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Kalamata and green olives

Kalamata and large green olives snack. Kalamata and large green olives snack

Photograph taken from inside a palace towards to the palace Itmad-Ul-Daulah in Agra. Photograph taken from inside a palace towards to the palace Itmad-Ul-Daulah in Agra

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.

Illustration for ramadan kareem

Twinkle star background with mosque. Twinkle star background with mosque

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.

people stand infront of mosque

Mosque background with happy people indicating moon. Mosque background with happy people indicating moon

sheep wishing Eid ul Adha Happy Bakra Id holy festival of Islam Muslim

sheep wishing Eid ul Adha Happy Bakra Id holy festival of Islam Muslim

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

Tuḥfet ül-aḫyār. Folio from an Ottoman Turkish version of the well-known story of Sindbad (Sindbādnāmah) made from the Persian by ʿAbdülkerīm bin Muḥammed during the reign of Sultan Sulayman (Soliman) (reg.926 AH / 1520 CE - 974 AH / 1566 CE) and entitled Tuḥfet ül-aḫyār. This anonymous copy contains six illustrations made in the 10th century AH /16th CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=35391. Tuḥfet ül-aḫyār. Folio from an Ottoman Turkish version of the well-known story of Sindbad (Sindbādnāmah) made from the Persian by ʿAbdülkerīm bin Muḥammed during the reign of Sultan Sulayman (Soliman) (reg.926 AH / 1520 CE - 974 AH / 1566 CE) and entitled Tuḥfet ül-aḫyār. This anonymous copy contains six illustrations made in the 10th century AH /16th CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=35391

sheep wishing Eid ul Adha Happy Bakra Id holy festival of Islam Muslim

sheep wishing Eid ul Adha Happy Bakra Id holy festival of Islam Muslim

Jami-Ul-Alfa Mosque

Jami-Ul-Alfa Mosque

Illuminated Manuscript Turkish version of Sindbadnama, Walters Art Museum Ms. W.662, fol. 52b

The prince hunting. Leaf from an Ottoman Turkish version of the well-known story of Sindbad (Sindbādnāmah) made from the Persian by ʿAbdülkerīm bin Muḥammed during the reign of Sultan Sulayman (Soliman) (reg.926 AH / 1520 CE - 974 AH / 1566 CE) and entitled Tuḥfet ül-aḫyār. This anonymous copy contains six illustrations made in the 10th century AH /16th CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=35391. The prince hunting. Leaf from an Ottoman Turkish version of the well-known story of Sindbad (Sindbādnāmah) made from the Persian by ʿAbdülkerīm bin Muḥammed during the reign of Sultan Sulayman (Soliman) (reg.926 AH / 1520 CE - 974 AH / 1566 CE) and entitled Tuḥfet ül-aḫyār. This anonymous copy contains six illustrations made in the 10th century AH /16th CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=35391

sheep wishing Eid ul Adha Happy Bakra Id holy festival of Islam Muslim

sheep wishing Eid ul Adha Happy Bakra Id holy festival of Islam Muslim

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.

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).

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.

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.

Vector logo for Eid ul-Adha Mubarak

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.

sheep wishing Eid ul Adha Happy Bakra Id holy festival of Islam Muslim

sheep wishing Eid ul Adha Happy Bakra Id holy festival of Islam Muslim

Illustration for eid mubarak celebration

Vector illustration for eid mubarak celebration

Illuminated Manuscript Turkish version of Sindbadnama, Walters Art Museum Ms. W.662, fol. 1b

Tuḥfet ül-aḫyār. Page from an Ottoman Turkish version of the well-known story of Sindbad (Sindbādnāmah) made from the Persian by ʿAbdülkerīm bin Muḥammed during the reign of Sultan Sulayman (Soliman) (reg.926 AH / 1520 CE - 974 AH / 1566 CE) and entitled Tuḥfet ül-aḫyār. This anonymous copy contains six illustrations made in the 10th century AH /16th CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=35391. Tuḥfet ül-aḫyār. Page from an Ottoman Turkish version of the well-known story of Sindbad (Sindbādnāmah) made from the Persian by ʿAbdülkerīm bin Muḥammed during the reign of Sultan Sulayman (Soliman) (reg.926 AH / 1520 CE - 974 AH / 1566 CE) and entitled Tuḥfet ül-aḫyār. This anonymous copy contains six illustrations made in the 10th century AH /16th CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=35391

Vector set of eid mubarak headers

Set of three eid mubarak headers. Set of three eid mubarak headers

Qutab Minar is a soaring, 73 m-high tower of victory, built in 1193 by Qutab-ud-din Aibak immediately after the defeat of Delhi& x27;s last Hindu kingdom. The tower has five distinct storeys, each marked by a projecting balcony and tapers from a 15 m diameter at the base to just 2.5 m at the top. The first three storeys are made of red sandstone; the fourth and fifth storeys are of marble and sandstone. At the foot of the tower is the Quwwat-ul-Islam Mosque, the first mosque to be built in India. An inscription over its eastern gate provocatively informs that it was built with material obtained from demolishing & x27;27 Hindu temples& x27;. A 7 m-high iron pillar stands in the courtyard of the mosque. It is said that if you can encircle it with your hands while standing with your back to it your wish will be fulfilled. Qutab Minar is a soaring, 73 m-high tower of victory, built in 1193 by Qutab-ud-din Aibak immediately after the defeat of Delhi& x27;s last Hindu kingdom. The tower has five distinct storeys, each marked by a projecting balcony and tapers from a 15 m diameter at the base to just 2.5 m at the top. The first three storeys are made of red sandstone; the fourth and fifth storeys are of marble and sandstone. At the foot of the tower is the Quwwat-ul-Islam Mosque, the first mosque to be built in India. An inscription over its eastern gate provocatively informs that it was built with material obtained from demolishing & x27;27 Hindu temples& x27;. A 7 m-high iron pillar stands in the courtyard of the mosque. It is said that if you can encircle it with your hands while standing with your back to it your wish will be fulfilled.

Illustration for ramadan kareem

A man indicating moon in eid's night. A man indicating moon in eid's night

Illuminated Manuscript Turkish version of Sindbadnama, Walters Art Museum Ms. W.662, fol. 24b

Tuḥfet ül-aḫyār. Folio from an Ottoman Turkish version of the well-known story of Sindbad (Sindbādnāmah) made from the Persian by ʿAbdülkerīm bin Muḥammed during the reign of Sultan Sulayman (Soliman) (reg.926 AH / 1520 CE - 974 AH / 1566 CE) and entitled Tuḥfet ül-aḫyār. This anonymous copy contains six illustrations made in the 10th century AH /16th CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=35391. Tuḥfet ül-aḫyār. Folio from an Ottoman Turkish version of the well-known story of Sindbad (Sindbādnāmah) made from the Persian by ʿAbdülkerīm bin Muḥammed during the reign of Sultan Sulayman (Soliman) (reg.926 AH / 1520 CE - 974 AH / 1566 CE) and entitled Tuḥfet ül-aḫyār. This anonymous copy contains six illustrations made in the 10th century AH /16th CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=35391

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.

Illustration for ramadan kareem

Vector illustration for eid mubarak celebration. Vector illustration for eid mubarak celebration

Vector illustration for eid mubarak celebration

Eid mubarak theme scenery, illustration. Eid mubarak theme scenery, illustration

3d gold `Eid ul adha mubarak` translated as `Happy Eid ul adha in arabic calligraphy style - Illustration

3d gold `Eid ul adha mubarak` translated as `Happy Eid ul adha in arabic calligraphy style - Illustration

Jami-Ul-Alfar Mosque, Colombo, Sri Lanka

Jami-Ul-Alfar Mosque, Colombo, Sri Lanka

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.

Islamic Festival of Sacrifice, Eid-Ul-Adha celebration greeting card.

Islamic Festival of Sacrifice, Eid-Ul-Adha celebration greeting card.

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.

Illustration for eid mubarak celebration

Wallpaper for eid mubarak celebration. Wallpaper for eid mubarak celebration

Illustration for eid mubarak celebration

Vector eid mubarak greeting cards with presentation. Vector eid mubarak greeting cards with presentation

Illustration for ramadan kareem

Abstract eid composition background, vector illustration. Abstract eid composition background, vector illustration

Happy Eid Ul Adha, Creative design. Eid Al Adha Mubarak greeting card

Happy Eid Ul Adha, Creative design. Eid Al Adha Mubarak greeting card

Illustration for ramadan kareem

Grey background with ramazan icon, illustration. Grey background with ramazan icon, illustration

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.

Happy Eid Ul Adha, Creative design. Eid Al Adha Mubarak greeting card

Happy Eid Ul Adha, Creative design. Eid Al Adha Mubarak greeting card

Jami-Ul-Alfar Red Mosque, Colombo

Jami-Ul-Alfar Red Mosque, Colombo

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.

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.

Illustration for eid mubarak celebration

Beautiful abstract concept greeting card for eid mubarak. Beautiful abstract concept greeting card for eid mubarak

Illustration for eid mubarak celebration

Green twinkle star background with mosque. Green twinkle star background with mosque

Window to Itmad-Ul-Daulah

Photograph taken from inside a palace towards to the palace Itmad-Ul-Daulah in Agra. Photograph taken from inside a palace towards to the palace Itmad-Ul-Daulah in Agra

Illustration for eid mubarak celebration

Twinkle star background with comic shape mosque. Twinkle star background with comic shape mosque

Illustration for ramadan kareem

Arabic concept illustration for eid. Arabic concept illustration for eid

sheep wishing Eid ul Adha Happy Bakra Id holy festival of Islam Muslim

sheep wishing Eid ul Adha Happy Bakra Id holy festival of Islam Muslim

Illustration for eid mubarak celebration

Night background with mosque, man praying. Night background with mosque, man praying

Illustration for ramadan kareem

Celebration night background with food. Celebration night background with food

Illustration for ramadan kareem

Abstract mosque background, vector illustration. Abstract mosque background, vector illustration

Vector set of eid mubarak headers

Vector set of three eid mubarak headers. Vector set of three eid mubarak headers

Illuminated Manuscript Turkish version of Sindbadnama, Walters Art Museum Ms. W.662, fol. 28b

Tuḥfet ül-aḫyār. Folio from an Ottoman Turkish version of the well-known story of Sindbad (Sindbādnāmah) made from the Persian by ʿAbdülkerīm bin Muḥammed during the reign of Sultan Sulayman (Soliman) (reg.926 AH / 1520 CE - 974 AH / 1566 CE) and entitled Tuḥfet ül-aḫyār. This anonymous copy contains six illustrations made in the 10th century AH /16th CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=35391. Tuḥfet ül-aḫyār. Folio from an Ottoman Turkish version of the well-known story of Sindbad (Sindbādnāmah) made from the Persian by ʿAbdülkerīm bin Muḥammed during the reign of Sultan Sulayman (Soliman) (reg.926 AH / 1520 CE - 974 AH / 1566 CE) and entitled Tuḥfet ül-aḫyār. This anonymous copy contains six illustrations made in the 10th century AH /16th CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=35391

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.

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.

Illustration for ramadan kareem

Vector illustration of eid mubarak painting. Vector illustration of eid mubarak painting

Carpathian Winter

The Ceahlau Massif is one of the most renowned mountain ranges of Romania. It is located in the Eastern Carpathians chain, in Neamţ County, in the Moldavia region. The two most important peaks are Toaca (1904 m altitude) and Ocolaşul Mare (1907 m altitude). It is bounded to the east by the Bistriţa River and Lake Bicaz, to the south by the Bicaz River. The Ceahlau Massif is one of the most renowned mountain ranges of Romania. It is located in the Eastern Carpathians chain, in Neamţ County, in the Moldavia region. The two most important peaks are Toaca (1904 m altitude) and Ocolaşul Mare (1907 m altitude). It is bounded to the east by the Bistriţa River and Lake Bicaz, to the south by the Bicaz River.

Eid ul adha

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.

Window to Itmad-Ul-Daulah

Photograph taken from inside a palace towards to the palace Itmad-Ul-Daulah in Agra. Photograph taken from inside a palace towards to the palace Itmad-Ul-Daulah in Agra

Eid Ul Adha Background. Islamic Arabic lanterns and sheep. Greeting card. Festival of the Sacrifice

Eid Ul Adha Background. Islamic Arabic lanterns and sheep. Greeting card. Festival of the Sacrifice

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