Mughal Miniature Paintings

Colorful Mughal court scenes depicting royal marriages, battles, and tales featuring kings, sages, and mythical elements in vibrant hues and intricate designs.

Vintage Persian Miniature art. Miniature of a guilty man who pleads before a king and is forgiven 1550

The king gives his daughter in marriage to the pious mans son, 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: 9.1 x 9.9 cm (3 9/16 x 3 7/8 in.). The king sits on his throne at the center of his bustling court. On the right, two musicians play instruments while other servants attend to the royal celebration. The pious mans son, seated on the left, has successfully killed the dragon that menaced the kings lands. As a reward, he is married to the kings daughter and named vice-regent.

"Alexander and the Circle of Seven Sages", Folio from a Khamsa (Quintet) of Nizami of Ganja 15th century Nizami. "Alexander and the Circle of Seven Sages", Folio from a Khamsa (Quintet) of Nizami of Ganja 455025

The magic parrot of the merchant talks to the viziers son, from a Tuti-nama (Tales of a Parrot): Tenth Night, c. 1560. Lalu. Gum tempera, ink, and gold on paper; painting only: 7.3 x 10.2 cm (2 7/8 x 4 in.); overall: 20 x 13.2 cm (7 7/8 x 5 3/16 in.). The talking parrot, perched on the finger of the merchant, reveals his experience of being repeatedly traded for replicas. These many trades have spoiled the bet between the merchant and the viziers son. Members of the viziers court react to the story with shock. Together the two men ultimately confront the treacherous monk and their deceptive wives.

The Battle of Siffin (Arabic: ; May-July 657 CE) occurred during the First Fitna, or first Muslim civil war, with the main engagement taking place from July 26 to July 28. It was fought between Ali ibn Abi Talib and Muawiyah I, on the banks of the Euphrates river, in what is now Ar-Raqqah, Syria. Following the controversial murder of Uthman ibn Affan, Ali had become Caliph but struggled to be accepted as such throughout the Muslim Empire. Muawiyah, the governor of Syria, was a kinsman of the murdered Caliph, and wanted the murderers brought to justice. He considered that Ali was unwilling to do this, and so Muawiyah rebelled against Ali, who attempted to put down the rebellion. The result was the engagement at Siffin. However, the battle was indecisive, and the two parties agreed to an arbitration, which was equally indecisive. The battle and arbitration served to weaken Ali's position, but did not resolve the tensions that were plaguing the empire. To the Shia, Ali ibn Abi Talib

Vintage Persian Miniature art. Miniature of a guilty man who pleads before a king and is forgiven 1550

"Isfandiyar's Fourth Course: He Slays a Sorceress", Folio from a Shahnama (Book of Kings) of Firdausi ca. 1330-40 Abu'l Qasim Firdausi Depictions of the encounter of Isfandiyar and the sorceress customarily show the witch in her true form - as a hideous hag - rather than in the guise of a beautiful maiden as she first appears. In this idyllic scene, set in an oasis in the desert, the hero, who knows her true personality, lures her with the sound of his lute. He will soon offer her wine to get her drunk and strike her with his sword.. "Isfandiyar's Fourth Course: He Slays a Sorceress", Folio from a Shahnama (Book of Kings) of Firdausi 452652

The merchants daughter gives birth to a son as a result of eating out of the box. The clever child recognizes the false gems from true, from a Tuti-nama (Tales of a Parrot): Twenty-third 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 10.1 cm (3 1/16 x 4 in.). On the left, a group of merchants argue with a young boy over the veracity of their goods. The boy is a child of fate, miraculously born to a virgin after she ate the remains of a mysterious skull. The box containing the skull sits on the carpet between the virgin and her mother.

"Bahram Chubina Meets a Lady who Foretells his Fate", Folio from a Shahnama (Book of Kings) ca. 1330-40 Abu'l Qasim Firdausi Bahram Chubina, the commander-in-chief of the ungrateful king Hurmuzd, was led by magic to a hidden palace where a beautiful enthroned woman told him that the crown of Iran would be his. The interaction of the figures in this picture is characteristic of this manuscript, but their identity, except for those of the enthroned lady and her two guardians, are unclear. If she is talking to Bahram, the companion seated next to him is not identified in the text. The two figures on the left are similarly puzzling.. "Bahram Chubina Meets a Lady who Foretells his Fate", Folio from a Shahnama (Book of Kings) 452666

King Bahram, who has married Khassas daughter, has her tied to a camel to be abandoned in the desert as a result of false accusations made by Khulasa, from a Tuti-nama (Tales of a Parrot): Fifty-first 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: 7.4 x 10.3 cm (2 15/16 x 4 1/16 in.). The king, seated on a long-legged throne, furiously orders his wifes execution. Khulasa, the kings vizier, has attempted and failed to seduce her. Spurned by the queens rejection, he accuses her of committing adultery with another member of the court. At the center of the scene, a minister implores the king to abandon his wife, rather than have her beheaded.

"Birth of Zal", Folio from a Shahnama (Book of Kings) dated A.H. 985/A.D.1576-77 Abu'l Qasim Firdausi This page comes from a manuscript of the Persian epic, the Shahnama (Book of Kings), produced for Shah Isma'il II (r. 1576-77). It depicts a scene from the story of the Birth of Zal, who would become one of the great warrior heroes of the epic. After his birth, Zal was rejected and left to die in the wilderness by his father Sam, here pictured enthroned. The baby Zal was saved by the legendary fantastical bird, the simurgh, and eventually reunited with his father to rule Iran. In addition to the illustration, this page features four columns of text in nasta'liq script.. "Birth of Zal", Folio from a Shahnama (Book of Kings) 449008

Majnun and his Uncle Salim, Page from a Khamsa of Nizami Indian. Majnun and his Uncle Salim, Page from a Khamsa of Nizami, ca. 1500. Opaque watercolor and ink on paper, sheet: 9 5/8 x 6 11/16 in. (24.4 x 17.0 cm). Asian Art ca. 1500

Tahmineh Visits Rustam, c. 1440-1445, 10 3/8 x 6 3/4 in. (26.35 x 17.15 cm), Ink, colors, and gold on paper, Iran, 15th century, This painting depicts a romantic scene from the life of Rustam, the Persian hero of the Shah Nama, or Book of Kings. Here Tahmineh, daughter of the King of Turan, visits Rustam at night. The verse reads in part

"Zusuf is Purchased in Egypt by Zulaikha", Folio from a Yusuf and Zulaikha of Jami second half 16th century Maulana Nur al-Din `Abd al-Rahman Jami. "Zusuf is Purchased in Egypt by Zulaikha", Folio from a Yusuf and Zulaikha of Jami 451426

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

Mahmûd of Ghazna visits an ascetic, f. 27v. Sultan 'Ali Ya'qubi, active 15th century. 1478. Haydar Tilbe, active 14th century-15th century. text. Manuscripts, Miniatures (Illuminations). Spencer Collection

The bird of seven colors brings a sable to the pious man, 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: 5.7 x 9.7 cm (2 1/4 x 3 13/16 in.). The pious man and his wife stare at the fantastic seven-colored bird in surprise. Although it cost the man his final diram, the bird becomes a source of great wealth and prosperity for his family. Every day it leaves and returns with a sable, which the man sells in the market. Soon the man becomes a well-known merchant.

Gengis Khan at his Court, illustration from a Persian manuscript, 16th century.

The Arab prophet Slih leads a camel from the side of a mountain, fol. 22. 1580. Manuscripts. Spencer Collection. Manuscripts, Persian

The til River the Volga, f. 121v. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

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.. Folio from a Kalila wa Dimna 453149

"Caesar Gives his Daughter Katayun to Gushtasp", Folio from a Shahnama (Book of Kings) of Firdausi ca. 1330-40 Abu'l Qasim Firdausi In the court of Rum (the Roman Empire) it was customary for a princess to select her husband from among the assembled nobles. Katayun chose Gushtasp, whom she had seen in a dream. Her father Caesar was dismayed, not realizing that Gushtasp was actually a Persian prince since he was traveling incognito. At the right a wise counselor, identifiable by his turban, reassures Caesar but the scene is dominated by the charmingly posed princess telling her happy news to a lady-in-waiting as a doorkeeper eavesdrops.. "Caesar Gives his Daughter Katayun to Gushtasp", Folio from a Shahnama (Book of Kings) of Firdausi 452647

Sultan Mahmud ibn Muhammad ibn Malik-Shah Enthroned, 1425-30, Ḥāfi-i Abrū, died 1430, 16 9/16 × 12 15/16 in. (42.1 × 32.8 cm) (sheet)14 3/16 × 9 13/16 in. (36 × 25 cm) (image), Ink, opaque watercolor, and gold on paper, Afghanistan, 15th century, The central figure is an enthroned king, Mughith ad-Dunya Wa'd Din Qasin Mahmud, son of Mahmud, grandson of Malik Shah, great grandson of Alp Arslan of Seljuk dynasty, King of Iran (571-525 A.H. - 1117-1131 CE). He gives audience to four men, one of whom kneels before him. At his left a man is seated near the king on a camp stool, while another, standing, peers in upon the scene from the edge of the picture. The scene is painted against a bluish white hillside, schemetically flecked with grass and outlined in violet against a golden sky. Warm tints of green, yellow and red, with greys and touches of gold unite with clear red and a bright blue to form the color scheme.

Man and woman under a canopy in a garden, four musicians for them; Five illustrations by Kamsa by Nizami with text. Gathering of khusrau and shirin // illustration of the Khamsa of Nizama. A frost and a princein are under a canopy. (AK Title)

Bahram Gur and Courtiers Entertained by Barbad the Musician, Page from a manuscript of the Shahnama of Firdawsi (d. 1020) Bahram Gur and Courtiers Entertained by Barbad the Musician, Page from a manuscript of the Shahnama of Firdawsi (d. 1020), second half 17th century. Opaque watercolors, ink, and gold on paper., image: 10 3/4 x 6 5/16 in. (27.3 x 16 cm). Arts of the Islamic World second half 17th century

The Discomfiture and Death of Piroz, Page from a Manuscript of the Shahnama (Book of Kings) of Firdawsi

"Amr has the Infidels Thrown into the Sea", Folio from a Khavarannama (The Book of the East) of ibn Husam al-Din ca. 1476-86 Maulana Muhammad Ibn Husam ad Din This painting, with its vibrant color palette and lively action, is taken from a manuscript of the Khavarannama (Book of the East), a gathering of tales relating the adventures of 'Ali ibn Abi Talib, son-in-law of the Prophet Muhammad. These mostly imaginary accounts of the exploits of 'Ali and his companions against demons, dragons, and kings were composed in emulation of the great Persian poet Firdausis Shahnama, but have the important religious figure of 'Ali as their main protagonist.. "Amr has the Infidels Thrown into the Sea", Folio from a Khavarannama (The Book of the East) of ibn Husam al-Din 451324

Bahram Gur Enthroned after Killing Two Lions, from a Book of Kings (Shahnama)manuscript

Genghis Khan Enthroned 14th C. Artist Unknown Illuminated manuscript Bibliotheque Nationale, Paris, France

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).

"The Fifth Joust of the Rooks: Ruhham Versus Barman", Folio 342v from the Shahnama (Book of Kings) of Shah Tahmasp 1525-30 Abu'l Qasim Firdausi Folio 342r: The Fourth "Joust of the Rooks": Faruhil versus Zangula The fourth joust features Faruhil, an Iranian champion known for his skill with the bow, against the Turanian Zangula. After peppering Zangula with arrows, Faruhil shoots one that hits both Zangula and his horse, which falls forward, throwing its rider. Zangula falls on his head and dies instantly. Folio 342v: The Fifth "Joust of the Rooks": Ruhham versus Barman Now Ruhham, son of Gudarz, is matched against the Turanian Barman. At first the champions duck and dodge one another, but soon Ruhham comes from behind Barman, stabbing him in the rear with his lance and polishing him off with a fatal puncture of the liver.. "The Fifth Joust of the Rooks: Ruhham Versus Barman", Folio 342v from the Shahnama (Book of Kings) of Shah Tahmasp 452152

"Job Lying Under a Tree," Page from an Illustrated Manuscript of the Majma` al-tavarikh (Collection of Chronicles) of Hafiz Abru (d. 1430) "Job Lying Under a Tree," Page from an Illustrated Manuscript of the Majma` al-tavarikh (Collection of Chronicles) of Hafiz Abru (d. 1430), ca. 1425. Ink, opaque watercolor, and gold on paper, Sheet: 13 x 16 15/16 in. (33 x 43 cm). Arts of the Islamic World ca. 1425

Shirin Arrives at Khusraw's Palace, Page from a Manuscript, probably Khamsa (Quintet) of Nizami ("Khusraw and Shirin")

"Dancing Dervishes", Folio from a Gulistan of Sa'di 17th century Sa'di. "Dancing Dervishes", Folio from a Gulistan of Sa'di 452847

"The Captive Peasant with his Two Wives", 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 Captive Peasant with his Two Wives", Folio from a Kalila wa Dimna 453105

"A King Offers to Make Amends to a Bereaved Mother", Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi 1597-98 Amir Khusrau Dihlavi In this dramatic painting, a king submits to justice after having accidentally killed a shepherd while hunting. He offers the boy's grieving mother a choice: to take his sword and cut off his head, which will fall in the golden dish between them, or to accept the second dish filled with gold. Some of the marginal figures are of European inspiration, while the rocks are Persian and the main figures are typically Mughal.. "A King Offers to Make Amends to a Bereaved Mother", Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi 446560

Nufayl reads a letter from the Jews of Bayt al-Muqaddas about Muhammad to his followers, which include five women., 1594 - 1595 (Inferred), Istanbul, Manuscripts, Turkish, 19.8 x 17.5 cm

Abu Jaafar Abdullah al-Ma'mun ibn Harun (also spelled Almamon, Al-Maymun and el-Mamoon) (September 13, 786 August 9, 833) was an Abbasid caliph who reigned from 813 until his death in 833. Illumination from the khamse (quintet) of the Ottoman Turkish poet and scholar (d. 1044 AH / 1634 CE).

"Burzuyeh is Summoned by Nushirvan on his Return from India", Folio from a Kalila wa Dimna. Dimensions: 12.5 in. high 8.87 in. wide (31.8 cm high 22.6 cm wide). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

The forty wives and their secret paramours being punished by stoning to death, from a Tuti-nama (Tales of a Parrot): Twenty-third 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: 8.7 x 10 cm (3 7/16 x 3 15/16 in.). The Rajas wives have been hiding forty young men dressed as women in their chambers. When their amorous affairs were revealed, all eighty were killed. Their deaths fulfilled an old prophecy written on a mysterious skull. The Rajas men stand on the edges of the composition, hurling stones into the pile of intertwined bodies.

Khusraw Parviz Enthroned, Page from a Manuscript of the Khamsa (Quintet) of Nizami ("Khusraw and Shirin"). Iran, Shiraz, first half of 16th century. Manuscripts; folios. Ink and gold on paper, opaque watercolor

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.

Double Page with Illustration from Shah-Namah Double Page with Illustration from Shah-Namah, late 17th century. Ink, gouache colors on parchment paper Arts of the Islamic World late 17th century

Diwan of Jami Manuscript. Date/Period: 1500 - 1600. Manuscript. Height: 250 mm (9.84 in). Author: Iran Unknown.

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

A Persian miniature is a small painting on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a muraqqa. The techniques are broadly comparable to the Western and Byzantine traditions of miniatures in illuminated manuscripts. Although there is an equally well-established Persian tradition of wall-painting, the survival rate and state of preservation of miniatures is better, and miniatures are much the best-known form of Persian painting in the West, and many of the most important examples are in Western, or Turkish, museums. Miniature painting became a significant Persian genre in the 13th century, receiving Chinese influence after the Mongol conquests, and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence, after this, and has many modern exponents. The Persian miniature was the dominant influence on other Islamic miniature traditions, princip

"A Youth and a Noble Conversing by a Stream", Folio from a Dispersed Manuscript late 16th century. "A Youth and a Noble Conversing by a Stream", Folio from a Dispersed Manuscript 452753

Disguised Vishnu and a Brahman, Folio from a Razmnama (The Book of War). India, Sub-Imperial Mughal, 1610-1620. Drawings; watercolors. Opaque watercolor, gold, and ink on paper

Sufi reunion in the Jami`s Nafahat al-Uns. Date/Period: 1604. Width: 22 cm. Height: 34.5 cm (Complete). Author: UNKNOWN.

Majnun in the Desert (Recto); Leyla in a Tent (Verso) - two sided card from a manuscript of the Persian poem Layla and Manjun

Two large guardian angels malâ'ikflanking a seated youth, f. 46. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

Casanus (Ghazzan) on the throne entertaining five Muslem Sheikhs, three Mongols are also present at the scene, miniature from a Persian manuscript, manuscript 1113 folio 254, Persia.

Surkhah, the son of Afrâsiyâb, is executed by Zavâra.. 1616. Firdawsî. text. illuminated manuscripts, Illuminations, Manuscripts. Spencer Collection. Manuscripts, Persian

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).

"The Servants of One of the Monarchs of Ghur Make Obeisance Before Him", Folio from a Kulliyat (Complete Works) of Sa'di 19th century. "The Servants of One of the Monarchs of Ghur Make Obeisance Before Him", Folio from a Kulliyat (Complete Works) of Sa'di 455029

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.

Iskandar, Alexander the Great, at the Kaaba, scene c. 320 BC, page from a manuscript of the Khamsa Iskandarnama, Book of Alexander, c. 1435, Saudi Arabia, digitally restored reproduction from an original of the period, Asia

Yahya ibn Mahmod al-Wasiti was a 13th-century Arab Islamic artist. Al-Wasiti was born in Wasit in southern Iraq. He was noted for his illustrations of the Maqam of al-Hariri. Maqama (literally 'assemblies') are an (originally) Arabic literary genre of rhymed prose with intervals of poetry in which rhetorical extravagance is conspicuous. The 10th century author Badi' al-Zaman al-Hamadhani is said to have invented the form, which was extended by al-Hariri of Basra in the next century. Both authors' maqamat center on trickster figures whose wanderings and exploits in speaking to assemblies of the powerful are conveyed by a narrator. Manuscripts of al-Hariri's Maqamat, anecdotes of a roguish wanderer Abu Zayd from Saruj, were frequently illustrated with miniatures.

The Isra and Mi'raj (Arabic: , transl. al-Isra wa l-Mirag), are the two parts of a Night Journey that, according to Islamic tradition, the Prophet Muhammad took during a single night around the year 621. It considered as both a physical and spiritual journey. A brief outline of the story is related in surah 17 'Al-Isra' of the Qur'an, and other details come from the Hadith, supplemental accounts of the life ofthe Prophet Muhammad recorded by his companions. In the journey, the Prophet Muhammad travels on the celestial mount Al-Buraq to 'the farthest temple' (Holy Temple of Al-Quds or Jerusalem) where he leads other prophets in prayer. He then ascends through the seven heavens where he speaks to God, who gives Muhammad instructions to take back to the faithful on Earth about the number of times to offer prayers each day. According to traditions, the Journey is associated with the Lailat al Miraj, as one of the most significant events in the Islamic calendar. Represen

Folio from a Khamsa (Quintet) by Nizami; verso: Bahram Gur and the Indian princess in the black pavilion, 1548

This painting depicts a well-known passage from the story of Layla and Majnun described in the third book of Nizami's 'Khamsah or 'Quintet'. Separated by their respective tribes' hostility, forced marriage, and years of exile into the wilderness, the two ill-fated lovers meet again for the last time before their deaths thanks to the intervention of Majnun's elderly messenger. On seeing each other in a palm-grove outside Layla's camp, they both faint of passion and pain. The old messenger attempts to revive the lovers, while the wild animals protect Majnun by attacking unwarranted intruders. The location and time of the narrative is suggested by the two tents dressed in the middleground and the dark night sky in the background. The composition's style is typical of paintings made in the city of Shiraz during the second half of the 16th century.

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).

Gushtasp Slaying the Dragon, Page from an Illustrated Manuscript of the Shahnama of Firdawsi Gushtasp Slaying the Dragon, Page from an Illustrated Manuscript of the Shahnama of Firdawsi, ca. 1482. Ink, opaque watercolor, and gold on paper, 13 x 8 1/2 in. (32.5 x 21.3 cm). The legendary Iranian prince Gushtasp slays a terrifying dragon in this frequently illustrated scene from the Shāhnāma (Book of Kings), put to verse by the poet Firdawsi around 1010. Denied the throne by his father, the prince Gushtasp left Iran only to return triumphantly after proving his worth against the dragon. In this scene, Gushtasp fulfills one of the more serious princely roles as the brave and courageous protector of the people, suggesting that court life did not always involve pomp and circumstance. Far Eastern influences abound, as in Gushtasp's exquisitely detailed, Chinese inspired cloud collar, his facial features, and even the dragon emerging from its rocky lair. This combination of Iranian and Chines

Rustam meets with Kay Kâ'ûs, 1616 - 1620 (Inferred), Istanbul, Manuscripts Turkish, 17.2 x 18.3 cm

Episode from Laila and Majnun's love history, Majnun in conversation with laila for a tent. Majnun visits Laila in her tent. Illustration from the story of Laila and Majnun from the Khamsa of Nizami.

The Conversion of Abu Zayd in a Mosque at Basra Bibliotheque Nationale Paris Ms Arabe 5847 fol 164v, Al Maqamat al-Hariri

Alî, the son-in-law of Muhammed, with a veiled face, storms the fortress of Khaybar, fol. 166., 1580, Qazvin, 18 x 14 cm

Encampment, Persia 12th Century.

Jesus in the Tun Mountains near Nazareth where he chooses twelve of his followers and calls them Apostles, from a Mirror of Holiness (Mir'at al-quds) of Father Jerome Xavier, 1602-04. Mughal India, Allahabad, made for Prince Salim (1569-1627). Opaque watercolor, ink, color and gold on paper; sheet: 26.2 x 15.7 cm (10 5/16 x 6 3/16 in.); image: 20 x 10.9 cm (7 7/8 x 4 5/16 in.).

Yahya ibn Mahmod al-Wasiti was a 13th-century Arab Islamic artist. Al-Wasiti was born in Wasit in southern Iraq. He was noted for his illustrations of the Maqam of al-Hariri. Maqama (literally 'assemblies') are an (originally) Arabic literary genre of rhymed prose with intervals of poetry in which rhetorical extravagance is conspicuous. The 10th century author Badi' al-Zaman al-Hamadhani is said to have invented the form, which was extended by al-Hariri of Basra in the next century. Both authors' maqamat center on trickster figures whose wanderings and exploits in speaking to assemblies of the powerful are conveyed by a narrator. Manuscripts of al-Hariri's Maqamat, anecdotes of a roguish wanderer Abu Zayd from Saruj, were frequently illustrated with miniatures.

A School Scene, Page from a Manuscript of Yusuf and Zulaykha of Jami

"Meeting of Bahram Gur with a Princess", Folio from a Shahnama (Book of Kings) mid-16th century Abu'l Qasim Firdausi. "Meeting of Bahram Gur with a Princess", Folio from a Shahnama (Book of Kings) 449216

A mechanical device shaped like a throne with a pillar in the middle. When the platform is shaken, the pillar shakes and a statue placed on the pillar plays a musical instrument, f. 263. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

"Nushirvan Greets the Khaqan's Daughter", Folio 633v from the Shahnama (Book of Kings) of Shah Tahmasp. Artist: Painting attributed to Dust Muhammad. Author: Abu'l Qasim Firdausi (935-1020). Dimensions: Painting: H. 7 3/8 x W. 7 in. (H. 18.7 x W. 17.8 cm)Entire Page: H. 18 5/8 x W. 12 7/16 in. (H. 47.3 x W. 31.6 cm). Date: ca. 1530-35.When the Khaqan of Chin became aware of the greatness and power of the Iranian shah, he determined to form an alliance and offered one of his daughters in marriage to cement it. Nushirvan accepted the offer, but sent a wise envoy to choose the best of the Khaqan's five daughters. Four were descended from slaves, while the mother of the fifth was a princess. This daughter was the Khaqan's favorite and he did not wish to lose her. Despite the attempt by the girl's mother to dress her poorly, her superior breeding and beauty were obvious and soon she left for Iran, where Nushirvan was overcome with astonishment at her loveliness. The distinctive style of D

"Khusrau and Shirin Conversing in Landscape at Night", Folio from a Khamsa (Quintet) of Nizami ca. 1625-30 Nizami. "Khusrau and Shirin Conversing in Landscape at Night", Folio from a Khamsa (Quintet) of Nizami. ca. 1625-30. Ink, opaque watercolor, and gold on unpolished paper. Attributed to India, Deccan or Rajasthan. Codices

"The Marriage of Sudaba and Kai Kavus", Folio 130r from the Shahnama (Book of Kings) of Shah Tahmasp ca. 1525-30 Abu'l Qasim Firdausi 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.. "The Marriage of Sudaba and Kai Kavus", Folio 130r from the Shahnama (Book of Kings) of Shah Tahmasp 452129

Dvûd (David) routing the army of Jlût (Goliath), fol. 113v. 1580. Manuscripts. Spencer Collection. Manuscripts, Persian

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).

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.

"The Gazelle Lures the Hunter Away While the Mouse Frees the Bound Tortoise", 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 Gazelle Lures the Hunter Away While the Mouse Frees the Bound T

Ibrâhîm al-Mahdî in a dungeon is fed by an old servant who appears miraculously, f. 308v. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

Simple dressed person with writing supplies, anonymous, 1500 - 1699 Persian miniature. drawing In the context of a narrow decorative edge in dark blue with golden flower and leaf vines, there is a simple dressed person on a narrow carpet, in front of him on the floor are writing supplies and a leaf of a manuscript, in the background gold and some dark blue colored leaves and one Gold -colored tree trunk with a (heavily damaged) sun at the top; The outer edge of the leaf is gold -colored and contains cut out and stuck inserts in sky blue and sepia with gold -colored ornaments. The show is stuck on the left side of the leaf within the framework and seems to be a part of a pendant on which the edge decorations have to walk through. Iran paper brush

Akbar (Urdu: جلال الدین محمد اکبر , Hindi: लालुद्दीन मुहम्मद अकबर, Jalāl ud-Dīn Muhammad Akbar), also known as Shahanshah Akbar-e-Azam or Akbar the Great (25 October 1542 - 27 October 1605), was the third Mughal Emperor. He was of Timurid descent; the son of Emperor Humayun, and the grandson of Emperor Babur, the ruler who founded the Mughal dynasty in India. At the end of his reign in 1605 the Mughal empire covered most of the northern and central India. Akbar was thirteen years old when he ascended the Mughal throne in Delhi (February 1556), following the death of his father Humayun. During his reign, he eliminated military threats from the powerful Pashtun descendants of Sher Shah Suri, and at the Second Battle of Panipat he decisively defeated the newly self-declared Hindu king Hemu. It took him nearly two more decades to consolidate his power and bring all the parts of northern and central India into his direct realm. He sominated the whole of the Indian Subcontinent and he ruled

Abu Zayd and his listeners at a literary gathering in baghdad. Maqamat of al-Hariri, Bibliothèque nationale de France, manuscript Arabe 5847, 1237AD. Folio 119 Verso: maqama 39. The Assemblies of al-Hariri recounts in the words of the narrator, al-Harith ibn Hammam and al-Hariri's several encounters with artist Abu Zayd al-Saruji

"Bahram Recovers the Crown of Rivniz", Folio 245r from the Shahnama (Book of Kings) of of Abu'l Qasim Firdausi, commissioned by Shah Tahmasp ca. 1525-30 Abu'l Qasim Firdausi As the battle of Pashan continues, the Iranians start to gain control, but then Prince Rivniz, one of the sons of Kai Kavus, is killed, and his crown falls to the ground of the battlefield. Both the Iranians and the Turanians turn their focus to retrieving the crown until Bahram, son of Gudarz, rushes into the fray and scoops up the crown with the tip of his lance. Although both sides suffer many losses, the Turanians finish victorious.. "Bahram Recovers the Crown of Rivniz", Folio 245r from the Shahnama (Book of Kings) of of Abu'l Qasim Firdausi, commissioned by Shah Tahmasp 452147

A young man leads a donkey by a rope when an old man comes along, unties the donkey, and puts the rope around his own neck , insisting that he is a donkey who was turned into a man, f. 293. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

A man whose pouch of gold was stolen has it returned, f. 293v. 1540 - 1545. Qazwīnī, Zakarīyā ibn Muammad, approximately 1203-1283. text. Illuminations, Manuscripts, Miniatures (Illuminations). Spencer Collection. Mountains, Birds, Animals, Manuscripts, Persian

Mohammed & companions , Turkish miniatur

Illustration depicting Jinns, divs, and devils, from 1538 edition, of 'Kitb-I ajyb al-makhlqt va gharib al-mawjdt'. (Marvels of Things Created and Miraculous Aspects of Things Existing) a 12th century, Islamic, Persian scientific book by Zakary ibn Muammad Qazwn

Sikandar Attends the Dying Dara, Folio from a Manuscript of the Khamsa of Nizami Sikandar Attends the Dying Dara, Folio from a Manuscript of the Khamsa of Nizami, 17th century. Ink, opaque watercolor, and gold on paper, 9 13/16 x 5 7/8 in. (25 x 15 cm). Arts of the Islamic World 17th century

Colour illustration from 'The illuminated manuscript Khamsa of Nizami' a 12th Century a lavishly illustrated manuscript of the Khamsa or 'five poems' of Nizami Ganjavi (1141-1209) a Persian poet.

Kay Khusrau celebrates on his return to Iran.. 1616. Firdawsî. text. illuminated manuscripts, Illuminations, Manuscripts. Spencer Collection. Manuscripts, Persian

The Appearance of Shakyamuni (the Buddha) after His Death, Page from a Manuscript of the Majma' al-Tawarikh (Collection of Chronicles) of Hafiz-Abru. Afghanistan, Herat, circa 1425. Vintage religious art illustration

The Jamia al-tawarikh, ('Compendium of Chronicles') or Universal History is an Iranian work of literature and history written by Rashid-al-Din Hamadani at the start of the 14th century.

Mehmed III Adli (May 26, 1566 - December 21/22, 1603) was sultan of the Ottoman Empire from 1595-1603. He remains notorious for having nineteen of his brothers and half brothers murdered to secure power. He also killed over twenty of his sisters. They were all strangled by deaf-mutes. Mehmed III was an idle ruler, leaving government to his mother Safiye Sultan, the valide sultan. The major event of his reign was the Austro-Ottoman War in Hungary (1593-1606). Ottoman defeats in the war caused Mehmed III to take personal command of the army, the first sultan to do so since Suleyman I. Mehmed III's armies conquered Eger in 1596 and defeated the Habsburg and Transylvanian forces at the Battle of Keresztes (Turkish for Battle of Hacova).

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).

Folio from a Mu'nis al-ahrar fi daqa'iq al-ash'ar (The Free Man's Companion to the Subtleties of Poems) of Jajarmi dated A.H. 741 / A.D. 1340-41 Muhammad ibn Badr al-Din Jajarmi This page from an anthology of Persian poetry illustrates a poem about the moon as it enters the houses of all twelve zodiac signs. In the three scenes here, the moon is shown visiting Gemini, depicted as two youths with joined, reptilelike tails, then in the house of Cancer, a large, scaly crab, and finally seated next to the lion of Leo.. Folio from a Mu'nis al-ahrar fi daqa'iq al-ash'ar (The Free Man's Companion to the Subtleties of Poems) of Jajarmi 447071

Ali Beheading Nadr ibn al-Harith in the Presence of the Prophet Muhammad (Miniature from 'Siyer-i Nebi' - The life of Muhammad) by Turkish master / The David Collection / The Oriental Arts / ca 1594 / Turkey / Watercolour and ink on paper / Mythology,

Miniature from 'Yusuf and Zalikha' (Legend of Joseph and Potiphar's Wife) by Jami by Anonymous / The David Collection / The Oriental Arts / ca 1683-1685 / Central Asia, Bukhara school / Gouache on paper / Mythology, Allegory and Literature / 15,8x8,3

ARTE ISLAMICO. "ANGELES DECORANDO LA KASBAH". Miniatura de un libro ilustrado por Sufti Abdullah, maestro pintor de la corte de Murad III" (año 1594, 1003 de la Egira). Museo Topkapi. Estambul.

"Isfandiyar's Sixth Course: He Comes Through the Snow", Folio 438r from the Shahnama (Book of Kings) of Shah Tahmasp ca. 1525-30 Abu'l Qasim Firdausi After three days and nights of ceaseless snow and terrible cold, everyone in Isfandiyars army turned to prayer. Instantly the clouds blew away, and they gave thanks to God. Here, Isfandiyars followers prepare for the storm, warming themselves beside campfires and securing their tents. Most scenes in the Shahnama have no reference to weather. Either the sun shines or the stars twinkle in the sky. Here, however, the artist successfully conveys the sense of the beginning of a heavy snowfall against a gray sky.. "Isfandiyar's Sixth Course: He Comes Through the Snow", Folio 438r from the Shahnama (Book of Kings) of Shah Tahmasp 452162

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