The text on this folio pertains to the hoopoe's speech in which he proposes that the birds set out on a journey to find the Simurgh. In this illustration, the birds have assembled and listen to the hoopoe at the middle right.
Sadequain (1930 – 1987) received international acclaim during the early 1960s, when he was recognized as the “Laureate Binnale de Paris” in 1961, and also chosen to illustrate the novel, titled The Stranger, written by Nobel Laureate Albert Camus in 1964. He received widely positive coverage in the media in Europe and the USA and he was compared to Picasso in the French press when living in Paris during the 1960s. Later, during 1974 and 1975, Sadequain had highly successful exhibition tours of the Middle East and Eastern Europe. Sadequain is practically a household name in his native Pakistan, but since his last exhibition tours, he has become virtually unknown in the Western world.
....includes in the collection, an important edition of Ibn Bakhtishu’s “Uses of Animals,” and one of only two known illustrated lives of the poet Rumi — and its history ...
Laila and Majnun at School: Page from the Khamsa of Nizami (Quintet of Nizami) (1994.232.4) | The Metropolitan Museum of Art
Ink, opaque watercolors, and gold on paper
Artist: possibly Mir Khalil; calligrapher: Ja'far
This splendid painting is from a manuscript of the frequently illustrated story of Laila and Majnun by the twelfth-century Persian poet Nizami of Ganja (a city in the present-day Republic of Azerbaijan). It was commissioned by the Timurid prince Baysunghur of Herat, one of the greatest bibliophiles in all Islamic history, who gathered at his court the very best painters from Baghdad, Tabriz, Shiraz, and Samarkand to illustrate his matchless collection of books. The illustration depicts Qais, the future "mad one" (Majnun) for love, and Laila, his beloved, who meet for the first time as children at a mosque school. Laila and Majnun at School: Page from the Khamsa of Nizami (Quintet of Nizami) (1994.232.4) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art
Sultan Muhammad Nur: The Night Journey of Muhammad on His Steed, Buraq (1974.294.2) | The Metropolitan Museum of Art
Colors, ink, and gold on paper
The heavenly journey of the Prophet forms a centerpiece of Muslim piety. Persian poets from the thirteenth century onward prefaced their epics with a colorful description of the micraj, the heavenly journey that brought the Prophet into the immediate presence of God. This miniature is particularly interesting as the Prophet is shown with his face unveiled, riding on the mysterious mount Buraq. Later pictures of Muhammad generally show him with a veil covering his face, and in more recent times even his entire body is usually symbolized by a white cloud or a rose.
Sultan Muhammad Nur: The Night Journey of Muhammad on His Steed, Buraq (1974.294.2) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art:
Alla’ma bil Qalam
Alla’ma bil Qalam is title of the Exhibition of Arabic/Quranic calligraphy being organized by the Consulate General of Pakistan from 1-4 October 2011 at Sheraton Ball Room, Jeddah. The work of Pakistan’s award winning calligraphers will be displayed in the Exhibition. The work of the current Chief Khattat of Masjid Al Nabvi Al Sharif, Mr. Shafiq uzzaman Khan and former Naqqash of Masjid Al Nabvi Al Sharif, Mr. Asghar Ali will be among the exhibits. The exhibits will be in Khat Kufi, Deewani, Thulth, Naskh and Nastaleeq.
“Visual Poetry: Beautiful Calligraphy” incorporates some of Hamid Ajami’s most recent, striking works. As a Leading pioneer in Calligraphy, Hamid Ajami, pursued this sacred art form from the age of 15, has founded an innovative new style of Persian Calligraphy: “Moala” – a transformative process that has occurred for the first time in 200 years in Iran’s history of Calligraphy.
Hamid Ajami was born in 1962 in a traditional family in Tehran. His late father, Mr. Hedayatollah, a respectful poet and a prestiged calligrapher, was his first instructor. Hamid Ajami started his serious activities with Iran’s Calligraphy Association in 1978, to get familiar with principles and regulations of academic calligraphy.