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The Spiritual Couplets
The most significant contribution of Jalāl ad-Dīn Muhammad Rūmī (popularly known in Persian as Mawlānā, and in English as Rumi, 1207–73), the renowned poet and mystic of Iran, to Persian literature may be his poetry, and especially his famous Masnavi (The spiritual couplets). This work, which is said to be the most extensive verse exposition of mysticism in any language, discusses and offers solutions to many complicated problems in metaphysics, religion, ethics, mysticism, and other fields. Masnavi highlights the various hidden aspects of Sufism and their relationship to the ...
Molla Sadra’s Miscellany
Muḥammad ibn Ibrāhīm Ṣadr al-Dīn Shīrāzī (1571–1640), commonly known as Molla Sadra, was a Persian Islamic philosopher, theologian, and mystic who led the Iranian cultural renaissance in the 17th century. The foremost exemplar of the Illuminationist, or Eshraqi, school of philosopher-mystics, Molla Sadra is commonly regarded by Iranians as the greatest philosopher that Iran has produced and is arguably the single most important and influential philosopher in the Muslim world of the last four centuries. His school of philosophy is called Transcendent Theosophy. Molla Sadra's philosophy and ontology ...
The Book of Kings
Shahnameh Baysonqori is a copy of Shahnameh (Book of kings) composed by the highly revered Iranian poet Abū al-Qāsim Firdawsī (940–1020). The importance of Shahnameh in the Persian-speaking world is comparable that of Homer’s epics in the West. The book recounts in verse the mythological history of ancient Persia and tales of the famous heroes and personalities of Iranian history, from legendary times to the 7th-century reign of Yazdgerd III, the last king of the Sassanid dynasty. The tales are based on earlier historical works, but are mixed ...
Anthology of Ḥakīm Ruknā Masīḥ
This diwan (a collection of poems in Arabic or Persian, usually by a single author) of Persian poems by physician and poet Ḥakīm Ruknā Masīḥ dates from 1638. “Ḥakīm” is an honorific for a wise man or physician. “Masīḥ” (the Christian), which appears elsewhere in the manuscript, was a pen name of the author. It is believed that the poems were dictated by the author to his calligrapher. The manuscript is in four sections, containing qasidas (odes), ghazals (lyric poems), rubaiyat (quatrains), and muqatta't (poetic fragments). The first two ...
Collection of Persian Poetry and Prose
This manuscript in Persian is an untitled Sufi text on meditation containing both poetry and prose. It was completed in early 1520, probably in Herat (present-day Afghanistan) or Mashhad (present-day Iran). The colophon, which is in Arabic, gives the name of the scribe, Mīr 'Alī Ḥusaynī Haravī (circa 1476−1543). The manuscript is on a firm cream-colored paper inlaid into light cream (folios 1−8) or pale greenish-blue margin paper, with the writing enclosed within alternating gold and cream (or green) bands with black ruling. The margin paper is profusely ...
Collected Poems of Aisha Durrani
This work is a lithographic print, published in Kabul, of the collected poems of 'Āyisha Durrānī, an Afghan poetess from the Durrani family, who was active in the second half of the 19th century. The poems include qasidas (a lyric form) and ghazals (a metrical form expressing the pain of loss and the beauty of love), and are arranged alphabetically according to qāfiya (the effect of rhyme). The collection was compiled during the reign of 'Abd al-Raḥmān Khān, emīr of Afghanistan from 1880 to 1901. The Durrani family led a ...
Two of the Master Jāmī’s Works on Prosody; Anonymous Treatise on Astronomy
This Persian manuscript dated 1025 AH (1616) contains two works on prosody by Nūr al-Dīn ‘Abd al-Rahmān Jāmī (1414–92), as well as an incomplete, anonymous work on astronomy. Jāmī was a great poet, scholar, and mystic who lived most of his life in Herat, present-day Afghanistan. The 69 leaves of the manuscript are on a variety of papers: thin, pink-colored laid paper (folios 1a−31b); cream-colored laid paper (folios 32a−35b); pink-colored laid paper (folios 36a−37b); cream-color laid paper (folios 38a−40b); light-green-colored laid paper (folios 41a−45b ...
Selections from the Shāhnāmeh of the Learned Abū al-Qāsim Firdawsi, May he be Blessed and May his Sins be Pardoned
This manuscript from the early 17th century contains selections from the Shāhnāmeh (Book of kings), the epic-historical work of Persian literature composed at the end of the tenth century by the poet Abū al-Qāsim Firdawsī (940–1020). This beloved epic of pre-Islamic Persia (present-day Iran) was widely read in Persia, Afghanistan, and Central Asia. The manuscript contains three half-page paintings showing different battles. The text is preceded by an introduction and table of contents (folios 1b−6b) and is written in black ink in a nastaʻliq script. The pages are ...
Poetic Collection of Tarzi
Diwan-i tarzi (Poetic collection of Tarzi) contains verses by Ghulām Muḥammad Ṭarzī (1830−1900), mostly concerning piety, ethics, politics, and society in 19th century Afghanistan. Tarzi came from a distinguished background; he belonged to the Mohammadzai sub-lineage of the Durranis, one of two main Afghan Pashtun lineages, the other being Ghilzai. Because of their connections to Muḥammad Yaʻqūb Khān, Tarzi and his family were exiled from Afghanistan in 1882−83 by Abd al-Raḥmān Khān, a kinsman of Yaʻqūb Khān and a rival to the Afghan throne. The feeling of desolation ...
The Collected Works of Mullah Rahmat Badakhshani
Divan-i Mullah Rahmat Badakhshani (The collected works of Mullah Rahmat Badakhshani) is a divan of Khwaja Rahmat Ullah Badakhshani, a late-19th-century poet from Badakhshan, Afghanistan. The book’s main section includes several forms of ghazal (lyric) poetry. They include ghazal-e char dar char (ghazals in four by four), ghazal-e ka tama-e huruf ash hech nuqta nadara (ghazal poems where the words have no diacritical marks), and ghazal-e laf-o nashr-e muratab (a form in which the subject of the poem appears in the first lines and is then described in detail ...
Shahnameh (Book of kings) was composed by the revered Iranian poet Abū al-Qāsim Firdawsī (940–1020). The book recounts in verse the mythological history of ancient Persia and tales of the famous heroes and personalities of Iranian history, from legendary times to the 7th-century reign of Yazdegerd III, the last king of the Sassanid dynasty. Considered the national epic of Iran, the book was widely read throughout the Persian-speaking world. This manuscript copy was made in India in the 17th or 18th century. The text is written in nastaʻliq script ...
All New Things are Delightful; with Thanks to the Lord the Beneficent; This Souvenir of Close Friends
Sayyid Ahmad Vasliĭ (or Seyyed Ahmad Wasliĭ) Samarkandiĭ (1870−circa 1920) was a writer, teacher, and scholar who was active in Samarkand (in present-day Uzbekistan) in the early 20th century. He was associated with the Jadidist Muslim reform movement, which was active within the Russian Empire in the late 19th and early 20th centuries. Sayyid Ahmad Vasliĭ was supportive of some new methods of teaching, but cautious about wider societal reform. He wrote in Uzbek, Arabic, and Persian on a diverse range of topics, including literature, linguistics, and social issues ...
Collection of Works from Hakim Sanai
Kitāb-i mustaṭāb-i Kullīyāt-i (Collection of works from Hakim Sanai) contains poetic works of Abu al-Majd Majdud ibn Adam Sanai Ghaznwai (died circa 1150). Abu al-Majd, better known as Sanai, was a famous medieval classical Persian scholar, poet, and mystic, thought to have been born and died in Ghazna (a present-day province in southeast Afghanistan) and also to have lived in Khorasan. Sanai is considered to be the first to compose qasida (ode), ghazal (lyric), and masnavi (rhymed couplet) poems in Persian, and he is famous for his homiletic poetry and ...
Spiritual Rhyming Couplets by Rumi
Masnavi-e Manawi (Spiritual rhyming couplets) is the famous poetic collection of the medieval ecstatic mystic scholar and Sufi, Mawlānā Jalāl al-Dīn Rūmī (1207−73), known in Central Asia, Afghanistan, and Iran as Mowlana or Mawlānā Jalaluddin Balkhi and in the West as Rumi. This Persian manuscript in nastaliq script is a complete 15th century copy of Masnavi, with all six volumes. Narratives, homilies, and commentaries appear throughout. Many stories have stock characters, such as beggars, prophets, kings, animals. Ethical concerns, traditional wisdom, and stories filled with jokes, including ones about ...
Diwan-e of the Chain of Gold
Diwan-e Silsilat al-Zahab (literally, The collection book of the chain of gold) is a work of Persian literature in verse. It forms volume one of a seven-volume literary collection of Mowlana Noor al-Din Abd al-Rahman Jami (1414−92), the famous Persian scholar, poet, and Sufi. The entire collection is known as Haft awrang (The seven thrones) and was one of Jami’s first major works. Volume one is the longest volume, composed sometime between 1468 and 1486. This manuscript copy seems incomplete, as the final narrative of verses on scholars ...
Verses in Persian and Chaghatay
This calligraphic fragment includes a number of verses in Persian and Chaghatay Turkish (Turkish spoken in Central Asia). A continuous Persian lyrical poem (ghazal) is written in the top and bottom horizontal rectangular panels. Another ghazal appears written in diagonal in the right and left vertical columns. Both ghazals are by the famous Persian poet Shaykh Sa'di (died 1292) and address moral issues. In the central text panel, verses in Chaghatay Turkish are written in black nasta'liq script on beige paper, surrounded by cloud bands on a gold ...
Ghazal by Sa'di
This calligraphic fragment contains a ghazal (lyric poem) by the Persian poet Shaykh Sa'di (died 1292 [691 AH]). The verses describe a lover's search for his beloved and his request that she show herself to him. The verses are written in nasta'liq script using white, light blue, red, and yellow ink on a blue paper. Rangin (colored) inks add variety to the composition and are found in a number of calligraphies produced during the 16th century. The corners left open by the intersection of the diagonal verses ...
Verses by Jami
This calligraphic fragment includes verses composed by the Persian poet Jami (died 1492 [897 AH]), whose full name, Mawlana 'Abd al-Rahman Jami, is noted in the topmost panel. In larger script appears a ghazal (lyric poem) in which a lover sighs about the lack of news from his beloved. The central text frames are bordered on the right and left by illuminated panels and contain a ruba'i (iambic pentameter quatrain) written in smaller script. The quatrain encourages true and eternal love of God rather than passing infatuations: "Every beautiful ...
Ghazals of Asifi
This calligraphic fragment includes a variety of ghazals (lyric poems) from the Compendium of Poems (Divan) of the Persian poet Asifi. A student of the famous poet Jami (died 1492 [897 AH]) in Herat (present-day Afghanistan), Asifi remained in the Timurid capital city until his death (1517 [923 AH]), even during and after the Uzbek invasions. These particular verses on the fragment's recto and verso portray a lover's madness and his complaints about the pains of separation from the object of his affection. At the end of the ...
Prayers for Safety and Success
This calligraphic fragment includes verses in Persian praying for the patron's personal well-being and the prosperity of his kingdom. The verses read: "May the world be (your) fortune and the firmament (your) friend / May the World-Creator (God) protect (you) / May all your works be successful / May God of the World look after you / May your heart and your kingdom be collected and well-frequented / May division stay far away from your realm." The verses are executed in black nasta'liq script on beige paper. They are framed by cloud bands ...
Verses by Hilālī
This calligraphic fragment includes three distinct text panels all executed in Nasta'liq script: one written in black ink on blue paper, another in white ink on beige paper with two illuminated triangles (or thumb pieces) in the upper and lower corners, and a third (lowest on the page) written in black ink on beige paper. All three panels were cut out and placed together, provided with a gold frame, and pasted to a larger sheet of paper decorated with flecks of gold. The blue text panel includes verses composed ...