Persian Manuscript Illustrations

Historic folios featuring colorful illustrations and intricate designs from Persian literature, depicting significant cultural narratives.

In the middle of the text is placed a representation of a prophet covered in gold and red and flaming around the head, standing on a platform, on the left horses fall to their knees in front of him, in the right corner a leopard and in the upper left corner a colorful angel makes a bow towards him, around the representation a single frame, around the text a series of frame lines forming a frame. The border around the text is here and there damaged and sloppily reconstructed., Prophet in the wilderness, draughtsman: anonymous, Iran, c. 1500 - c. 1800, tekst, :, brush, h 176 mm × w 101 mm, h 210 mm × w 127 mm

In the middle of the text is placed a representation of a prophet covered in gold and red and flaming around the head, standing on a platform, on the left horses fall to their knees in front of him, in the right corner a leopard and in the upper left corner a colorful angel makes a bow towards him, around the representation a single frame, around the text a series of frame lines forming a frame. The border around the text is here and there damaged and sloppily reconstructed., Prophet in the wilderness, draughtsman: anonymous, Iran, c. 1500 - c. 1800, tekst, :, brush, h 176 mm × w 101 mm, h 210 mm × w 127 mm

. For the first time to his father, Kay-Kavus, King of Iran, Prince Siyavush is shown. The king is seated on a throne in a rocky landscape. Two servants are aside; One of them waves the king coolness; The other holds the shield and weapons.

"A Religious Devotee Summoned to Pray for the King's Recovery", Folio from a Bustan (Orchard) of Sa'di 17th century Sa'di. "A Religious Devotee Summoned to Pray for the King's Recovery", Folio from a Bustan (Orchard) of Sa'di 446600

"Abu'l Mihjan and Sa`d ibn Abi Wakkas Before a Ruler", Folio from a Khavarannama (The Book of the East) of ibn Husam al-Din ca. 1476-86 Maulana Muhammad Ibn Husam ad Din This manuscript of the legendary exploits of 'Ali, nephew and son-in-law of the Prophet, is illustrated in a style associated with the White Sheep (Aq Qoyunlu) Turkoman dynasty ruling in the western part of Iran during the last third of the fifteenth century. Within a conventional framework, the artist of this miniature has combined a harmonious and balanced composition with sureness of drawing, crisp forms, pleasant colors and a variety of decorative patterns. The inscription over the door is a typical generalized formula which reads: 'the Sultan son of the Sultan the Victorious'.. "Abu'l Mihjan and Sa`d ibn Abi Wakkas Before a Ruler", Folio from a Khavarannama (The Book of the East) of ibn Husam al-Din 451328

"Three Men Before a Castle", Folio from a Khavarannama (The Book of the East) of ibn Husam al-Din. Author: Maulana Muhammad Ibn Husam ad Din (Persian, died 1470). Dimensions: 15 11/16 x 11 3/8in. (39.8 x 28.9cm). Date: ca. 1476-86.The fifteenth-century author Maulana Muhammad ibn Husam al-Din, known as Ibn Husam, wrote the Khavarannama in emulation of the great poet Firdausi's national Persian epic, the Shahnama. Ibn Husam, however, centers his stories on the Shi'i imam 'Ali, son-in-law of the Prophet Muhammad. This folio depicts an imaginary meeting between the poet Firdausi and the author of the Khavarannama, Ibn Husam. Museum: Metropolitan Museum of Art, New York, USA.

The Mi'raj of Muhammad, Page from a Manuscript of the Khamsa (Quintet) of Nizami

Siyavush meets his father, Anonymous, 1540 - 1560 for the first time Indian miniature. drawing Prince Siyavush is shown to his father, Kay-Kavus, King of Iran, for the first time. The king is sitting on a throne in a rocky landscape. Two servants assist; One of them waves the king coolness; The other holds the shield and the weapons. Northern India paper brush

Vision of Hell, miniature from The tales of Luqman, Arabic manuscript, 1583.

The magician, disguised as a Brahmin, visits the King of Babylon, from a Tuti-nama, Tales of a Parrot. Tutinama, Tales of a Parrot, is a series of 52 stories in Persian from the 14th century, in the 16th century Mughal Emperor Agbar commissioned an illustrated version, Thirty-fifth Night, around 1560. Mughal India, Court of Akbar (r . 1556-1605), historical, digitally restored reproduction of an original from that time.

Page from a book of Sunni devotional poetry, scribed in nasta'liq script from northern India or eastern Persia. The miniature may show a teacher giving instruction. Date: late 18th century

Harun al-Rashid and the inside a hammam (From a Manuscript of the Khamsa of Nizami), Anonymous

Kay Khusrau executes Afrâsiyâb and his brother., 1616 - 1620 (Inferred)., Istanbul. Manuscripts, Turkish., 19.5 x 18 cm

"Laila and Majnun in School", Folio 129 from a Khamsa (Quintet) of Nizami A.H. 931/A.D. 1524-25 Nizami One of the best-known stories of Nizamis Khamsa (Quintet) is that of Laila and Majnun, a tale akin to that of the star-crossed lovers Romeo and Juliet. This folio illustrates their meeting at the madrasa (school) where they fall in love at first sight. In addition to the young lovers, this highly detailed painting depicts activities typical of the sixteenthcentury schoolyard—with children burnishing paper, practicing their penmanship, and reading various types of books. Although the story takes place in Arabia, the architectural setting is quintessentially Persian.. "Laila and Majnun in School", Folio 129 from a Khamsa (Quintet) of Nizami 446603

The three suitors again begin to quarrel among themselves for the hand of the devotees daughter, from a Tuti-nama (Tales of a Parrot): Twentieth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 7.8 x 10 cm (3 1/16 x 3 15/16 in.). After working together to revive the woman from her death-like illness, the three suitors resume their rivalry. The men brawl in the courtyard while she looks on from her chamber. Horrified by the behavior of her suitors, she renounces worldly matters, joins a temple, and devotes herself to serving god.

Liefdespaar op een terras, geknield voor een oude wijze man.On a terrace for a palace is a love couple on a brightly colored dress, kneeling for an old manner; Two columns text in Persian handwriting above and below and on the back. The performance is in the middle of the leaf and cover the width of two columns text located above and below the show and also on the back of the leaf.

The parrot addresses Khujasta at the beginning of the fifty-second night, from a Tuti-nama (Tales of a Parrot): Fifty-second Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 8.3 x 10.2 cm (3 1/4 x 4 in.). On the final night of the Tuti-nama, Khujasta asks Tuti the parrot if she can leave to visit her lover. As the story ends, Khujastas husband, Maymun, returns home from his journey. Her affair is revealed, and she is ultimately killed. Maymun shaves his head, dons the robes of an ascetic, and enters a hermitage.

"The Execution of Mazdak", Folio from a Shahnama (Book of Kings) ca. 1330-40 Abu'l Qasim Firdausi The Sasanian prince who was later called Nushirvan, believed the popular religion of Mazdak to be an evil heresy. Thus he planted Mazdak's closest followers head down in a walled garden so that Mazdak might see the fruit of the evil seeds he had scattered. The prince then had a false prophet hanged upside down and slain with arrows, though no arrows are in sight here. Mazdak and an attendant look at the scene at right.. "The Execution of Mazdak", Folio from a Shahnama (Book of Kings) 452662

Khusrau Subduing a Lion, late 15th century, 9 15/16 x 2 7/16 in. (25.2 x 6.2 cm), Ink and colors on paper, Persia (Iran), 15th century, Of all Persian poetry, the twelfth-century Khamsa, or Quintet, was second only to the Shah Nama in popularity. Comprised of five romances, the story of Khusrau and Shirin is drawn from the history of the ancient Sassanian kings. The poem recounts the deep love of the monarch Khusrau Paviz (590-628) for a beautiful Armenian princess, Shirin. The Persian poet, Nizami, author of the Khamsa, was keenly interested in exploring the vagaries of human character, and this page illustrates an episode in which Khusrau rescues Shirin by killing a lion with his bare fists in front of her tent.

Folios A and B from the "Five Treasures" (Panj Ganj) of Jami, 1520-1607. Mushfiq (Indian), and others (Indian). Ink, opaque watercolor and gold on paper, both folios double-sided with text on verso; page: 30.2 x 18.1 cm (11 7/8 x 7 1/8 in.).

The wounded monkey bites the hand of the prince, his chess mate, in the presence of guests, from a Tuti-nama, Tales of a Parrot. Tutinama, Tales of a Parrot, is a series of 52 stories in Persian from the 14th century, in the 16th century Mughal Emperor Agbar commissioned an illustrated version, Fifth Night, around 1560. Dasavanta (Indian, d. 1584), Historical, digitally restored reproduction of a original from that time.

Khusrau Parvîz, his hands bound, is led by two rustics wearing straw hats with high crowns from a pavilion in a garden where he had taken refuge., 1616 - 1620 (Inferred), Istanbul, Manuscripts, Turkish, 22 x 18.1 cm

Garsîvaz, the brother of Afrâsiyâb, is executed.. 1616. Firdawsî. text. illuminated manuscripts, Illuminations, Manuscripts. Spencer Collection. Manuscripts, Persian

"Rustam Blames Kai Kavus for the Death of Siyavush", Folio 202v from the Shahnama (Book of Kings) of Shah Tahmasp ca. 1525-30 Abu'l Qasim Firdausi The news of the death of Siyavush causes lamentation at the Iranian court and in Zabulistan, where Rustam swears to avenge his murder. After a period of mourning, Rustam journeys with his army to the court of Kai Kavus. First, he reproaches the shah for listening to Sudaba and allowing Siyavush to go to Turan. Next, he drags Sudaba out of her chambers and stabs her to death. After seven days of mourning, he issues the call to battle and departs with the army for Turan.. "Rustam Blames Kai Kavus for the Death of Siyavush", Folio 202v from the Shahnama (Book of Kings) of Shah Tahmasp 452139

"Sultan Bayazid before Timur", Folio from an Akbarnama (History of Akbar) ca. 1600 Painting by Dharam Das This is a single leaf from a now dispersed Akbarnama. In this enthronement scene, Timur sits on a platform throne while the vanquished Ottoman sultan Bayazid sits humbly before him.. "Sultan Bayazid before Timur", Folio from an Akbarnama (History of Akbar). Painting by Dharam Das. ca. 1600. Ink, opaque watercolor, and gold on paper. Made in present-day Pakistan, probably Lahore. Codices

"Caliph Al-Wathiq Killing the Rebel Ahmad Ibn Nasr", Folio from the Tarikh-i Alfi 1592-94 This folio from the manuscript Tarikh-i Alfi was created during the period of Emperor Akbar (r. 1556-1605), one of the greatest patrons of Islamic arts in India. The work illustrates and describes the early history of Islam, and was created in honor of the millennial year A.H. 1000 (A.D. 1591-92). This scene illustrates an episode from the life of the Abbasid Caliph al-Wathiq (r. 842-847). The caliph is shown here executing the rebel Ahmad ibn Nasr, who has been interrogated by a group of nearby scholars during the "Mihna" or "trials" of the Abbasid period. The artist has depicted the moment of the final blow by al-Wathiq's sword, as ibn Nasr's turban is knocked from his brow to the ground behind him, and the scholars express varying reactions to the violent scene.. "Caliph Al-Wathiq Killing the Rebel Ahmad Ibn Nasr", Folio from the Tarikh-i Alfi. 1592-94. Ink, opaque watercolor, and gold on pap

"Rustam Captures the Shah of Sham and the Shah of Berber", Folio from a Shahnama (Book of Kings) of Firdausi ca. 1330-40 Abu'l Qasim Firdausi Rustam, heading the Persian forces, was called upon to defeat the combined armies of the shah of Hamavaran - who through treachery had captured the Persian shah, Kai Kavus - and his allies, the shahs of Sham and Berber. After fierce fighting, Rustam captured the allied kings and the shah of Hamavaran asked for peace. In this battle scene, depicted with liveliness and verve, Rustam, identifiable by his tiger-skin cuirass (right foreground) appears to be lassoing the shah of Sham though the lasso is missing. The shah of Sham (left) is bending forward on his horse as though pulled by the lasso.. "Rustam Captures the Shah of Sham and the Shah of Berber", Folio from a Shahnama (Book of Kings) of Firdausi 452633

The Conquest of Khaybar by the Prophet Muhammad, from a manuscript of Hafiz-i Abrus Majma al-tawarikh

Ibrhîm (Abraham), catapulted into flames at the order of King Nimrûd, seats enthroned in the midst of the flames that have become a garden, fol. 26. 1580. Manuscripts. Spencer Collection. Manuscripts, Persian

"Shaikh San'an and the Christian Maiden", Folio 22v from a Mantiq al-Tair (Language of the Birds) ca. 1600 Farid al-Din `Attar In another tale from the Mantiq al-tair, a sufi shaikh falls in love with a Christian maiden, who subjects him to many demeaning tasks to test his affections. When his followers finally convince the shaikh to leave, the maidenrealizing the error of her wayssets off on the arduous path after him. This painting depicts the moment in the story where the shaikh, deciding to return to her, instead discovers her collapsed along the road. With her dying breath she apologizes, converts to Islam, and bids him farewell, while his astonished disciples look on.. "Shaikh San'an and the Christian Maiden", Folio 22v from a Mantiq al-Tair (Language of the Birds) 451728

Ayyûb (Job), wearing a loincloth, is raised up by the angel Jibr'îl Gabriel, fol. 109. 1580. Manuscripts. Spencer Collection. Manuscripts, Persian

Nizami Ganjavi (1141-1209) or Amīr Khusraw Dihlavī, whose formal name was Jamal ad-Dīn Abū Muḥammad Ilyās ibn-Yūsuf ibn-Zakkī, was a 12th-century Persian poet. Nezāmi is considered the greatest romantic epic poet in Persian literature, who brought a colloquial and realistic style to the Persian epic. His heritage is widely appreciated and shared by Afghanistan, Azerbaijan, Iran, Kurdistan and Tajikistan.

"Asvatthama Fires the Narayana Weapon (Cosmic Fire) at the Pandavas", Folio from a Razmnama ca. 1616-17 'Abd al-Rahim ibn Muhammad Bairam Khan Khan-i Khanan. "Asvatthama Fires the Narayana Weapon (Cosmic Fire) at the Pandavas", Folio from a Razmnama 451315

Yaqûb ibn Ishaq tells of a Turk who visited Jazîrat Bahânâs and aided the very small inhabitants of that island in their battle against their enemy top; Four dog-faced men of the Island of the Dogs (Jazîrat Sagsâr) menace three men bottom, f. 90v. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

Prince in a Garden Courtyard. Dimensions: Painting: H. 8 1/2 in. (21.6 cm)W. 4 3/4 in. (12.1 cm)Mat:: H. 19 1/4 in. (48.9 cm)W. 14 1/4 in. (36.2 cm). Date: 1525-30.This typical bazm (feast) scene is the left-hand side of a double page painting. Traditionally, the right half would have shown royal servants preparing a feast. The prince is seated on a square platform under a canopy, holding the two key symbols of Persian kingship--a wine cup and a royal handkerchief. His attendants offer him wine and fruit in gold vessels, as poetry is recited to the sound of the barbat (Persian lute) and the dayira (tambourine). Museum: Metropolitan Museum of Art, New York, USA.

Genghis Khan seated in the garden under a parasol, miniature from a Persian manuscript, manuscript 1113 folio 116, Persia.

Bāburnāma (Chagatai/Persian: بابر نامہ;´, literally: 'Book of Babur' or 'Letters of Babur'; alternatively known as Tuzk-e Babri) is the name given to the memoirs of ahīr ud-Dīn Muḥammad Bābur (1483-1530), founder of the Mughal Empire and a great-great-great-grandson of Timur. It is an autobiographical work, originally written in the Chagatai language, known to Babur as 'Turki' (meaning Turkic), the spoken language of the Andijan-Timurids. Because of Babur's cultural origin, his prose is highly Persianized in its sentence structure, morphology, and vocabulary, and also contains many phrases and smaller poems in Persian. During Emperor Akbar's reign, the work was completely translated to Persian by a Mughal courtier, Abdul Rahīm, in AH 998 (1589-90 CE).

"Tumanba Khan, His Wife, and His Nine Sons", Folio from a Chingiznama (Book of Genghis Khan) ca. 1596 Basawan Indian The text of the Chingiznama records the life of the legendary conqueror Chingiz Khan (Genghis Khan) and his family. The emperor Akbar (r. 1556-1605) commissioned many historical manuscripts in the 1590s, but because the Mughals claimed descent from Genghis Khan, this book must have had particular resonance for him. This illustration depicts the ruler Tumanba Khan, an ancestor of Genghis Khan, with his wife and nine sons.. "Tumanba Khan, His Wife, and His Nine Sons", Folio from a Chingiznama (Book of Genghis Khan) 450954

"A Fire-Worshipper Received at the Board of Abraham the Patriarch", Folio from a Bustan (Orchard) of Sa'di 17th century Sa'di. "A Fire-Worshipper Received at the Board of Abraham the Patriarch", Folio from a Bustan (Orchard) of Sa'di 454668

Escena campestre en un manuscrito iluminado.Mevlna Müzesi.(Epoca Selyucida).Konya.Anatolia Centrall.Turquia.

Rustam before Kay Kavous, 1341, Hasan ibn Muhammad ibn `Ali ibn Husaini (known as al-Mausili), Ink, colors, and gold on paper, Iran, 14th century, This illustration was commissioned by al-Hasan Qivam al-Din wal-Daula, an adviser to the Inju rulers (c. 1325-56) who briefly ruled the Iranian province of Fars, considered the ancient homeland of the Persian people. Here, the legendary warrior Rustam (in characteristic tiger robe) is seen with his retinue, greeting King Kay Kavous to report a victory. The flat, red background, textiles with Chinese-inspired lotus and peony motifs, and figures with cursory yet animated outlines—the spears literally pierce the surrounding text—characterize these rare paintings from the provincial Inju school.

Manuscript of the Hadiqat al-Su`ada (Garden of the Blessed) of Fuzuli Muhammad bin Sulayman, known as Fuzuli (ca. 1483-1556). Manuscript of the Hadiqat al-Su`ada (Garden of the Blessed) of Fuzuli, AH 1011 / 1602-3 C.E. Opaque watercolor, ink and gold on paper; leather binding, 5 1/2 x 9 3/4 in. (14 x 24.8 cm). This manuscript is a copy of the sixteenth-century Hadiqat al-Sucada (Garden of the Blessed), written in Baghdad by the Ottoman mystic Muhammad bin Sulayman, known as Fuzuli (circa 1483-1556). It is a text on the Prophets family and belongs to a group of illustrated devotional manuscripts executed in a provincial style in Baghdad under the patronage of the Ottoman sultan Mehmet III (r. 1595-1603). Here, the Prophet is shown veiled and seated on a pulpit, accompanied by his cousin and son-in-law, cAli, and his grandchildren, Hasan and Husayn, all distinguished by haloes of fire. According to the Ottoman Turkish text, Muhammad is conversing with the angel Gabriel and the Angel of

"Khusrau Seated on his Throne", Folio 64 from a Khamsa (Quintet) of Nizami dated A.H. 931/A.D. 1524-25 Nizami Seated on his throne under a colorful canopy, the king Khusrau Parviz holds court. Toward the middle of the composition, a pair of figures captures our attention. A bearded man holds an inscribed paper in one hand, while a young man applies ink to a seal ring on the other. This action likely identifies the bearded man as a chancery scribe, or courtier, entrusted with writing official correspondence and affixing the rulers seal.. "Khusrau Seated on his Throne", Folio 64 from a Khamsa (Quintet) of Nizami 453980

"Rustam Comes from Kabul to Pay Homage to Kai Khusrau", Folio from a Shahnama (Book of Kings) of Firdausi ca. 1330-40 Abu'l Qasim Firdausi In this miniature the artist has faithfully rendered the scene as described in the poem. When Kai Khusrau mounted the throne of Iran all the lords and princes came to pay homage to him. When the young shah saw the great hero Rustam, who had reared his murdered father Siyavush, he wept and descended from his throne to greet him while Rustam kissed the ground before the shah, as was the custom.. "Rustam Comes from Kabul to Pay Homage to Kai Khusrau", Folio from a Shahnama (Book of Kings) of Firdausi 452635

Ladhdhat al-nisí (The Enjoyment of Women) translated and illustrated by Ziyí [al-Dn Nakhshab 18th century)illustrated Persian treatise on sexual hygiene appears to be a translation from an Indian treatise. An illustration of the diagnosis of lovesickness by feeling the pulse.

Birth of the Prophet Muhammad. Miniature illustration on vellum from the book Jami' at-Tawarikh (literally 'Compendium of Chronicles' but often referred to as 'The Universal History or History of the World'), by Rashid al-Din, Tabriz, Persia, 1307 CE, now in the collection of the Edinburgh University Library, Scotland. Representations of the Prophet Muhammad are controversial, and generally forbidden in Sunni Islam (especially Hanafiyya, Wahabi, Salafiyya). Shia Islam and some other branches of Sunni Islam (Hanbali, Maliki, Shafi'i) are generally more tolerant of such representational images, but even so the Prophet's features are generally veiled or concealed by flames as a mark of deep respect.

The Shahnameh or Shah-nama (Persian: Šahnameh, 'The Book of Kings') is a long epic poem written by the Persian poet Ferdowsi between c. 977 and 1010 CE and is the national epic of Iran and related Perso-Iranian cultures. Consisting of some 60,000 verses, the Shahnameh tells the mythical and to some extent the historical past of Greater Iran from the creation of the world until the Islamic conquest of Persia in the 7th century. The work is of central importance in Persian culture, regarded as a literary masterpiece, and definitive of ethno-national cultural identity of Iran. It is also important to the contemporary adherents of Zoroastrianism, in that it traces the historical links between the beginnings of the religion with the death of the last Zoroastrian ruler of Persia during the Muslim conquest.

A persian prince and his attendants

Krishna en de herderinnen, tussen tekst in Nastaliq-schrift.On an elongated leaf stands between texts in Nastaliq-Scriptures of Krishna with shepherdesses: at the top of a cave with two men with long blue main luffers, down sitting on a rock. The leaf is equipped with a piping in light green with black frame lines, the left edge shows traces of being torn out somewhere.

"A Scene of Conviviality at Court", Folio from a Divan (Collected Works) of Mir 'Ali Shir Nava'i 1580 Mir 'Ali Shir Nava'i Mir Ali Shir Nava’i was a statesman, patron of the arts, and acclaimed champion of Chaghatayid Turkish poetry. This bazm (feast) scene is the right-hand folio of a double-page composition; the other page depicts the preparation of a feast. Here a prince is seated on a platform in a courtyard surrounded by guests and attendants. Fruit and wine are served as ladies dance to the rhythm of the dayira (tambourine) while poetry is recited. The inclusion of a royal bazm scene in an anthology of this kind suggests the important role of mystical poetry at such gatherings.. "A Scene of Conviviality at Court", Folio from a Divan (Collected Works) of Mir 'Ali Shir Nava'i 446616

GRABADO-ESCENA INDIA PRACTICA DE YOGA. Location: PRIVATE COLLECTION. France.

Drie banen met zeven liefdespaartjes.The lower half of the leaf consists of three courses whose lower than the upper two, in each of the upper courses, three couples can be seen against a background of ornament decoration and separated by Moorish pillar and arc forms in gold; The lower course consists of three fields with in the middle also a couple and the two outer resp. a decorative door and a tree; above the performance two columns text, continued on the back; Colored framework lines around. Two columns text on front and back in former persian script.

King Khusraw Parviz Listening to Barbad the Concealed Musician, Page from a Manuscript of the Shahnama (Book of Kings) of Firdawsi. Iraq, Baghdad (), circa 1300. Manuscripts; folios. Ink, opaque watercolor and gold on paper

Krishna Subdues the Serpent Aghasura, Page from an unidentified Hindu manuscript Indian. Krishna Subdues the Serpent Aghasura, Page from an unidentified Hindu manuscript, 19th century. Opaque watercolor, gold, and silver on paper, sheet: 12 7/8 x 7 7/8 in. (32.7 x 20.0 cm). Asian Art 19th century

Ragamala Paintings are a series of illustrative paintings from medieval India based on Ragamala or the 'Garland of Ragas', depicting various Indian musical nodes, Ragas. They stand as a classical example of the amalgamation of art, poetry and classical music in medieval India. Ragamala paintings were created in most schools of Indian painting, starting in the 16th and 17th centuries and are today named accordingly, as Pahari Ragamala, Rajasthan or Rajput Ragamala, Deccan Ragamala, and Mughal Ragamala.

"Kharrad Recognizes the "Princess" as being an Automaton", Folio from a Shahnama (Book of Kings) dated A.H. 741/A.D. 1341 Abu'l Qasim Firdausi. "Kharrad Recognizes the "Princess" as being an Automaton", Folio from a Shahnama (Book of Kings) 449108

The Shahnameh or Shah-nama (Persian: Šahnameh, 'The Book of Kings') is a long epic poem written by the Persian poet Ferdowsi between c. 977 and 1010 CE and is the national epic of Iran and related Perso-Iranian cultures. Consisting of some 60,000 verses, the Shahnameh tells the mythical and to some extent the historical past of Greater Iran from the creation of the world until the Islamic conquest of Persia in the 7th century. The work is of central importance in Persian culture, regarded as a literary masterpiece, and definitive of ethno-national cultural identity of Iran. It is also important to the contemporary adherents of Zoroastrianism, in that it traces the historical links between the beginnings of the religion with the death of the last Zoroastrian ruler of Persia during the Muslim conquest.

Mihrâs wrestles with Barzû's dîv before the entrance to the dîv's cave.. 1616. Firdawsî. text. illuminated manuscripts, Illuminations, Manuscripts. Spencer Collection. Manuscripts, Persian

"Khusrau Spies Shirin Bathing", Folio from a Khamsa (Quintet) of Nizami 16th century Nizami. "Khusrau Spies Shirin Bathing", Folio from a Khamsa (Quintet) of Nizami. 16th century. Ink, opaque watercolor, silver, and gold on paper. Attributed to Iran, Shiraz. Codices

Persian (Iranian) Islamic style, manuscript, Illustrated 12th century: The poet Nezami recounts the tales of Alexander the great

"A Scene of Conviviality at Court", Folio from a Divan (Collected Works) of Mir 'Ali Shir Nava'i. Calligrapher: Qasim 'Ali of Shiraz. Dimensions: Painting: H. 9 in. (22.9 cm)W. 5 7/8 in. (14.9 cm)Page: H. 10 5/8 in. (27 cm)W. 6 1/2 in. (16.5 cm)Mat: H. 19 1/4 in. (48.9 cm) W. 14 1/4 in. (36.2 cm). Date: 1580.Mir 'Ali Shir Nava'i was a statesman, patron of the arts, and acclaimed champion of Chaghatayid Turkish poetry. This bazm (feast) scene is the right-hand folio of a double-page composition; the other page depicts the preparation of a feast. Here a prince is seated on a platform in a courtyard surrounded by guests and attendants. Fruit and wine are served as ladies dance to the rhythm of the dayira (tambourine) while poetry is recited. The inclusion of a royal bazm scene in an anthology of this kind suggests the important role of mystical poetry at such gatherings. Museum: Metropolitan Museum of Art, New York, USA.

Mûsâ's Moses' staff turns into a dragon and devours Pharaoh's army, fol. 82., 1580, Qazvin, 19 x 15.5 cm

Mount al-Hamand in India, f. 120. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

The Brahmans wife who killed a peacock and ate its gallbladder on the physicians advice, from a Tuti-nama (Tales of a Parrot): Nineteenth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 10.7 x 10 cm (4 3/16 x 3 15/16 in.). The Brahmans wife stands over the body of the Rajas dead peacock, which she killed in hopes of finding a cure for her infertility. The womans crime was nearly discovered, but she ultimately saved herself with a cunning lie. The physician, wearing orange and green, sits in the chamber on the left.

Warrior, resting under a tree; Five illustrations by Kamsa by Nizami with text. Khusrau hits Shirin bathing to // illustration of the Khamsa of Nizami. Khosrau affects Shirui while bathing in the river. (AK Title)

The Thieves on the Roof Awaken the Merchant", Folio from a Kalila wa Dimna second quarter 16th century This manuscript contains seventy-eight paintings and many text folios telling the famous tales of the jackals Kalila and Dimna. Based on the book of ancient Indian animal fables, the Panchatantra written by Vidyapati (Bidpai), the stories spread all over the Middle East where they became wildly popular. This manuscript has a strong flavor of Mamluk Egypt in the figure styles and bold drawings, with hints of Ottoman tulips and Safavid turbans. However, the burnt orange palette and darkly-inked lines have led to an attribution to Sultanate Gujarat where it is suggested this manuscript was copied from an Egyptian original. Its life in India is also attested by a Devanagari inscription at the end, although the rest of the Arabic text is written in a strong, left-leaning naskh-like script.. The Thieves on the Roof Awaken the Merchant", Folio from a Kalila wa Dimna 453070

Nushirwan Sends Mihran Sitad to Fetch the Daughter of the King of China (Recto); The Forty-Eighth Year of Nushirwan's Reign. The Combat of the Khaqan of China with the Haithalians (Verso) , c. 1482. Iran, Shiraz, Timurid period (1370-1501). Opaque watercolor, ink, and gold on paper; image: 14.7 x 15 cm (5 13/16 x 5 7/8 in.); overall: 32.5 x 23.2 cm (12 13/16 x 9 1/8 in.); text area: 23 x 15.5 cm (9 1/16 x 6 1/8 in.). The Iranian painting traditions of creating a conceptual space, symmetry, and decoration characterize this illustration of a scene in the life of the Shia Imam Ali, son-in-law of the Prophet Muhammad. The inscription over the door reads “the just sultan.”

The Prophet Mohammed in the Circle of His Companions ca. 1599-1600 Artist Unknown Miniature

The Black tent for the heads of the Persian army, miniature from Shahnameh or The Persian Book of Kings, by Ferdowsi, Arabic manuscript, Persia 17th Century.

Habbazas sister, who is sent to console her, discovers the disguised Arab in her place, from a Tuti-nama (Tales of a Parrot): Twenty-fourth Night, c. 1560. Mughal India, court of Akbar (reigned 1556-1605). Gum tempera, ink, and gold on paper; overall: 20.3 x 14 cm (8 x 5 1/2 in.); painting only: 11.3 x 10.1 cm (4 7/16 x 4 in.). The man on the left, disguised as Habbaza, has just been badly beaten by Habbazas husband. He is the Arab man who has temporarily taken the womans place while she visits with her lover. Upon entering the tent to heal her sisters wounds, Habbazas sister quickly discovers the ruse and begins an affair of her own.

"The Man who Pretends to be Asleep While the Thief Enters his House Becomes Drowsy and Really Falls Asleep", Folio from a Kalila wa Dimna second quarter 16th century This manuscript contains seventy-eight paintings and many text folios telling the famous tales of the jackals Kalila and Dimna. Based on the book of ancient Indian animal fables, the Panchatantra written by Vidyapati (Bidpai), the stories spread all over the Middle East where they became wildly popular. This manuscript has a strong flavor of Mamluk Egypt in the figure styles and bold drawings, with hints of Ottoman tulips and Safavid turbans. However, the burnt orange palette and darkly-inked lines have led to an attribution to Sultanate Gujarat where it is suggested this manuscript was copied from an Egyptian original. Its life in India is also attested by a Devanagari inscription at the end, although the rest of the Arabic text is written in a strong, left-leaning naskh-like script.. "The Man who Pretends to be Asleep Wh

Rustam and Rakhsh dying in a pit filled with spears., 1616 - 1620 (Inferred), Istanbul, Manuscripts, Turkish, 23 x 18.2 cm

Man and Woman on a throne in a garden, for them two musicians and three servants, Anonymous, 1500 - 1600 Khusrau and Shirin listen to singing and music // illustration of the Khamsa of Nizami. Two princes are on a throne. (AK Title) Persia paper. deck paint. gouache (paint) brush Khusrau and Shirin listen to singing and music // illustration of the Khamsa of Nizami. Two princes are on a throne. (AK Title) Persia paper. deck paint. gouache (paint) brush

Generally the Prophet Muhammad is depicted with his face veiled, out of respect for his status as the seal of prophets. In the 14th century, during the Mongol Il-Khanid dynasty, however, the Prophets face is sometimes shown.

Jibrîl (Gabriel) invites Hazrat Muhammad for his night journey (the Mi'râj)., 1594 - 1595, Istanbul, Manuscripts, Turkish, 13.5 x 17.2 cm

"The Marriage of Sudaba and Kai Kavus", Folio 130r from the Shahnama (Book of Kings) of Shah Tahmasp. Artist: Painting attributed to Qasim ibn 'Ali (active ca. 1525-60); Painting attributed to Mir Musavvir (active 1525-60). Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Painting: H. 11 1/16 x W. 7 1/4 in. (H. 28.1 x W. 18.4 cm)Entire Page: H. 18 9/16 x W. 14 9/16 in. (H. 47.1 x W. 37 cm). Date: ca. 1525-30.After defeating the king of Hamavaran, Kai Kavus demands his daughter Sudaba's hand in marriage. Her beauty astonishes him, and his advisers agree that she is a perfect match for him. They marry and begin a weeklong celebration. However, Sudaba's father then lures Kai Kavus to his palace and, after eight days of revelry, takes him and his men prisoner. Museum: Metropolitan Museum of Art, New York, USA.

The parrot addresses Khujasta at the beginning of the forty-ninth night, from a Tuti-nama, Tales of a Parrot. Tutinama, Tales of a Parrot, is a series of 52 stories in Persian from the 14th century, in the 16th century Mughal Emperor Agbar commissioned an illustrated version, Forty-ninth Night, c. 1560. Mughal India, Court of Akbar (r. 1556-1605) ., Historical, digitally restored reproduction from an original of the period

Page from a copy of the Qur'an 1375-1425 India. Ink, colors, and gold on paper . Islamic

The Wonders of Creatures and the Oddities of Existences Qazwini, Zakaria bin Muhammad 32r (63/270).

Bahman and his courtiers look at the body of Farâmarz.. 1616. Firdawsî. text. illuminated manuscripts, Illuminations, Manuscripts. Spencer Collection. Manuscripts, Persian

God ordered Noah to build an ark shaped like a bird. The illustration shows a black boat shaped like a bird with a wooden mast and a sail top; A square with three concentric designs representing a square with sides 10-gaz long enclosed by trees bottom, f. 260v. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

A talisman connected with the Sun, Shams. A barechested youth armed with sword and spear approaches a dragon, f. 289v. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

Khwaja Shamsu d-Din Muhammad Hafez-e Shirazi, known by his pen name Hafez (1325/1326-1389/1390),was a Persian lyric poet. His collected works composed of series of Persian poetry (Divan) are to be found in the homes of most Persian speakers in Iran and Afghanistan, as well as elsewhere in the world, who learn his poems by heart and use them as proverbs and sayings to this day. His life and poems have been the subject of much analysis, commentary and interpretation, influencing post-fourteenth century Persian writing more than any other author. Themes of his ghazals are the beloved, faith, and exposing hypocrisy. His influence in the lives of Iranians can be found in 'Hafez readings', frequent use of his poems in Persian traditional music, visual art and Persian calligraphy. His tomb in Shiraz is visited often. Adaptations, imitations and translations of Hafez' poems exist in all major languages.

Shâhnâmah = The Book of Kings. p. 288.. 1616. Firdawsî. text. illuminated manuscripts, Illuminations, Manuscripts. Spencer Collection. Manuscripts, Persian

A caliph had a gold ring that he tossed into the sea and a golden fish retrieved it. The illustration shows the caliph and Ja'far ibn Barmak in a boat, f. 287v. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

"Elias and Khizr at the Fountain of Life', Folio from a Shahnama (Book of Kings) of Firdausi late 15th century Abu'l Qasim Firdausi Alexander the Great figures prominently in Persian literature and histories, including in both the Shahnama and the Khamsa of Nizami. This scene, which occurs in both texts, depicts Alexander and the Prophet Khizrs search for the Fountain of Life. Although they begin the journey together, they are separated and only Khizr is successful. Here, he appears with the Prophet Elias at the Fountain, while Alexander continues his search in the background.. "Elias and Khizr at the Fountain of Life', Folio from a Shahnama (Book of Kings) of Firdausi 451407

"Adam Makes a Pilgrimage", Folio from a Majma al-Tavarikh (Compendium of Histories) ca. 1425 Hafiz-i Abru In addition to works of romantic and epic poetry, members of the Timurid elite also patronized the writing of historical texts, perhaps to establish their own place in world history. This folio is from a manuscript copy of the Majma'alTavarikh (Compendium of Histories), a text commissioned by the ruler Shah Rukh (r. 1405-47) in A.H. 826/A.D. 1423. This history begins with the story of Adam, whom we see here setting out on pilgrimage, dressed in simple garb and carrying a beggar’s bowl.. "Adam Makes a Pilgrimage", Folio from a Majma al-Tavarikh (Compendium of Histories) 451420

"Yusuf Tending the Flocks", Folio of a Yusuf and Zulaykha of Jami 1523-24 Maulana Nur al-Din `Abd al-Rahman Jami. "Yusuf Tending the Flocks", Folio of a Yusuf and Zulaykha of Jami 455022

"Shangul Stirs the Khaqan's Council to War on Rustam", Folio 276v from the Shahnama (Book of Kings) of Shah Tahmasp ca. 1525-30 Abu'l Qasim Firdausi When Piran returns, the khaqan is presiding over a council of the allies. Shangul, the shah of Hind (India), brushes aside Piran's suggestion that they accept Rustam's conditions. Instead he wishes to engage in single combat with Rustam. Meanwhile, Piran and his clan consider Shangul to be foolhardy and prepare to distance themselves from his partisans on the battlefield.. "Shangul Stirs the Khaqan's Council to War on Rustam", Folio 276v from the Shahnama (Book of Kings) of Shah Tahmasp 452150

Persian prince with his attendants

The queen of the island of Vaqvaq (Jazâ'ir al-Vaqvaq), f. 76. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

The archangel Mîkâ'îl (Michael) views two fallen angels who are half submerged in silver water, f. 44. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

Group During Conversation 1237 Manuscripts Illustration Bibliotheque Nationale, Paris, France

"Rudaba's Maids Return to the Palace", Folio 71v from the Shahnama (Book of Kings) of Shah Tahmasp ca. 1525 Abu'l Qasim Firdausi Rudaba's maids hurry back to her palace, where they are chided by a guard for staying out so late. They respond that they have been picking flowers, then regale their mistress with stories of Zal's qualities.. "Rudaba's Maids Return to the Palace", Folio 71v from the Shahnama (Book of Kings) of Shah Tahmasp 452115

RASHID AL-DIN (1247 - 1318). Compendium of Chronicles (Jami' al-tawarikh). ca. 1307. FOl. 48. Mongols taking prisoners. Illustration of the first section with the history of the Mongols. Edited 1430 ca. Persian art. Miniature Painting. FRANCE. ëLE-DE-FRANCE. Paris. National Library.

Bāburnāma (Chagatai/Persian: بابر نامہ;´, literally: 'Book of Babur' or 'Letters of Babur'; alternatively known as Tuzk-e Babri) is the name given to the memoirs of ahīr ud-Dīn Muḥammad Bābur (1483-1530), founder of the Mughal Empire and a great-great-great-grandson of Timur. It is an autobiographical work, originally written in the Chagatai language, known to Babur as 'Turki' (meaning Turkic), the spoken language of the Andijan-Timurids. Because of Babur's cultural origin, his prose is highly Persianized in its sentence structure, morphology, and vocabulary, and also contains many phrases and smaller poems in Persian. During Emperor Akbar's reign, the work was completely translated to Persian by a Mughal courtier, Abdul Rahīm, in AH 998 (1589-90 CE).

"Balarama and Krishna Fighting the Enemy", Folio from a Harivamsa (The Legend of Hari (Krishna)) ca. 1590-95 The Harivamsa recounts the story of Krishna, one of the incarnations of the Hindu god Vishnu. In this battle scene, Krishna, dressed in yellow and holding his discus, stands atop a mountain. Carrying his own attributes of the plow and pestle, Krishnas older brother Balarama strikes a soldier of the opposing army. This manuscript, commissioned by the Mughal emperor Akbar (r. 1556-1606), is one of many examples of Hindu texts that were translated and illustrated during Akbars reign, as the Emperor took a keen interest in the traditions and stories of other religious groups in India, founding a translation center to facilitate the spread of knowledge.. "Balarama and Krishna Fighting the Enemy", Folio from a Harivamsa (The Legend of Hari (Krishna)) 448184

PAG DEL RASHID AD-DIN JAMI'AT TAUARIKA-MINIATURA-ESCENA DEL TRONO. Location: PRIVATE COLLECTION. TABBAGH. IRAN.

Zahir ud-din Muhammad Babur was a Muslim conqueror from Central Asia who, following a series of setbacks, finally succeeded in laying the basis for the Mughal dynasty of South Asia. He was a direct descendant of Timur through his father, and a descendant also of Genghis Khan through his mother. Babur identified his lineage as Timurid and Chaghatay-Turkic, while his origin, milieu, training, and culture were steeped in Persian culture and so he was largely responsible for the fostering of this culture by his descendants, and for the expansion of Persian cultural influence in the Indian subcontinent, with brilliant literary, artistic, and historiographical results.

Wood of Cross" (fâvâniyâ) top; Pepper tree (filfil) bottom, f. 169v. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

Persian (Iranian) Islamic style, manuscript, Illustrated 12th century: The poet Nezami recounts the tales of Alexander the great

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