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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.

Bow of Hurtigruten cruise ship MS Trollfjord in the arctic sea near SÃ¸rÃ¸ya island with snow-covered mountains.

Bow of Hurtigruten cruise ship MS Trollfjord in the arctic sea near SÃ¸rÃ¸ya island with snow-covered mountains.

Ya....!!

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.

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.

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.

Main street TromsÃ¸ Norway

Main street TromsÃ¸ Norway

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.

Tromso Bridge by night - northern Norway

Tromso Bridge by night - northern Norway

Ya Pear

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.

Love ya

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.

Reflecting rorbuer (cottages)

Reflecting rorbuer (cottages)

Malaysia Kuala Lumpur Sze Ya Temple

Malaysia Kuala Lumpur Sze Ya Temple

Chinese food rice mushrooms green onion lunch

Chinese food rice mushrooms green onion lunch

Khao Laem Ya-Mu Ko Samet National Park. in Rayong

Khao Laem Ya-Mu Ko Samet National Park. in Rayong

Love ya

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), 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.

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.

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.

San Ya, China: Nanshan Temple

San Ya, China: Nanshan Temple

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.

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.

TromsÃ¸ harbour twilight wintertime

TromsÃ¸ harbour twilight wintertime

Ya Pear

Mae Ya waterfall.

Mae Ya waterfall.

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