Illuminated Opening Page Titled Laila and Majnun from a Khamsa (Quintet) of Nizami of Ganja

Calligrapher Ja'far Baisunghuri Iranian
 Author Nizami

On view at The Met Fifth Avenue in Gallery 455

In fine Persian manuscripts it was customary to surround the first two pages of the text with illuminated decoration. In this period a very fine blue made from lapis lazuli (a rich source of which was found in Afghanistan, where the city of Herat is now located), in conjunction with gold, was the dominant color. Other colors were used sparingly but with an artistry that greatly enriched the overall effect. Amongst the decorative devices arabesques, floral scrolls, and palmette scrolls predominate. Framing bands and panels with cartouches, as seen here, are characteristic. The flawless quality of the illumination in this manuscript suggests that it might be by the hand of Khalil, a favorite painter of Baisunghur who worked in the royal kitabkhana.

Illuminated Opening Page Titled Laila and Majnun from a Khamsa (Quintet) of Nizami of Ganja, Ja'far Baisunghuri (Iranian, active Herat, first half 15th century), Ink, opaque watercolor, and gold on paper

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Illuminated Opening Page to Laila and Majnun.

Illuminated Opening Page Titled Laila and Majnun from a Khamsa (Quintet) of Nizami of Ganja, Ja'far Baisunghuri (Iranian, active Herat, first half 15th century), Ink, opaque watercolor, and gold on paper
Illuminated Opening Page Titled Laila and Majnun from a Khamsa (Quintet) of Nizami of Ganja, Ja'far Baisunghuri (Iranian, active Herat, first half 15th century), Ink, opaque watercolor, and gold on paper

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