama (Me

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

Handmade patchwork textiles of Greek traditional art

Persian carpets

Persian carpets

Five poems (quintet), An imam who put ink, rather than rosewater, on his face, Walters Manuscript W.666, fol. 48a

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.

Cream persian cat with big white whiskers

Cream persian cat with big white whiskers

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

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

The final phase of the battle of Kandahar on the side of the Murghan mountain, from Illuminated manuscript Baburnama (Memoirs

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

The Doha skyline captured through the arches behind the museum of Islamic art in Doha. The Doha skyline captured through the arches behind the museum of Islamic art in Doha.

Persian carpets on display

Persian carpets on display

Persian cover

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

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 illustration depicts Şeyh Baba and his men capturing a group of brigands who robbed their tekke (dervish lodge). 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 illustration depicts Şeyh Baba and his men capturing a group of brigands who robbed their tekke (dervish lodge).

King Solomon (Sulaymān) enthroned; part of a double-page composition featuring also Queen Sheba (Bilqīs) fro

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

India, Agra: Old Fresco in a mausoleum

India, Agra: old painting on a wall of a mausoleum; symmetry and flowers design in persian style. India, Agra: old painting on a wall of a mausoleum; symmetry and flowers design in persian style

Bas-relief of Persian soldier

Bas-relief of Persian soldier

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 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.

Old Persian illustration on the ceiling

Old Persian illustration on the ceiling

Persian linear background

Set of three islamic calligraphy patterns different colors isolated on black background. Set of three islamic calligraphy patterns different colors isolated on black background

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

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.

Bas-relief of Persian soldiers

Bas-relief of Persian soldiers

Burning and melting, Youth confesses his falling in love to his father, Walters Manuscript W.649, fol. 9a

Set in India, the story begins with a young Hindu man confessing his strong love for his childhood friend to his father. His father consents to the young man’s request to marry and sends a message to the girl’s parents. An elegantly calligraphed, illuminated and illustrated copy of the poem Sūz va gudāz ('Burning and melting') by Nawʿī Khabūshānī (d.1019 AH /1610 CE) which recounts the love story of a Hindu girl who decides to burn herself on the pyre of her betrothed killed accidentally just before their marriage. The present codex was penned by Ibn Sayyid Murād al-Ḥusaynī and illustrated by Muḥammad ʿAlī Mashhadī in 1068 AH / 1657 CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=30391. Set in India, the story begins with a young Hindu man confessing his strong love for his childhood friend to his father. His father consents to the young man’s request to marry and sends a message to the girl’s parents. An elegantly calligraphed, illuminated and illustrated copy of the poem Sūz va gudāz ('Burning and melting') by Nawʿī Khabūshānī (d.1019 AH /1610 CE) which recounts the love story of a Hindu girl who decides to burn herself on the pyre of her betrothed killed accidentally just before their marriage. The present codex was penned by Ibn Sayyid Murād al-Ḥusaynī and illustrated by Muḥammad ʿAlī Mashhadī in 1068 AH / 1657 CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=30391

Persian cover

Babur confronts his enemies in the mountains of Kharābūk and Pashāmūn, from Illuminated manuscript Baburnama (Memoirs of

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

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

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.

Summer fruit and berries garden.

Seamless vector pattern with red pomegranates, flowers and berries on blue background. Folk art style print with Turkish motifs. Seamless vector pattern with red pomegranates, flowers and berries on blue background. Folk art style print with Turkish motifs.

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

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.

King Sheba (Bilqīs) enthroned; part of a double-page composition featuring also King Solomon (Sulaymān) from

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

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.

Five poems (quintet), Battle between the Ottoman and Hungarian armies, Walters Manuscript W.666, fol. 27a

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.

An awards ceremony in the Sultan Ibrāhīm’s court before being sent on an expedition to Sambhal, from Illuminated manuscript Ba

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

A beautiful and intricate Persian rug

A beautiful and intricate Persian rug

Burning and melting, Prince Dāniyāl accompanies the young Hindu girl to the funeral pyre, Walters Manuscript W.649, fol. 17b

Emperor Akbar eventually permits the young Hindu girl to practice sati (self-immolation). Akbar's son, Prince Dāniyāl, accompanies the woman to the funeral pyre. An elegantly calligraphed, illuminated and illustrated copy of the poem Sūz va gudāz ('Burning and melting') by Nawʿī Khabūshānī (d.1019 AH /1610 CE) which recounts the love story of a Hindu girl who decides to burn herself on the pyre of her betrothed killed accidentally just before their marriage. The present codex was penned by Ibn Sayyid Murād al-Ḥusaynī and illustrated by Muḥammad ʿAlī Mashhadī in 1068 AH / 1657 CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=30391. Emperor Akbar eventually permits the young Hindu girl to practice sati (self-immolation). Akbar's son, Prince Dāniyāl, accompanies the woman to the funeral pyre. An elegantly calligraphed, illuminated and illustrated copy of the poem Sūz va gudāz ('Burning and melting') by Nawʿī Khabūshānī (d.1019 AH /1610 CE) which recounts the love story of a Hindu girl who decides to burn herself on the pyre of her betrothed killed accidentally just before their marriage. The present codex was penned by Ibn Sayyid Murād al-Ḥusaynī and illustrated by Muḥammad ʿAlī Mashhadī in 1068 AH / 1657 CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=30391

Five poems (quintet), The poet ʿAṭāʾī reading from his book (Ḫamse) to his master, Walters 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. 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.

Five poems (quintet), View of the Bosphorus Strait, Walters Manuscript W.666, fol. 10a

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.

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