Khamseh Kermani خواجه کرمانی

Khamseh prepared by Khvaju Kirmani خواجه کرمانی Containing three of the five poems from the Khamseh of Khvaju Kirmani (1290-1349). Partially modelled on Nizami’s earlier work, Khvaju drew extensively on traditional Iranian folklore. This manuscript, notable for its early calligraphy and illustrations, contains the story of Humay and Humayun, the Kamālnāmah (‘Book of Perfection’) and the Rawżat al-anvār (‘Garden of Lights’).
12 Pinler598 Takipçi
Sultan Malikshah ibn Arslan is here accosted by an old woman who reproaches him for allowing his soldiers to hunt her cow, the sole provider of sustenance for herself and her four fatherless children. The king repented and was thus saved, the moral being that one should always help the needy and can only be saved by good deeds

Sultan Malikshah ibn Arslan is here accosted by an old woman who reproaches him for allowing his soldiers to hunt her cow, the sole provider of sustenance for herself and her four fatherless children. The king repented and was thus saved, the moral being that one should always help the needy and can only be saved by good deeds

KHWAJA KIRMANIبرگ مصور از خمسه خواجوی کرمانی | Flickr - Photo Sharing!

KHWAJA KIRMANIبرگ مصور از خمسه خواجوی کرمانی | Flickr - Photo Sharing!

برگ مصور از خمسه خواجوی کرمانی، نگارگر ناشناس، دوره تیموریان، سلطان محمد بهادر، میانه قرن 15 میلادی KHWAJA KIRMANI (D. CA. 1349): KHAMSA COPIED FOR MUHAMMAD SHAH BAHADUR, TIMURID IRAN, IRAN, MID-15TH CENTURY Text panel 21.2 x 14.6 cm; folio 31.3 x 20.5 cm

برگ مصور از خمسه خواجوی کرمانی، نگارگر ناشناس، دوره تیموریان، سلطان محمد بهادر، میانه قرن 15 میلادی KHWAJA KIRMANI (D. CA. 1349): KHAMSA COPIED FOR MUHAMMAD SHAH BAHADUR, TIMURID IRAN, IRAN, MID-15TH CENTURY Text panel 21.2 x 14.6 cm; folio 31.3 x 20.5 cm

The shamsah at the beginning of the Rawżat al-anvār, inscribed in the centre: ‘For the library of Prince Abu’l-Fath Bahram, mighty as Jam’ (ba-rasm-i kutub khānah-i Shahriyār Abū’l-Fatḥ Bahrām jam iqtidār)

The shamsah at the beginning of the Rawżat al-anvār, inscribed in the centre: ‘For the library of Prince Abu’l-Fath Bahram, mighty as Jam’ (ba-rasm-i kutub khānah-i Shahriyār Abū’l-Fatḥ Bahrām jam iqtidār)

Humay arrives at the gate of Humayun’s castle

Humay arrives at the gate of Humayun’s castle

Humayun (in disguise) has challenged Humay to a duel. Defeated she removes her helmet before making up the quarrel

Humayun (in disguise) has challenged Humay to a duel. Defeated she removes her helmet before making up the quarrel

Prince Humay and Azar Afruz find Bihzad drunk, sleeping under a cypress tree

Prince Humay and Azar Afruz find Bihzad drunk, sleeping under a cypress tree

Humay and Humayun feasting in a garden and listening to musicians

Humay and Humayun feasting in a garden and listening to musicians

Humay on the day after their wedding has gold coins poured over him as he leaves Humayun’s room. The name of the artist, Junayd, is inscribed in the arch above Humayun's head

Humay on the day after their wedding has gold coins poured over him as he leaves Humayun’s room. The name of the artist, Junayd, is inscribed in the arch above Humayun's head

In this final illustration the Sasanian ruler Nushirvan (Khusraw I Anushirvan, r. 531-78) discourses with his minister Buzurjmihr, epitomising the concept of the just ruler and the wise counsellor

In this final illustration the Sasanian ruler Nushirvan (Khusraw I Anushirvan, r. 531-78) discourses with his minister Buzurjmihr, epitomising the concept of the just ruler and the wise counsellor


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