An Early 15th Century Shiraz Manuscript - Layli and Majnun by Nizami

This early 15th-century manuscript contains an incomplete copy of Nizämi's Khamsah. Present are small sections of Makhzan al-asrär, most of Layli va Majnin, approximately half of Khusraw va Shirin, and the first third of Haft Paykar; the Iskandarnämah is absent. The manuscript includes 24 miniature paintings, some unfinished, and features elaborate illuminated pages. It was copied by Hasan al-Hafiz, likely in the workshop of either Iskandar Sultän or Ibrähim Sultãn.

Manuscript: BV 51, Khamsah / [إخمسه

Author: Nizãmi Ganjavi (1140/41-1202/3)

Date: ca. 1405-1414

Language: Persian

Place of Origin: Shiraz, Iran

Material: Paper

Extent: 183 foliated leaves; leaf size 108 x 67 mm (written area approximately 73 x 50 mm); 67

bound dimensions 110 × 75 mm

Script: Nasta liq in black ink, pointed

Binding: Lacquered covers with floral designs on a black ground, framed by a floral border; interior boards with brown field, black frame, and three gold-tooled inset frames; housed in a slipcase labeled "Collected poems in Persian" in gold.

Physical Features:

The text is arranged in four columns of 19 lines per page, with gold ruling between and around columns. Titles are written in gold. An illuminated medallion in gold and blue appears on the opening page (f. 3r), followed by a dual-page frontispiece (f. 3v-4г) with cloudband text panels.

A further illuminated headpiece in gold and blue is found at f. 111v. The 24 miniatures (f. Sr, 8r, 12r, 14r, 15r, 18v, 27v, 33r, 38v, 55r, 57v, 60v, 68v, 73v, 82r, 92v, 101r, 107r, 108г, 121v, 131г, 134г, 134v, 142r, 158v) depict key narrative episodes. Catchwords appear on every verso, and modern foliation in pencil marks each recto's upper left corner.

Scholarly Notes:

This manuscript exemplifies the refined literary and artistic production of early 15th-century Shiraz. The combination of exquisite lacquer binding, gold illumination, and miniature painting reflects the prestige of royal workshops under the Timurid princes. Its partial state, with the Iskandarnämah missing, raises questions about its production history and later handling, while the unfinished miniatures offer valuable insight into Timurid painting techniques in process. It is also damaged and requires extensive restoration work.