The Qur˒an, the Holy Book of Islam
From a monumental volume used in an Istanbul mosque to a miniature Persian version that served as a talisman, this section features examples of illuminated pages from the holy book of Islam. The Qur˒an (to recite) represents the codification of the words of God that were revealed and transmitted through the angel Gabriel to the prophet Muḥammad (ca. 570–632) over a period of twenty-three years. The visions began in 610 in a cave on Mount Hira near Mecca, his birthplace, and continued after his 622 flight to Medina, until his death. His flight—the Hijra—marks the beginning of the Islamic calendar.

The revelations were arranged into 114 suras (chapters), each named after its theme. The first and shortest ones, at the end of the book, from the Meccan period, establish Muḥammad as the final prophet in a line of monotheists, including Abraham and Jesus. The longest suras, placed at the beginning, are Medinan and deal more with social and political issues.

For centuries, Qur˒ans were written in Arabic, the language of transmission. After Muḥammad's death, his cousin ˓Alī and others compiled the revelations into a text. About twenty years later, under Uthman, the third caliph (644–656) succeeding Muḥammad, a standard version of the Qur˒an —essentially the one used today—was produced. Thereafter Islam (which means "surrender to God") spread from the Arabian Peninsula throughout the Middle East, to northern Africa and southern Spain, and eventually the world.

The Qur˒an, the Holy Book of Islam
From a monumental volume used in an Istanbul mosque to a miniature Persian version that served as a talisman, this section features examples of illuminated pages from the holy book of Islam. The Qur˒an (to recite) represents the codification of the words of God that were revealed and transmitted through the angel Gabriel to the prophet Muḥammad (ca. 570–632) over a period of twenty-three years. The visions began in 610 in a cave on Mount Hira near Mecca, his birthplace, and continued after his 622 flight to Medina, until his death. His flight—the Hijra—marks the beginning of the Islamic calendar.

The revelations were arranged into 114 suras (chapters), each named after its theme. The first and shortest ones, at the end of the book, from the Meccan period, establish Muḥammad as the final prophet in a line of monotheists, including Abraham and Jesus. The longest suras, placed at the beginning, are Medinan and deal more with social and political issues.

For centuries, Qur˒ans were written in Arabic, the language of transmission. After Muḥammad's death, his cousin ˓Alī and others compiled the revelations into a text. About twenty years later, under Uthman, the third caliph (644–656) succeeding Muḥammad, a standard version of the Qur˒an —essentially the one used today—was produced. Thereafter Islam (which means "surrender to God") spread from the Arabian Peninsula throughout the Middle East, to northern Africa and southern Spain, and eventually the world.

The Qur˒an, the Holy Book of Islam
From a monumental volume used in an Istanbul mosque to a miniature Persian version that served as a talisman, this section features examples of illuminated pages from the holy book of Islam. The Qur˒an (to recite) represents the codification of the words of God that were revealed and transmitted through the angel Gabriel to the prophet Muḥammad (ca. 570–632) over a period of twenty-three years. The visions began in 610 in a cave on Mount Hira near Mecca, his birthplace, and continued after his 622 flight to Medina, until his death. His flight—the Hijra—marks the beginning of the Islamic calendar.

The revelations were arranged into 114 suras (chapters), each named after its theme. The first and shortest ones, at the end of the book, from the Meccan period, establish Muḥammad as the final prophet in a line of monotheists, including Abraham and Jesus. The longest suras, placed at the beginning, are Medinan and deal more with social and political issues.

For centuries, Qur˒ans were written in Arabic, the language of transmission. After Muḥammad's death, his cousin ˓Alī and others compiled the revelations into a text. About twenty years later, under Uthman, the third caliph (644–656) succeeding Muḥammad, a standard version of the Qur˒an —essentially the one used today—was produced. Thereafter Islam (which means "surrender to God") spread from the Arabian Peninsula throughout the Middle East, to northern Africa and southern Spain, and eventually the world.

The Qur˒an, the Holy Book of Islam
From a monumental volume used in an Istanbul mosque to a miniature Persian version that served as a talisman, this section features examples of illuminated pages from the holy book of Islam. The Qur˒an (to recite) represents the codification of the words of God that were revealed and transmitted through the angel Gabriel to the prophet Muḥammad (ca. 570–632) over a period of twenty-three years. The visions began in 610 in a cave on Mount Hira near Mecca, his birthplace, and continued after his 622 flight to Medina, until his death. His flight—the Hijra—marks the beginning of the Islamic calendar.

The revelations were arranged into 114 suras (chapters), each named after its theme. The first and shortest ones, at the end of the book, from the Meccan period, establish Muḥammad as the final prophet in a line of monotheists, including Abraham and Jesus. The longest suras, placed at the beginning, are Medinan and deal more with social and political issues.

For centuries, Qur˒ans were written in Arabic, the language of transmission. After Muḥammad's death, his cousin ˓Alī and others compiled the revelations into a text. About twenty years later, under Uthman, the third caliph (644–656) succeeding Muḥammad, a standard version of the Qur˒an —essentially the one used today—was produced. Thereafter Islam (which means "surrender to God") spread from the Arabian Peninsula throughout the Middle East, to northern Africa and southern Spain, and eventually the world.

The Qur˒an, the Holy Book of Islam
From a monumental volume used in an Istanbul mosque to a miniature Persian version that served as a talisman, this section features examples of illuminated pages from the holy book of Islam. The Qur˒an (to recite) represents the codification of the words of God that were revealed and transmitted through the angel Gabriel to the prophet Muḥammad (ca. 570–632) over a period of twenty-three years. The visions began in 610 in a cave on Mount Hira near Mecca, his birthplace, and continued after his 622 flight to Medina, until his death. His flight—the Hijra—marks the beginning of the Islamic calendar.

The revelations were arranged into 114 suras (chapters), each named after its theme. The first and shortest ones, at the end of the book, from the Meccan period, establish Muḥammad as the final prophet in a line of monotheists, including Abraham and Jesus. The longest suras, placed at the beginning, are Medinan and deal more with social and political issues.

For centuries, Qur˒ans were written in Arabic, the language of transmission. After Muḥammad's death, his cousin ˓Alī and others compiled the revelations into a text. About twenty years later, under Uthman, the third caliph (644–656) succeeding Muḥammad, a standard version of the Qur˒an —essentially the one used today—was produced. Thereafter Islam (which means "surrender to God") spread from the Arabian Peninsula throughout the Middle East, to northern Africa and southern Spain, and eventually the world.

The Qur˒an, the Holy Book of Islam
From a monumental volume used in an Istanbul mosque to a miniature Persian version that served as a talisman, this section features examples of illuminated pages from the holy book of Islam. The Qur˒an (to recite) represents the codification of the words of God that were revealed and transmitted through the angel Gabriel to the prophet Muḥammad (ca. 570–632) over a period of twenty-three years. The visions began in 610 in a cave on Mount Hira near Mecca, his birthplace, and continued after his 622 flight to Medina, until his death. His flight—the Hijra—marks the beginning of the Islamic calendar.

The revelations were arranged into 114 suras (chapters), each named after its theme. The first and shortest ones, at the end of the book, from the Meccan period, establish Muḥammad as the final prophet in a line of monotheists, including Abraham and Jesus. The longest suras, placed at the beginning, are Medinan and deal more with social and political issues.

For centuries, Qur˒ans were written in Arabic, the language of transmission. After Muḥammad's death, his cousin ˓Alī and others compiled the revelations into a text. About twenty years later, under Uthman, the third caliph (644–656) succeeding Muḥammad, a standard version of the Qur˒an —essentially the one used today—was produced. Thereafter Islam (which means "surrender to God") spread from the Arabian Peninsula throughout the Middle East, to northern Africa and southern Spain, and eventually the world.

The Qur˒an, the Holy Book of Islam
From a monumental volume used in an Istanbul mosque to a miniature Persian version that served as a talisman, this section features examples of illuminated pages from the holy book of Islam. The Qur˒an (to recite) represents the codification of the words of God that were revealed and transmitted through the angel Gabriel to the prophet Muḥammad (ca. 570–632) over a period of twenty-three years. The visions began in 610 in a cave on Mount Hira near Mecca, his birthplace, and continued after his 622 flight to Medina, until his death. His flight—the Hijra—marks the beginning of the Islamic calendar.

The revelations were arranged into 114 suras (chapters), each named after its theme. The first and shortest ones, at the end of the book, from the Meccan period, establish Muḥammad as the final prophet in a line of monotheists, including Abraham and Jesus. The longest suras, placed at the beginning, are Medinan and deal more with social and political issues.

For centuries, Qur˒ans were written in Arabic, the language of transmission. After Muḥammad's death, his cousin ˓Alī and others compiled the revelations into a text. About twenty years later, under Uthman, the third caliph (644–656) succeeding Muḥammad, a standard version of the Qur˒an —essentially the one used today—was produced. Thereafter Islam (which means "surrender to God") spread from the Arabian Peninsula throughout the Middle East, to northern Africa and southern Spain, and eventually the world.

The Qur˒an, the Holy Book of Islam
From a monumental volume used in an Istanbul mosque to a miniature Persian version that served as a talisman, this section features examples of illuminated pages from the holy book of Islam. The Qur˒an (to recite) represents the codification of the words of God that were revealed and transmitted through the angel Gabriel to the prophet Muḥammad (ca. 570–632) over a period of twenty-three years. The visions began in 610 in a cave on Mount Hira near Mecca, his birthplace, and continued after his 622 flight to Medina, until his death. His flight—the Hijra—marks the beginning of the Islamic calendar.

The revelations were arranged into 114 suras (chapters), each named after its theme. The first and shortest ones, at the end of the book, from the Meccan period, establish Muḥammad as the final prophet in a line of monotheists, including Abraham and Jesus. The longest suras, placed at the beginning, are Medinan and deal more with social and political issues.

For centuries, Qur˒ans were written in Arabic, the language of transmission. After Muḥammad's death, his cousin ˓Alī and others compiled the revelations into a text. About twenty years later, under Uthman, the third caliph (644–656) succeeding Muḥammad, a standard version of the Qur˒an —essentially the one used today—was produced. Thereafter Islam (which means "surrender to God") spread from the Arabian Peninsula throughout the Middle East, to northern Africa and southern Spain, and eventually the world.

The Qur˒an, the Holy Book of Islam
From a monumental volume used in an Istanbul mosque to a miniature Persian version that served as a talisman, this section features examples of illuminated pages from the holy book of Islam. The Qur˒an (to recite) represents the codification of the words of God that were revealed and transmitted through the angel Gabriel to the prophet Muḥammad (ca. 570–632) over a period of twenty-three years. The visions began in 610 in a cave on Mount Hira near Mecca, his birthplace, and continued after his 622 flight to Medina, until his death. His flight—the Hijra—marks the beginning of the Islamic calendar.

The revelations were arranged into 114 suras (chapters), each named after its theme. The first and shortest ones, at the end of the book, from the Meccan period, establish Muḥammad as the final prophet in a line of monotheists, including Abraham and Jesus. The longest suras, placed at the beginning, are Medinan and deal more with social and political issues.

For centuries, Qur˒ans were written in Arabic, the language of transmission. After Muḥammad's death, his cousin ˓Alī and others compiled the revelations into a text. About twenty years later, under Uthman, the third caliph (644–656) succeeding Muḥammad, a standard version of the Qur˒an —essentially the one used today—was produced. Thereafter Islam (which means "surrender to God") spread from the Arabian Peninsula throughout the Middle East, to northern Africa and southern Spain, and eventually the world.

The Qur˒an, the Holy Book of Islam
From a monumental volume used in an Istanbul mosque to a miniature Persian version that served as a talisman, this section features examples of illuminated pages from the holy book of Islam. The Qur˒an (to recite) represents the codification of the words of God that were revealed and transmitted through the angel Gabriel to the prophet Muḥammad (ca. 570–632) over a period of twenty-three years. The visions began in 610 in a cave on Mount Hira near Mecca, his birthplace, and continued after his 622 flight to Medina, until his death. His flight—the Hijra—marks the beginning of the Islamic calendar.

The revelations were arranged into 114 suras (chapters), each named after its theme. The first and shortest ones, at the end of the book, from the Meccan period, establish Muḥammad as the final prophet in a line of monotheists, including Abraham and Jesus. The longest suras, placed at the beginning, are Medinan and deal more with social and political issues.

For centuries, Qur˒ans were written in Arabic, the language of transmission. After Muḥammad's death, his cousin ˓Alī and others compiled the revelations into a text. About twenty years later, under Uthman, the third caliph (644–656) succeeding Muḥammad, a standard version of the Qur˒an —essentially the one used today—was produced. Thereafter Islam (which means "surrender to God") spread from the Arabian Peninsula throughout the Middle East, to northern Africa and southern Spain, and eventually the world.

The Qur˒an, the Holy Book of Islam
From a monumental volume used in an Istanbul mosque to a miniature Persian version that served as a talisman, this section features examples of illuminated pages from the holy book of Islam. The Qur˒an (to recite) represents the codification of the words of God that were revealed and transmitted through the angel Gabriel to the prophet Muḥammad (ca. 570–632) over a period of twenty-three years. The visions began in 610 in a cave on Mount Hira near Mecca, his birthplace, and continued after his 622 flight to Medina, until his death. His flight—the Hijra—marks the beginning of the Islamic calendar.

The revelations were arranged into 114 suras (chapters), each named after its theme. The first and shortest ones, at the end of the book, from the Meccan period, establish Muḥammad as the final prophet in a line of monotheists, including Abraham and Jesus. The longest suras, placed at the beginning, are Medinan and deal more with social and political issues.

For centuries, Qur˒ans were written in Arabic, the language of transmission. After Muḥammad's death, his cousin ˓Alī and others compiled the revelations into a text. About twenty years later, under Uthman, the third caliph (644–656) succeeding Muḥammad, a standard version of the Qur˒an —essentially the one used today—was produced. Thereafter Islam (which means "surrender to God") spread from the Arabian Peninsula throughout the Middle East, to northern Africa and southern Spain, and eventually the world.

The Qur˒an, the Holy Book of Islam
From a monumental volume used in an Istanbul mosque to a miniature Persian version that served as a talisman, this section features examples of illuminated pages from the holy book of Islam. The Qur˒an (to recite) represents the codification of the words of God that were revealed and transmitted through the angel Gabriel to the prophet Muḥammad (ca. 570–632) over a period of twenty-three years. The visions began in 610 in a cave on Mount Hira near Mecca, his birthplace, and continued after his 622 flight to Medina, until his death. His flight—the Hijra—marks the beginning of the Islamic calendar.

The revelations were arranged into 114 suras (chapters), each named after its theme. The first and shortest ones, at the end of the book, from the Meccan period, establish Muḥammad as the final prophet in a line of monotheists, including Abraham and Jesus. The longest suras, placed at the beginning, are Medinan and deal more with social and political issues.

For centuries, Qur˒ans were written in Arabic, the language of transmission. After Muḥammad's death, his cousin ˓Alī and others compiled the revelations into a text. About twenty years later, under Uthman, the third caliph (644–656) succeeding Muḥammad, a standard version of the Qur˒an —essentially the one used today—was produced. Thereafter Islam (which means "surrender to God") spread from the Arabian Peninsula throughout the Middle East, to northern Africa and southern Spain, and eventually the world.

The Qur˒an, the Holy Book of Islam
From a monumental volume used in an Istanbul mosque to a miniature Persian version that served as a talisman, this section features examples of illuminated pages from the holy book of Islam. The Qur˒an (to recite) represents the codification of the words of God that were revealed and transmitted through the angel Gabriel to the prophet Muḥammad (ca. 570–632) over a period of twenty-three years. The visions began in 610 in a cave on Mount Hira near Mecca, his birthplace, and continued after his 622 flight to Medina, until his death. His flight—the Hijra—marks the beginning of the Islamic calendar.

The revelations were arranged into 114 suras (chapters), each named after its theme. The first and shortest ones, at the end of the book, from the Meccan period, establish Muḥammad as the final prophet in a line of monotheists, including Abraham and Jesus. The longest suras, placed at the beginning, are Medinan and deal more with social and political issues.

For centuries, Qur˒ans were written in Arabic, the language of transmission. After Muḥammad's death, his cousin ˓Alī and others compiled the revelations into a text. About twenty years later, under Uthman, the third caliph (644–656) succeeding Muḥammad, a standard version of the Qur˒an —essentially the one used today—was produced. Thereafter Islam (which means "surrender to God") spread from the Arabian Peninsula throughout the Middle East, to northern Africa and southern Spain, and eventually the world.

The Qur˒an, the Holy Book of Islam
From a monumental volume used in an Istanbul mosque to a miniature Persian version that served as a talisman, this section features examples of illuminated pages from the holy book of Islam. The Qur˒an (to recite) represents the codification of the words of God that were revealed and transmitted through the angel Gabriel to the prophet Muḥammad (ca. 570–632) over a period of twenty-three years. The visions began in 610 in a cave on Mount Hira near Mecca, his birthplace, and continued after his 622 flight to Medina, until his death. His flight—the Hijra—marks the beginning of the Islamic calendar.

The revelations were arranged into 114 suras (chapters), each named after its theme. The first and shortest ones, at the end of the book, from the Meccan period, establish Muḥammad as the final prophet in a line of monotheists, including Abraham and Jesus. The longest suras, placed at the beginning, are Medinan and deal more with social and political issues.

For centuries, Qur˒ans were written in Arabic, the language of transmission. After Muḥammad's death, his cousin ˓Alī and others compiled the revelations into a text. About twenty years later, under Uthman, the third caliph (644–656) succeeding Muḥammad, a standard version of the Qur˒an —essentially the one used today—was produced. Thereafter Islam (which means "surrender to God") spread from the Arabian Peninsula throughout the Middle East, to northern Africa and southern Spain, and eventually the world.

The Qur˒an, the Holy Book of Islam
From a monumental volume used in an Istanbul mosque to a miniature Persian version that served as a talisman, this section features examples of illuminated pages from the holy book of Islam. The Qur˒an (to recite) represents the codification of the words of God that were revealed and transmitted through the angel Gabriel to the prophet Muḥammad (ca. 570–632) over a period of twenty-three years. The visions began in 610 in a cave on Mount Hira near Mecca, his birthplace, and continued after his 622 flight to Medina, until his death. His flight—the Hijra—marks the beginning of the Islamic calendar.

The revelations were arranged into 114 suras (chapters), each named after its theme. The first and shortest ones, at the end of the book, from the Meccan period, establish Muḥammad as the final prophet in a line of monotheists, including Abraham and Jesus. The longest suras, placed at the beginning, are Medinan and deal more with social and political issues.

For centuries, Qur˒ans were written in Arabic, the language of transmission. After Muḥammad's death, his cousin ˓Alī and others compiled the revelations into a text. About twenty years later, under Uthman, the third caliph (644–656) succeeding Muḥammad, a standard version of the Qur˒an —essentially the one used today—was produced. Thereafter Islam (which means "surrender to God") spread from the Arabian Peninsula throughout the Middle East, to northern Africa and southern Spain, and eventually the world.

The Qur˒an, the Holy Book of Islam
From a monumental volume used in an Istanbul mosque to a miniature Persian version that served as a talisman, this section features examples of illuminated pages from the holy book of Islam. The Qur˒an (to recite) represents the codification of the words of God that were revealed and transmitted through the angel Gabriel to the prophet Muḥammad (ca. 570–632) over a period of twenty-three years. The visions began in 610 in a cave on Mount Hira near Mecca, his birthplace, and continued after his 622 flight to Medina, until his death. His flight—the Hijra—marks the beginning of the Islamic calendar.

The revelations were arranged into 114 suras (chapters), each named after its theme. The first and shortest ones, at the end of the book, from the Meccan period, establish Muḥammad as the final prophet in a line of monotheists, including Abraham and Jesus. The longest suras, placed at the beginning, are Medinan and deal more with social and political issues.

For centuries, Qur˒ans were written in Arabic, the language of transmission. After Muḥammad's death, his cousin ˓Alī and others compiled the revelations into a text. About twenty years later, under Uthman, the third caliph (644–656) succeeding Muḥammad, a standard version of the Qur˒an —essentially the one used today—was produced. Thereafter Islam (which means "surrender to God") spread from the Arabian Peninsula throughout the Middle East, to northern Africa and southern Spain, and eventually the world.

The Qur˒an, the Holy Book of Islam
From a monumental volume used in an Istanbul mosque to a miniature Persian version that served as a talisman, this section features examples of illuminated pages from the holy book of Islam. The Qur˒an (to recite) represents the codification of the words of God that were revealed and transmitted through the angel Gabriel to the prophet Muḥammad (ca. 570–632) over a period of twenty-three years. The visions began in 610 in a cave on Mount Hira near Mecca, his birthplace, and continued after his 622 flight to Medina, until his death. His flight—the Hijra—marks the beginning of the Islamic calendar.

The revelations were arranged into 114 suras (chapters), each named after its theme. The first and shortest ones, at the end of the book, from the Meccan period, establish Muḥammad as the final prophet in a line of monotheists, including Abraham and Jesus. The longest suras, placed at the beginning, are Medinan and deal more with social and political issues.

For centuries, Qur˒ans were written in Arabic, the language of transmission. After Muḥammad's death, his cousin ˓Alī and others compiled the revelations into a text. About twenty years later, under Uthman, the third caliph (644–656) succeeding Muḥammad, a standard version of the Qur˒an —essentially the one used today—was produced. Thereafter Islam (which means "surrender to God") spread from the Arabian Peninsula throughout the Middle East, to northern Africa and southern Spain, and eventually the world.

Natural History and Astrology
The miniatures presented here derive primarily from two extraordinary Islamic manuscripts that depict the natural world and the heavens. The first, Manāfi˓-i hayavān (The Benefits of Animals), is considered one of the ten greatest surviving Persian manuscripts. It dates from the reign of Ghazan Khan (1295–1304), the Mongol ruler who ordered a Persian translation of the book, and concerns the nature and medicinal properties of humans, animals, birds, reptiles, fish, and insects. The other, Matāli˓ al-sa˓āda wa manābi˓ al-siyāda (The Ascension of Propitious Stars and Sources of Sovereign), was commissioned by Sultan Murād III (r. 1574–95), an Ottoman ruler deeply interested in astronomy, cosmology, demonology, poetry, and mysticism.

Natural History and Astrology
The miniatures presented here derive primarily from two extraordinary Islamic manuscripts that depict the natural world and the heavens. The first, Manāfi˓-i hayavān (The Benefits of Animals), is considered one of the ten greatest surviving Persian manuscripts. It dates from the reign of Ghazan Khan (1295–1304), the Mongol ruler who ordered a Persian translation of the book, and concerns the nature and medicinal properties of humans, animals, birds, reptiles, fish, and insects. The other, Matāli˓ al-sa˓āda wa manābi˓ al-siyāda (The Ascension of Propitious Stars and Sources of Sovereign), was commissioned by Sultan Murād III (r. 1574–95), an Ottoman ruler deeply interested in astronomy, cosmology, demonology, poetry, and mysticism.

Natural History and Astrology
The miniatures presented here derive primarily from two extraordinary Islamic manuscripts that depict the natural world and the heavens. The first, Manāfi˓-i hayavān (The Benefits of Animals), is considered one of the ten greatest surviving Persian manuscripts. It dates from the reign of Ghazan Khan (1295–1304), the Mongol ruler who ordered a Persian translation of the book, and concerns the nature and medicinal properties of humans, animals, birds, reptiles, fish, and insects. The other, Matāli˓ al-sa˓āda wa manābi˓ al-siyāda (The Ascension of Propitious Stars and Sources of Sovereign), was commissioned by Sultan Murād III (r. 1574–95), an Ottoman ruler deeply interested in astronomy, cosmology, demonology, poetry, and mysticism.

Natural History and Astrology
The miniatures presented here derive primarily from two extraordinary Islamic manuscripts that depict the natural world and the heavens. The first, Manāfi˓-i hayavān (The Benefits of Animals), is considered one of the ten greatest surviving Persian manuscripts. It dates from the reign of Ghazan Khan (1295–1304), the Mongol ruler who ordered a Persian translation of the book, and concerns the nature and medicinal properties of humans, animals, birds, reptiles, fish, and insects. The other, Matāli˓ al-sa˓āda wa manābi˓ al-siyāda (The Ascension of Propitious Stars and Sources of Sovereign), was commissioned by Sultan Murād III (r. 1574–95), an Ottoman ruler deeply interested in astronomy, cosmology, demonology, poetry, and mysticism.

Natural History and Astrology
The miniatures presented here derive primarily from two extraordinary Islamic manuscripts that depict the natural world and the heavens. The first, Manāfi˓-i hayavān (The Benefits of Animals), is considered one of the ten greatest surviving Persian manuscripts. It dates from the reign of Ghazan Khan (1295–1304), the Mongol ruler who ordered a Persian translation of the book, and concerns the nature and medicinal properties of humans, animals, birds, reptiles, fish, and insects. The other, Matāli˓ al-sa˓āda wa manābi˓ al-siyāda (The Ascension of Propitious Stars and Sources of Sovereign), was commissioned by Sultan Murād III (r. 1574–95), an Ottoman ruler deeply interested in astronomy, cosmology, demonology, poetry, and mysticism.

Natural History and Astrology
The miniatures presented here derive primarily from two extraordinary Islamic manuscripts that depict the natural world and the heavens. The first, Manāfi˓-i hayavān (The Benefits of Animals), is considered one of the ten greatest surviving Persian manuscripts. It dates from the reign of Ghazan Khan (1295–1304), the Mongol ruler who ordered a Persian translation of the book, and concerns the nature and medicinal properties of humans, animals, birds, reptiles, fish, and insects. The other, Matāli˓ al-sa˓āda wa manābi˓ al-siyāda (The Ascension of Propitious Stars and Sources of Sovereign), was commissioned by Sultan Murād III (r. 1574–95), an Ottoman ruler deeply interested in astronomy, cosmology, demonology, poetry, and mysticism.

Natural History and Astrology
The miniatures presented here derive primarily from two extraordinary Islamic manuscripts that depict the natural world and the heavens. The first, Manāfi˓-i hayavān (The Benefits of Animals), is considered one of the ten greatest surviving Persian manuscripts. It dates from the reign of Ghazan Khan (1295–1304), the Mongol ruler who ordered a Persian translation of the book, and concerns the nature and medicinal properties of humans, animals, birds, reptiles, fish, and insects. The other, Matāli˓ al-sa˓āda wa manābi˓ al-siyāda (The Ascension of Propitious Stars and Sources of Sovereign), was commissioned by Sultan Murād III (r. 1574–95), an Ottoman ruler deeply interested in astronomy, cosmology, demonology, poetry, and mysticism.

Natural History and Astrology
The miniatures presented here derive primarily from two extraordinary Islamic manuscripts that depict the natural world and the heavens. The first, Manāfi˓-i hayavān (The Benefits of Animals), is considered one of the ten greatest surviving Persian manuscripts. It dates from the reign of Ghazan Khan (1295–1304), the Mongol ruler who ordered a Persian translation of the book, and concerns the nature and medicinal properties of humans, animals, birds, reptiles, fish, and insects. The other, Matāli˓ al-sa˓āda wa manābi˓ al-siyāda (The Ascension of Propitious Stars and Sources of Sovereign), was commissioned by Sultan Murād III (r. 1574–95), an Ottoman ruler deeply interested in astronomy, cosmology, demonology, poetry, and mysticism.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

Rūmī, Persian Mystic And Poet
The sixteenth-century miniatures presented here concern the life and miracles of Jalāl al-Dīn Rūmī, called Mē vlāna (Our Master), the most famous member of the Mevlevī order and Persia's greatest Sufi mystic and poet. He was born in Balkh in 1207, but his family emigrated after his father foresaw the Mongol conquest. They eventually resettled in Konya, Turkey, then the capital of Anatolian Rūm (thus Rūmī), where the poet died on 17 December 1273.

Several Persian accounts of Rūmī's life have been written, the first by his son, Sultan Walad. The third, laden with moralizing miracle stories, was ordered by Rūmī's grandson Ulu ˓Ārif Chelebi. It was written by the dervish Shams al-Dīn Aḥmad, called Aflākī (d. 1360). Aflākī also incorporated verses from Rūmī's works, notably his six-volume Masnavī (a poetical form of rhyming couplets) and the Dīvān-i-Shams al-Dīn Tabrīzī, named after Shams of Tabriz, the mystic who changed Rūmī's life and transformed him into a poet when they met in 1244.

In 1590—three and a half centuries after Aflākī wrote his life of Rūmī—the Ottoman sultan Mūrad III ordered a Turkish translation of a 1540 abridged version of Aflākī's text entitled Tarjuma-i Thawāqib-i manāqib (Stars of the Legend). The translator was Darvīsh Mahmud Mesnevī Khān of Konya. Two illustrated copies of the Murād translation, both made in Baghdad, survive. One, dated 1599, is held by Topkapi Palace, Istanbul, and has twenty-two miniatures. The other, richer manuscript is held by the Morgan. It dates to the 1590s and includes twenty-nine miniatures. They are all featured here, along with two folios from other collections that are believed to have once been part of the Morgan manuscript.

The Read Persian Album
Pierpont Morgan's 1911 purchase of two albums (one Persian, one Mughal) from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, London, proved to be an important turning point in the history of the Morgan Islamic collection. Belle da Costa Greene, Morgan's librarian, accompanied by art historian and collector Bernard Berenson, first saw paintings from the albums at the great exhibition of Islamic art in Munich the previous year. She wrote to Read that they were among the finest works exhibited there and that this important school should be represented in Morgan's collection, asking him to give Morgan the right of first refusal. The Persian album was begun by Husain Khān Shāmlū, governor of Herat (r. 1598–1618), and possibly continued by his son and successor, Hasān Shāmlū (d. 1646). Fifteen of its twenty-seven sheets, once bound accordion style, are presented here. Many of the paintings were made in Herat itself.

The Read Persian Album
Pierpont Morgan's 1911 purchase of two albums (one Persian, one Mughal) from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, London, proved to be an important turning point in the history of the Morgan Islamic collection. Belle da Costa Greene, Morgan's librarian, accompanied by art historian and collector Bernard Berenson, first saw paintings from the albums at the great exhibition of Islamic art in Munich the previous year. She wrote to Read that they were among the finest works exhibited there and that this important school should be represented in Morgan's collection, asking him to give Morgan the right of first refusal. The Persian album was begun by Husain Khān Shāmlū, governor of Herat (r. 1598–1618), and possibly continued by his son and successor, Hasān Shāmlū (d. 1646). Fifteen of its twenty-seven sheets, once bound accordion style, are presented here. Many of the paintings were made in Herat itself.

The Read Persian Album
Pierpont Morgan's 1911 purchase of two albums (one Persian, one Mughal) from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, London, proved to be an important turning point in the history of the Morgan Islamic collection. Belle da Costa Greene, Morgan's librarian, accompanied by art historian and collector Bernard Berenson, first saw paintings from the albums at the great exhibition of Islamic art in Munich the previous year. She wrote to Read that they were among the finest works exhibited there and that this important school should be represented in Morgan's collection, asking him to give Morgan the right of first refusal. The Persian album was begun by Husain Khān Shāmlū, governor of Herat (r. 1598–1618), and possibly continued by his son and successor, Hasān Shāmlū (d. 1646). Fifteen of its twenty-seven sheets, once bound accordion style, are presented here. Many of the paintings were made in Herat itself.

The Read Persian Album
Pierpont Morgan's 1911 purchase of two albums (one Persian, one Mughal) from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, London, proved to be an important turning point in the history of the Morgan Islamic collection. Belle da Costa Greene, Morgan's librarian, accompanied by art historian and collector Bernard Berenson, first saw paintings from the albums at the great exhibition of Islamic art in Munich the previous year. She wrote to Read that they were among the finest works exhibited there and that this important school should be represented in Morgan's collection, asking him to give Morgan the right of first refusal. The Persian album was begun by Husain Khān Shāmlū, governor of Herat (r. 1598–1618), and possibly continued by his son and successor, Hasān Shāmlū (d. 1646). Fifteen of its twenty-seven sheets, once bound accordion style, are presented here. Many of the paintings were made in Herat itself.

The Read Persian Album
Pierpont Morgan's 1911 purchase of two albums (one Persian, one Mughal) from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, London, proved to be an important turning point in the history of the Morgan Islamic collection. Belle da Costa Greene, Morgan's librarian, accompanied by art historian and collector Bernard Berenson, first saw paintings from the albums at the great exhibition of Islamic art in Munich the previous year. She wrote to Read that they were among the finest works exhibited there and that this important school should be represented in Morgan's collection, asking him to give Morgan the right of first refusal. The Persian album was begun by Husain Khān Shāmlū, governor of Herat (r. 1598–1618), and possibly continued by his son and successor, Hasān Shāmlū (d. 1646). Fifteen of its twenty-seven sheets, once bound accordion style, are presented here. Many of the paintings were made in Herat itself.

The Read Persian Album
Pierpont Morgan's 1911 purchase of two albums (one Persian, one Mughal) from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, London, proved to be an important turning point in the history of the Morgan Islamic collection. Belle da Costa Greene, Morgan's librarian, accompanied by art historian and collector Bernard Berenson, first saw paintings from the albums at the great exhibition of Islamic art in Munich the previous year. She wrote to Read that they were among the finest works exhibited there and that this important school should be represented in Morgan's collection, asking him to give Morgan the right of first refusal. The Persian album was begun by Husain Khān Shāmlū, governor of Herat (r. 1598–1618), and possibly continued by his son and successor, Hasān Shāmlū (d. 1646). Fifteen of its twenty-seven sheets, once bound accordion style, are presented here. Many of the paintings were made in Herat itself.

The Read Persian Album
Pierpont Morgan's 1911 purchase of two albums (one Persian, one Mughal) from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, London, proved to be an important turning point in the history of the Morgan Islamic collection. Belle da Costa Greene, Morgan's librarian, accompanied by art historian and collector Bernard Berenson, first saw paintings from the albums at the great exhibition of Islamic art in Munich the previous year. She wrote to Read that they were among the finest works exhibited there and that this important school should be represented in Morgan's collection, asking him to give Morgan the right of first refusal. The Persian album was begun by Husain Khān Shāmlū, governor of Herat (r. 1598–1618), and possibly continued by his son and successor, Hasān Shāmlū (d. 1646). Fifteen of its twenty-seven sheets, once bound accordion style, are presented here. Many of the paintings were made in Herat itself.

The Read Persian Album
Pierpont Morgan's 1911 purchase of two albums (one Persian, one Mughal) from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, London, proved to be an important turning point in the history of the Morgan Islamic collection. Belle da Costa Greene, Morgan's librarian, accompanied by art historian and collector Bernard Berenson, first saw paintings from the albums at the great exhibition of Islamic art in Munich the previous year. She wrote to Read that they were among the finest works exhibited there and that this important school should be represented in Morgan's collection, asking him to give Morgan the right of first refusal. The Persian album was begun by Husain Khān Shāmlū, governor of Herat (r. 1598–1618), and possibly continued by his son and successor, Hasān Shāmlū (d. 1646). Fifteen of its twenty-seven sheets, once bound accordion style, are presented here. Many of the paintings were made in Herat itself.

The Read Persian Album
Pierpont Morgan's 1911 purchase of two albums (one Persian, one Mughal) from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, London, proved to be an important turning point in the history of the Morgan Islamic collection. Belle da Costa Greene, Morgan's librarian, accompanied by art historian and collector Bernard Berenson, first saw paintings from the albums at the great exhibition of Islamic art in Munich the previous year. She wrote to Read that they were among the finest works exhibited there and that this important school should be represented in Morgan's collection, asking him to give Morgan the right of first refusal. The Persian album was begun by Husain Khān Shāmlū, governor of Herat (r. 1598–1618), and possibly continued by his son and successor, Hasān Shāmlū (d. 1646). Fifteen of its twenty-seven sheets, once bound accordion style, are presented here. Many of the paintings were made in Herat itself.

The Read Persian Album
Pierpont Morgan's 1911 purchase of two albums (one Persian, one Mughal) from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, London, proved to be an important turning point in the history of the Morgan Islamic collection. Belle da Costa Greene, Morgan's librarian, accompanied by art historian and collector Bernard Berenson, first saw paintings from the albums at the great exhibition of Islamic art in Munich the previous year. She wrote to Read that they were among the finest works exhibited there and that this important school should be represented in Morgan's collection, asking him to give Morgan the right of first refusal. The Persian album was begun by Husain Khān Shāmlū, governor of Herat (r. 1598–1618), and possibly continued by his son and successor, Hasān Shāmlū (d. 1646). Fifteen of its twenty-seven sheets, once bound accordion style, are presented here. Many of the paintings were made in Herat itself.

The Read Persian Album
Pierpont Morgan's 1911 purchase of two albums (one Persian, one Mughal) from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, London, proved to be an important turning point in the history of the Morgan Islamic collection. Belle da Costa Greene, Morgan's librarian, accompanied by art historian and collector Bernard Berenson, first saw paintings from the albums at the great exhibition of Islamic art in Munich the previous year. She wrote to Read that they were among the finest works exhibited there and that this important school should be represented in Morgan's collection, asking him to give Morgan the right of first refusal. The Persian album was begun by Husain Khān Shāmlū, governor of Herat (r. 1598–1618), and possibly continued by his son and successor, Hasān Shāmlū (d. 1646). Fifteen of its twenty-seven sheets, once bound accordion style, are presented here. Many of the paintings were made in Herat itself.

The Read Persian Album
Pierpont Morgan's 1911 purchase of two albums (one Persian, one Mughal) from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, London, proved to be an important turning point in the history of the Morgan Islamic collection. Belle da Costa Greene, Morgan's librarian, accompanied by art historian and collector Bernard Berenson, first saw paintings from the albums at the great exhibition of Islamic art in Munich the previous year. She wrote to Read that they were among the finest works exhibited there and that this important school should be represented in Morgan's collection, asking him to give Morgan the right of first refusal. The Persian album was begun by Husain Khān Shāmlū, governor of Herat (r. 1598–1618), and possibly continued by his son and successor, Hasān Shāmlū (d. 1646). Fifteen of its twenty-seven sheets, once bound accordion style, are presented here. Many of the paintings were made in Herat itself.

The Read Persian Album
Pierpont Morgan's 1911 purchase of two albums (one Persian, one Mughal) from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, London, proved to be an important turning point in the history of the Morgan Islamic collection. Belle da Costa Greene, Morgan's librarian, accompanied by art historian and collector Bernard Berenson, first saw paintings from the albums at the great exhibition of Islamic art in Munich the previous year. She wrote to Read that they were among the finest works exhibited there and that this important school should be represented in Morgan's collection, asking him to give Morgan the right of first refusal. The Persian album was begun by Husain Khān Shāmlū, governor of Herat (r. 1598–1618), and possibly continued by his son and successor, Hasān Shāmlū (d. 1646). Fifteen of its twenty-seven sheets, once bound accordion style, are presented here. Many of the paintings were made in Herat itself.

The Read Persian Album
Pierpont Morgan's 1911 purchase of two albums (one Persian, one Mughal) from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, London, proved to be an important turning point in the history of the Morgan Islamic collection. Belle da Costa Greene, Morgan's librarian, accompanied by art historian and collector Bernard Berenson, first saw paintings from the albums at the great exhibition of Islamic art in Munich the previous year. She wrote to Read that they were among the finest works exhibited there and that this important school should be represented in Morgan's collection, asking him to give Morgan the right of first refusal. The Persian album was begun by Husain Khān Shāmlū, governor of Herat (r. 1598–1618), and possibly continued by his son and successor, Hasān Shāmlū (d. 1646). Fifteen of its twenty-seven sheets, once bound accordion style, are presented here. Many of the paintings were made in Herat itself.

The Read Mughal Album
Pierpont Morgan purchased the Read Mughal album, along with a Persian album, from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, in 1911. The Morgan purchase consisted of thirty folios (including both Indian miniatures and the Mughal portraits presented here), but Read owned at least forty-eight others, now widely dispersed. The leaves were probably once bound in several lacquered bindings. The identity of their compiler has not been established, but many borders date from the eighteenth and nineteenth centuries. The Mughal emperors of India commissioned biographies and were frequently portrayed by artists. Here the paintings are presented in the order of the emperor's reigns rather than the dates of the miniatures, starting with Bābur (r. 1526–30), the Muslim founder of the dynasty, and ending with Shāh Jahān (r. 1628–58), builder of the Taj Mahal.

The Read Mughal Album
Pierpont Morgan purchased the Read Mughal album, along with a Persian album, from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, in 1911. The Morgan purchase consisted of thirty folios (including both Indian miniatures and the Mughal portraits presented here), but Read owned at least forty-eight others, now widely dispersed. The leaves were probably once bound in several lacquered bindings. The identity of their compiler has not been established, but many borders date from the eighteenth and nineteenth centuries. The Mughal emperors of India commissioned biographies and were frequently portrayed by artists. Here the paintings are presented in the order of the emperor's reigns rather than the dates of the miniatures, starting with Bābur (r. 1526–30), the Muslim founder of the dynasty, and ending with Shāh Jahān (r. 1628–58), builder of the Taj Mahal.

The Read Mughal Album
Pierpont Morgan purchased the Read Mughal album, along with a Persian album, from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, in 1911. The Morgan purchase consisted of thirty folios (including both Indian miniatures and the Mughal portraits presented here), but Read owned at least forty-eight others, now widely dispersed. The leaves were probably once bound in several lacquered bindings. The identity of their compiler has not been established, but many borders date from the eighteenth and nineteenth centuries. The Mughal emperors of India commissioned biographies and were frequently portrayed by artists. Here the paintings are presented in the order of the emperor's reigns rather than the dates of the miniatures, starting with Bābur (r. 1526–30), the Muslim founder of the dynasty, and ending with Shāh Jahān (r. 1628–58), builder of the Taj Mahal.

The Read Mughal Album
Pierpont Morgan purchased the Read Mughal album, along with a Persian album, from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, in 1911. The Morgan purchase consisted of thirty folios (including both Indian miniatures and the Mughal portraits presented here), but Read owned at least forty-eight others, now widely dispersed. The leaves were probably once bound in several lacquered bindings. The identity of their compiler has not been established, but many borders date from the eighteenth and nineteenth centuries. The Mughal emperors of India commissioned biographies and were frequently portrayed by artists. Here the paintings are presented in the order of the emperor's reigns rather than the dates of the miniatures, starting with Bābur (r. 1526–30), the Muslim founder of the dynasty, and ending with Shāh Jahān (r. 1628–58), builder of the Taj Mahal.

The Read Mughal Album
Pierpont Morgan purchased the Read Mughal album, along with a Persian album, from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, in 1911. The Morgan purchase consisted of thirty folios (including both Indian miniatures and the Mughal portraits presented here), but Read owned at least forty-eight others, now widely dispersed. The leaves were probably once bound in several lacquered bindings. The identity of their compiler has not been established, but many borders date from the eighteenth and nineteenth centuries. The Mughal emperors of India commissioned biographies and were frequently portrayed by artists. Here the paintings are presented in the order of the emperor's reigns rather than the dates of the miniatures, starting with Bābur (r. 1526–30), the Muslim founder of the dynasty, and ending with Shāh Jahān (r. 1628–58), builder of the Taj Mahal.

The Read Mughal Album
Pierpont Morgan purchased the Read Mughal album, along with a Persian album, from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, in 1911. The Morgan purchase consisted of thirty folios (including both Indian miniatures and the Mughal portraits presented here), but Read owned at least forty-eight others, now widely dispersed. The leaves were probably once bound in several lacquered bindings. The identity of their compiler has not been established, but many borders date from the eighteenth and nineteenth centuries. The Mughal emperors of India commissioned biographies and were frequently portrayed by artists. Here the paintings are presented in the order of the emperor's reigns rather than the dates of the miniatures, starting with Bābur (r. 1526–30), the Muslim founder of the dynasty, and ending with Shāh Jahān (r. 1628–58), builder of the Taj Mahal.

The Read Mughal Album
Pierpont Morgan purchased the Read Mughal album, along with a Persian album, from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, in 1911. The Morgan purchase consisted of thirty folios (including both Indian miniatures and the Mughal portraits presented here), but Read owned at least forty-eight others, now widely dispersed. The leaves were probably once bound in several lacquered bindings. The identity of their compiler has not been established, but many borders date from the eighteenth and nineteenth centuries. The Mughal emperors of India commissioned biographies and were frequently portrayed by artists. Here the paintings are presented in the order of the emperor's reigns rather than the dates of the miniatures, starting with Bābur (r. 1526–30), the Muslim founder of the dynasty, and ending with Shāh Jahān (r. 1628–58), builder of the Taj Mahal.

The Read Mughal Album
Pierpont Morgan purchased the Read Mughal album, along with a Persian album, from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, in 1911. The Morgan purchase consisted of thirty folios (including both Indian miniatures and the Mughal portraits presented here), but Read owned at least forty-eight others, now widely dispersed. The leaves were probably once bound in several lacquered bindings. The identity of their compiler has not been established, but many borders date from the eighteenth and nineteenth centuries. The Mughal emperors of India commissioned biographies and were frequently portrayed by artists. Here the paintings are presented in the order of the emperor's reigns rather than the dates of the miniatures, starting with Bābur (r. 1526–30), the Muslim founder of the dynasty, and ending with Shāh Jahān (r. 1628–58), builder of the Taj Mahal.

The Read Mughal Album
Pierpont Morgan purchased the Read Mughal album, along with a Persian album, from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, in 1911. The Morgan purchase consisted of thirty folios (including both Indian miniatures and the Mughal portraits presented here), but Read owned at least forty-eight others, now widely dispersed. The leaves were probably once bound in several lacquered bindings. The identity of their compiler has not been established, but many borders date from the eighteenth and nineteenth centuries. The Mughal emperors of India commissioned biographies and were frequently portrayed by artists. Here the paintings are presented in the order of the emperor's reigns rather than the dates of the miniatures, starting with Bābur (r. 1526–30), the Muslim founder of the dynasty, and ending with Shāh Jahān (r. 1628–58), builder of the Taj Mahal.

The Read Mughal Album
Pierpont Morgan purchased the Read Mughal album, along with a Persian album, from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, in 1911. The Morgan purchase consisted of thirty folios (including both Indian miniatures and the Mughal portraits presented here), but Read owned at least forty-eight others, now widely dispersed. The leaves were probably once bound in several lacquered bindings. The identity of their compiler has not been established, but many borders date from the eighteenth and nineteenth centuries. The Mughal emperors of India commissioned biographies and were frequently portrayed by artists. Here the paintings are presented in the order of the emperor's reigns rather than the dates of the miniatures, starting with Bābur (r. 1526–30), the Muslim founder of the dynasty, and ending with Shāh Jahān (r. 1628–58), builder of the Taj Mahal.

The Read Mughal Album
Pierpont Morgan purchased the Read Mughal album, along with a Persian album, from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, in 1911. The Morgan purchase consisted of thirty folios (including both Indian miniatures and the Mughal portraits presented here), but Read owned at least forty-eight others, now widely dispersed. The leaves were probably once bound in several lacquered bindings. The identity of their compiler has not been established, but many borders date from the eighteenth and nineteenth centuries. The Mughal emperors of India commissioned biographies and were frequently portrayed by artists. Here the paintings are presented in the order of the emperor's reigns rather than the dates of the miniatures, starting with Bābur (r. 1526–30), the Muslim founder of the dynasty, and ending with Shāh Jahān (r. 1628–58), builder of the Taj Mahal.

The Read Mughal Album
Pierpont Morgan purchased the Read Mughal album, along with a Persian album, from Sir Charles Hercules Read, Keeper of British and Medieval Antiquities at the British Museum, in 1911. The Morgan purchase consisted of thirty folios (including both Indian miniatures and the Mughal portraits presented here), but Read owned at least forty-eight others, now widely dispersed. The leaves were probably once bound in several lacquered bindings. The identity of their compiler has not been established, but many borders date from the eighteenth and nineteenth centuries. The Mughal emperors of India commissioned biographies and were frequently portrayed by artists. Here the paintings are presented in the order of the emperor's reigns rather than the dates of the miniatures, starting with Bābur (r. 1526–30), the Muslim founder of the dynasty, and ending with Shāh Jahān (r. 1628–58), builder of the Taj Mahal.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

The Seven Princesses
This episode appears in the Haft Paikar (Seven Princesses), the last part (1197) of the Persian poet Niẓāmī's Khamsa (Quintet). It is essentially a romanticized biography of Bahrām Gūr, a Persian king (r. 421–438) and a renowned hunter and lover.

One day, in his castle in Khavarnak, Bahrām Gūr comes across a secret room that had been overlooked by his keeper. After entering the room he sees portraits of seven princesses with whom he instantly falls in love. Among the portraits was one of a young man inscribed with his name, an omen of things to come. After receiving permission from their fathers, he marries them all, building for each a domed pavilion with a color scheme symbolizing the country from which each came. The colors also symbolize the days of the week and the planets for which they were named. Each princess is asked to tell a sensuous story matching the mood of the color. "Even as the planets move, so then shall I," says Bahrām, and "I will visit one pavilion a day from the first of the week to the last." He apparently followed the cycle for at least seven years.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

The Seven Princesses
This episode appears in the Haft Paikar (Seven Princesses), the last part (1197) of the Persian poet Niẓāmī's Khamsa (Quintet). It is essentially a romanticized biography of Bahrām Gūr, a Persian king (r. 421–438) and a renowned hunter and lover.

One day, in his castle in Khavarnak, Bahrām Gūr comes across a secret room that had been overlooked by his keeper. After entering the room he sees portraits of seven princesses with whom he instantly falls in love. Among the portraits was one of a young man inscribed with his name, an omen of things to come. After receiving permission from their fathers, he marries them all, building for each a domed pavilion with a color scheme symbolizing the country from which each came. The colors also symbolize the days of the week and the planets for which they were named. Each princess is asked to tell a sensuous story matching the mood of the color. "Even as the planets move, so then shall I," says Bahrām, and "I will visit one pavilion a day from the first of the week to the last." He apparently followed the cycle for at least seven years.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

The Seven Princesses
This episode appears in the Haft Paikar (Seven Princesses), the last part (1197) of the Persian poet Niẓāmī's Khamsa (Quintet). It is essentially a romanticized biography of Bahrām Gūr, a Persian king (r. 421–438) and a renowned hunter and lover.

One day, in his castle in Khavarnak, Bahrām Gūr comes across a secret room that had been overlooked by his keeper. After entering the room he sees portraits of seven princesses with whom he instantly falls in love. Among the portraits was one of a young man inscribed with his name, an omen of things to come. After receiving permission from their fathers, he marries them all, building for each a domed pavilion with a color scheme symbolizing the country from which each came. The colors also symbolize the days of the week and the planets for which they were named. Each princess is asked to tell a sensuous story matching the mood of the color. "Even as the planets move, so then shall I," says Bahrām, and "I will visit one pavilion a day from the first of the week to the last." He apparently followed the cycle for at least seven years.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

The Seven Princesses
This episode appears in the Haft Paikar (Seven Princesses), the last part (1197) of the Persian poet Niẓāmī's Khamsa (Quintet). It is essentially a romanticized biography of Bahrām Gūr, a Persian king (r. 421–438) and a renowned hunter and lover.

One day, in his castle in Khavarnak, Bahrām Gūr comes across a secret room that had been overlooked by his keeper. After entering the room he sees portraits of seven princesses with whom he instantly falls in love. Among the portraits was one of a young man inscribed with his name, an omen of things to come. After receiving permission from their fathers, he marries them all, building for each a domed pavilion with a color scheme symbolizing the country from which each came. The colors also symbolize the days of the week and the planets for which they were named. Each princess is asked to tell a sensuous story matching the mood of the color. "Even as the planets move, so then shall I," says Bahrām, and "I will visit one pavilion a day from the first of the week to the last." He apparently followed the cycle for at least seven years.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

The Seven Princesses
This episode appears in the Haft Paikar (Seven Princesses), the last part (1197) of the Persian poet Niẓāmī's Khamsa (Quintet). It is essentially a romanticized biography of Bahrām Gūr, a Persian king (r. 421–438) and a renowned hunter and lover.

One day, in his castle in Khavarnak, Bahrām Gūr comes across a secret room that had been overlooked by his keeper. After entering the room he sees portraits of seven princesses with whom he instantly falls in love. Among the portraits was one of a young man inscribed with his name, an omen of things to come. After receiving permission from their fathers, he marries them all, building for each a domed pavilion with a color scheme symbolizing the country from which each came. The colors also symbolize the days of the week and the planets for which they were named. Each princess is asked to tell a sensuous story matching the mood of the color. "Even as the planets move, so then shall I," says Bahrām, and "I will visit one pavilion a day from the first of the week to the last." He apparently followed the cycle for at least seven years.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.

This episode appears in the Haft Paikar (Seven Princesses), the last part (1197) of the Persian poet Niẓāmī's Khamsa (Quintet). It is essentially a romanticized biography of Bahrām Gūr, a Persian king (r. 421–438) and a renowned hunter and lover.

On Tuesday, the day of Mars, dressed in red, Bahrām Gūr visits the Red Pavilion. Bahrām, whose name is the Persian term for "Mars," is in his own domain as Nasrīnnosh tells her story.

In Russia there lived a princess so beautiful and learned that she was unable to find an equal. She agreed to accept a suitor who was of noble descent, able to disarm the talismans, find entry to her fortress, and solve four riddles. Those who failed were beheaded. One young suitor, however, with the help of an old man, won the prize and thereafter dressed in red.

The story became the prototype for Puccini's opera, Turandot, a popular name for girls in the Near East.

The Seven Princesses
This episode appears in the Haft Paikar (Seven Princesses), the last part (1197) of the Persian poet Niẓāmī's Khamsa (Quintet). It is essentially a romanticized biography of Bahrām Gūr, a Persian king (r. 421–438) and a renowned hunter and lover.

One day, in his castle in Khavarnak, Bahrām Gūr comes across a secret room that had been overlooked by his keeper. After entering the room he sees portraits of seven princesses with whom he instantly falls in love. Among the portraits was one of a young man inscribed with his name, an omen of things to come. After receiving permission from their fathers, he marries them all, building for each a domed pavilion with a color scheme symbolizing the country from which each came. The colors also symbolize the days of the week and the planets for which they were named. Each princess is asked to tell a sensuous story matching the mood of the color. "Even as the planets move, so then shall I," says Bahrām, and "I will visit one pavilion a day from the first of the week to the last." He apparently followed the cycle for at least seven years.

Persian poetry
The Persians loved their poetry and their poets, though the Qur˒an warned against believing their words (sura 69.41) and "those straying in evil who follow them" (sura 26.224). While Arabic was the first language of Islam and the language of the Qur˒an, Persian was favored by poets. Even Firdausī's (940–1020) celebrated Shāhnāma (Book of Kings), the national epic of Persian, was written in verse—some 50,000 couplets! Rūmī (1207–1273), the best known of the Sufi poets, put poetry in perspective when he wrote, "A hundred thousand books of poetry existed / Before the word of the illiterate [Prophet] they were put to shame!" (Masnavī I, 529). Presented here are illustrations of Firdausī's Shāhnāma as well as works by Sa˓ dī (ca.1184–1292), Hāfiz (ca. 1320–1389), and Jāmī (1414–1492), regarded as the last of the great Sufi poets. Also featured are illustrations from each of the five poems of the Khamsa (Quintet), by Niẓāmī (ca. 1141–1209), especially Lailā and Majnūn (The Persian Romeo and Juliet) and Bahrām Gūr's Seven Princesses.