Professional Documents
Culture Documents
Xemse Miniaturler KHamse Miniatyuri Khamsa Miniatures
Xemse Miniaturler KHamse Miniatyuri Khamsa Miniatures
хэмсэ
МИНИАТУРЛЭР
НИЗАМИ
ХАМСЕ
МИНИАТЮРЫ
NIZAMI
KHAMSA
MINIATURES
НИЗАМИ КЭНЧаВИ
хамса
миниатурлэр
НИЗАМИ ГЯНДЖЕВИ
ХАМСЕ
МИН НАЛ ЮРЫ
NIZAMI GANJEVI
KHAMSA
MINIATURES
ДАЗЫЧЫ
БАКЫ
1ЧИ.1
Д Y±rA”S"",T“,“" О.Р., А»р«.К.. хадгывыи 6е|ух
Ьомии пснмапын башга бир |срипдэ Низами россамып е'чазхар истс дадын-
дап данышыр.
Л.ааи бвааы чаксаы Ьэрокат «дар
ГТШ ганады «оксан r«)fi калор,’
Шапуруп лили ило шайр ФорЬвдыи соиотзсарлыгыиы тэрэвнум едир: Камча Х-«|«- •• Ширин
даЬи шаярии горэппум стди|И сужет во образлар тез Опр юманда рэгсамлар учуй Ге)д етмэк лазммдыр ки. днкэр эдэби сужстлэрнн шэрИипдэ олдугу кжми.
ссвимли моазу|а ва гэЬрэмаилара чеврилди Поеманын лгас гоЬрэманлары Хоеров. бу сужстин дэ тэсвирнндэ. аз да олса. Оо|ук сэрбэстликлэрэ Joa всрилммшдир. Мэ-
Ширни во ФэрЬадла алагадар гужстлэр хусусилэ тез-тгэ токрпр олуиурду. Низами гллэн. Азэрба|чан ССР Елмлэр Лкадеми|асы Республика эл|азмалары фопдупда
«Хэмсэ«сиияя иллуетраси)алы ол|азыалэрыпа или дэфэ дожил едилммш -Хосро Низами «Хэмсэ»сииин 1936-чы ил тарихлн эл|азмасындо |М-207| жамэ'лум россам
жуп чжмэп Ширин* нврмэск*. «Ширнпнп гуд архына, фэрИадыи |апына кэлмэсм» бу сужстэ нллустрасн|а чэкэркэн Хосрожуя шпклниИ вермэдэп. |алпыз чимэп Ши-
«ФарЬад Бисутуи дагындаи. «ФэрЬадми 111 пр ни и кидас стмасн» вэ башга сужстлор рннн тэспмр етмэкл;» кифа|этлэннр
озлэри да сонрадан эп онов* сужетлэр;» чеврилмишдмр
Низами ■Хэмгя>сннин эн мэшЬур гужеглэрнидэн бнрн -Хогровуи чимэп Элбэгтэ. мипиатур рэссамлыгда Хоеров сурэти или элагэдар сужетларнн
Ьамыгы |гни. орижннал олмамышдыр. Бо зи сужстлор эн энэви. кеннш |а|ылмыш
Ширннн кормэси" сужегнннн трактопкасы Луна парла. мигал ола билар. Мухтэлиф
олмаса да. онларми прототиплэри олмушдур. ШубЬосиз. бу чур сужстлэрэ чоки
доврлэрии во мэктаблэрнн рэгсамлары бу Mooihvp сужети мухтэлиф чур tuaph ст
ма|э, опа |сии-)ени «тэсвирн нэзярэлэр» чокмэ]э чалышмышлар. Буиунла бело, бэ лэн нллугтраги|алар б.шка эдэби эсэрлэрмн е|ц* сужетлэринин тэсаир вэ компо-
зиси|а схеми принсипини бу во |а днкэр дэрэчэдэ токрар гтмишдир. Мэс.злэн. «Хое
з* фэрдк фэрглэрэ во сужстин |арадычы гурэтдэ |гиидэн ншлэимэсии» бахм..|араг.
ров Шнрннин гэсрн |аныидап моазусунда бутуй ммимжгурлэр, сужстжнин тэсви-
XV XVI эсрлордэ Тэбрнз. Шираз во Ьсрат рэссамлары тэрэфиндэн |арадылмыш
рнна мора Ннэаминин эдэби мэтииидэи фарглэиир.
миияатурлэрип аксэряЦогипнн бодни шэрЬиндэ, умуми компоэисм)а гхеминдэ жэ
су жег* и образам мчрасында муэЦэн эи эмэвнлнк мушабидэ едилир. Посмодаи билнрик ки. Хоеров Шириннн гоерн рнында хс|ли да|аиыб «»н>
«Хоеров во Ширин«ин эн еркон 1410—1420-ми иллэр ол|азмасында Ьэмнн ичэри бурахмасыиы хабиш сдир. Озу дэ бу. гыш фэслипдэ. ахшамусту. rap |аг.>н
сужстин грактовкасыидан башламыш [Фрир талерс|асы| демак олар ки. бутуй вамаи баш вернр. Миниатурлэрдэ нсэ эЬаалвт. бир га)да олараг. баЬврда. куиэизли
миниатурлардэ эбвалэт мухтэлиф тэрздэ тэгвнр олуимуш мэншрэ фонунда чэрэ- бнр кундэ, козэл мэизэрэ фонунда тэганр едилир. Башга еэбэблор до дахил олмаг-
м Ии»м«. м 1ап САИР- Га|алм, )ахуд да алчаг сыра даглар. уча чниарлар. Ьпмиш.з jaitiua. гамотли ла. Оизэ ело кэлкр ки. буиуи эсас еэбэби одур ки. раггамлар Ьэмии сужети тэсвир
сэре агачлары вэ чичэк ачаи агачлар. ал-элваи коллар, кумушу арх. доланбач Maj- едэркон корунур. прототип ними, Керман......... 1936-чы *л тарнхли мэшЬур ол|азма
мияиатурлэрян в* дгв.»р<тяв тнтО.,. вне» «витав му»»вАНф ввемрИМЯ да мат
и. <и.|ылэ ••iwamxap дврывы. ТЭ1МПВП д. -у«||-11**шдИрм-. ,г|р. ыум.у.дур
1„ н.чжааи»э Иными ...н-ма лары на. та. и лэ колмит. эи оиова илм4|аи *'*’*" вэ Мочите. ,„^.,м бэдбэ»! Лорн. «Лро.лары, ...
, у.г, лар а|ы.ыила учунчу гайрэмааыа эф.ааэвв фарНадыи рэшадота или ба, лдрым фачмали «Шт *арв«чжи те, ft.p «ананда (мксамларыа днрнн рнсбмтивв >•
,Ы ,чч... у.эр му. ,э> на эНэмаНато махикдир Шар, п.м>,и|агыиа а ха дафэ Нотами 1ВНМЫ111. МИННатур Омс.амлы... .........
I «млитда t.M4Hau |«hb орвжава» *i|<wp |а|ыдм«масы
xyh.. мн», лэ.и» гдилывш вэ мвааатур ржчдмхвма буралаи koamuih ФэрЬа.х . х учуй тукэвми» мэ.Пэ .ммуатдур
,.,ми|р,иодэ аг|фиНо«ча |еан яисаи сурахидар О. эмэачн «нлгыи iU-p баитта шмтмаларыв всас rubp-мамларыаы. U*h- Кур. X
Л-р. Ф«ты M ft.I aa oaupu эмгндар а|ры а|ры гужитлнрав
..ламынм H.ianah ливру оу о адамыаы ватырхадыр О. Ьэрпэрафля ввкатаф ет чадо м анааа точвЦ» данш|ырдыга. «Ле|ли а. Мочили.ув
мн»1 ин. м Пн|уа и.-те лддлы .эаэткардыр а маЬир даш|<>ная аэ Ъг|калтэраш гуратлара аа гужетлорв Jbihb в» Орта Шэр, •олгаерывыи
лир .ых, нам».»» иэчиП чэсарэтхя вэ гуввэтло аагакдыр Рэссамлар афганца Mah. Ниммнивн поем асы ге|агвадэ делил илмчтвдур
лэ.члпэв-ип ■ .Ьромаи эыа|ааэ. Ье|»элтараш ,ииэтжарыи фаалиЦлинэ. содэловЬ Поемавыя, тэсвнря аачагэаата ада лэфа Намма «Хэмеэы инна
«uihi.ii фачнэ.а млумуяэ 1»э»р еди»мни| эсэрлэрияд» ФорЬад (хр.мипи моб, П» га|алы эл|а»масы васитэеило давил олмхн, «Ле|лв аа Мечах а мадраода. . у агтаа
чур 1 а»вар гдар,.,р дай тутмуш бэдбахт гоЬрамаяларып фачаэлв нлумуаадэа аа мм» с у жег сэрв. |у
Му*,.|»вф м.»атэб»эрва рэссамлары нде|а гст«-так чэЬатдам < а|сы» Ь«*саб- гугаи «Мэчиуя саЬрада виЬши Ьг|ванларыв арасмяда.. оауа Лг|ла ала • > атагы
.ы. MUi.xap.ya к.'ч.» тэарарсы, иххугтрасн)а аэ мустэгих маииатурлэр (аратмыш а лэ керушмэсв. «Мэчиуи Ле|даааа чадыры гяршыеында., .Ле| сиван м«мры )•
иывда. вэ Пир чох Паапа драмагав гпаюдлар те» Пар ыманда А «эрба|чавыи. Ира
«ар Уавня Пир ,ие| шуОЬэс о «дар ФарЪад с урэта. на» в фаахп||эти или ила гидар су ими во Орта Аси|анып миииагур рэссамлытымд» агнат )а|ычдм Тгхлвалэ Мачвлн
«г, «эр камы 1эрифиидии се».лив вэ тет те» тикрар едяхэя эдиби mobivлордавдыр Сурата миннатур рэссамлытда чиддв. О|уиэмавсуг чэНэтлэр кжб г»да Мичи» а
б» .амаи чих марат лы вэ липэтд»а|аг Пир факты ге|д етмэк ырхридир. Бел» алдаа душмуш. габырталары чыхмыш. ары, бэдэили. ухуадэа эыбаешлнв |атаа бар
..лэбн гни1.<д«эрыи вэ Пл.ларла элагодар икоилнрафик аэ комоо»аси)а схемлэри- гурот кама тэсвир олуаурду. Чо» «авт и. чыр чыидмр вчивдэ. |арыычыляаг аи«а|
пин тэсири <> тэдэр куч «у о тэдэр сабит л»хм»щдур ки, Пунлар Хоеров Диблававиа |этдэ. ояуа руби вэ»н||этиии экс гтдираи. а,ла)аа со)у д атачларывыи алтывда. сэЬ
в.. Ллвитар Наваиини е|ни маохуда сужетхаркни гэсвар един бир чох минватурлэ- рада Ье)ванлар арадында. |а»уд да иачарипмаш балда тэгввр едклир Намма
рнв komuimhc н)а<ында во афада тэр1аид» иэхэрэ чарпаа ат го|муш.\ур. Буиуи сэ- • Химсэ.сииим мотивлэри эсасыида |арадылмыш Мэчвув сурэтв. бм)уа та сир аучу
ПэПнии Пир да оахаха axah етмэк ха1ымдыр кН. сад», эмэкчи халг ичарксиидон но малик обрат ками. Шэр, рэссамлы,ыада да ha агнат |»|ылмыгадыр
чыхмыш Ни ымаиии ФэрЬад с л рати садэ рэссамлара бо)ук шайр ДэЬлэаи вэ Нэваи ■Зеддя ковэл» поемасыиыв Пар чох миииатурлэрииии эеас г тибарилэ БэЬра
ардычыхларыиып тэсвир стдвклорв Чип шаПыдэсм схротпндэн даба догма, даЬа мыа тарихчэеи яда элагэдар мимкагурлэрии сужепт эк чох окуп гэбрамавлыгыны.
|ахыв алм» силур 1ирэкли)и11и во чэсарэтмпи тэсвир етмяшдяр. «Фитил оеда«. «Бэбрамын аждаНа
• Хоеров вэ Ширин. меа>»суяда а)ры а|ры мипвату рхэр умриидэ да|анмадаи илл вурушмасыа. «БэЬрам шар овупда« во с. эсас епиходлар Нахами )э гадор д»
«»|А еде* *«• бувхарыи эи еркаа аумхяэ.хэри 1410— 1420-чи иллэрдэ Тэбри» вэ he- tti-tcjтэсвир олунмушдур Метал умриидэ. бэдни керамида эс Эрлэра иди вэ Паш
рат мэктэбиивв рэссамлары тэрэфиндэи | а радыл мы юлы р XV атрии эввэлиндэ чэ- га дгкоратив иичэсэиэт вовлэриадэ бела тэсвирлор варды. Гэевири ивчисэпатди
калмвш мвииатурхэр сырасывда «Хоеров вэ Ширни «ня XV эсрнп эввэлниэ а ид, исэ бу сужетлэр дэфэлэрла Фирдовсипин «ШаЬиама. эсэрииэ чэкилэи миннатур
я хм дэфэ неге дадды сэнэтшунас Агаог хх тэрэфиндон' вэ lSIO-чу ил «Аитолоки|а« лэрдэ вери\ми1пдир
сын да дэрч едн.хмнт а|рыча эл|а»масыпа чэкнлмиш кллугграси|алар |онлар чамн Ламии миииагур рэссамлЫ1ЫВ мякмшафыпда Нвммввв» б» иммаеыяыв
$-дир| х ус ус вло гн|мэтлядир. XV! эсрнп мвииагурлэра арасыида Топгапы му1с|пн- эЬэми||эти тэкчэ Осло эи эпави сужетлэрлэ мибд» длдшмыр М» лумдур ви. • Jr.y,v
дэп «Хэмсиаавв 1581-чв ил» авд кллустраси|алары. XV! эсрнп орталарыида иамэ - ко»л« иди сумет хэтти ЬэЬрамыа тарихчэеи вээсас хэтлэ элагэдар о»ма|ая Пар
лум тэбрихлп сэвэтаарыв чэкда|в «Шервина Бисутун дагына. ФэрЬадыи |аныиа сыра элавэ иовеллалар у торнадо rv pyлмушдур. «Элавэ иовеллаларыв иллустрасп)а
кэлмэси. сужетли мин натуру' вэ «Хэмсэ»пии IS30—1543-чу иллэрэ анд Лондон сшила дсмэколар. Пу-тун рэссамлар. Пир га|да ала pat. Ьэбраыыи «|гддя иглам. шаЬ
яусхосамжя иллустрася|алары бе|уж мараг догурур. тадэси ил» )едди куибэхдэ вахтыиы кечармэсв сэЬиэлэраиэ устувхук вгрардялэр
Поемада де|илир ки. ЬаЬрам Utah оу арвадлары — |сдди таЬмдэ гы» учуй
Нюамяняя учупчу бо]уж ооемасы о.хая »Ле)ля вэ Мэчиун» дуи|а эдэби||а-
)сдди кунбэулн коуал сари) тикдирир, Пэр кунбэ» Ьэфтииии муэ)|эи куиу кэ вэ окуй
тывын эя ке»л яячялэрнадэя Ъесаб еднляр. Чэсарэтла дем эк олар кя. бу эсэр Ja-
ла элагэдар планет;. л уду ы мувафиг рэикэ ми «надир. hap кун БэЬрам шаЬ баш
хыв вэ Орта Шэрт хдлгларывыи эдэбв||ат в» янчэсэяэтяияя инкишафына эввэлки
дан-а|ага hap куибэю мувафиг раикдл либас ке|иаэрэа |сдди комлдэи биравин |а
□ оемалара янсботэн бяламежтэ даЬа бо)ук вэ кучлу та'сяр кестэрмяшдяр.
нына кедир. Мочлмгд» bah рам |е|вб-ачиб. мусага диилэ|ир. соира hop шаЬхалэдаи
Мэ лумдур кя. мовзу — Лс)лн вэ Мэчиуиуи фачнэли тарихя эввэлчэ шанрн мараглы бар натыл данышмасыиы хаЪиш сдир.
чалб етмэмкшдяр. чуики о. аоема|а реал, чажлы Ь»|*г ра|яЬэся кэтнрмэ|э, сара| Бутуя мэктлблэраи рэссамлары алавэ иовгллалара мурачалт едэрэд. адэтов
мэчляслэрявж mah уя)вфэтлэркии, оо еэбиэлэряии тэсвир етмэ)э. догма тэбиэтии - бх сужетин бирмнчи (арысыиы чэкмиш. шаЬхадэ гы»ларыв иатылларына чох надир
чпчэяля багларыя. ко| чэмэвликлэряи вэ с. козэлли)иии тэрэпяум етмэ|э ямкап балларда дигптт |етярмяп>лар- Бу, тэсадуфв де|ял Рэссамлар Намни сужгтлэра
вермярдп. capaj Ьэ|атыиып реал ловНэлори ними г»бул етмиш во буялары »и|афот. мхе и,в
мочляси, мэЬэббэт сэЬиэся аэ С формада адя мэишэт cahuocn ками вермишлэр
' . .Пн МКВ1ЭМ 4Ж1 Бу дастаяда и» баг. я» учалыг вар. Кению |а|ылмыш бу сужстэ иллугграси|а чэкэркэн. рэссамлар тэдричэм
X’. j..wn IB fhc J,«г На чалты. на шэраб. в» хошбохтлик кар.
-Xr. IU«mu«- муэЦэи схем |арадырдылар. Ьэмии схем компо»ясн|аиыя эсасыяы тэшямл едэрэв
Гумскла. датлыга жлЬам кедэрмк!1 а|ры-а|ры рэссачларыи уелх-буидая. мэжтэбикдаи вэ фэрди габили||этвидэи асылы
«Т..Г. д«б<1Ч.а олараг. са|СМ» Ьссабсых мухтэляф вариантларда верялярди Кунбэтни млркэжмдэ
.. «р'рчатлы Оу ■■ Бува ба1ыа|араг, ддЬя шаяр Эрэбистаи чоллэрпяии гуму кямм бу гуру моя- 2—3 капишн вэ мусипхчилэрив эЬатэсяидэ БэЬрам |еддк квээ.хдэн бириииа дааыш
а.ур '1 21 .ill 1кт.ч0улла- дыгы яагылы диилэ|ир. Заман ксчдикчэ куябээии гурулушу аэ декоратих бэ»э|и.
>у эсасыжда Он Шэргд» ояуя бутуя эорлэрнидэя даЬа мэшЬур олаи даЬи|аиэ. сэ-
мями бяр поема ]аратмытдмр. нахышлары дэ)ишвк.ли)э угра|ыр. кэиихлэрии вэ мухтэляф алэтлордэ чалая муся-
Ии мча Ус... вэ Мэчнти ■Лерля вэ Мэчяув»* )ашлммш эдэбя вмярэлэрии са)ыяы дэгиг костэрмэк гичнлоряя са|ы да|кшкр. эсас гэНрэманларыныи обрвхлары мухтэлиф чур тэсвир
мм luy». lah > едилир. пэНа|эт. колорит, ичра Topiu дэ|мшврдм.
чат олдуту кжмя бу поемаяыж сужет вэ суротлэряпии тэсвиривэ Ьэср едилмяш
Адм рлсслмАлр бу сэЬтзлорм чох вахт |екиосог во чансыхычы хомноэисм|<> лама колди. аМемарСимиарыи фвчноли олуму. .БоЬрам-Кур Хэв-зриэ! гэсряидрв.
схсминдэ тэсвир ••гдик.зори Ьалд.з. доркп душуиом. даЬл ястсдадды рэссамлар муо|- "БлЬрямын бир охла шири вэ куру вурмасы., «БэБрам uiah вэ чобан». .Вкузу гал-
|аи сдилмни* r.ij.ya чарчивэснндон часаротла канара чыхыр. Оу схемки |алимз л|ры- дырам Фитнэ. мопзусу вл башга сужотлор хусуенло кенит |а|ылды. XV—XVI!
л)ры Ьиссэлорнии дс|ил, <шу Оутовлухда ирипсип чоЬотдан да|ищдирир. Оу одаб и оерларии миниатур россамлыгында бу мовзуларда чохлу эсэр |врадмлмы1иАыр.
сужези Ii-iiii услтбда тэсвир сдирдилэр. XVI осрин онунчу иллориидо Тобриз рас- Мухтэлмф мэктэбл.зрип рэссамлэры умуми компоэиси|а схемиии сахла|ыб. На
гаилары lllcjxu ва Дэрашп МаЬоммод тэрэфиидон мчра олупмуш, Топгапы музс|ин- мин сужстлорин трактовкасыны дэ|ншмаклэ чох вахт 6о|ук мувэфф»ги||эт газа-
дэсахлаиап Нилами «Хэмсо«сниин 1481-чн ил тарихли олрлмасыпып миииатурлэ- нырдыллр, Онлар форма во бодни ифадо *• тибарнла. ичра тэрзнинн иэфнсли|и
рн Лупа «и к.иэл мигал Ола билар. Бамия миниатурлардо мовзу кеииш испсктдо ил.з форглоиэн надир осорлор Нрадырдылор. >Хэмсо*<нии t$36—1543-чу нллар
всрилир - iii.ihuii а]лэимэси тоитонэли Ьэ|ат ловЬэси фон у ида тэсвир сднлир, бу тарихли OAlaiMncMhABH Султан МэНэммэдии .ЬэНрамыи бир охла шири вэ куру
•iiinii.irypApp Ьаким сииифларми тэлэбатыиа па идсолокп)асыпа yjryu к сдои ист олдурмиси» сужстнпи, XV асряц эввалнидэ 1410-чу ил аАптплоки|и»сыныП ал|аз
эЬвалн-руЬиПалолир. масындаи мама'лум Шираз рэссамыиын -БэНрам Кур Хаварнэг гэсрмндэ» суже
Посмапыи -х ас. аиа хоттм — баш гаЬрамаи БэЬрам-Курун тарихчэси россам*
лара мэзмун чэЬшдэн хс)ли м.цмглы с уж ст верирдм БэЬрам-Куруи гэЬрэмаилы-
гина ва шучаатипа а кд чохлу р«А вэ фантастнк епизод рэссамлара бо|ук Ьочмдэ,
обраллм ииисиддэ гапраиылаи тэсвирн материал вгрнр, оилары козэл осэрлар |арат-
мага руЬландырырды
• Дсдди кепалн иосмасыиын бизэ мэ'луы олан миниатурлорм ила БпЬрам-Ку-
руи гикрамаилыгларыплап бэЬс сдай яШаЬиамо» эсэрнннн мнпиотурларииня му.
га|пг.>гя яостарир ки. бунлар мовзу етибарилэ у|гуп кэлсэлэр да» мазмум вэ суже-
тни тэсвирн етибарило. Низами эл|азм.зларыпа чокилэи мипяатурлэр иШаЬнамэ*-
иим миииагурд.триидлн иозэрочароачаг дэрачад» фэрглэнир.
Нумуяа учуи «БаЬрлм-Кур на Фитнэ оа замани» вэ «БзЬрам-Кур вэ Азада ов
замапы» мипнэтурлэрнни нэзэрдэв кечирэк. hap нхи мипиатурдэ «ШаЬкамэ» вэ
«Хэмсэ.до мухтэлиф чур тэрэнмум олунаи Сасанн шабы БэЬрэмын эфе а па в и ту-
чаати тэсвир еднлмкшдир. Бу сужетнн тэсвирн эн энэвн сэчи)|о дашы|ыр, она де-
коратив-тэтбиго ннчэсаиэтии мухтэлнф иовлэрнндэ — Сасаиилэрин кумуга бот-
■ абларындл', керамик мэмулатларда. усту фнгурлу парчаларда вэ и. a. pact кэлмох
олур.
Дскоратип санэтнн даЬа еркэн эсэрлэрнидэ вл <*ШаЬяамэ»|э чэкилмнш яллу-
«.трас и |аларда бу мовзу Низами «Хэмсэ»синин миниатурлэркндэп фор гл и сурэтдэ.
эп‘онэ|э вэ Фирдовси иосмасына yjryii шэхклдэ тэсвир олуимушдур. «ШлЬпамз»-
ими рэссамлары ан чох БаЬрамын оз кэннзя Лзадании Ьазырчаваблыгындан гс)з-
ланмэси моментипн чэкмишлэр.
T5
-VVhra llgri-IIXv кимчм» er*. Net, it is improbable, that the subjects and images of Nizami's -Khamta** were reproduced
К>4Ш|! • <ор|ио •»*<
VV <« raclni >" th» vll«w« о< first on the objects of decorative — applied art rather than in miniatures. It can be supposed
•рргоасЫяс 4»w« that illuminated manuscripts of Nizami's -Khamsa» were elaborated following the completion
I lw (klf UU a «oral aotalUt of the poem itself and even earlier than the objects of painted ceramics had appeared. Ihv illus
no i*« «all: trations of one of such manuscripts were likely to have served as a promts pc for the images of
Л П<ч1 nt tmt. <Ue4« •( tltnl.
rotkv. ihr dluaare аПаам» the Khauz-khana jug and the dish produced by Shams’ad-din.
The subjects and images of «Khatnsa» were widely used in the decorative - applied art.
In the poem of w!*kander-Namch>< a separate chapter it devoted to the contest held be especially In the 15“ and 17* centuries on the silk and velvet fabrics: it was quite common to re
tween the Chinese and the Rum (Bvssnlinc) painters: here lhe poet also inverted a special »sto- present such subject as: «Mejnun In the Desert-, „Ixili on Camelback goes to Visit Mejnun».
rs about Mani, lhe artist-, glorifyins merits of this painter and lhe miraduus force of his art. “Lelll and Mejnun among Beasts». ..Bathing Shirin is Seen bv Khosrow... etc. Among these
ornamental fabrics of lhe greatest artistic value arc the fine works of decorative expressiveness
The quotations given above. a* well as many others, should we choose to continue In elf created by the famous nakshtiend (Illuminator) Giyas from Yczd. a court master of Shah
in)* them, assert the fact that Nizami appraised greatly the creative activity of the painters, ar Abbas I.
tistic possibilities of graphic arts seeing In il a major means of cognition of lhe real life, thus
fighting theoretically for its right io existence. This is a distinctive feature of the role played by The artistic interpretation of lhe subjects and images of «Khamva- has found Its most
Nizami's -Khamsa- in lhe development of graphic arts illustrious and broad expression in the art of book illumination of the Near and Middle East
miniature paintings.
Immortal poems by Nizami which had gained great popularity, exercised a great and di
rect impact on the development of art books. They served as a powerful incentive for creating a Just as In the classic Oriental poetry the greatest number of nazirchs (imitations) were
great number of brilliantly illuminated manuscripts, composed by cooperative painstaking toil written on Nizami's poems, and as an art book »Khamsa<> served as an example for numerous
illuminated manuscripts.
of talented khattats - calligraphers, nakkashes - painters, muzahhibs — illuminators, mu-
jallidv - bookbinders, and other masters of art books. Since the imitations and answers to Nizami's poem were highly esteemed in the East as
a measure of workmanship, so creating the finest miniatures for »Khamsa- was considered a
Philosophico — dedactivc. lyrico - romantic, historicoheroic poems of great Nizami
painstaking but honourable task facing the painters and schools of painting. The leading
were an inexhaustible source of creative inspiration for the painters. These poems furnished
schools of Middle East miniature, as well as some individual prominent painters of these
them with diversified and beneficial material, enriched their art with new, original motifs, pro
gressive humanistic ideas. Extremely popular, rich in content subjects, heartfelt favourite im schools, could be competing among themselves in producing the most valuable illuminated
scrolls for lhe two greatest monuments of Oriental literature: ..Shah-Nameh» by Tirdo»si and
ages. spiritualized force of **Khamsa« by Nizami — all these had greatly impressed the crea
»Khamsa« by Nizami.
tive imagination of the painters, aiding them in producing a great number of artistic works.
It is generally accepted that in quantity of Illuminated manuscripts Nizami's poems are
Great popularity of Nizami’s themes among painters and craftsmen is manifested io the
second only to »Shah-Namch« by Flrdowsl. It is worth mentioning that almost all famous mu
fact that soon after lhe completion of »Khamsa« its numerous subjects and images were ref
lected not only in miniature art. but also in diverse branches of graphic and decorative — appli seums, libraries and private collections the world over, I.e. those of London. New Aork. Wash
ington, Istanbul. Teheran, etc. can be proud of numerous illuminated manuscripts of -Khamsa»
ed art. having been represented on highly-valued objects of decorative — applied art and on the
executed in 14*»—17'* centuries in various schools of miniature painting in the Near and Middle
items produced in artistic crafts, painted ceramics and metal-work. The themes of «Khamsa»
East. These scrolls include genuine masterpieces of art book, created by leading painters, cal
have found a considerable application in the adornment of the Interiors of the palace premises.
ligraphers, etc. — masters of the Tabriz, Shiraz. Herat. Meshhed. Isfahan, Bukhara schools of
It is worth mentioning that the images and motifs of »Khamsa« were widely spread and miniature painting.
attained tremendous popularity not only in the art of Medieval Azerbaijan, the poet’s birth
Today, the earliest miniatures of wKhamsaw arc those illustrations in the manuscript of
place. but far beyond il. in many countries of the Near and Middle East.
1317—18, created in Nixties-'seventics of the 14* century (Teheran, the I nlvcrslty Library).
Today it seems impossible to ascertain as where, when and in what branch of art the ar The numerous illuminated manuscripts of Nizami's poems arc to be found in the I SSR.
tistic works based on the subjects of »Khamsa« by Nizami were the first to have appeared. Yet,
mainly in the .Saltykov-Shchedrin Public Library in Ijeningrad. It gives us pleasure to note that
it can be supposed that the process of illustrating Nizami's manuscripts began soon after the
among the illuminated scrolls of Nizami's poems found in the Soviet Union the earliest copy is
poems had been completed. Il should be noted that until recently the earliest of all known MSS
in Baku. This is the manuscript of *>lskandcr-Nameh« of 1418 preserved in lhe Nizami Litera
by Nizami were considered to be those which are preserved In the National Gallery in Paris
ture Museum (Baku).
dated from IЗЫ». while the earliest miniatures were thought to be the illustrations to the «An
Among illustrated manuscripts of Nizami's poems the most noteworthy and valuable
thology- dated from 1410 produced for Iskander Sultan. At present the earliest manuscript of
-Khamsa- by Nizami is believed to be the one dated from 1318 in the Library of Teheran Uni ones in their artistic significance is the manuscript of »Khamsa« of 1431 (Leningrad, the State
Hermitage) Illuminated with thirty eight miniatures; the manuscript of 1490 (Moscow, the
versity. while lhe earliest illustrations are ascribed to the miniatures of the said manuscript, ex
State Museum of lhe Peoples of the East) with fifty six miniatures: the manuscript of
ecuted in the sixties of lhe 14* century. However, the opinion of В. P. Denike to the effect that
1494 — 95 (London, the British Museum), captivating miniatures of which were executed by
-the possibility of discovering still earlier illuminated MSS of the great Azerbaijanian poet is
outstanding artists of Oriental painting K. Bchxad and Kasim Ali; the manuscript of 1648 of
not excluded-• still holds true.
the Bukhara school (SPZ, Dorn 66) and others scroll*.
It is hard to believe that before the 'sixties of the 14* century no Illuminated MSS of For prcseni-dav readers, of particular interest and hisiorico - artistic value are such
-Khamsa- by Nizami were created. It seems probable that such manuscripts did exist, but they fine specimens of book art as lhe manuscript of the poem «Khosrow and Shirin» of the early
have not come down to the present day. fifteenth century (Washington, the Freer Gallery), the famed copy of «Khamsa** of
One of lhe earliest examples of the artistic interpretation of the poetic patterns of 1539-1543 (London. The British Museum); little known in the art but unique codex of
»Khamsa» known in the art is a ceramic dish produced by the artisan Shams’ ad-din Hassani In »Khamsa« 1481 (Istanbul, the Topkapl Museum), the miniatures which were executed by
1210. The dish illuminated with lustre painting depicts a favourite and often reiterated episode the artists from the Tabriz school of miniature painting of the late fifteenth century and the
from the poem «Khosrow and Shirin- — -Bathing Shirin is seen by Khosrow-.
early sixteenth century.
Another early example, which reflecis the subject of Nizami's nKhamsa» in the decora In the history of miniature painting of the peoples of the East It is known that each
tive — applied art, is a clay jug dating to the beginning of 17* century found in Khauz-khana in school has two or three masterpieces of art book to its credit, which were executed In full con
the Turkmenian SSR. The illustration on the surface of lhe jug is the scene which depicts the formity with the aesthetic and artistic accomplishments of lhe Items. The manuscript ot
legendary warrior Farhad, engaged In cutting the mountain Bisutun, who saves Shirin from »Khamsa« of 1539- 1543 which was specially produced for Shah Tahmaslb is considered one
falling off the horse. This subject depicting Farhad who is carrying a horse together with the of lhe best by many scholars, while its miniatures are esteemed as lhe most perfect works of • DttiirH •'
girl-rider on his shoulders, later becomes one of the most favourite and traditional themes In Oriental painting. In fact, the miniatures of this unique scroll, marked with exceptional magni Ganrrv » •*»*U'«*f X'*'" "
...b«t|>c .Vrihaipna i XovioUXX XVIt-.i.
'..■i.b.XV XVIItckakh miniature painting. According to the author of publication the Khauz-khana jug is attributed ficence of Its decoration are by right «almost the most wonderful monument not only of Ibe Ta • Sizerni- xb z |ы.. 1
'►■•rn* -Strum- IV Hrku -to the first score of years of the 13* century*.** briz school at Ila utmost flourishing period, but also of the whole Azerbaijan and Oriental ur SI
Taking into account that the poem -Khosrow and Shirin- was completed In 1181, and •• INmIUibJov»’ «I s
₽ The general number of miniature manuscript* of «Khamsa» which are considered to be -Oluzhriue biri**u<"«v>
s Halr.hn.a -GliMMy ils subjects were represented on lhe ceramic objects as early as in 1210—1330. It can be con vvurhetov » vtednevcXv*"--
lo^h.rXII Xlllvdov'v masterpieces of Oriental painting is quite big. According to L. Dudkhudoyexa who first compH- f^rvidvV.w mimaivu»—* Д—-Г*-
■*•■ i.r-Lnt.M-enumt-.SNtrna cluded that this poem had won widespread acclaim during some twenty-thirty years not only
among the poets and admirers of poetry, but also among the painters and artisans of decorative ed «The Index of miniatures to the poems by Nizami», the imaauscripK-of the great poet, it andiJzic I »"'•»•*-’
*Sr«lntaia Azra t Iran». |9U. ur i
• деиргм! I'»»’ «ar 105 — applied art. its fame spreading not only over the poet’s native land, but far beyond Its frontl- possession of the Soviet and foreign collections contain 2057 miniatures».
Il xbould be noted that this considerable number of the scroll* Is those only known to The second subject is devoted to Bahram-Gur visiting a hall with the portraits of seven
this scholar If one takes Into account that only In the lopkapl Museum in Istanbul there are beautiics. This subject found Us most full expression In lhe miniature of the unknown Shiraz
sixty seven manuscripts by Nizami with more than 1.000 miniatures, to say nothing of the man master in the scroll of -Anthology» of 1410.
uscripts presence! in foreign collections which were registered in the published catalogues, one Ihese literary themes which could he easily transformed into the idiom of painting, pro
can become well aware of the extent to which this moderate figure given by Dodkhudoyeva viding the artist not only with the subject but with the form of expression, arc to be found tn
should be augmented. other poems of Nizami.
What tire the reasons of such widespread popularity of the images and themes of Niza All the poems of »Khamsa„ were illuminated to a greater or leaser extent. Il seems quite
mi’s poems in miniature pointing? No doubt the reason of this is that these poems expressed natural, however, that the „Treasury of Mysteries* was Illustrated to a lesser degree. And it is
the progressive and humanistic Ideas of the whole East; the most advanced ideals of Oriental not surprising, since the philosophical — didactic context of the main chapters - mukula
medieval life. The dreams and aspirations of the oppressed people had found In them their most (talks) with abstract disclosures were difficult for comprehension, limited the creative scope of
profound expression. These poems glorified loie and freedom and they are endowed with pas the artist in choosing a proper form of expression. Il is known thut each of the twenty talks
sionate protest against oppression and social injustice. (disclosures) ended with a parable which reveals the moral conlent of the talk in a poetic man
I he subjects of »Khaniva<« became scry popular and were often repeated because of ncr. It Is to these parables which arc narrated in realistic - poetic form the artists owe the em
their florid metaphoric idioms, unique wealth of poetic range of expression, refined artistic bodiment of the poet's Ideas in real artistic images which they used in their works. These ideas
form mealed by the great poet, aided the artists in finding proper poetic graphic designs of propagated equality and justice, called to defend the rights of the poor fighting against the tyr
images, decoratively »hid artistic patterns. The motifs of „Khamsa* were so popular and used ants — feudal lords. Thu* -the poem by Nizami had gained him fame, attracting the hearts of
in illustration breause they were earthly tn their essence, conceivable in spirit, expressive and the humiliated and the offended”.* Ibat is why such parables av -Sultan Sanjar und the Old
true to life. Hence the artistic interpretation of literary themes did not present great difficulty Woman*. «Nushrivan Listen* to the Talk of Two Owls«, „The Tyrant King and a Truthful Old
as both the professional ariist und the general reader coold easily build up in the imagination a Man«, „The Context of Two Sages* and lhe like, full of denunciation were rarely illustrated.
vivid picture of every event described by the poet. The reproduction of these episodes confirm the fact that the progressive humanistic ideas of
The creative task of the illuminator was simplified by the fact that the poet presented Nizami were not alien to lhe artists. It is quite reasonable to suppose that depicting such de
real pictures of everyday life. The poet gives detailed pictures of hunting scenes, battles and du nunciatory literary themes of the bygone limes lhe artists strove lo warn their rulers against
els. literary-musical mejliscs (gatherings), feasts and other everyday events of various content. injustice.
Nizami's poems depict a wide panorama of everyday life to the artists who probably It is true that the limited scope of symbolic-decorative graphic design of miniature pain
thought it to be югу closely related to the life of their contemporary society. ting did nol always permit the artist lo convey exposing pathos of the literary text, but undoub
tedly, he felt sure that the subjects so well known to the reader would evoke the latter’s imagi
Ihus in depicting a literary subject the artist at the same time gave real picture of the
nation reminding him of the poet's bold appeals. These subjects were rarely illustrated Ihr
epoch and society to which he himself belonged. Therefore the representation of the same liter
artists .seemed to be afraid lo arose anger of their customers - feudal lords.
ary subject could be varied according to the time period and locality of the execution of the
particular miniature. Among favourite miniatures on the theme „Sultan Sanjar and the Old Woman» men
tion should be made of those produced by a Shiraz artist of the early fifteenth century, the
It is worth mentioning that the themes of some poems by Nizami determined not only prominent Bukhara master Muhammad Muzzahhib in I STS in (he manuscript of -Treasury of
their own subject-matter und moral concepts of tire poet's writings, but also left a considerably Mysteries* (Paris, National Library) and the famed Tabriz muster Sultan Muhammad; of
pronounced mark tin the development of their artistic forms and graphic designs. To Illustrate greater artistic value is the latter's work, executed for a well-known London scroll of „Kham-
this, reference should be made of some events: in depicting a legendary castle Khavarnak of sa« of 1539—1543. The first of lhe mentioned miniatures is characterized by ample simplicity
Prince Bahram. Nizami tells about fine mural painting which decorated the walls. The mural and archaic design, depicting a multifigurcd hunting cavalcade, while the second miniature by
painting wax used to glorify and immortalize Shah's exploits and his courtiers. For example, Sultan Muhammad is a classic example of representation of this subject in miniature painting.
while on a hunt. Bahram at a shot kills both an onager and a lion which attacked the onager;
The second poem by Nizami „Khosrow and Snirin« was illustrated by far more often
the artists were commissioned to immortalize this exploit of the Prince.
than the «Treasury of Mysteries”. Written on the basis on a Sassanian chronicle and folk le
—They pilMce «tine ком. In KMxnuS gends, very original in its ideological conception, this poem enriched miniature painting with
A picture. 4<pKtlet an onager. new democratic and humanistic ideas, unique images, lyrico-romantic subjects.
a bon abo’C II. It is also true that some of lhe images, including main heroes of the poem — Khosrow
the I’rlace th-M an arroa.
Which, having piertcU the two beam, and beautiful Shirin were traditional. These images had long existed in folk legend*, they were
dixappcifcd I* ihr groantl widely used by the great poet Firdowsi in his immortal work »Shah-Nameh«, they can be found
up la th* pluaaga.n In the relics of graphic and decorative — applied art.
Putting aside all known versions of this legend, the great Nizami composed a completely
In another example: the portraits of seven beauties were painted on the walls of one the
new poem — the poem of triumphant love. According to E. E. Bertels, this gem of Oriental
royal pavilions:
"Ihrw wviii beiotim ««rr poetry »is one of the greatest masterpieces nol only of the Azerbaijoniun but of world literature
portrayed by Simaar — at well.*** In this poem for the first time in literature the personality of man is presented dee
ihr Magician hlavelt: ply and truly with all contradictory aspects of his character. Thus, the subjects and images
All ol ihrn wtrr enclosed la a dreir glorified by the great poet soon became favourite and enjoyed great popularity with artists. The
In Ibe middle of the circle, most frequently depicted were the motifs with the main heroes of the poem - Khosrow. Shirin
like a sept surrounded by a Mvetl.-
A haaduxne yovng knight and Farhad. Such subjects as «Bathing Shirin is Seen by Khosrow-. -Shirin visits Farhad at
depicted. the Milk Canal*. „Farhad at the Mount Bisutunn. „Farhad Saves Shinn«. etc., first intro
He has a pearl-set belt. duced into miniature palling In the illustrations to the scrolls of -Khamsau by Nizami, later on
He -ears a crown -Illi earn.
Which are Mack like amsh-. became traditional by themselves.
The interpretation of one of the most favourite subjects of „Khamsa« by Nizami. „Ba
It Is clour that artistic interpretation of these literary themes did nor present difficulty thing Shirin is Seen by Khosrow* can be taken as an illustrative example. The artist of differ
for the artists. On the contrary, these themes not only determined subject-matter of the minia ent times and schools gave various interpretations of this subject in their works. adding new
tures dedicated lo them, bui also rendered concrete assistance to the artist In selecting a compo „graphic nazirehs”. Yet In the majority of the miniatures executed by the Tabriz. Shiraz and
sition or solving the images. Herat artists of the fifteenth and sixteenth centuries there existed a certain traditional de
sign and graphic pattern in spite of some individual distinctions and creative remaking to the
though interpretation of these favourite themes were subject to minor alternations ac
cording io the time und locality of the execution of lhe miniatures, as well as in accord with in subject.
dividual skill of the artist, their total compositional set-ups had acquired traditional character. U«innlns -llh «be «.rly -ample of lM.rprfl.llon of Ihb ,ohj«l I. «he mimnc'W
-Kho.ro7.rf Shlrl.. of 1410-1420 fTKe Freer Cilery), le .Imo» .1 lhe m.oorertpl. lhe
lhe subject „Bahram at a shot kill* a lion and a gur« (onager) found Its full expression • I I ncnrl. Se/4„„ V
.crloo I.ken pl.ee .e.l.fl lhe b.cksroo«4 of dlffereolly li.lerprelrf l.rrfrf.pb Rook .rf IW. «И IV»
in the work of lhe oufstnnding Azerbaijanian artist of the sixteenth century Sultan Muhammad mouMi.roo. rrftM. mljhly pl.l.n., е-егцгее» -lender rjpmn .<rf Vtemoml.t «rees m.lll-
in lhe famous London copy of »Khamsa>> by Nizami of 1539—1543. It is marked with terseness ••I. I Иене»
coloured Shrek,, .Ilrfr er.ler pool «Uh -Iredlrsg lrrlt.llon dlkhe, - .'Hhese m.ke pu ■ WA-
of expression, striking simplicity and monumentallty of lhe composition, with vividly portrayed ground of Ihl. I.irfu.pe I. rhe lower p.rr of rhe ml.I.-re. The .nlel .ho., h.lf n.ked SMrl. •iv IJ4
figure of Bahram.
bathing. her horse I* placed nearby: above them is Khosrow on horseback, expressing his «trram of real life, depletions of court tncjlises, royal feasts, hunting scenes, the beauty of his
amazement and admiration of Shirin's beauty with a traditional gesture — biting his fore native land — Its blossoming orchard*, green meadow*, etc.
finger.
In almost all the miniature* devoted to the theme, the basis of the compositional design ■*'*«• irr msk. «iwv amplwf
Wkere h the с>г4<я io k>«4lr Oz*l
remains unchanged, while only some minor details are subjected to alteration, i. e.. some com ihoughti?
ponents of the landscape, depiction of figures, colour composition, etc. This subject has found Do uMs. tkz r«n. Uh m»a of hills-
its classic embodiment in the famed miniature by the outstanding Azerbaijanian artist Sultan
Muhammad in the unique manuscript of «Khamsa* of 1539—1543 (London, the British Mu The great poet, however, on the basis of this theme «as dry as the sands of Arabian
seum). rhis miniature is ranking among the finest examples of Oriental miniatures both in po steppes* created the splendid heartpiercing poem which became thr most favourite among hi*
etic wealth and graphic expressiveness of its design. writings In the Near and Middle East. Just as it is impossible to estimate the exact amount of
literary imitation* to «l.cili and Mejnun* so it Is just difficult to define even roughly the
Il should be noted that similar to other literary subjects. this particular one ha* been amount of miniatures and works of various branches of decorative-applied art. devoted to the
marked with considerable poetic licences. Thus, in one of the manuscripts of »Khamsu« by N1- depiction of the subject* and Image* of this poem.
rami dated from 1636 preserved in the Republican Manuscript Fund of the Azerbaijan SSR
(Baku. M - 207), the unknown artist has limited his Illumination of this subject by depicting The poem of «Lelli and Mejnunu. lit moving characters of unhappy lovers, the story of
lheir tragic romance soon became very famed among the artists, furnishing them with inspira
only bathing Shirin, basing excluded the figure of Khosrow.
tion In creating perfectly new and original work* in miniature painting.
I here is no doubt that only few of the subjects associated with the Image of Khosrow The representation of the main heroes of other poems (Bahram-Gur, Khosrow. Iskan
were really new or original in miniature painting. Some of the themes hud their prototypes esen der, Fitnch, etc.) and separate subjects associated with them being to some extent traditional,
though they were neither traditional nor popular. It is quite natural that illustrations of these almost all the images and subjects of «Lelli and Mejnun* were introduced into the graphic art
subjects repeated to some extent the principle of interpretation and compositional design of si of the peoples of the Near and the Middle East only dur to Nizami’s poem*.
milar subjects from other literary works. This Is valid. for instance, for all the miniatures based
The most significant subjects of the poem from «Lcili and Mejnun in the medrese-. and
on the theme -Khosrow near Shirin's Castle», which somewhat departed from the literary coo
to the tragic death of the illfatcd lovers, which were first introduced into the graphic art by Illu
lest by Nizami in the interpretation of this favourite subject.
minated scrolls of «Khamsa* by Nizami, particularly such dramatic episode* as «Mejnun in
From the poem it is clearly seen that when Khosrow stood near Shirin's castle begging the desert among wild beasts*, his encounters with l.eili and hi* father. «Mejnun in front of
for her condescension it was winter, dusk was falling and it was snowing. On the miniatures, as Leili’s tentu, a scene «at Leili’s grave* and many others, soon gained wide popularity in minia
a rule, the scene is laid in spring, on a fine sunny day, against the blossoming background. ture art of Azerbaijan. Iran and Middle Asia. Very soon the image of Mejnun had acquired
Not excluding other reason, we think that the artist who illustrated this subject could Strictly canonical pattern in miniature painting, i. e. Mejnun «as portrayed as an emaciated
have used the miniature by Juneid Sultani wHutnai at the Castle of Humavun* from a well- young man, a wasted body with protruding rib*, the face of a sufferer. Hi* halfnuked figure in
known manuscript of Kermuni dated from 1396. rags is often depicted beneath a weeping willow, emphasizing his state of mind: he is shown in
the desert among beasts or In chains. The image of Mejnun created according to the subjects of
Among non-lraditionul subjects which had entered graphic arts through Nizami's po «Khamsa* by Nizami is one of the most favourite heroes in Oriental poetry whlrh is character
ems. of exceptional significance arc episodes related to the exploits of the third hero-legendary ized by a wide scope of influence.
Farhod. The image of Farhad first introduced by the genius of Nizami into Oriental poetry and Many miniatures to «Seven Beauties* associated mainly with the story of Bahram, fre-
through it into miniature painting cun be considered as a character of a quite new man In the ?uently depicted traditional subjects about his valiant exploits, hi* defines* and courage, in
feudal society, lie is a representative of the working people — urban craftsmen. All trails of hi*
act, many key episodes of the poem like •■Bahram and Fitnch hunting*. «Bahram kill* u drag
character remind us of a perfectly new type, new epoch. — mon of the Renaissance era. He is a on*. «Bahram hunting lions*, etc. were often depicted earlier than Nizami's poem. Similar sub
harmoniously developed man. highly talented artisan: he is a skillful stone-cutter and sculptor, ject! were found on the Sassanian metal-work, on the object of painted ceramic* and in other
freedom-losing, honest, and noble, bold and strong. Exactly in this way the image of Farhad is branches of decorative art. In graphic art* these subjects were frequently reproduced in the
interpreted by the artists in their works demoted to the heroic toil of this legendary «mount-dig
scrolls of «Shnh-Nameh* by Firdowsi.
ger’!. to his creative activity as a sculptor and finally, tragic death of the faithful lover.
The significance of Nizami’s poems in the development of miniature painting is by no
Il is impossible to say how many splendid, ideologically and aesthetically unique Illus means confined to the representation of these and the similar subject*.
trations and separate miniature* have been produced by the artists of diverse school*. One It is known that Nizami’s poem is based upon two main line* - the story of Bahram;
thing is clear: the image of Farhad and the themes associated with his activity arc the most fa and a number of Inserted narrative stories, independent of major plot. As u ntlc the most often
vourite and frequently reiterated literary subjects. selected subjects put to Illustrations were the scenes of Bahram’s pastime in seven pavilion*
It should be noted here that the Influence of these literary episodes as well as iconogra- with the princesses of «seven climates*.
phic and compositional designs based on them was so great and steady, that they left a consid According to the poem Prince Bahram had built a wonderful pnlucv with seven pavilion*
erable trace on the compositional and graphic solutions of many a miniature, in which similar for his wives — seven princesses.
subjects were illustrated by Khosrow Dehlcvi and Alisher Navoi. The reason of this phenomen Each of domed pavilions had its own colour in accord with the day* of the week and the
on apart from the above mentioned considerations, should be attributed to the fact that the
planet associated with that particular day.
image of Farhad as given by Nizami — a son of his people and a simple toller — was more to
Every day Prince Bahram clad from top to toe in the garment* of corresponding colour
the liking of the unsophisticated artists than the image of a Chinese Prince as the followers
visits the palace of one of the seven beauties, the interior being of the same colour with the rest
of great Nizami. — Dehlevi and Navoi. had interpreted it.
After a feast, having listened to a fine music. Bahram asks the princes* to tell him an interest
Without dwelling upon separate miniatures on the theme of «Khosrow and Shirin*, it ing tale. _ ..
should be noted that their earliest specimens were produced in the years 1410—1420 by the art In treating the subject-matter of these inserted narrative stories, the artist* from all
ists of the Tabriz and Herat schools. Among the miniatures of the early 15“ century of espe schools Illustrated, as a rule, the first half of it* theme and very rarely took up the talc told by
cially great artistic value are the illustration* (only five of them arc available) of the separate the princesses. Il is evident that the artist* considered these subject* as real scene of court lite
manuscript of «Khosrow and Shirin* of the early fifteenth century which were first published and treated them like everyday scenes of feasts, musical mejlisc*. love scene*, etc
by a prominent art critic Agn-ogly • and «Anthology* of 1510. Among the miniatures of the In illustrating this favourite subject the artist* had gradually developed a certain design,
sixteenth century of great interest arc the illustrations to the Nizami’s «Khamsa* dated from which formed the foundation of this composition, which was varied in counties* cop e* with
1581 kept in the Topkapi Museum, a separate miniature «Shirin visits Farhad at Bisutun style, school and Individual talent of the particular painter. In the interior of the central domed
.Mount* by the unknown Tabriz master of the middle of the 16* century*** and the Illustration pavilion, encircled bs two of three maid* and musician*. Bahram is seen listening to the talc of
of the tendon copy of »Khamta« of 1539—1543. one of the seven beauties. The component* subjected to some change* are:
• • -1*1, Ihr Kh.wro» and
XUtiunopt «Я the Freer The third poem by Nizami «Lelli and Mejnunu Ls one of the finest gems of the world li ..d om.mnul dec«r.U.. of p—illo-. -.mb., of nod, .nd te «>•*>*■• £>*"«"£
t-uller, -At, Ithmica- terature. It can be said with confidence that It has exerted much greater and more direct Influ lou, n.u.lo.l lulrumenu;•« lm.«« »< ■« "■■■” c«ni«m '"•■"> dirfm.il>. «1иг .nd
ml IV. ill’
ence on the development of literature and art of the peoples of the Near and Middle East as manner of the execution were varied too.
mzz minuiurc from While these scenes were often rendered by mediocre artists in monotonous and dull com
Xihu-r of Sh«h fzhmaob. compared with the earlier poems.
< X .'im, „ in ihe Topkapi It is known that this theme — the story of tragic romance of Lelli and Mejnun at first positional designs, thoughtful highly-gifted master* daringly wen beyond hemil* of esta
Mtheurn m Ivunbul did not attract Nizami, as this tragedy did not allow him to introduce into the narration the blished canons, wholly changing Its graphic design in principle rather than in detail.
lhc illustratIng example is the miniatures to »Khumva» by Nizami dated from I4KI Ing dramatic event attracted attention of many artists who Illuminated this poem. Some of thru*
kept in the lopkapi Museum which were elaborated by the Tabriz artists Shelhl and Dervish had Interpreted this subject as a very simple, two-flgured composition, while others prevented
Muhammad in the first decade of the sixteenth century. In these miniatures lhe theme wav In complex, multifigured pattern, in which apart from Iskander, lhe conqueror, and dying Darius
terpreted rather boldly: shah's pastime is shown against the broad picture of festive life, the they depicted the assassins and the warriors who had captured them Sometimes this subject
miniatures arc imbued with hedonistic mood corresponding with requirements and ideology of was presented as a diptych where beside* main heroes, numerous warriors watching the scenr
lhe ruling nrtisiocracy were depicted.
fhe first major line of the poem — the story' of the main hero, Baliram-Gur provided The artists succeeded in attaining genuine psychological expressiveness in the best mini
the artists with subjects numerous in amount and interesting in content. Л great number of real atures on this theme.
and fantastic episodes of heroic exploits and noble deeds of Bahram-Gur gave the artists A large group of miniatures is dedicated lu Iskander's travellings which were full of ex
abundant and illustratively rich material, inspired them to create many a fine work of art. citing adventures. All these subjects gave impetus to creation new und original works, promoted
The comparision of the known miniatures to the poem «Seven Beauties» and those of the development of battle — painting and everyday genre.
■•Shah-Numch" devilled to Bahram-Gur exploits, reveals that the miniatures to the manuscript It should be noted that a great difference existing between the two legends about Iskan
by Nizami are different from those to ■•Shah-Nanieh« though they arc characterized by ident der as presented in »Shah-Namch« by Firdowsi and »Khamsa« by Nizami is also characteristic
ical themes, their difference lying In content and interpretation of the subjects. of the miniatures illustrating these great examples of Oriental poelrs with alinosi identical in
I or example, let's consider lhe miniatures »Buhram-Gur and Fitneh hunting" and stances of subject-matter.
»Bahrum>Gur and A/udeh hunting». A legendary deed of the Sasxanian King Bahram is repre The image of Iskendcr is represented in numerous miniatures depicting court scenes.
sented in both miniatures, hut the subject has different interpretation In »Shah-Namch« and I.c. shah's receptions, mejlives, talks and other scenes of »va*f« type (cxtolltncnt), presenting
.-Khanna-- I his subject of traditional character, cun be seen in various brunches of dccorutive a character of lhe ideal ruler, the sage and the prophet.
applied art — on the silver Sassanian dishes", on the subjects of ceramics, on ornamental
In miniature painting the priority was given to those literary subjects which were first in
fabrics etc. troduced into Oriental poetry by the genius of Nizami, appearing in graphic arts through the
On the earlier objects of decorative arts and In the illustrations to «Shah-Namehu thia first illustration* to his poems.
theme was treated according to the tradition and Firdowsi’s poem, and in quite different way In
Among these subject of particular interest arc those associating Iskander with Azerbai
the miniatures to »Khamsu« by Nizami. Die artists of »Shah-Namch« very often Illustrated jan. Il is Io be noted that this theme enjoyed great popularity and was often taken up not only
the episode when enraged by Azaduh's insolence. by lhe Azerbaijanian artists, the most favourite one being the episode of Iskander's encounter
-fliMam slnxk. and luilag In the saddle. with Queen Nushaba. lhe artist* of different times und schools differently treated this theme,
Пи Bjsaatlne nwsaa flew to the ground. varying both lhe subjects and some incidents of their meeting. In some miniatures Iskander who
Kahram crashed the eaoonfaced girl
-Ilk Ы« ranxl. entered the palace boldly as a «strolling lion» humbly stands before the queen silling on bet
Hacking Mr anm, breasts aad sumptuous throne, in other miniatures Nushaba shows to Iskander, who pretended to be an en
Ihr pvalten*" voy. hl* portrait »Thc Exposure of lskondcr«, while the most often repeated subject was the in
structive feast of Queen Nushaba. After Iskander's exposure Nushaba arranges a splendid
II is to be noted that Л/adch was rarely depicted according to the previous episode. I. e.
feast. When Iskander asks why he was given uneatable food, Nushaba answers:
when she was racing on a camel, playing the harp.
"It valuable vinoev r»«*< nourish you.
this traditional subject in «Khumsa» has quite different interpretation. The cruelty of Why to wax» ■wlrvv wars IO c« lb«m*«
Bahram und tragic fate of lhe clever and bold beauty as given in »Shah-Namch« were alien to This favourite subject Is depicted in above mentioned manuscript of .•Khamsa» from
the progressive ideas of the poet — humanist Nizami, us he put up neither with injustice of 1481 kept in the Topkapi Museum and is rightly valued for its expressive and refined perfec
Bahrain nor with the death of devoted Fitneh. Hence, Bahram in Nizami's poem is a man of pli tion.
able disposition with more rational mind. In the burst of rage he docs not kill Fitneh himself. Il is to be noted that in artistic interpretation of the literary subjects in »hkander-Na-
Remembering that tn kill a woman is not a manly deed, he charges his chicflian with this task. mch« there ore much more examples of deviations from the contents of the poem a* compared
As we know, the further life of this resourceful girl hud taken quite a favourable course. with other parts of nKhamsa».
It Js clear that this new literary interpretation of this traditional subject brought to life The favourite subject in the miniatures to »lskander-Namch« is the episode «Iskander
new compositional design and new graphic solution In miniature painting- and a Shepherd», with cun serve as an illustrating example. According to the text. Iskander de
It should be also made note of, that in Nizami's poem the story of Bahram-Gur is en jected at the illness of his beloved beauty and wishing to distract himself from his grief, mounts
riched with many new. quite original episodes. the roof of his paluce; he secs an old shepherd, summons him and asks him to tell a tale. It i*
Although the artists depicted mainly traditional subjects, nevertheless, some new ep interesting to note that in all known miniatures the artists present this scene as follows-
isodes were also illuminated. As a result, not only in book art but also in other branches of de Beholding a steppe and far away mountains lhe king sees a flock of sheep with a shep
corative-applied arts there appeared perfectly new subjects, original in their essence. Such herd. The king orders that the shepherd be immediately brought Io his throne.
themes as «Tragic death of the architect Simnar», »Bnhram-Gur in the Khavarnak Castle», It seems likely that court artist* were afraid or considered it an impudence to depict и
-Bahram kills a lion and a gur at a shot». »Bahram-shah and a choban (shepherd)». «Fitneh shepherd Just near a ruler, near Shah's throne. They deliberately avoided to Illustrate the fol
lifting a Bull-Calf« and other subjects became quite popular. Numerous works on these themes lowing lines of the great humanist Nizami:
appeared in miniature painting in the fifteenth and seventeenth centuries. The artists of various ..And «1и* the nld min had mounted
schools while retaining a general compositional design, altered the interpretation of this sub tbe height* of (hr ihinnr.
ject. succeeded in creating works original in form and artistic in their expressiveness. Imbued IM purple of thr throne truce
with rare perfection of execution. Among these miniatures mention should be made of »Bah- rose before a monel Ьг1»х-
ram kills a lion an a gur al a shot» by Sultan .Muhammad in lhe manuscript of Khamsa dated Thcse deviations were to occur not because of the lack of imagination on the part of the
from 1559—1543. »Bahram-Gur in the castle of Khavarnak» of an unknown Shiraz artist of artists, but in concord with moral-aesthetic code of the court.
fhe early fifteenth century in the manuscript of «Anthology» of 1410. «Bahram-Gur takes a In conclusion it should be said that Ibc subjects and images of -Khamsa» had found
crown between two lions» In thr manuscript of 1508 (S. P. I_), etc. greater sphere of application and distribution, than could be supposed to exist due to above
l he greatest number of various and interesting subjects, both traditional und novel, can mentioned centres of miniature painting. The fame of the subjects of »»Khamsa« by Nizami was
be found in the splendid epopee »lskandcr-Nameh« by Nizami. It is quite natural that in the il so great and widespread, that they could be found in miniature art of distant India, particularly
luminated scrolls of this historical novel (especially In its first part »Sharaf-Namch« (Book of in lhe works of lhe Mogul school of the late sixteenth and early seventeenth centuries" and of
Glory), the leading place is slotted Io battle — painting miniatures, glorifying the valiant ex the Kashmir school of the eighteenth century."*
ploits of this legendary military leader. Iskander (Alexander lhe Great). It is obvious that Ni In spite of the fact that the Mogul and, more so, the Kashmir miniatures arc character
zami's followers having rightly apprehended the ideas of the great poet, interpreted the image ized with quite distinct artistic idiom, they arc considerably far from classic canon* and outwar
иГ Iskander not as a king, the conqueror, but as a hero — liberator. And In this way the image dly lack the features of their prototypes; nevertheless, they are executed under the 1пПвевсе • p n«
of the hero Is depicted In miniatures, such as Iskander's battle with black savage*, his duel with of traditions and principle* characteristic of Iranian, Azerbaijanian and Middle Asian pain undec lb
Jtt </u><le. I lhe monster, etc. ting of the fifteenth and sixteenth centuries. And this Is quite natural a* these school them •• A \
IW> <ii It* -M-n-.il
selves were established as a rcxult of interrelations of traditions of Ihrsc leading schools of
f»U< • Ayjd«li The characteristic traits of Iskander as a humane and just soldier are vividly and convin
cingly shown in Ihr miniatures portraying him bending over dying Dara (Darius). This stagger- Oriental miniature.
All these characterize the peculiar style of the Herat school of the end of the 15“ century,
headed by another outstanding artist of Oriental painting Kelmal'-ad-din Bcbzad.
The Isfahan school Is represented In the album bv miniatures in thr manuscripts of -Iv
The miniatures scrutinized In thl» album form but a negligible part of the great amount kander-Nameh« (SPL, Dorn. 344) and lhe »Kham«a« of 1636 preserved in the Republican
of Illustrations tn Nizami*» poem». which through man) epochs had been elaborated by the art- Manuscript Fund of lhe Academy of Sciences of lhe Azerbaijan SSR (Baku), lhe miniatures of
let» of all leading schools of Oriental painting. According to the subject-matter, the miniatures wIskandcr-Namchu are characterized by underdeveloped style, while lhe Baku -Kham»a»
presented in the album cover only a portion of the literary subjects which were often put to illu manifests fully established style of Hie metropolitan Isfahan school of the early 17“ century.
mination In the manuscripts of “Khamva» by Nizami, found almost in all large museums, libra The miniatures of «Khumsa» by Nizami dated from 1578-71) (SPI. I». N s 272)
ries and private collections the world over. These examples, though confined to some Illustra according to lhe style and the manner of execution are typical specimens of the Rukhara
tions of the poems by Nizami, i. e. from lhe Leningrad Collections of MSS. proside ample data school. The miniatures of one of the most valuable examples of art book of Middle Asin the
for gcncralizatiun of the material, thus making it possible to determine the role and signlflcanc “Kham.sau of Nizami of 1648 (SPL PNS 66) reflect artistic relationship» between India and
ol »Khamsa<* by Nizami in the development of Oriental miniature art. Middle Asia. The characteristic features of lhe Mavcrannaakhr school prevail, tn the minia
f rom the manuscripts of »Khamsn<< by Nizami, a* well as from »Shah-Nameh« by Fir- tures created as a result of mutual influence and enrichment of the Bukhara and Mogul
dowsi. from the works by Khosrow Dehlcvi. Abdurrahman Jami. Alishir Navol and other clas painting.
sics of Oriental poetry, it follows that the artists took up traditional subjects, which had ap The Tabriz school of the Azerbaijanian painting I» represented In lhe album with classic
peared long before Nizami's poems, as they had been glorified in folk legends, literary works specimens of miniatures of highly artistic value for the -Khantsa- by Nizami. The given Illus
or c»en represented the objects of decorative-applied arts of tbc peoples of Iran, Azerbaijan and trations for the manuscript -Khosrow and Shirin» of 1410—1420. tbc- manuscript from Istan
Middle Asia. bul of the late 15“ and 16“ centuries (The Topkupi Museum. N 760). the famous London scroll
Thus rhe attention of the artists was focused on the subjects and images which were vivid of 1539—1543 (The British Museum. 2265) are distinct in their artistic-aesthetic qualities in
■n people's memory, occupying a leading place in the artistic — literary traditions of lhe peo comparison with their “contemporaries». i. e. lhe miniatures of the same period created by
ples of the East. other schools of Oriental painting.
Side by side with traditional themes, new original subjects and Images, first Introduced Commonly accepted masterpieces of miniature painting — Illustrations to the London
into Oriental poetry and so through it into the graphic arts of the peoples of the East by the ge copy of Nizami's »Khamsa«. produced by a talented galaxy of the Tabriz painters, outstanding
nius of Nizami, attained great fame and soon became most favourite and consequently most masters of art book. Sultan Muhammad, Aga Mirek. Mir Musawwir. Mirza All. Muzaffar All
frequently illustrated subjects. end Mir Sayid All, arc distinguished for romantically exalted graphic design, imbued with
The process of establishing heroes and subjects of »Khamsa« by Nizami did not take solemn decorative expression.
lung in the development of graphic arts. This fast process of strengthening literary subjects of The miniatures from the above cited MSS were selected so as Io demonstrate most typi
»Khamsa« in miniature painting was soon over, manifesting itself with the establishment of cal, often reiterated ones, illuminating, mainly, key subjects with the aim to cover, if possible,
a certain tradition both in lhe choice of illuminated episode and in artistic treatment of these all (he leading schools of miniature painting of lhe I5“—17“ centuries at the same lime supply
themes. ing Information to form a notion not only of the evolution of lhe illustrations to Nizami'»
these new compositional designs, new canons, elaborated for the artistic interpretation of »Khamsa«. but also about general development of miniature painting of Iran. Azerbaijan and
the subjects of wKhamsau by Nizami have considerably influenced graphic patterns of the mini Middle Asia.
atures. As a result, many new original miniatures painted for the earliest manuscripts of The miniatures reproduced on the tables are arranged in sequence in accordance with
»Khamsa« by Nizami very soon became traditional themselves, enjoying the role of prototypes. (he five poem» of »Khamsa« by Nizami, and the arrangement of literary episode».
They were the objects of many imitations, thus forming original standards for creating numer The album begins with miniatures, mainly double frontispieces — the inside title page»,
ous -graphic nazirehs«. Moreover this was true not only for illustrating later scrolls of Niza which as a rule, arc not connected with the literary text. In content they arc meant at peculiar
mi's poem, but for illumination of similar and identical subjects in the works of Khosrow Deh- “graphic dedication», addressed to the rulers for whom the manuscripts had been produced
Irvi. Jami. Navoi and other classics of Oriental poetry. Therefore they represent so-called neutral subjects: scene» of feasts, royal receptions, musical
Thus the miniature painting of the peoples of the Near and Middle East has been en mejlises and other domestic scenes, reflecting life, artistic tastes and aesthetic demand» of the
riched by innumerable works bused on »Khamsa« by Nizami or on the works created under ruler and courtiers. They functionally provide decorative aspect in the structure of the manu
their influence, which furnished miniature painting with new subjects, elaborate themes and fa script. adorning its title pages.
vourite images, humanistic ideas. The miniatures to separate poems were selected and arranged aiming at conveying the
The great majority of miniatures displayed in this album have been selected from nu content of the main subjects visually, by means of artistic images, which eventually help the
merous illustrations of MSS of the »Khamsa>< by Nizami, preserved in the Slate Public Lib reader in conceiving the whole poem.
rary named after VI. E. Saltykov-Shchedrin in Ixningrad (S. P. l_). As it is known this library Frequcntlv one. the most popular subject, is furnished with two or three miniature»,
ranks one of the richest among splendid collections of oriental MS. having quite a few master elaborated in different schools of painting. This is done purposely since the comparison of
pieces of art books, including some scrolls of »Khamsa« bv Nizami to its credit. these miniatures give* visual evidence to both general and distinctive features of the style i»l
The best illustrations of great value in artistic sense are the .MSS of »Khamsa«. created these schools, providing means for the characterization and proper estimation of their artistic
by ingenious musters of lhe leading schools of miniature painting in the 15“ and 16“ centuries, achievements.
which are singled out with highly-developed style and original workmanship. According to their The most significant Illustrations erected by the Tabriz. Shiraz. Herat. Bukhara and
urtistic-aesthctic features these miniatures stand side by side with the best classical specimens other schools make It possible to conclude, that in the processes of Illuminating Nizami's po
of oriental painting. ems miniature painting had covered a long and complicated path of quests, succeeded in mani
I or example, the Shiraz school of the late 15“ and early I64 century Is represented in festing tnte harmony with poetry.
the album with lhe miniature to »Khamsa« by Nizami of 1479 (S. P. L. Dorn 338). of 1491 Summing up. it should be noted that the specimen» given in the album make n possible
(S. P I P. N. S. 83) and famed manuscript of 1508. which ere considered to be typical speci to determine and estimate the place and significance of «Khamsa» by Nizami in the develop
men» of lhe Shiraz school in the period of establishing a new style, vividly reflecting its peculi ment of Oriental painting, to show the extent of popularity and distribution of the subjects and
arities. images of the great poet In miniature painting, how great was their impact on the creative activ
lhe mature style of the Shiraz school of the 16“ century It represented by miniatures to ity of the painters of different schools, their role in promotion the appearance of aumerou»
-Khamsa- by Nizami of IS43—1544 among the collections of the Leningrad Institute of Or works of art. for which they defined their ideological - aesthetic concept
iental Studies of the Academy of Sciences of the USSR (D-212) and »Khamsa« of 1545 SPL.
P. N. S. - 105). The miniatures of these manuscripts visually reflected lhe features of the new
graphic style of the Shiraz school of the middle of the 16“ century, which was built up under lhe
direct influenceof Tabriz metropolitan school, headed by thegreat artist Sultan Muhammad.
I he illustrations to »Khamsa« of 1482 (SPL. Dorn-338) together with the miniatures of
MS of 1491 al the State Museum of the Peoples of the East In Moscow (Inv. N 165911) repres The Immortal poems by Nizami which during the Soviet period became £** ££*
ent the Herat school in the prime of Its fame. The characteristic features of these miniatures of the people, are still an Inc.xaustlble source of creative activity. The influence of
are that they arc brightly pronounced, with contrasting colours in combination with abundant by Nizami on the development of the Azerbaijanian art has become much wider and deep root-
gilding. I hey have gentle and gay colour harmony, festive illumination, high skill of execution.
cd. the scope of artistic impact of MzamlS poetry is noi confined only Io graphic art», but em
brace» all aspect» of Azerbaijanian culture.
The subjects and image» by Miami have found their wide reflection not only in book
drawing, painting, sculpture and other branches of graphic and decorative art, but in music,
ballet, theatre and cinema art as well.
Thanks to the great care of the Communist Party and the Government, manifested itself
tn the Decision of the CC of the CP of Azerbaijan »On the measures for improving studies, pu
blication and popularization of the literary heritage of the great Azerbaijanian poet and think
er Nizami Ganjevl«. the significance of »Khamsa« by Nizami in the development of the art of
the Soviet Azerbaijan still grows, acquiring new forms and content.
НИЗАМИ
«хэмсэйСинэ
чэкилэн
МИНИАТУРЛЭР
МИНИАТЮРЫ
К ПОЭМАМ
„ХАМСЕ“
НИЗАМИ
MINIATURES
ТО NIZAMI’S
»QUINTUPLE«
(»KHAMSA«)
СИРЛЭР
хэзинэси
СОКРОВИЩНИЦА
ТАЙН
TREASURY
OF MYSTERIES
Нилл мн иыЬытт гэбулуиДА
I «Хамсе», XVI исрин 70 ми иллэрп. Хорасан.
КДК. Дорн 341, В-6
Маваетур мЬарла 1в|афгт. |аа-гд да мусага ма-алвеи маа-
аусуида ада ммамп «аЬаасааа тасвар една. мата» аад олмл|аа
мааааглр ЬесаО едалар. Лажав устуидава |-1Ы|- муаафаг ола-
раг. маааатурд» -Сардар штамаса» поемасыиыи аарашанди
Ьамам аитевыв abaaaa||onr в» до|орв Ьвггыада омара» Ьарарот.
ла давытадыгы Ьвсс«ч»р гое а ар олуаур. Каруаур. россам bob
рам шлЬыа мачлвсааа r-каар етнэи агтамашдвр. &урад» вар
д.жта аои» иурааа гкм алы )гии.т гочааыа - Нвимиава от-
рафыаж |ытыатыО двггэтла онт двачп|араор
Зи|афот сэНнаси
Гоша мнннатур — фронтиспис
2 .1 -Хомса». 1491 Нерот. Москва. ШХИДМ.
В I 0-2 .л
Мавпатурчор адова мотало алатадар де)нл аа >а)аф»т
мвааусуада мустэеттл аомпотеса)аларлыр.
Саг торифдоаа м-аватурд» итаЬыя т.*ва»т то|ау-дВ кеф
мочлвса. сеч торофдма мавватурдо Сара [да мусага мнчлиса
тасаар «далмамдар Комэо>аса|а ноЬатдаа овлары |алаыа
ораамгжтла b-mafo вврлоеадврар. Ьу аэфас мавватурлор рас
мва соа дарима ирвфчв|в апаллв|а. юаава аллорвта ала
фортлаавр
Сиены ainpiiiecr иа
Двойная миниатюра - фронтиспис
2 -3. „Хамсе”. 1491. Герт. Москва. ГМИНВ.
л. 10 - 2з.
Миниатюры вс саптавы с конкретным литературным теи
стом и «а.тайней сампстоатг.тытммн комплтнянамн. На правой
миниатюре итображенл пирнасстао шаха на лоис природы, аа аг
атыт ■ му тыка-тытый меджлвс ал деетрис. Компотинмоиво на
■тАье топает тишь орнаментированный бордюр. Эти итвтииые ми
ниатюры огтичаютса юаг.тириай тоакостыо рисунка. красоатто
егыи. богатым, насыщенным колоритом.
A Scene of Feast
Double miniature — frontispiece
No. 2-3. *Khamha«, 1491, Herat, SMOA, f. lb-
га.
The miniatucn are not conaecud with the texta ot Nlraml'a P<>-
гяи. I bey are iadepeadcal contpntlilom aa fcatt Thame.
The miniature on lhe right describes a feaM gltea by the ahah la
Ibe opea nature, the left itm depicts aa аметЫу of HMTiklaat lailde the
palace. Only aa ornamealed border comNaea lhe mlalaturre cnmpotl.
Hoaolly Ibeae elegant mialalarn differ by an eactuaabe beaoly. dalaiy
and richness ot coloan
>>'.v.
Одалотли Нушнрэын аэ аозмр.
I «Хансов, 1543—1544-чу иллор. Шираз.
ШИЛШ. Д-212.
5. *Хомсэ«. 1539 -1543-му иллор Тобрих Лон
дон Британии музе|и. Ор 2265 п. 15.
Рос Мир Муссаиирдир
Бар «л• Щшармаа ее еэ»арв харабалыгда «аЬбэт едав
ааа ба|гума рагу колер Шакыв «На дааышыр бу гушларЬ
оалима емар де|ер кв. барушлардаи барм гшыаы про аерир
»а eaaiaaa or хаадав бар веча ыраба клад аста|вр. О бара ба)-
гуав чаааб аервр: «На дапышырсаа. Ьаж вор шаЬ бор |авы аеча
харабажара даадараб! Саи беч варабат олив. Сава |у> мае бела
«араба каад аерарам»
llpill-IU Об IblQCr
7. _Хим«“. 1508 г. IlJupai ГПБ. Дорн 340. л. II
Н Kxainll Пест и »о>чи .( окр<|«ин>нииа taAa* inaopaica
п fuM, 41» i«au аа •*«»! шан. л|аи nc.turiaiKii нспраяп аым.,
Мншмпора H.i.uocipnpyri нршчу »А Иисус*. О.и<а*|ы «и ян-
Mi. «ас <■> пн «юмн cof.pi >м« anapyi юс.шА С.Лааи II ■« аре
на как яс* naciiiai a наН ia.tc.Ko iwhik niapaiwic.iMiar. Иисус
a*c»«a.>art Aciaiui <r iy6oo. f'uwc.i upoiou: Но всем. ■>«* a со
сна» Aci'dapatouc явленна» нужна cipc.ontca наши н>. 410 a mo
«etc upcupacuoio.
дырыб. Utah oov в«Аурыо|а сорара алыр |>v «эЛор гоча)а uti>
• ома. |у|уиуО. Ao)nvua вафаа салыб таЬып Ьулуруяа вплир
таПма Аугуи г)а6лоривк чхароТАЭ оауа ууума л<!)|ар-
«Man де)арам г|Апка. тар «типа тут.
Кх-гарирэм пужутхж 1>вр "meet «>ут
hap г|Акап кагтпрор алсва ала пужуау,
Ума, гыыр г|Авиам1. гырма ало вуавупу-
Гочааып trcrpmi аа адолотла лааыпсмвгы кваЬы гарем-
лыр О. гочаам амл е.умр «■ cahanapann дужудяр. адалагла
Аавмдар олур
lb* 'halt «at thebe* by Ibe old man'* hratery —Л h>» falrneu.
II* relented Ibe ma* and corrected hit rire*. bream* a jutl tutrreHn-
Даллпн Ъсиа|.тгм
A Barber'* Story
No II »KI»amiu« 1491 Herat SMOA. Г. 27 b
" hilr «oi»» Паш» ai-Rashtd, hH briber wa» impadint «none*
«I *>) ihlt he •ИК4 l> marry Ы» daufhlrr lhe calfpll lomultcd hl»
liliti II» ibier'a ргемоорПма nai that Ibr barhei trod пи • iirawre
iti.-wch be "*» iim»»« »l II. lot one bacaoie ImaMlnl if eien be •*» »»-
«intclmei o4 a Ireauire under one's l«l I lie» do; lhe ground ■>« nhuh
•he barber Mood «nd Imimd an taimen» trraunr
ХОСРОВ
BO
ШИРИН
ХОСРОВ
и
ШИРИН
KHOSROW
AND
SHIRIX
Хосрояуи атас модом yip кстомоси
12. «Хомсп» I 508-чн ил Шира J КДК.
Д<||»1 .1411 В .to
bap ay и овдаа соври. Хоере» р|лмли]я эамав. оауи оты
жаилора ««идлы|ы|1. нввирв at» га слЬвОиил ЫМСУС Олаа
горлам деряб м| едвр. Бутуя бувлары ергйсм куя Иурмум
1 J«ip arpap tap вл е|Ьам • сруб де|ярлар аа. аклр taahwa айрана
иыЬмдо note рта. сида Оашгаларыидла аа аоаломаа олжр.
IlftrhM aaaha гохтяур аа о. оглуау Сара яамламдырыр.
Хоеров • ■ ohaaaa (Мша лушур. Барж этап доп аэталот
чжвр. вофова буруаув пав аггагтал Гммв яла бнрликм атасы-
яыв |аиыва валароа оадая утр вега|ар
('уметая граагоааисы па Bear огрсопажларып псаюложа
пфаласали|и ■-ас tap едвл ив гпяаодуа waiwvHtat олдуеу аяма
ачыб австврар.
Ширни чммаркэи
Купамниамси Ширин
IX. ..Хамсе", |лЗбг Исфагаи. Баку. РРФ, М-207.
.1.1506
Манан юра nucanuitna ma же tr'ie О.тако художник м>
бегам ipa iiiuiioaHoa aounniaiiMnauoil схемы, ni раннчпаамсн
нюбраа^пием ioia«o кумюттсо Ширма, a Хоером t иен »■
cytctayvr lloinftaiur миаанюры «пи pat |ока|ыаан<|. чн> xuia a
■рангоане inrepaiyриы» ctoareioa aupaAaiuaa.inca nape ic wmhu»
KocMiMiauiMiuauc лаканы. ж> ими бы.1п .inciacoaait |пЛнпми и на
CKiiauaaiH t аирчееж'н <> iihuiii хе тжанаоа
Пиршество Хосрова
24. .Хамсе". 70-е юлы XVI в. Хорасан ГПБ.
Дорн 341.. 1.706
Xoio комгнпюши и оисипшеиа Хоеров;, ио no <o.ycp*aiiHiu
u трактовке сюжета она прима i.ir*iil и числу так иатыааечыч
.Отт |нч»ич** мнима пор. нтоЛралаиииич ипрамсово нлн муты-
ка 11.НЫП мт тжлне итак а на .томе вририли. Такие миниатюры чи-
тут с.маии. и 11юстрамис11 к тюбом; аиалигичиому апптоду.
Миниатюра от.тичвакв иетатрчлаым мвтрством нсип.тие-
■ка. леноратаавой вчера тигелытветкю и выполнена вод алипмиеч
те^риикои школы примерим в I5JB- ISWrr. о чем «вплетен.-
KhtMtow ас a Fea»l
No. 24 ••Khumid'-, the 70,h of the XVI century
Khorasan SPl. Dorn 341, Г 7(1 b
I hit refer» Tn a group at Independent mlntalere» drxrlbmg a fe-
»t acene of Aah in the open nature, or an accembly of nutleiint by Ila
plot and coalent. though lit compMltioa ia dedicated to Khotron. Such
miniature» may aene a* llluatrathina to any »ork on the алии theaae
Tbe miniature la diatingulahrd by ita rare pcrCerttBna and decora-
ll>a еаргемпевелч It .aa painted about l$$0- 15*0 oader the Influen
ce of the tabru School of Falaleev A good ««Idence of It h Ни -и of
Xbirllbaih lurbasi la the lllualraHrmt
Xot poa Ширин чонкаи о|упу ммаиы.
4‘« «Хомси» 1543-1544 чу нллпр liliipiii
IUHAU1. Д-212. В. 53
Хоеров Mehaiiflaayavn enaaiw оларвим (Ifrp вуиторааа
■Пврвявв |анында ав-аарвр. кар куп о -совали о)уау о|аям<|
Штода|ааа <a|».i)np Дат* «глаим хагыридли (ггмат аа^вр
<ы> Шарипав flaiuuna воплатир «Чурогди bap (tape flap
н«раал*|ар. Рустом*'мл вам* <>■ вгвндьиар Чоавая <1|ааывс
да чо» ааважлалар. ва)д» гввардысвр. гои» мухтасвр.
Наа даст»]» бачуадро* Шараи рофаслтора «ла Хосрова
•о оауа дооларывв еареим о|п«|ыр к» адова сужога агрмалл»
россам, -слаад». hi дааруауи дпбд» илам сара] а|лаимогааа
«мвар птмпа нстомашлар
1
>1а hi 1КИ.ННН»» .«uniiaiHipiwta.Hi чма ipiirioaa.un.
нОмчан как л.|нр>>ааи riirua ai inupiionnti чапаии «.прачкиной
J I ,-f tvB--* ■ I
I 222
No 27 nKhainsj" I64X Bukhara. SPL, N’PV 66. itM *r ’ W
Коронование Хосрова
30 .Хамсе", «539 1ЯЗи Тебриз. Лондон.
Бри uncut Л мулей, Ор. 2265..i 60
Л'» jo* «о» -1м Мире*
На«о.|а<ь a bip ir , парниы Мп-шт-бан,. Хоером viaarr n
«utpta огив 4io£m n« ляинпма opretnta canay tip* tar.а. пн m-
mcj.mhw» aoiapatua*ica а Мглаим. ариаомагг корон, и citHoaw-
ta aixieiawvM Ирана. Мннкнюра И1.ш>с1рмр)г< лауетнша*-
\»il а мыс tat iHuii. к Ширин a trx и «го его*.
Вс« « uapcrau )п,г>ан. наглу jawvy «ин
К ho-гои Ч Coronation
Painted by Ari Mirak
f-urhad Faints
No. JI »КЬатм« 1648 Bukhara. SPL. NPV 66
Io peacide Shirin nilh а Ire’ll Bulk II »a» ««scary 10 4Ir » eaaal
inrocrth Ihr rrckc ямыпглЮа <« <aaa«f the co Mir «Illi (ar-lclay pav
lures Т» perform ihl< laA Shaper iailice Гarhad. the Irjendir» hrro
and Allied MalpliH In Shirin’s <»clle. "lira *arhad reiiert lhe palxe.
Shwln liuicc lirrM-ll lie-hind a curtain. Charmed by lhe lawlaatlni; аийе
■il <«h bvauiy Farhad fainlc
Ширинки ФарЬлдыи чохди|и суд архива кэлмаси
32 ■Хпмсэ-. 1648 чн нл. Бухара КДК. ЗФС 66
6
f №i
tf/Vc-fti/ Kj;
■ ,Аг^.Ха
1 —
Фарбадын Ширини хиллс отмоем
ЧЧ «Хомса*. 1302-ми ««A. hepat, Дорн 1Ж
И 133
40 «Хамса». И>48-ми ил Бухлрл. КДК. ЗФС 66
Га|»»ы даглардав |ОЛ чэаиа офсшаааа глбрлма» Фараидыа
ванна» |а>ывдаа Датмаг учуй Ширин •* рэфагалора ала бар-
\а*ла Ьвгупа аалар О. ФорЬада |«вмалашраоа. аты
Лар» |орулЛУОадаи Лудро|ар. фарЬад »«рур «■- ол»Р ггтмаса.
ВТ |ы>млач4гдмр. тст ат хины аги ала Ларлаадэ гахдмрыр во
(твааласааа •> гудрот ла чн|нил»ринл» пк|М аотирар
ГпГн-и. Фарха to
41 .Хфм«\ 15021 Гсрл ГИБ. Дорн *39,
1. 136.
а »--- ври wire yctynHti. Ширин, apiiAtiaei и но |лому ripr iaif ль-
< iai Ои но icw.iaei к Фврхаху говн*. xotopi.iP «oiiftiiiaai ему .юж
ное -пасете о «-upIn Ill-pun tlp-c-n lyMliwU. юперчнамн Фар-
tai lane ш n<> inipcaiiri. чн> tin обманываю!. < tpiuinaa i«i-
*»« «ромом сражал ■ faraiwpa, u ой уммрвм
Farhad's Death
No 41 oKfiunw 1502. Herat SPL Dorn 3.39.
f 136
Kho-rn* Wee that Iathad sill talllll bn penmiw and рамс» Shi
ft*. Ihetefore he playa a ireartatoai action lie wadt a n-rv-ege to lae-
had that shut» к dead Heine -ery eredulaa» lathed bcl«e»et the пен
ие |« -Ламled b> the IwerlMe Вам» hi- aahtte»*' death aad die»
Хосрси» Ширннни глсри (апындл
42. .Xumcih «401 «чп ил Ширм. КДК. 1ФС 83.
В 83 б
4-1 .«Хомса» 1648-ми мл. Бухлрл КДК JOC 66.
В 262
ь»|> жуп Хосроа оы чыхдмгы мыли, шсысо ду|ыадап
Шпражжи 1жр»«а »»<иф «сдар. О. tarp» |ахымлаианл« «рты»
а имам охур па rap )агыр Хоеров гаера жарыжж а«-ги|ар Ла.мн
пел дарвахадаа аира бурасммр.хар. Шар» пкрдэв ба)ыра
чи>»ма Хосроау баша <«лыр кв. шаЬы гибул ед» бклыл, бу
иаа лааа аурар Х«) хм еаЬбот.М" соира. mah лпыгланарш iuiu6
• гдвр
ММННЮ
К *e- т '-
Хосроялл Ширин 6о|лик газгтыид*
47 -Хлмсо.-, 1<ЮЬчннл Шире), КАК. 4ФС Ю.
В. НЮ
Хогроа аач дэ олс«, Ширииап и*м>)ппиа, сарт зорафагЫ'
IIыа нщ.киаы Паша дуигур. »ала|ыр си. Ширин они дир<
мрым «стамиидир. Он» туи* Ьлрмотлэ («ииавмага монбур
гтмав учуй, Пуилли соарж оиуи |<вына горхош Рауда плмомэ
<в учуй Осла стмишлир. Спанауилор барышырллр
Смерть Хосропа
48. „Хамсе”. 1481 -1482 гг. Герат ГПБ. Дорн
338. л. 91
49. .Хамсе”, 1636 г Исфзган. Баку. РРФ, М-207.
Шмрубе, <ы» Хосрова ох другой жены - Мараем. влюб.га-
etca в Ширин. Чтобы иададегь сю. он cetetaet onia с мресгола и
■ ак.иочвг1 «о а гемиаиу. Koi да же IlliipMii oiaepraer его
loMoiare.taciaa и добровольно идет в гечнииу. чхобы рыделмгь
оечальмую судьбу Хосрова. Шир,lie НО.ХЫ.>»«Г в хмурь-му убмниу.
Хоеров. oxpie.ibHo раненный, не ьочег рвгбулигь мирно спитую
радом Шауни и |нхо умпраег.
Художник ipauryer »<п сеожсг кам |рагнческум> сося, опла
кивание Хосрова. уделав Большое випчаияе передаче ticutoiorii-
чесь.01 о состояния девушек
Khosrow's Death
No. 48. »Khamsa« 1481 — 1482. Herat. SPL, Dom
338. f 91
No. 49 »Khami»H 1636. kfahan Baku RMF.
M-207
ККоееоч'х too SMniya by hlx -Ifr Maryam talta ia lore -Uh Shi
rts. tie orenhrmrt hit father from throne 1»4 leaprlreiai Mini In older to
powett Shleln. Shirla refutet hit proaoul and tort to pmoa to Kho-
xrn- roluBlarily to there hit frlef. Shlruya teadt a mardcref Io lhe pel-
ton lo kill KhorroH. Khoiro- it mortally -oanded. but be doetn'l "ant
Io a-aken Shirin, tad thut he diet.
The all Hl prewait IhH ploi at a faorral acene nt Khutr—. The
minUiuritt paid treat atieailon lo the ptychoiocy of the maldent la lhe
Хосровун дофин
IV «Хамел*. XVI оернн 70-чи иллорп. Хорасом.
КДК. Дорн 341. В. 90.
Хоере»» игамап оллу|»»А»*А»" сонра. »»* гамма
Ш*РУ|а и«.|,\5,| Шарика алиалма) и<та|ар. Ширан она (ллаидан
раиачыг аерир, л«>« оиуи lUpuiHrua. Акр гыра laapr.op tojyp.
Ширкпии i>k.<>a ало Шир»|» агасыаи гаптоипли дрфа M.iparu-
«■ ЛУ*0ллар. Миииапрл» (Мирим Оавада «лмигла. до«п мора-
■ иыиада ainiwpaa <'.\>илариа Xocputyit таОуту г<>)> м1ч«г гар-
даО»]з |а>иилаи»мпгы пкаар еднлмащдар
Похороны Хосропа
50 „Хамсе", 70-е годы XVI и. Хорасан. ГПБ.
Дорн 341. л. 90.
•Iw.tr iipr.iairiiXHini. убаПегаа Xuepona иниубиПц» Illa-
руйг иастичпп» премию ■■■.■■.мп. Ширин. 1а rm аила jari
гм» rot taruv. ■>• ciiaai wprt ним pa | рс.юинН. Illnptnr uu ipHu>-
■акт» Ширин усграавыг питинг 1югрКиииг <■■■*■ и они. На ми-
ниапорс п»<|6р>ж<и Чомепт. »« и иохирианаа приисгсии с Ши
рни праЛ.шлИ|са к осип,. к» га аноса! iv.in Хмроаа
Khosrow'.» Burial
No 50, »KhamM» (he 1U' of (he XVI century
SPl.. Oom 341. Г W
HnlHjj irrarlMriMrsI, a»a»lr»»t<4 hhwa talbrr. SMrura pvrii-
Minll) attrntpo to u«n Shirin. Shlria pretend. ta ronunl Hi hit propo
sal. hut rm чипе caadltlaet. Uni .hr male. him arrantr ■ rich (uarral
«tmnoay.
Iha miaiatatr di.pl>). Shlria and other participant. of Ihr fane*
ral approaching Ihr thdnr built lot Kbetran
Ширинки «муку олдурмося
51 -Хомс о». I4H1 1482-мн иллор Ьернт. КАК.
Дори 3.« В 92
Хосрову 1UI1KIN »сдургдувдли совра Ширу)? ивадла
Шаряпя »л» алмаг игта|ир. Ширив «та гатилявэ |алаад«н ра-
1ЫЛЫГ атрэрак. оиув еаршысыиа вар сыра парт лар rojyp: Хос-
риала вислы tup ее) tuba идилыа.игдир: сара)ы |апдырылмасы.
аты Шобле i «сдуру сналидир. Хоеров давдово «ла дофа »дял-
ыилидяр. Хоеров уи чаиамси сардавт)* го]уллугдаа сонра. Ша
рив и чара даавл осув. оиуи гаоыеыиы 0агла|ыр Соври Севан-
лпсаваа чоаахосна» гу-чагла|ара> нэуау жмчарлв «лдурур.
Самоубнйстао Ширни
Я ..Хамсе". 14$|-14$2гг Герат ГПБ. Дорн
338. .1.92.
Поест свийс1ва Хоеров* Шнруйе иастоАчнао ссртмнссм
ов свате» Ширин Она пршаорно соглашаесся. но ctaant условие.
ч!оЛы он сначала уничюжн i все. чго саауано с Xсхроном; сжег
'•о taope*. евнл ею |и>бимо|о нома, ycipoui пышны* похороны
oiui Кос >а tr.it> Хосроас hhocui в силен. Ширни входш суда. >а-
>.рыааг1 и собой |всрн и, сбоив te.to своею noi.itoA iciihiiio, >*-
ЛЕЙЛИ
и
МЕДЖНУН
LEII.I
AND
MA.INI N
Ле|лм яа Мэчвуи мэдрясэда
52 -Хамса». 1482-чн ил. Верят. КДК, Дорн 338.
В108
53 ■Хомса». I■1‘11-чн ил. Ширвз. КДК. ЗФС 83.
В123
54. -Хомсо», 1543-1544-чу иллпр Шираз.
ШНЛШ. Д-212. В 127
Амвралор гэба.иен еалвфжавп оглу Г«)г 10 |ашыаа
•ыт*а кама, «таем oav моагэ&а каадарвр. Гс|сл» е)вв ммеобдв
Оар веча оелав в» гы> ожу|ур. Комл Ле|*в де буаларыа арасыв-
Мдмр Ге|с ва Ле|лв вар-Авраиа ме|л сажыП ceaamaputp
Тежлмкл.». ааа «аила варила aatep hap |ера |а)ышр
МайоЛвэтдаа вашыиы мчирыаш Гг)ги Ь.ии .Maawraa
А*|а чагырыр.
МеЛЖИуИ • Клебс
55 Хамсе”. м-«- Ширак ГПБ. Дор». 1J7
т ЦИ.
56 .Хамсе", IMXt Бухара ГПБ. ПНС 66. t 56
П р»)|>»> t Лмм> состава» Х1«уа>в«ва < каждым ламм
.\yuua.tra Ьмм «<>>ьав в» Л < >«•». ока ano Ma.iam.na
а М.аьу Он напав inai >ы«а чтбы lol проса ■ «(Паа wans hi
>H>f».aai»<> «•«•ж м<ан« II» боумян рмемавашись, М» »«■■)■ па
aauaai •«■■■«Ik бен» a tow. bihIIm »■ «ии jcb.ib. ..<> ibcAimi. в
,1.0 1В
Па >а. вешним» <п im4p«
> а |учаи lUatnauwi На живи*
‘ */ i • •
»• и •
Majnun It C hained
No 4 1432 Herat. SI’I Dorn 338.
Г 114
Mir* *la llip In Meat* Мг|пин a Barilla egg'aariea When Ma
•*«•»• lk«l I till la «unite I* amiihaa наг* hr really r*' «aril I Ma
alrlr dH»*a Irill I.. 4<%pria I a.II a talhra 4ача4еа !• aaaialee Mrpaua
Majaan'y trlrllar* lraiain< arf If. <«aa4a In <ia< hi* h, pa(tt*t Maa lata
Дилончп гирыиын Мочауму Ле)лмипп г«иы-
сыва ашрИАГы
59. «Хомсо*. 1502-ии ил. Нерот. КДК. Дорк 339
WJ •Хом1.и>. 1539'!543-«у кллор IoOptu. Зон
Лои. Бритлин|л муэе)И, Ор. 2265, В 157
Рас Мир Ccjug Ялидир
Мвчвув ЛаЦавва )урду на »■*«> кмр*** |плда бар
ничиреа лавам аиараа уары|а рас* наквр Оадарнаа Оу |аш
•бе» о»уч )ам> аел» икхици <м« о евв Мачвув ирыаыа
•)«У мрыаа |ии***4 (аеаарыр в а. навара дмуивчавва 6«>)вуа
дав «яма <чпв бо|аува гагам •• «ау А*|епва чадмрыав
«ааргыа Ьував Т'УИ а л*|ар * Ьу а*даа алааа «а душен Вар
ауа. |алаы> гаааа овсуа млар ОугРутув». Гара* б* ваалаа рам»
< алыв«еваавр. Мачнуву >мчареа|вб Л*|лаава |«аыва «маршу
Сва дарнча мэрии Оу драматаш цап» расгам навари
дараа Ba)a<vaa «ад ива* вааарам фонуада «ермнидир. Ма
вааутр аавяаву <Мвасв гагара ба*ы*ла|ыр.
Wjk
i
Ле|ли рэфмгэлори ила баг,\в кэюркэи
67 «Хамса». 1401мм ил liepar Москм
ШХИДМ
68 «Хомса». 1502-чи ил hvpot. КДК. Дорн 339
69. «Хомса* 1541-1544 чу нллор Шир.»»
ШИЛШ. Д-212-
70. «Хомса», 157В-ЧИ ил Ьухара. КДК. ЗФС 272.
В. 91
71. «Хамса». XVI асрни 70 чи нлллри Хорасан
КДК. Дорн 341. В 117 6
>»»> Ае)л» гусе». »«Л*Р ««««л* р»фвл>л»рв «л*
6М1ыи>>р1мш^ M*4>>oirarai>«t всвр епавалляр
о. етгваа. ар>уларыаы рафа1«мраадэ» и>»»двр О •> ас-га)»
■и
■в |«»ВЫ| «вчавлврв аычикда|ыр Мвчвувув адм |адыаа д»
в. л^рацд»» ak ливр Ел» ftv мп |О|да Лар а»фир
Мачиувуи «агвадаа. дардвадав ла вы та» гамчв ram o«v|vp
;e-u>^Z
Ссикхлнлорни хурма блиида Мируту
М гХомсои. |.|7<1<«у нл lUnp.li КДК. Дорн И7
?*»
iXomi о-. 1482-чн ил lu-p.ii КДК Дори 3.38.
В !.’•
бвр аеч<» Лаг) ли а$аиав|| а-авидав чи>ыЛ »жл,мфии М«ч-
каву и омага Салама part аэлар. О. io«a«< uhiiu адар «в.
Моявуау вурма Uj'uiu «атарсаа Салам галавырыгы |гран«
|атарар аа геавауилэриаа анрушуиу евшлил гдар. Мааниуну
апрма* а* оа.м |гаа а.амллиравв uaawnaan I'M» Лс|лв in)ан
catyUMvaa |epo в.алаар Ма*аа>и да о> муим)Напчнларн а^шаи
Ьг-|ааилари Парлаада алру<п Крана (аУлуаиыр. Гыа Моннуидаи
Оар аадар арлчыда, оаауп и.>мрлараа.уан капар р-рди oayptp.
Лгрчаиаи tehninn н.\а Маннум «нм Дао иена а.аы.и а аал» nt»-
I»
СЕМЬ
КРАСАВИЦ
SEVEN
BEAl'TIES
bobpuM-Kvp OB ММ411Ы
Bl. «Хомен-. 1191-чн мл Hliipti.v Москап.
ШХИДМ. К 155
82 «Хомса*. XVI осрнк 70-чм мллорн. Хорасан.
КАК. Дорн 341. В. 169
83 «Хомса*. И>38-чы ил Ясфа1ии Бпкы. РЭФ.
М-207. В. 53 б
Б**,Г“м Бала «»■< |ажирывд|1е ы»пп аур ооханагы
■ оамдмгыклаа • Ьокрам-Кур* лагэба дашы|ыр.
О» ыхыим О, О|уа л«р шарив аур ивладыгыаы алрур.
Лар ana Ь«|ывы Лар ох_уа »урув |ера <»рар. Байрам ох у ГУО
*1мр аа. о. вар *уа ауру дох spun шаадмаадва Jepo амла)ар
Бакракыи бу офсааааа ккадхв|апв усталар, »р Вуаарла
up Хааорнагна дпаарлл рында тэсвар гда piар
Bahram-Gur on Hunt
No «I >>Kh.iint»u« 1491. Shiraz Moscow. SMOA.
f. 155
No. 82. "Khams-j» the 70-* of the XVI century
Khorasan SPL, Dorn 341. L. 169.
No 83 »Khamsa>< 1636 Isfahan. Baku. RMF.
M-207. f. 53 b
la falx yoolh Bahtani liked lo hUBT -lid doekrye (for). Ibtcrfurr
hr tot ihr wkkaamr of -Rihram-tur-
One dax «bile hunting he taw в bate Боа xptleglng м a gar. and
with nor anna M killed bo<h aalnulx. Hr allot Ihr arrow wlih a
Mt 10(1 h that It pkrerd ihr l«u aaiaaalx and paxned Into ihr earth. fhlx
legrwdiry bntrarxy of itxhram ••• cagra>rd oa ihr eatlx o( Khaiainag
by good ami xkllilul maitrtv
БоЬрамКур O*AjIu«U OAAYPYP
84 >X«jmco«. XVI ucp Бухара. Баки. РУФ.
M4S6, В 132 О
’.la.npna овраа.м <■• мчана* аииачадаа »»ыл
Ор ауру гоаув оау аурам! аетэ|ар. Ла*М ЬоЬрам куруа
ардыааа аоЬууа а. арча маг. орал» Ол|уа tuuaaaa !»ру|*а
ааЬлаа aa.y»h«J« расу калар.
!-*!“• аадаЬа auo aypvuiapii оау «.лгрур а» имаар
• aha Л илур Kawaa маааааа J00 дааа лшы|ыр.
K9
aunii окууу гал,\ири4<и
40. «Хомса*. 1508-чи ил Шираз. КДК. Дорк
ИО. Л 14.1
91 "Хомса» |Ь411-чиил Бухлра, КДК. ЗФ<'lib.
Л. 132-
92 «XoMroi*. 1Ь.ТЪ-чы кд ИсфлЬли. Баки. РЭФ,
М-207 В 65 о
Ь«р куп ое мины <ор«ми* Ь-Лрены е> lacpaoo давит
сдяр Уча гвлааыа тишхаадэ niaba дабдоЛ.»» >е|афл аграр
ItLab ]ашм аетесышы кежаа гом сорВтаадм бу алтмыа оаала-
■■ аеча дыриатдуаемам >»&»р алыр. Fa <а1>аба яаааб ас pop ко.
» бу оу а обдасаадае бортиЬэр аалар. Гараба бураееадыр аа.
«дтаф бар ГЫ1 бу игмиа вачиа у<ы а|ыаа ча)ааада окуу
бар аафиса чыаыр Гы» «aha •> мабарауааа ааеуардвадан
спора. о де)ар и. бу. адкдар. am куче» Одна гда да)а* Ояда
rwi г«)ла)ар «Гарабрдар чо»1 Оау» адвгдодяр. аур аурмака
|о>1« lllah ГМ1МВ аарда)а чаыбдав. аа гада оеумуаа Саве Одду
ау Фаеаааа тааы|ыр.
X
U>k|iuM |г^уя неталая |«вмаа Оу еа|да,ул маляр: Ояряяям
«ум тонвалом (Umunup О, ЛуПал улдуку **J алоеодвр во rape
рэявлл НамаЬаИксдмр. Iioumh «ум |>аЬ|ыы гора лявасда гара
ИаЬеаяк Hula ihr «е»еп mu Idem (в Ihlt way: liar flnl «НИ Ьерав
м Saturday it 1« < V day of Saturn and lit calnur I» dark. Ihh day Ba-
beam drrttrt dark cl-alb. pet la IV dark dumrd-rooan. la IV Indlaa
pekoertt who ertrIK him ahwal a thah't lane udtralorm.
On Sanday he sure la IV yelUw мая, tn the реШсгм al Ny-
rantlne.
I >n Munday IO iV (eeeaiМоав) loom let IV prlocrtt of Xtkoeeem
On loreday to IV red room (Mart) Io eV Slatith prlncrtv
^O" Wadaanday la iV ueiqaoite loam (Mercury) to the priaent of
100
1QI 102
Muhini гил
*
104- "Хамки. Нилами 1ШВ-чн ил. Бухирл
ЬДК hi. и н>ь
104
БдИрдм-Кур «а чобан
106
ИСКЭНДЭРНАМЭ
ИСКЕНДЕРНАМЕ
ISKANDER - NAM ЕН
Корла Искондарин глпмлиясы
107 ИскОНДГфНпмн*. XVI дерни 60—70 мн ил
*йр« ИсфаКян. КДК Дорн 144 В >0
10К -Хомсл.. НЧЙ мн ил Бухара. КДК JOK
108
Исклмдорип rym фалы ачмасы
10*1 «Хамса», 164Й-ЧИ пл. Бухлрл. КДК. .)ФС Ы»
Иран у-ырва» h.tftOa |урушлап гоЛаг Иехлядор »*Л«М «Л»
»а нор*. гуш фалы ачмлгы refwpa алыр. Дагиры. чочлор» в»
ирная «ароыиии «х» ■«*.«■« Х*Р¥Р Яувларыя Лярва» О1 алы-
яа. о вяраеапа яса Дараныв адыва чыаыр lUab птоирын
да)тпуву re|.*a а>и|ир. oava Оохтнва чми> кмдиа. оауя
гал»|в плав *алдя|а ыыая сеаиавр ва rapt а л камне жэкли|я»
Смтыпы улдухдо. " Годар Л» аодарлмамвр.
109
Игкондорин эппчклорла «урушмдсы
Ни -Х.»Ч1Ч». XVI .крин 70 чи иллмрн Х«цм-
“i" КДК, Дорн 341, В 242.
Ни иммр д»|М. >|<ашад.|рия Ьирби меисави МПЧШЛЭр га
родарн.п iatiamiip yiopau.i (уруаядои <ипч>ир Ланаи бу |у-
Рутлм и.гсол Масара охл нсчирио* л*|ал_ Масиржи |грла
сними хера о> иума)оададорияи олиаа гмлаж гумит иачялар
дим яялас с-тмм учур Исноидарам |ааыва аоаЛФрар дар Uy Ьар-
Ла 1УРУи»Л»ж мясад астат мар окунай хама аоман гтмэкдар.
Л,мм||-|.>икара гаршы Оу чат а а чуЪлрибад,» •»• мудрая шара
аал мот vahara аи Нсаопдор Нарви ha).ya|a ад атыр о atyaiy
'»АДар лу>м|с|оа ними га кома аерор
ЬехахимлА Иснмндар душмапхари арасыи» горху. мхаа-
хл САхыр «а ■>■ до|ушчухириаии Ьа|атыны XHAJC одир
rm
Iskander lighix against Negroes
‘raSar afra.i'
N
No 110. ••Khjmsjo the 70" of the XVI ceniury.
SPL. Dorn Ml. I. .’42 ■
.4 И
According 19 Strarnl. Ixlanilar'x niw ax * CMyorter brgin.
-ИН blx agataxl iha 4aiL.-xk(«nnJ wager. Ilut «От porpr.w of |hb
■ ar нах not 10 Uiadr I gypt. Ihr local lahabitjHt. of Egypt cent tbcir
«prcrouii.r lo fxk.nder ,0 ,„t ifcTB, from thaw xa.ugcx Ihc aim of
Ibix military niarth h Io help ihr exploited penplr. Hr pl»)’ a military
Hick at hit "Im ’leirr'a ad<lxr -hlle fighting the caanlbalx: hr ghes
hlwMlf oof la be I be <мх| cruel ogre
Hiuk l.haadar «prrada fright and panic’ aaoong fit* enemy and re-
’«-» hl» troop. At thr мам Him hr dixplatx a ttxalchlesx braier) and
courogt Io .ingle combat «lih the Iradrr of ihr negrnea and other гост)
athlete.
WJ л яг
■
*w л 'ЛЖТ-'Ь*.
no
Искондорни rUinyuAdpM дО|уш ор;ир;кипда
Hi -Хамел» XVI acpnii 70-ми иллори. Хора-
tan КДК Ml В 247
И|ыи иыНинамПы Дара х»|ы« м-|>амядм Имей*» reaanui
11|ьанд»рин |»яыва и» лдаиаарипы нандарир Неаоадор пом-
•»»» >о|ыч ве-рма|ач1>|ипя еа)«а|вр ы Л»пун ыуНарива нда
т>гпч»лааач»|ппа «ам1мв <п*уа гли«а|ыр па ч<аенп Норби
|Ypyu>a Гы nap croup
Шмидл» «а аланда Жкорлор, ппсарыи арисыпча ■<«
A"IY<a анарыяда nrvpMVM о.«лор и ва)раглы еугмрилэр tacaap
О.»*ИМ*и1Д)Р.
Дарам мн «луму
| 12 "ИсАОМДПрНОМО- XVI верни 70-чи иллори,
Псфойдн. КДК. Дорн 344, В. 35.
ktantfar rrtnaed <0 pl) like* I» Iranian «hah Ы «hah* Dara ahii
MBl III* men I» him Ickaodai made him know lhai he an hoi xuiog lu
•bay hh «III. therefore bejjan Io аемгнМе ан arm)
I be miniature deacrlbn «arrloe* un the forrt-r.Md, and folh-inx
them are hortemen nltli liuarn eg Ibatr hand»
Dara'x Uculh
No 112. -hkandiir-N.imcliM, the 7tr- nl the XV|
century l«fnhao Dorn SI'L. 344. I 35
l>art«x hl« lint lira», halite in Miauil lm> tianua arm, trader*
come I>| l.kandar anil wUnl hill their «halt for rmard. AfraM uf bei*z
defeated likanilai content»
Dara happen» «1 remain «ham in Ihr haille-flrld, the inn Italion
bill him irracha leant) and burr. Hi I «Under fol re>ard. I hl* miHlaliirr
lllutiraln lhe lolloniug свирке
нАа it a tree fell demn in lhe gardrn 10 Kaiiaa
Illa nonadad bud, became redden.d liy l.l~-d-
117
Нскоидар Ч.1Н корой Доронмн биты умрмндэ
113 «Хомсо» 1543- 1$44-чу иллор. Ширах
ШИЛШ Д-213
114 115 ■>!<кондорнами- XVI зерни ы»
70-яи н.\л»ри ИсфиЬди. КДК. Дорн. 144, дмтих
В 256—26а
Маипчк ДЖ)уагуа «едптапди ч»р*зрл*лор <•> таЬллричы
(«■■чае вал • ЛЛУР) б Исаапдордоа му ««фаг «мига галасарлар.
О гатадкара аутуб сажиыагы жмр едар. аэу а«а алумчул |«-
ра.шамы<а Дарааыа |апыаа «алар
<Ъм> шаймп г «лаб ||<*аадор«е <ah6ata погшвип аа дра-
мапга •■ tocapia Оплмалараадэа барадар
113
Искаидорни llp«in дташкалэлормни дигытмдсы
<1ь 4(<*к.»нд.1|1>|1)ы • 1418 ин нл 1мкы. РаФ
М S35
ДараМ гада* влчуввллв м Ирин васт-твчыпа саВиК асов
лав совра. Itraaaxagc эв aaaas амр едвр аа. адамлар аеэатв
раплаадаа у» депдарсавАЭр. О. апмаалдалара дагъпыага. ыуе
tapwa гиравтаик. иоахна ага |аадмрмага фарвааи м*рар
.Ира ада .пара) sa спаду Ьвр )*рда. Ьам aabaa >ардуштл>«. Ь»ы
агаагаала- Ьу мввваеурда агашжадаава г (емка тогварв аервл
маж, пака фоаувла аса walU.su дагыдаа да|упчу фагурчары
аа девала rusus в) «чага г Утав дав чммуаг ы>| тасавр вдвд.
116
Мгкиид.урлл Ttrjy
117 -XoMr — 157Н-ЧН ид. Бухвр*. КДК. 2ФС
772. Н 202
Д«(М)4 голаА волан ла Ираа тагг-тачыви |B|t>auuua И<
«.«U.SUP аллод* г*|Д* глвуну Лоров гдвр во шаЬыи »oca||otaan
•мл* едоро* Oliva нош р*лп|«ао|а <алыр.
Саре) и|лв<4ри гоатовалв то) морагикв пмашал тдирлор,
.ДавдаПи. шпвкат.уаи «чамутду bop |аа. аграфа <ии ar pop м-
о>у|аи. Го)д*п гоира Испапдор Игголрдо мт отурур
•о «МП врвадывы ;*p.tcry ало Порч вада JywaBMc-raBa пои
Дорнр.
I IvKClt.'iCp у онисльннкм
Tfct «Hib buttle against the HuvttaoT n»« ih« heaviest and Moo-
dlctt. A terrible dragon appears In the battle-field and nobody lx able to
»in osw him. Suddenly ин iiahnonii youog Woman warrior aitackx the
dragon. After a lo«u fight the drugon 01 cribrow» the warrior down from
lite «addle, hi» helmet drop» dona from lire head and hkander see» that
this К the maid .servant prevented to him by the Chine»* Ithaca*, who
alw «ПЧ dhtlngulihcd In the previous luulev
126
Игклмдвр «ла чоЛдпми Л4ГТЛИЫ
127 «Хомса* 1441-ми ил Шираз, КДК. ЗФС
83 в 327
128 «Хамса* 1543-15-Мчу нллар Шираз.
ШИЛШ. Л-212.
Спмавсв ааста»авдм|а у «у а Исаавдараа |ааы гарадыр.
Кадорвва аовмаг учув о. *!*«■• «ииаб «nvtapa г«|р <->да)а
аааа аачува aaeanat Лар чобаа ворувур Исаавдор oav еа )«•
выше чагмредырыр во оадаа Лар сэраувэшт дааыамаемвы и-
ham «дар. Гоча. шаЛмда «а овна даа-то сеаааласв hanыада
Ьеи|атааа гураарав аммв. И>кондора набор во.мгр «в. |ары
шофа талый саеалмышдыр
« 1 ;■■^Xd . J
Исксидср на охоте
132. .Хамсе". 70-е годы XVI п Хорасан ГИБ,
Дорн 341. .1 282.
Во время «.Hire iMKMO iiovo ia BiMicKo и п-1 ilocrn.icp часго
■ аа><«11И(ь опций. Минна гифа 1-е (aaiaiia с aiaaw-.iafin КОИ-
ирс1ны<1 iHKpirypaMM >ин|<1 io'», ■■■» bikiii ане to irKopaiuaiiuu
чаракыр и ива .1 га украшения men
l*kandar on Hunting
132
No. 132. »Khamsa«, lhe 70- of lhe XVI century
Khorasan. SPL Dorn 341. Г. 282
Oarlag lih Ions March Io Kboniia likindar >4 Ы» nitrlocy те
гу often go buailag. Ihit aaWblarc la not conoeeled with a detlnile Шо
йгу «plvide Да IB ladependent mUiaiure Il la • btotulely deconlhe
rod hit beta pilolrd lo decorate lhe page
Itkandiir on Hunting
No. 133 13-1 -■hkandar-Nunich». the 7o- <>| the
XVI century. Wuhan. SPL. Dorn 344. Г 96b, 97a.
Iblt doable miniature la Ml «weeded with lhe pt»1 ,,r '*» P***1" *'
la a <*li|ely Ir adl<i«-aal linatlnu terne of a prince I he «bale dyplych and
Ila petit may ten» at IB lllmlralion in lay line Ыне, at hlalorical aaik
Ibe Ian petit of lhe dyplyth Сию Ian indrpradiai lomplHe compmltl-
unt, btel allll there It an amariig irlalloa belaeea llieni < eiinpleliag
rath other they retell a -He paaalima of thali't haniiac vent
а------------ т —
Ископлэряп су пормлори яла растли шипсы
I.1S ■Хамса». Н'Н чи пл Шири* КДК. ЗФС
«1 В. 357
На» «агапы Исп»а»д.»ри О аорилораао» чыалигы сеЬрла
саЬиладм агурур
Спара Нсаокдар о,у roaoyacv». банан )ара аолаб орал»
бар ж<|м» гурур. Ь» дом Лар-барана» дллыачг даааждаа чыали
бар ласт» а»мл марана в»рур. Корур на. >tapaaa o>v|»p н»<>а>
ала онлнр бар i агд». аагнида банам ааиот аар. |Коруаур.
Намма)» иаларыи ааааоанын мабогднчп «агара Ьапында
ром)» на ЛУМ aeJatMami
Гоша мхинатурл;»р-фр<>ип1спислар
137 - 138 <Иекокд.|р>1алк1> XVI осрпи <>U
70-мн ИАЛирм КАК. Дори 144. Н 16 2а
139—140 >Хомса* 1578-ми ил Бухара. КДК,
J«DC 272. В 26 1.1
Ilitpiiiccino
ДниИИЫе МИНИН 1Н|>|.1 — ф|а<И<1НСННС1.1
|Ц ..ILxfH КРН4МС.Л11 7||.а- сл.м XVI П Ис.
•|UI.III ПИ,. Дорн 144 I In 2д
|V> 140 .Xjmcc- I57#i Бухирл ПИ» ИНС 272.
• 2Л U
A Pent Scene
Double minlatMich - frunlltplcee*
No in |1H ulUtMndjr-Niimehia, lhe 60—7№k of
the XV| century kfnliun S 1’1 . Dorn «44. Г lb 2a.
No 139 Nil ■■Khunttuu 157# Buklmru SI’L.
NI’V 272 f 21» la
Б II б Л н О г |J d ф II J й Библиография
\jj.i Oglu м The «Минго» wj Meredith-Owens — Persian Illustrated шхидм - lll.'ipi Хнлглары Ин SPI State Public l.ibrart
Shinn- Manuscript Manuscripts in the
in the Freer Gallery British Museum I Leningrad I
Муэи)м
• Ar- l*lamic.i«. London. 1965
IV. I‘>37. SMOA State Museum ut
Rice D.T. КДК Ленинград М I
pp 4'U 4X1. - Islamic Art. Orient.il An
Салтыков Щедрин ! Moscow)
London. I‘>65.
The Islamic Painting. ■>дици Ку глипн
\<b/ns A Mimni BlOChet F Доил.и Kiiniiixamir ы
Л survey. Edinburgh. IOS Institute of Oriental
The < hestcr Beatty 1971
I ihr.iry A Catalogue ЗФС — Ji-ии <|мрс сери рем Studies 11 cnmgrudi
of the Persian ШИЛШ lUtipnitviidCAiai Hiu
Robinson B. W Persian Miniatures. NPV New Persian Version
Manuscript* and гитутунун Ленин
Oxford, 1957.
Miniature*. Vol град ию'бисн
A Descriptive
I III. Dublin. Doni - IL Dorn Catalogue
Catalogue of the —Республика ол|езм1> des Manuscrits ct
1959- |<J62. Persian Paintings РЭФ
лары фонду Xulugiaphes
in the Bodleian
Orientaux de la
Arnold Г W Painting in Islam. Library. Bibliothequc
DOPH —Catalogue des Manu-
Oxford I‘>28; 2 cd Oxford. 1958: impcriale de
scriCs et Xy log raphes
New York. 1965 Persian Miniature St. Petersburg 1852
Orlenlaux de la Bib-
Paintings from
Uotheyuc Jmperiale
Collections in the
Htnyon L The Poem* of de St Petersburg RM I’ - Republican
British Isles.
Nizami >052 manuscripts fund
London. 1967.
London. 1928 of Academy of
Robinson B., Grube E.. Meredith-Owens.. Sciences of the
Dlmand M.S Handbook of Skelton R - The Keir Collection. Azerbaijan SSR
Muhammadan An. Islamic Painting
New York. 1958. and Arts of the ГПБ — Государственная
Book. London, 1976 Пуоличная
Cjrav В La pcinture Persanc. библиотека им.
••Skiiu”. Sakisian A. -La miniature persanc М. Е. Салтыкова-
Geneve. 1961 du - XII au Щедрина
XVII мсек. и Ленинграде
Paris-Bruxelles.
Grube I: > The World of Islam. 1928.
London. 1967 Дори — В. Dorn Catalogue
des Manuscrits cl
Sctulz Ph. W. Die Xulographcs
Guest G l> Shiraz Painting Pcrsisch-lslamiscbc Orientaux de la
in the Sixteenth miniatur-malcrci. Bibliothcquc
< entury Bd. I -II Imperials de
Washington. 1949. Leipzig. 1914. St. Petersburg. 1982.
A Survey of Persian Art From Prehistone
KuhneJ L Minuturm.ilerei Times to the Present. Ed. A. U. Pope, .ПОИВ — Левнш ралскос
im tslamischcn отделение
Orient. Berlin, 1922. London-New York, 1939. 2 cd. Tokyo, Института
Dogu Islam 1960-1969. nOCtOKOlIC.JCtlHM
mcmlcketlcrrndc Stchoukinc I. - Les pcinturcs des Академии наук
mmvjtur, manuscripts Safavis СССР
Ankara, 1952. de 1502 a 1587
Paris, 1959; гминв — Государственный
M.incju G Vcvcr H музей искусства
Miniatures Persane* Les puintures des народов Востока
Paris 1913 manuscripts de п Москве
Shah Abbas I"a
la fin des Safavis.
Martin F R The Miniatures Paris. 1964.
пне — Персидская новая
Painting and серия
Painters of Persia, Zaki M. H - Titrih-e sanaje-e
India and Turkey РРФ — Республиканский
Iran bad az Islam.
from the X” to the рукописный фонд
Tehran, 1320(1942)
I8,bcenturv Академии наук
Vo). I II. Yetkin S. К - Islam Sanati Tarihi. Азербайджанской
London. 1912. Ankara, 1954. ССР
Редактор имательства
Ажлар Ханбабаев
Художественный редактор
Эхгнрам Лазымов
Технический редактор
Сима Багирова