1152:
accomplishment of many a "mission-impossible" but especially concerning the nature of his career. In Iran he rose from the stature of a damned evil conqueror of the country, to that of a national
Iranian hero king, and even more, to that of the great prophet of God, preparing all the nations for the true religion. Yet the Persian legend of Alexander is very little known in the Western world."" pp 13: "Nizami was a typical product of the Iranian culture. He created a bridge between Islamic Iran and pre-Islamic Iran and also between Iran and the whole ancient world. His great humanism, strong character, sensibility, drama, colorful description of nature, rich language, and the poetic genius created a new standard of literary achievements and captured the imagination of countless imitators". pg 17: "In the case of previous romances of Khosraw and Bahram, Nizami dealt with national Iranian heroes, though from pre-Islamic times. In the tale of Layla and Majnun, the Arab nationality of the lover is of no importance since the story is based on a simple Arab folktale which was later absorbed and embellished by the Persians". pp 19: "Alexander was glorified by a small minority of the Muslims as a divine agent, a prophet-king and the blessed conqueror of the lands that were to become the stronghold of Islam. To some Muslims, Islam was a realization of Alexander's "koine" --- a commonwealth where people could live in harmony and in peace of heart and mind. In this atmosphere attempts were made to make out of Alexander not only a Muslim but a Persian as well". pg 21: "However, it was not Tabari directly, but Ferdowsi who was Nizami's source of inspiration and material in composing Iskandarnameh. Nizami constantly alludes to the Shahnameh in his writing, especially in the prologue to the Iskandarnameh. It seems that he was always fascinated by the work of Firdawsi and made it a goal of his life to write an heroic epic of the same stature. pg22: "It seems that Nezami's favorite pastime was reading Firdawsi's monumental epic Shahnameh (The book of Kings)". pg 22: "In fact, although Alexander conquered Iran, he was soon conquered by Persian customs and ways of life. In many aspects he was so overwhelmed by Persian civilization that he became more Persian than the Persians. He tried to make a blend of the Greek and Persian civilization."
255:
2750:
474:
883:
282:
957:
837:
Farhad's intentions and sends the messenger with the false news. However, in
Dihlavi's version, Khusrau is unsure of Farhad's love and visits him while disguised as a shepherd. Only after the visit does Khusrau send the false news of Shirin's death. In the illustration of this scene, there are similarities between the Persian illustration of Dihlavi's version and Nizami's illustrations. Dihlavi's illustration shows Khusrau dressed in a bonnet and with a walking stick. The structure of this scene is very comparable to Nizami's. Khusrau is in such a similar outfit and position as that of the messenger in Nizami's illustration that one could mistake him for a messenger.
833:
Persian illustration, headdress, orange robe, and blue gown, is also present in the Mughal illustration. However, it is not Shirin that dons this outfit, but rather her attendant that does. The similarity in details between the Mughal and
Persian copies gives insight into the kind of access that the Mughal painters had to the Persian illustration. Such specific details regarding Shirin's outfit could not have been passed between artists via verbal communication. Thus, it is possible that the Mughal artists were able to view the Persian illustrations in a library before starting their own adaptations.
1129:(Siirt) is an anonymously authored historiographical text written by the Nestorian Church in Persia and the Middle East, possibly as early as the 9th century AD. The text deals with ecclesiastical, social, and political issues of the Christian church giving a history of its leaders and notable members. LVIII. – History of Khosrau Parvez, son of Hormizd "Khosrau, by gratitude for Maurice, ordered to rebuild churches and to honor the Christians. He built himself two churches for Marie (Maryam) and a large church and a castle in the country of Beth Lashpar for his wife Shirin, the Aramean." (
841:
240:
768:
977:
940:, comes from an unknown artist from the 18th century. Khosrow is in his princely attire, rather than in disguise, and Shīrīn's horse is silver and brown, instead of black (figure 6) . These deviations from Nizami's text are all perpetuations of previous miniatures. However, the painter of this miniature decided to add three extra people to the scene, disrupting the intimacy between the two lovers in the text. Although the lack of perspective in the illustration is a sign of Persian miniature art style, the muted colors, use of
2764:
906:, by Shaikh Zada is from 1524 CE (figure 4). Made in present day Afghanistan, its materials include watercolor, ink, and gold on paper. Shīrīn is alone aside from her horse while Khusrau has his hand raised to his mouth. Her clothes are left hanging on a tree branch. Art historian, Abolala Soudavar, believes that Khusrau is actually a portrait of Hosayn Khān, the patron of the manuscript for which this illustration was produced. In this illustration, Shīrīn is shown bathing in a stream rather than a river.
1598:
1575:
1552:
1457:
1359:
752:
789:
1121:, written by a Syriac Christian from Khuzistan (Beth Huzaye in Aramaic/Syriac) , probably in 680, is described as the Syriac counterpart of the Armenian work of Sebeos. We read about the relationship between the bishop Isho Yahb and the Persian king Khosrau II Parvez (590–628): "Isho Yahb was treated respectfully throughout his life, by the king himself and his two Christian wives Shirin the Aramean and Mary the Roman". (Theodor. Nöldeke:
913:, comes from an artist named Kamal from 1580 CE. It centralizes Shīrīn by not including Khosrow at all (figure 5). This stylistic choice reflected the common practice in the late 16th and 17th century to show Shīrīn alone. Its materials are similar to Murshid al-Shirazi's illustration and include watercolor, ink, and gold on paper. In this illustration, Shīrīn is preparing for a bath at a pond rather than a stream or river.
917:
3095:
809:
Furthermore, although not consistent throughout all the miniatures, this scene has demonstrations of perspective and shadowing. The right wall and roof of the palace is slightly darker than that of the left side wall, implying that light must be coming from the left side of the painting. This incorporation of realism is distinctly
Ottoman, with Persian art styles typically foregrounding idealism and romanticism.
44:
993:
color and dress. The use of color in this illustration is bountiful and not at all monochromatic. Shirin rides in on a dappled horse and instead of a headdress, she wears a golden crown. The milker, who is also present in this illustration, wears a cap instead of a turban. Shirin is depicted slightly slimmer in this version and seems to be looking above Farhad, rather than right at him.
953:
manuscript by
Dihlavi from 1524. In this version the color palette is dull and almost monochrome aside from a few colorful patches.Shirin rides visits Farhad on a black horse and wears a white headdress. The milker (Farhad was creating a channel of milk to Shirin's palace) wears a turban. Shirin is depicted with lush hair and a round face. She seems to be staring right at Farhad.
2757:
879:
tarnished to a dull grayish black, the water was originally a bright silver color. There is a sense of intimacy in this scene due to the languid way Shīrīn's clothes hang from the tree branch. The materials used, watercolor, ink, gold, and paper, were typical of
Persian illustrations. In this version, Murshid al-Shirazi decided to place Shīrīn in a river.
465:, Khosrow's son from his wife Mariam, is also in love with Shirin. Shiroyeh finally murders his father and sends a messenger to Shirin conveying that after one week, she would have to marry him. Shirin, in order to avoid marrying Shiroyeh, kills herself. Khosrow and Shirin were buried together in the same grave.
870:
There are a few common scenes from the epic love story that are chosen by artists to illustrate over and over. One particular scene is that of
Khosrow stumbling upon Shīrīn bathing. The variations in depictions of the same scene demonstrate influences of other art styles and stylistic choices of each
824:
was produced in Iran in the year 1599 CE. Mu'izz al-Din Husayn
Langari was the scribe that copied the manuscript. After the 16th century, it was widely copied and illustrated in Iran and India. One scene that was illustrated differently in Persia and India was that of Shirin visiting Farhad at work.
417:
On the way, he finds Shirin unclothed bathing and washing her flowing hair; Shirin also sees him; but since
Khosrow was traveling in peasant clothes, they do not recognize one another. Khosrow arrives in Armenia and is welcomed by Shamira - and he finds out that Shirin is in Mada'in. Again, Shapur is
742:
Hatifi's poem takes inspiration from Nazimi's story, but with some new scenes added in and some other scenes cut out. The illustrated copy of Hatifi's poem dates from the reign of the
Ottoman sultan Bayezid II, a celebrated patron of the arts. There are a total of 6 miniatures in the manuscript. The
588:
In 2011, the Iranian government's censors refused permission for a publishing house to reprint the centuries-old classic poem that had been a much-loved component of Persian literature for 831 years. While the Iranian Ministry of Culture and Islamic Guidance offered no immediate official explanation
585:: "The influence of the legend of Farhad is not limited to literature, but permeates the whole of Persian culture, including folklore and the fine arts. Farhad's helve supposedly grew into a tree with medicinal qualities, and there are popular laments for Farhad, especially among the Kurds (Mokri)."
434:
agrees to assist him against Bahrām Chobin on condition that he marry his daughter Mariam. Khosrow is also forced to promise not to marry any one else as long as Mariam is alive. Khosrow succeeds in defeating his enemy and reclaims his throne. Mariam, out of jealousy, keeps Khosrow away from Shirin.
992:
A depiction of the same scene, from the rare books department of the Free Library of Philadelphia, has the same overall structure as that of the Princeton illustration (figure 7). This illustration is from the early 1900s and was an imitation of a Safavid painting. However, there are differences in
828:
In the Persian depiction of Dihlavi's manuscript, Farhad wants Shirin to visit him but is simultaneously tormented by her visits due to his love for her. In the illustration, Farhad crouches on the left side of the illustration while Shirin is placed on the right side, riding in on her famous black
714:
with illustrations by Sūzī. Although Hatifi's plot does not closely follow Nizami's or Şeyhi's, the illustrations are typical of Nizami's story. Sūzī's depictions showcase a mixture of Persian and Ottoman artistic style. It is one of the few manuscripts that researchers are confident was made
836:
One scene that deviates from Nizami's story is that of Khusrau giving false news to Farhad. Khusrau hears of Farhad's love for Shirin and devises a plan to tell him that Shirin is dead. In both versions, this message causes Farhad to commit suicide. In Nizami's version, Khusrau already knows
952:
Another scene that is commonly illustrated is that of Shirin visiting Farhad in the mountains. As mentioned above, the scenes from Nizami and Dihlavi's stories were widely illustrated. One such illustration is located in the Princeton University Special Collections. This illustration is part of a
784:
Early Ottoman artistic influence is visible when looking at the illustrated miniatures. The manuscript starts with a double frontispiece (figure 1) that resembles the first pages in luxury Qur'ans produced at the time, albeit less elaborate. Within the bands, there are 8 medallions, each of which
832:
In the Mughal illustration, Shirin rides in on her black horse from the left side of the illustration while Farhad stands on the right side. Although different in structure, slight details remain the same between the Persian and Mughal illustrations. For example, the outfit Shirin wears in the
878:
The painting comes from calligrapher Murshid al-Shirazi from the mid-16th century (figure 3). Staying faithful to Nizami's text, her horse is black and she is unaccompanied. In this depiction, Khusraw has a hand up to his mouth to showcase his awe of Shīrīn's beauty. Although now
808:
We also see influences of Ottoman court in the depiction of Shīrīn viewing Khosrow's picture from her room (figure 2) . The balconies and curved, leaded roofs of the palace building exemplify the Ottoman architectural style and so do the arched openings and iron grilles on the garden walls.
446:
mountain with the impossible task of carving stairs out of the cliff rocks. Farhad begins his task hoping that Khosrow will allow him to marry Shirin. Yet, Khosrow sends a messenger to Farhad and gives him false news of Shirin's death. Hearing this false news, Farhad throws himself from the
1151:
Chelkowski, P. "Nezami's Iskandarnameh:"in Colloquio sul poeta persiano Nizami e la leggenda iranica di Alessandro magno, Roma,1977). pp 10: "The Persian legend of Alexander the Great seems to overshadow all of the other fantastic Alexander stories not only in the tale of the successful
1000:, it was created in 1527 in Iran. Its materials include the typical Persian tools of watercolor, gold, ink, and paper. The scene depicts the moment before Khusrau delivers the false new of Shirin's death to Farhad. Shirin is astride a black horse and hands Farhad a jug of milk.
458:, which further delays the lovers' union. Finally, Khosrow goes to Shirin's castle to see her. Shirin, seeing that Khosrow is drunk, does not let him into the castle. She particularly reproaches Khosrow for his intimacy with Shekar. Khosrow, sad and rejected, returns to his palace.
551:
It is believed to be one of the best works of Nizami. His first wife Afaq died after it was completed. Many versions of Nizami's work have been retold. The story has a constant forward drive with exposition, challenge, mystery, crisis, climax, resolution, and finally, catastrophe.
662:. In this formally unusual film, the story is told via the reactions of an audience of Iranian women as they sit watching the film in a cinema. The viewer has to divine the story by only ever seeing these emoting faces and listening to the film's soundtrack.
254:
374:
Nizami's version begins with an account of Khosrow's birth and his education. This is followed by an account of Khosrow's feast in a farmer's house; for which Khosrow is severely chastised by his father. Khosrow asks forgiveness and repents his offence.
871:
illustrator. The type of body of water Shīrīn bathes varies across different artists. In Nizami's text, Khosrow accidentally sees Shīrīn bathing when he rides by a pool of water in disguise. Shīrīn is alone aside from her famous black horse.
2749:
690:
story that have achieved great popularity. These other illustrations are influenced by European styles of art and the variations in text to picture interpretations are reflections of previous artistic deviations from Nizami's story.
425:
In Armenia, Khosrow finally meets Shirin and is welcomed by her. Shirin, however, does not agree to marry Khosrow; unless Khosrow first claims his country back from Bahrām Chobin. Thus, Khosrow leaves Shirin in Armenia and goes to
2108:
146:
418:
sent to bring Shirin. When Shirin reaches Armenia, Khosrow – because of his father's death - has to return to Mada'in. The two lovers keep travelling to opposite places until Khosrow is overthrown by a general named
601:(1998) has a plot line between two characters, Shekure and Black, which echoes the Khosrow and Shirin story, which is also retold in the book. The novel uses the Turkish spelling of Khosrow's name, Hüsrev.
589:
for refusing to permit the firm to publish their eighth edition of the classic, the Islamic government's concerns reportedly centered on the "indecent" act of the heroine, Shirin, in embracing her husband.
1077:
and the second, represented in the Šāh-nāma, where Širin is shown as a woman of humble origin and ill repute, who makes merciless use of poison (in Ferdowsi, Širin, wrought with jealousy, poisons Maryam).
567:. Nizami had a paramount influence on the romantic tradition, and Gorgani can be said to have initiated much of the distinctive rhetoric and poetic atmosphere of this tradition, with the absence of the
473:
1133:, Tome VII. – Fascicule 2, Histoire Nestorienne (Chronique de Séert), Seconde Partie (1), publiée et traduite par Mgr Addai Scher, Paris 1911, Published Paris : Firmin-Didot 1950 p. 467.)
882:
1142:
Johan Christoph Burgel & Christine van Ruyuymbeke, "Nizami: A Key to the Treasure of the Hakim ", Amsterdam University Press, 2011. pg 145: "Shirin is presented as an Armenian princess
281:
956:
406:
queen Mahin Banu and her niece Shirin. Hearing Shapur's descriptions of Shirin's flawless features, the young prince falls in love with Shirin, the Armenian princess. Shapur travels to
707:, one of which was produced in 1498 CE. Nizami's illustrations for Khosrow and Shirin were likely the inspiration for these copies as Şeyhi's plot was closely related to Nizami's.
1897:
1191:
157:
563:", which is of the same meter and has similar scenes. Nizami's concern with astrology also has a precedent in the elaborate astrological description of the night sky in
743:
colophon indicates that the author, who went by the pseudonym Sūzī, meaning "burning one", copied the entire text as well as painted the illustrations by themselves.
410:
to look for Shirin. Shapur finds Shirin and shows the image of Khosrow to Shirin. Shirin falls in love with Khosrow and escapes from Armenia to Khosrow's capital
197:
3275:
3131:
1795:
189:
944:, and materials (oil on canvas) all show the influence of European artistry. In this illustration, the painter decided to portray Shīrīn bathing in a pond.
447:
mountaintop and dies. Khosrow writes a letter to Shirin, expressing his regret for Farhad's death. Soon after this incident, Mariam also dies. According to
2125:
613:
poets and writers in areas which were previously part of the Persian Empire or had Persian influences, such as the northern parts of the neighbouring
226:
169:
666:
202:
100:
1854:
1525:
1404:
185:
2072:
1422:
451:'s version, it was Shirin who secretly poisoned Mariam. Shirin replies to Khosrow's letter with another satirical letter of condolences.
3220:
2160:
177:
3053:
193:
181:
1844:
2116:
1309:
1262:
1242:
173:
345:. The essential narrative is a love story of Persian origin which was already well known from the great epico-historical poem the
3124:
621:. However, the story is usually told under the name of "Shirin Farhad". The story has also become a standard tale in traditional
1643:"From Persia and Beyond: a discussion of the illustrations to a Khamsa of Amir Khusrau Dihlavi in the State Library of Victoria"
3197:
1058:
674:
840:
534:, which focuses on the history, kingship and battles of Khosrow, Nizami decided to focus on the romantic aspect of the story.
239:
3270:
3255:
1098:
31:
976:
767:
1301:
785:
contains a verse from the text. Between each gold medallion are clouds, which were typical of the Ottoman artistic style.
634:
2311:
1075:
with its roots in Armenia and in the Christian regions of the Caucasus, where, as we have seen, Neẓāmi found his source;
442:
falls in love with Shirin and becomes Khosrow's love-rival. Khosrow cannot abide Farhad, so he sends him as an exile to
219:
1642:
3117:
2907:
439:
141:
3265:
3225:
2828:
2519:
3260:
3235:
3230:
3181:
3165:
3058:
2977:
1772:"Folio from a Khamsa (Quintet) by Nizami (d.1209); recto: text; verso: illustration: Khusraw sees Shirin bathing"
686:
Depictions of Khosrow and Shirin take many different forms, with many depictions coming from adapted versions of
638:
630:
3245:
3173:
1873:
2153:
1090:
1050:
581:
212:
114:
52:
3240:
2960:
2884:
2763:
414:; but meanwhile, Khosrow also flees from his father's anger and sets out for Armenia in search of Shirin.
1820:"Nizami | "Khusrau Catches Sight of Shirin Bathing", Folio 50 from a Khamsa (Quintet) of Nizami of Ganja"
1747:"A Comparative Analysis of Factors Influencing the Evolution of Miniature in Safavid and Ottoman Periods"
3025:
454:
Khosrow, before proposing marriage to Shirin, tries to get intimate with another woman named Shekar in
2985:
2969:
2499:
2429:
2384:
2364:
2329:
2281:
2243:
1796:"Transforming Discolored Pigments in a 16th-Century Persian Watercolor | Yale University Art Gallery"
497:
3250:
2509:
2389:
2133:
1396:
788:
751:
614:
2045:
3098:
2952:
2684:
2659:
2654:
2585:
2484:
2474:
2464:
2374:
2190:
2146:
2027:
1950:
1025:
43:
3109:
1419:
488:
There are many references to the legend throughout the poetry of other Persian poets including
379:, who is now pleased with his son, forgives him. That very night, Khosrow sees his grandfather
3080:
3075:
3048:
2993:
2444:
2019:
1942:
1850:
1703:
1592:
1569:
1546:
1521:
1515:
1451:
1400:
1353:
1315:
1305:
1030:
980:Figure 7.Shirin Visiting Farhad/ Lewis P 265
431:
461:
Shirin eventually consents to marry Khosrow after several romantic and heroic episodes. Yet,
3001:
2844:
2717:
2354:
2253:
2009:
1934:
1695:
1432:
1020:
1015:
659:
560:
489:
419:
325:
308:
165:
86:
75:
69:
1846:
Reassessing Early Safavid Art and History, Thirty Five Years after Dickson & Welch 1981
1746:
920:Figure 5.Shiring Before her Bath by Kamal
759:
Kusraw and Shirin frontispiece by Suzi Medium: Ink, watercolor, gold on paper Date:1498–99
3155:
3043:
3033:
2727:
2459:
2359:
2120:
1574:
1426:
1323:
1266:
1259:
1102:
1062:
407:
330:
296:
274:
2113:
1969:
1819:
1721:
1551:
1456:
1358:
618:
1597:
928:1580-90
792:
Figure 2.Shirin looks at Khusraw's image by Suzi
3140:
2894:
2889:
2732:
2722:
2291:
2103:
1291:
1055:
916:
734:
follows the plot of Nizami's story, but also deviates from the original in some parts.
687:
597:
538:
525:
493:
427:
320:
247:
60:
852:: Mid 16th century
3214:
3189:
3063:
2611:
2414:
2319:
2109:
Encyclopaedia of Islam, THREE, "Ferhad u Şirin (in Turkic literatures)", Muhsin Macit
2098:
1998:"Mostly Modern Miniatures: Classical Persian Painting in the Early Twentieth Century"
1684:"A 1498–99 Khusraw va Shīrīn: Turning the Pages of an Ottoman Illustrated Manuscript"
1287:
1279:
1166:
1095:
964:: Oil on canvas
800::1498–99
654:
646:
626:
622:
513:
501:
1217:
3038:
2562:
886:
Figure 4.Khusrau Catches Sight of Shirin Bathing by Shaikh Zada
723:
556:
2266:
2261:
1283:
996:
An illustration of a similar scene is from a manuscript of Nizami's story. Titled
890:1524–25 CE
351:
and other Persian writers and popular tales, and other works have the same title.
1390:
984:: Early 20th Century
329:. It tells a highly elaborated fictional version of the story of the love of the
17:
2795:
2790:
2674:
2580:
2537:
2434:
2276:
2271:
1296:
960:
Figure 6.Khusraw Discovers Shirin Bathing by unknown artist
941:
592:
136:
107:
1771:
1683:
1469:
968:Mid 18th century
2854:
2567:
2532:
2286:
2014:
1699:
924:: watercolor, ink, gold on paper
700:
672:
The tale was also an inspiration for the 2012 Bollywood romantic comedy film,
477:
411:
376:
334:
286:
260:
243:
131:
2023:
1946:
1707:
2874:
2803:
2782:
2694:
2419:
2339:
2296:
2228:
2170:
1327:
1319:
848:: Ink, watercolor, and gold on paper
642:
530:
462:
403:
380:
347:
2756:
844:
Figure 3.Khusraw discovers Shirin bathing in a pool by Murshid al-Shirazi
699:
The story was especially popular at the Ottoman court during the reign of
2899:
2823:
2689:
2649:
2644:
2639:
2572:
2542:
2424:
2379:
2218:
2208:
2198:
2175:
874:
One depiction of the scene hangs in the Seattle Art Museum and is titled
703:. There were five illustrated copies produced by the artist Şeyhi titled
448:
443:
316:
270:
266:
2138:
2031:
1997:
1586:
1563:
1540:
1445:
1347:
2879:
2818:
2808:
2712:
2634:
2629:
2557:
2552:
2527:
2494:
2454:
2449:
2344:
2301:
2213:
2203:
2104:
Encyclopædia Iranica, "ḴOSROWO ŠIRIN AND ITS IMITATIONS", Paola Orsatti
1954:
1922:
455:
388:
1517:
Orientalism and the Reception of Powerful Women from the Ancient World
775:
Medium: ink, gold and opaque watercolour on paper Date: 1480 and 1500
3020:
2859:
2813:
2679:
2664:
2606:
2547:
2504:
2489:
2469:
2409:
2404:
2324:
2233:
711:
505:
481:
392:
384:
342:
338:
290:
2399:
2394:
1938:
528:, it was brought to its greatest romantic height by him. Unlike the
1190:
Lornejad, Siavash; Doostzadeh, Ali (2012). Asatrian, Garnik (ed.).
829:
horse. She dons a headdress and an orange coat over her blue gown.
796:: ink, watercolor, and gold on paper
541:(1141–1209) himself considered it the sweetest story in the world:
402:
Shapur, Khosrow's close friend and a painter, tells Khosrow of the
2869:
2864:
2849:
2669:
2621:
2479:
2439:
2369:
2349:
2334:
629:. The story has been filmed numerous times including: 1926, 1929,
509:
472:
280:
253:
1192:"ON THE MODERN POLITICIZATION OF THE PERSIAN POET NEZAMI GANJAVI"
894:Ink, opaque watercolor, and gold on paper
383:
in a dream and Anushirvan gives him glad tidings of a wife named
2595:
2238:
2223:
610:
568:
396:
246:'s first sight of Shirin, bathing in a pool, in a manuscript of
3113:
2142:
1751:
International Journal of Cultural and Social Studies (IntJCSS)
652:
The tale was used as the inspiration for a 2008 Iranian film,
2762:
2755:
2748:
1493:
1371:
718:
An adaptation that also gained widespread popularity is the
2046:"OPenn: Lewis P 265 Illustration of Shirin Visiting Farhad"
1073:
soon formed around the figure of Širin: one in her favor,
516:
mentioned that the legend was a popular story in his era.
1300:(Online ed.). Dhaka, Bangladesh: Banglapedia Trust,
1243:"Iranian Censors' Heavy Hand Falls On A Persian Classic"
1269:. Mahmood Awan. Academy of the Punjab in North America.
856:
Eugene Fuller Memorial Collection at Seattle Art Museum
250:'s poem. This is a famous moment in Persian literature.
617:. In Europe, the story was told by Hungarian novelist
293:
Bathing, From Pictorial Cycle of Eight Poetic Subjects
1874:"Shirin Before Her Bath, AKM422, The Aga Khan Museum"
354:
Variants of the story were also told under the title
1297:
Banglapedia: the National Encyclopedia of Bangladesh
571:
influences, which are seen in Nizami's epic poetry.
3153:
3013:
2945:
2916:
2837:
2773:
2703:
2620:
2594:
2518:
2310:
2252:
2189:
2182:
2114:
Nizami: "Khosru & Shireen", Medieval Sourcebook
555:Besides Ferdowsi, Nizami's poem was influenced by
315:) is the title of a famous tragic romance by the
2073:"Remastered | AKM270 Fol. 81r | Aga Khan Museum"
547:And by Truth, there is no sweeter story than it.
2099:Encyclopædia Iranica, "Farhad", Heshmat Moayyad
543:
972:: Arts of the Islamic World at Brooklyn Museum
3125:
2154:
1160:
1158:
1123:Die von Guidi herausgegebene syrische Chronik
361:
220:
8:
1898:"Khusraw Discovers Shirin Bathing (article)"
545:The tale of Khosraw and Shirin is well known
27:Persian tragic romance by the Nizami Ganjavi
1389:Ashish Rajadhyaksha; Paul Willemen (2014).
876:Khusraw Discovers Shirin Bathing in a Pool.
3132:
3118:
3110:
2186:
2161:
2147:
2139:
1776:Smithsonian's National Museum of Asian Art
1596:
1573:
1550:
1455:
1357:
737:
715:during Bayezid II's reign (1481 - 1512).
227:
213:
38:
2013:
1514:Filippo Carlà-Uhink; Anja Wieber (2020).
1923:"Persian and Indian Miniature Paintings"
975:
955:
915:
881:
839:
787:
238:
1927:The Metropolitan Museum of Art Bulletin
1041:
948:Illustrations of Shirin visiting Farhad
936:A fourth painting of the scene, titled
904:Khusrau Catches Sight of Shirin Bathing
861:Variations In Common Scenes Illustrated
170:Nizami Museum of Azerbaijani Literature
156:
123:
66:
59:
1636:
1634:
1632:
1630:
1628:
1626:
1520:. Bloomsbury Publishing. p. 265.
710:Another illustrated copy is a poem by
667:Jonathan Richman and the Modern Lovers
609:The tale has been retold by countless
147:Campaign on granting Nizami the status
2067:
2065:
1991:
1989:
1987:
1985:
1983:
1981:
1868:
1866:
1766:
1764:
1682:Yoltar-Yildirim, Ayşin (2005-03-22).
1677:
1675:
1673:
1671:
1669:
1667:
1665:
1663:
1624:
1622:
1620:
1618:
1616:
1614:
1612:
1610:
1608:
1606:
1509:
1507:
1241:Recknagel, Charles (19 August 2011).
998:Shirin Visits Farhad at Mount Bisutun
730:around the 13th to 14th century. The
665:The story was also referenced in the
7:
3276:Memory of the World Register in Iran
524:Although the story was known before
2126:The Story of Khosrow and Shirin at
1199:Yerevan Series for Oriental Studies
777:Collection: The Khalili Collections
738:Hatifi's Poem and Ottoman influence
362:
312:
761:Collection: Islamic Art at the Met
149:of the national poet of Azerbaijan
25:
1996:Simpson, Marianna Shreve (2008).
1745:Mesineh, Maryam (November 2017).
3094:
3093:
2923:Gonbadan Castle (Dez-i Gonbadan)
938:Khusraw Discovers Shirin Bathing
766:
750:
469:Popularity in Persian literature
273:, late 15th-early 16th century.
265:, Page from a manuscript of the
42:
3198:Shirin Farhad Ki Toh Nikal Padi
866:Illustrations of Shirin Bathing
675:Shirin Farhad Ki Toh Nikal Padi
395:, and a great kingdom, that is
2134:The story of Farhad and Shirin
1824:The Metropolitan Museum of Art
1726:The Metropolitan Museum of Art
1165:Heshmat Moayyad (1999-12-15).
988:: Free Library of Philadelphia
902:A second illustration, titled
1:
2932:Bahman Castle (Dezh-i Bahman)
1968:Amīr Khusraw Dihlavī (1524).
1722:"Hatifi | Khusrau and Shirin"
1392:Encyclopedia of Indian Cinema
1302:Asiatic Society of Bangladesh
2935:Alanan Castle (Dezh-i Alanan
2077:remastered.agakhanmuseum.org
1247:RadioFreeEurope/RadioLiberty
669:song "Shirin & Fahrad".
438:Meanwhile, a sculptor named
323:(1141–1209), who also wrote
174:Nizami Gəncəvi (Baku Metro)
142:Farhad (Persian literature)
3292:
3221:12th-century Persian books
2929:Sepid Castle (Dezh-i Sepid
2926:Roein Castle (Dez-i Roein)
1843:Soudavar, Abolala (2016).
909:A third depiction, titled
29:
3089:
2746:
2015:10.1163/22118993-90000140
1700:10.1163/22118993_02201006
1420:شیرین و فرهاد (فیلم ۱۳۱۳)
1216:Dick Davis (2005-01-06).
1125:, Wien 1893, p. 10.) The
263:and Courtiers in a Garden
3174:Shirin and Farhad (film)
1372:"Shirin Khushrau (1929)"
1294:; Ahmed, Sabbir (eds.).
898:: Islamic Art at the Met
804:: Islamic Art at the Met
2050:openn.library.upenn.edu
1641:Brend, Barbara (2013).
813:Amir Khusrau Dihlavi's
726:. Dihlavi composed his
695:Illustrated Adaptations
649:, 1970, 1975 and 1978.
519:
341:, who becomes queen of
3059:Rostam's Seven Labours
2938:Gang Castle (Gang-Dez)
2767:
2760:
2753:
1921:Dimand, M. S. (1935).
1494:"Shirin Farhad (1956)"
1260:A poetic legend retold
989:
973:
933:
911:Shirin Before Her Bath
899:
857:
812:
805:
549:
498:Mas'ud-e Sa'd-e Salman
485:
422:and flees to Armenia.
299:
278:
251:
3271:Epic poems in Persian
3256:World Digital Library
3054:Rostam and Esfandiyar
2766:
2759:
2752:
1222:Encyclopaedia Iranica
1131:Patrologia Orientalis
979:
959:
932:: The Aga Khan Museum
919:
885:
843:
791:
773:Single-volume Qur'an
476:
284:
257:
242:
2510:Eskandar (Alexander)
1565:Shirin Farhad (1975)
1447:Shirin Farhad (1945)
1397:Taylor & Francis
1349:Shirin Farhad (1926)
1171:Encyclopedia Iranica
1106:Encyclopædia Iranica
1091:Encyclopædia Iranica
1066:Encyclopædia Iranica
1051:Encyclopædia Iranica
724:Amir Khusrau Dihlavi
582:Encyclopædia Iranica
295:, mid 18th century.
30:For other uses, see
1800:artgallery.yale.edu
1119:Khuzistan Chronicle
615:Indian subcontinent
500:, Othman Mokhtari,
391:, a musician named
200: •
198:in Saint Petersburg
196: •
192: •
188: •
184: •
180: •
176: •
172: •
168: •
3146:Khosrow and Shirin
3070:Khosrow and Shirin
2908:Other locations...
2768:
2761:
2754:
2119:2007-08-07 at the
1425:2015-02-01 at the
1265:2020-02-10 at the
1127:Chronicle of Séert
1108:, Heshmat Moayyad)
1101:2020-11-08 at the
1061:2020-11-17 at the
1026:Persian literature
990:
974:
934:
900:
858:
806:
486:
337:for the Christian
304:Khosrow and Shirin
300:
279:
259:The Sasanian King
252:
94:Khosrow and Shirin
3266:Shahnameh stories
3226:Persian mythology
3208:
3207:
3185:(1956 Hindustani)
3107:
3106:
3081:Persian mythology
3076:Bijan and Manijeh
3049:Rostam and Sohrab
2744:
2743:
2520:Female characters
2500:Rostam Farrokhzād
2445:Zangay-i Shavaran
1971:[Khamsah]
1856:978-1-329-97615-3
1527:978-1-350-05011-2
1429:sourehcinema.com
1406:978-1-135-94325-7
1290:; Miah, Sajahan;
1068:, Paola Orsatti)"
1031:Persian mythology
579:According to the
357:Shirin and Farhad
237:
236:
18:Farhad and Shirin
16:(Redirected from
3283:
3261:Historical poems
3236:Medieval legends
3231:Poems in Persian
3134:
3127:
3120:
3111:
3097:
3096:
2718:House of Goudarz
2187:
2163:
2156:
2149:
2140:
2087:
2086:
2084:
2083:
2069:
2060:
2059:
2057:
2056:
2042:
2036:
2035:
2017:
1993:
1976:
1975:
1965:
1959:
1958:
1918:
1912:
1911:
1909:
1908:
1894:
1888:
1887:
1885:
1884:
1870:
1861:
1860:
1840:
1834:
1833:
1831:
1830:
1816:
1810:
1809:
1807:
1806:
1792:
1786:
1785:
1783:
1782:
1768:
1759:
1758:
1742:
1736:
1735:
1733:
1732:
1718:
1712:
1711:
1679:
1658:
1657:
1650:La Trobe Journal
1647:
1638:
1601:
1600:
1584:
1578:
1577:
1561:
1555:
1554:
1542:Ferhat ile Şirin
1538:
1532:
1531:
1511:
1502:
1501:
1490:
1484:
1483:
1481:
1480:
1466:
1460:
1459:
1443:
1437:
1433:Persian language
1417:
1411:
1410:
1386:
1380:
1379:
1368:
1362:
1361:
1345:
1339:
1338:
1336:
1334:
1276:
1270:
1257:
1251:
1250:
1238:
1232:
1231:
1229:
1228:
1213:
1207:
1206:
1196:
1187:
1181:
1180:
1178:
1177:
1162:
1153:
1149:
1143:
1140:
1134:
1115:
1109:
1086:
1080:
1056:"Ḵosrow o Širin"
1046:
1016:Layla and Majnun
770:
754:
660:Abbas Kiarostami
520:Nizami's version
387:, a steed named
365:
364:
326:Layla and Majnun
314:
229:
222:
215:
166:Nizami Mausoleum
101:Layla and Majnun
87:Maḵhzan al-asrār
46:
39:
21:
3291:
3290:
3286:
3285:
3284:
3282:
3281:
3280:
3246:Sufi literature
3211:
3210:
3209:
3204:
3149:
3138:
3108:
3103:
3085:
3044:Zal and Rudabeh
3034:Derafsh Kaviani
3009:
2981:of Shah Tahmasp
2941:
2912:
2833:
2775:
2769:
2740:
2728:House of Nowzar
2705:
2699:
2616:
2590:
2514:
2312:Male characters
2306:
2248:
2178:
2167:
2121:Wayback Machine
2095:
2090:
2081:
2079:
2071:
2070:
2063:
2054:
2052:
2044:
2043:
2039:
1995:
1994:
1979:
1967:
1966:
1962:
1939:10.2307/3255244
1933:(12): 248–250.
1920:
1919:
1915:
1906:
1904:
1896:
1895:
1891:
1882:
1880:
1878:Aga Khan Museum
1872:
1871:
1864:
1857:
1842:
1841:
1837:
1828:
1826:
1818:
1817:
1813:
1804:
1802:
1794:
1793:
1789:
1780:
1778:
1770:
1769:
1762:
1744:
1743:
1739:
1730:
1728:
1720:
1719:
1715:
1688:Muqarnas Online
1681:
1680:
1661:
1645:
1640:
1639:
1604:
1585:
1581:
1562:
1558:
1539:
1535:
1528:
1513:
1512:
1505:
1492:
1491:
1487:
1478:
1476:
1470:"Aaj ka Farhad"
1468:
1467:
1463:
1444:
1440:
1427:Wayback Machine
1418:
1414:
1407:
1388:
1387:
1383:
1370:
1369:
1365:
1346:
1342:
1332:
1330:
1312:
1292:Khanam, Mahfuza
1278:
1277:
1273:
1267:Wayback Machine
1258:
1254:
1240:
1239:
1235:
1226:
1224:
1215:
1214:
1210:
1194:
1189:
1188:
1184:
1175:
1173:
1164:
1163:
1156:
1150:
1146:
1141:
1137:
1116:
1112:
1103:Wayback Machine
1087:
1083:
1063:Wayback Machine
1047:
1043:
1039:
1012:
1006:
1003:
950:
868:
863:
818:
782:
781:
780:
779:
778:
771:
763:
762:
755:
740:
705:Hüsrev ve Şirin
697:
684:
607:
577:
546:
537:
522:
471:
372:
297:Brooklyn Museum
275:Brooklyn Museum
233:
148:
35:
28:
23:
22:
15:
12:
11:
5:
3289:
3287:
3279:
3278:
3273:
3268:
3263:
3258:
3253:
3248:
3243:
3238:
3233:
3228:
3223:
3213:
3212:
3206:
3205:
3203:
3202:
3194:
3193:(2008 Persian)
3186:
3178:
3177:(1934 Persian)
3170:
3161:
3159:
3151:
3150:
3141:Nizami Ganjavi
3139:
3137:
3136:
3129:
3122:
3114:
3105:
3104:
3102:
3101:
3090:
3087:
3086:
3084:
3083:
3078:
3073:
3066:
3061:
3056:
3051:
3046:
3041:
3036:
3031:
3023:
3017:
3015:
3011:
3010:
3008:
3007:
2999:
2991:
2983:
2975:
2967:
2958:
2949:
2947:
2943:
2942:
2940:
2939:
2936:
2933:
2930:
2927:
2924:
2920:
2918:
2914:
2913:
2911:
2910:
2905:
2902:
2897:
2895:Mount Damavand
2892:
2887:
2882:
2877:
2872:
2867:
2862:
2857:
2852:
2847:
2841:
2839:
2835:
2834:
2832:
2831:
2829:White Elephant
2826:
2821:
2816:
2811:
2806:
2801:
2798:
2793:
2788:
2785:
2779:
2777:
2771:
2770:
2747:
2745:
2742:
2741:
2739:
2738:
2735:
2733:House of Sasan
2730:
2725:
2723:House of Viseh
2720:
2715:
2709:
2707:
2701:
2700:
2698:
2697:
2692:
2687:
2682:
2677:
2672:
2667:
2662:
2657:
2652:
2647:
2642:
2637:
2632:
2626:
2624:
2618:
2617:
2615:
2614:
2609:
2604:
2600:
2598:
2592:
2591:
2589:
2588:
2583:
2578:
2575:
2570:
2565:
2560:
2555:
2550:
2545:
2540:
2535:
2530:
2524:
2522:
2516:
2515:
2513:
2512:
2507:
2502:
2497:
2492:
2487:
2482:
2477:
2472:
2467:
2462:
2457:
2452:
2447:
2442:
2437:
2432:
2427:
2422:
2417:
2412:
2407:
2402:
2397:
2392:
2387:
2382:
2377:
2372:
2367:
2362:
2357:
2352:
2347:
2342:
2337:
2332:
2327:
2322:
2316:
2314:
2308:
2307:
2305:
2304:
2299:
2294:
2292:Humay Chehrzad
2289:
2284:
2279:
2274:
2269:
2264:
2258:
2256:
2250:
2249:
2247:
2246:
2241:
2236:
2231:
2226:
2221:
2216:
2211:
2206:
2201:
2195:
2193:
2184:
2180:
2179:
2168:
2166:
2165:
2158:
2151:
2143:
2137:
2136:
2131:
2123:
2111:
2106:
2101:
2094:
2093:External links
2091:
2089:
2088:
2061:
2037:
1977:
1960:
1913:
1889:
1862:
1855:
1835:
1811:
1787:
1760:
1737:
1713:
1659:
1602:
1588:Bir Aşk Masalı
1579:
1556:
1533:
1526:
1503:
1485:
1461:
1438:
1412:
1405:
1381:
1363:
1340:
1310:
1288:Islam, Sirajul
1280:Islam, Sirajul
1271:
1252:
1233:
1208:
1182:
1154:
1144:
1135:
1110:
1081:
1071:Two traditions
1040:
1038:
1035:
1034:
1033:
1028:
1023:
1018:
1011:
1008:
949:
946:
867:
864:
862:
859:
817:
811:
772:
765:
764:
756:
749:
748:
747:
746:
745:
739:
736:
696:
693:
683:
680:
637:, 1945, 1948,
606:
605:Other versions
603:
598:My Name Is Red
576:
573:
539:Nizami Ganjavi
521:
518:
484:in a miniature
478:Khosrow Parviz
470:
467:
428:Constantinople
371:
368:
321:Nizami Ganjavi
244:Khosrow Parviz
235:
234:
232:
231:
224:
217:
209:
206:
205:
161:
160:
154:
153:
152:
151:
144:
139:
134:
126:
125:
124:Related topics
121:
120:
119:
118:
111:
104:
97:
90:
80:
79:
64:
63:
61:Nizami Ganjavi
57:
56:
48:
47:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3288:
3277:
3274:
3272:
3269:
3267:
3264:
3262:
3259:
3257:
3254:
3252:
3249:
3247:
3244:
3242:
3241:Literary duos
3239:
3237:
3234:
3232:
3229:
3227:
3224:
3222:
3219:
3218:
3216:
3200:
3199:
3195:
3192:
3191:
3187:
3184:
3183:
3182:Shirin Farhad
3179:
3176:
3175:
3171:
3168:
3167:
3166:Shirin Farhad
3163:
3162:
3160:
3158:
3157:
3152:
3148:
3147:
3142:
3135:
3130:
3128:
3123:
3121:
3116:
3115:
3112:
3100:
3092:
3091:
3088:
3082:
3079:
3077:
3074:
3072:
3071:
3067:
3065:
3064:Davazdah Rokh
3062:
3060:
3057:
3055:
3052:
3050:
3047:
3045:
3042:
3040:
3037:
3035:
3032:
3030:
3029:
3024:
3022:
3019:
3018:
3016:
3012:
3006:
3005:
3000:
2998:
2997:
2992:
2990:
2988:
2984:
2982:
2980:
2976:
2974:
2973:
2968:
2965:
2964:
2961:Great Mongol
2959:
2957:
2956:
2951:
2950:
2948:
2944:
2937:
2934:
2931:
2928:
2925:
2922:
2921:
2919:
2915:
2909:
2906:
2903:
2901:
2898:
2896:
2893:
2891:
2888:
2886:
2883:
2881:
2878:
2876:
2873:
2871:
2868:
2866:
2863:
2861:
2858:
2856:
2853:
2851:
2848:
2846:
2843:
2842:
2840:
2836:
2830:
2827:
2825:
2822:
2820:
2817:
2815:
2812:
2810:
2807:
2805:
2802:
2800:Koulad-Ghandi
2799:
2797:
2794:
2792:
2789:
2787:Kharvazan Div
2786:
2784:
2781:
2780:
2778:
2772:
2765:
2758:
2751:
2736:
2734:
2731:
2729:
2726:
2724:
2721:
2719:
2716:
2714:
2711:
2710:
2708:
2702:
2696:
2693:
2691:
2688:
2686:
2683:
2681:
2678:
2676:
2673:
2671:
2668:
2666:
2663:
2661:
2658:
2656:
2653:
2651:
2648:
2646:
2643:
2641:
2638:
2636:
2633:
2631:
2628:
2627:
2625:
2623:
2619:
2613:
2612:Mehrab Kaboli
2610:
2608:
2605:
2602:
2601:
2599:
2597:
2593:
2587:
2584:
2582:
2579:
2576:
2574:
2571:
2569:
2566:
2564:
2561:
2559:
2556:
2554:
2551:
2549:
2546:
2544:
2541:
2539:
2536:
2534:
2531:
2529:
2526:
2525:
2523:
2521:
2517:
2511:
2508:
2506:
2503:
2501:
2498:
2496:
2493:
2491:
2488:
2486:
2483:
2481:
2478:
2476:
2473:
2471:
2468:
2466:
2463:
2461:
2458:
2456:
2453:
2451:
2448:
2446:
2443:
2441:
2438:
2436:
2433:
2431:
2428:
2426:
2423:
2421:
2418:
2416:
2413:
2411:
2408:
2406:
2403:
2401:
2398:
2396:
2393:
2391:
2388:
2386:
2383:
2381:
2378:
2376:
2373:
2371:
2368:
2366:
2363:
2361:
2358:
2356:
2353:
2351:
2348:
2346:
2343:
2341:
2338:
2336:
2333:
2331:
2328:
2326:
2323:
2321:
2318:
2317:
2315:
2313:
2309:
2303:
2300:
2298:
2295:
2293:
2290:
2288:
2285:
2283:
2280:
2278:
2275:
2273:
2270:
2268:
2265:
2263:
2260:
2259:
2257:
2255:
2251:
2245:
2242:
2240:
2237:
2235:
2232:
2230:
2227:
2225:
2222:
2220:
2217:
2215:
2212:
2210:
2207:
2205:
2202:
2200:
2197:
2196:
2194:
2192:
2188:
2185:
2181:
2177:
2173:
2172:
2164:
2159:
2157:
2152:
2150:
2145:
2144:
2141:
2135:
2132:
2130:
2129:
2124:
2122:
2118:
2115:
2112:
2110:
2107:
2105:
2102:
2100:
2097:
2096:
2092:
2078:
2074:
2068:
2066:
2062:
2051:
2047:
2041:
2038:
2033:
2029:
2025:
2021:
2016:
2011:
2007:
2003:
1999:
1992:
1990:
1988:
1986:
1984:
1982:
1978:
1974:(in Persian).
1973:
1972:
1964:
1961:
1956:
1952:
1948:
1944:
1940:
1936:
1932:
1928:
1924:
1917:
1914:
1903:
1899:
1893:
1890:
1879:
1875:
1869:
1867:
1863:
1858:
1852:
1848:
1847:
1839:
1836:
1825:
1821:
1815:
1812:
1801:
1797:
1791:
1788:
1777:
1773:
1767:
1765:
1761:
1756:
1752:
1748:
1741:
1738:
1727:
1723:
1717:
1714:
1709:
1705:
1701:
1697:
1694:(1): 95–109.
1693:
1689:
1685:
1678:
1676:
1674:
1672:
1670:
1668:
1666:
1664:
1660:
1655:
1651:
1644:
1637:
1635:
1633:
1631:
1629:
1627:
1625:
1623:
1621:
1619:
1617:
1615:
1613:
1611:
1609:
1607:
1603:
1599:
1594:
1590:
1589:
1583:
1580:
1576:
1571:
1567:
1566:
1560:
1557:
1553:
1548:
1544:
1543:
1537:
1534:
1529:
1523:
1519:
1518:
1510:
1508:
1504:
1499:
1498:Indiancine.ma
1495:
1489:
1486:
1475:
1471:
1465:
1462:
1458:
1453:
1449:
1448:
1442:
1439:
1436:
1434:
1428:
1424:
1421:
1416:
1413:
1408:
1402:
1398:
1394:
1393:
1385:
1382:
1377:
1376:Indiancine.ma
1373:
1367:
1364:
1360:
1355:
1351:
1350:
1344:
1341:
1329:
1325:
1321:
1317:
1313:
1311:984-32-0576-6
1307:
1303:
1299:
1298:
1293:
1289:
1285:
1281:
1275:
1272:
1268:
1264:
1261:
1256:
1253:
1248:
1244:
1237:
1234:
1223:
1219:
1218:"Vis o Rāmin"
1212:
1209:
1204:
1200:
1193:
1186:
1183:
1172:
1168:
1161:
1159:
1155:
1148:
1145:
1139:
1136:
1132:
1128:
1124:
1120:
1114:
1111:
1107:
1104:
1100:
1097:
1093:
1092:
1085:
1082:
1078:
1076:
1072:
1067:
1064:
1060:
1057:
1053:
1052:
1045:
1042:
1036:
1032:
1029:
1027:
1024:
1022:
1021:Vis and Rāmin
1019:
1017:
1014:
1013:
1009:
1007:
1004:
1001:
999:
994:
987:
983:
978:
971:
967:
963:
958:
954:
947:
945:
943:
939:
931:
927:
923:
918:
914:
912:
907:
905:
897:
893:
889:
884:
880:
877:
872:
865:
860:
855:
851:
847:
842:
838:
834:
830:
826:
823:
816:
810:
803:
799:
795:
790:
786:
776:
769:
760:
753:
744:
735:
733:
729:
725:
721:
716:
713:
708:
706:
702:
694:
692:
689:
682:Illustrations
681:
679:
677:
676:
670:
668:
663:
661:
657:
656:
650:
648:
647:Pradeep Kumar
644:
640:
636:
632:
628:
627:Bengali Kissa
624:
623:Punjabi Qisse
620:
616:
612:
604:
602:
600:
599:
594:
590:
586:
584:
583:
574:
572:
570:
566:
565:Vis and Ramin
562:
561:Vis and Rāmin
558:
553:
548:
542:
540:
535:
533:
532:
527:
517:
515:
514:Nizam al-Mulk
511:
507:
503:
502:Naser Khusraw
499:
495:
491:
483:
479:
475:
468:
466:
464:
459:
457:
452:
450:
445:
441:
436:
433:
429:
423:
421:
420:Bahrām Chobin
415:
413:
409:
405:
400:
398:
394:
390:
386:
382:
378:
369:
367:
363:شیرین و فرهاد
359:
358:
352:
350:
349:
344:
340:
336:
332:
328:
327:
322:
318:
310:
306:
305:
298:
294:
292:
288:
283:
276:
272:
268:
264:
262:
256:
249:
245:
241:
230:
225:
223:
218:
216:
211:
210:
208:
207:
204:
201:
199:
195:
191:
187:
183:
179:
175:
171:
167:
163:
162:
159:
155:
150:
145:
143:
140:
138:
135:
133:
130:
129:
128:
127:
122:
117:
116:
115:Eskandar-nāma
112:
110:
109:
105:
103:
102:
98:
96:
95:
91:
89:
88:
84:
83:
82:
81:
78:
77:
72:
71:
65:
62:
58:
54:
50:
49:
45:
41:
40:
37:
33:
32:Shirin Farhad
19:
3201:(2012 Hindi)
3196:
3188:
3180:
3172:
3169:(1931 Hindi)
3164:
3154:
3145:
3144:
3069:
3068:
3039:Babr-e Bayan
3027:
3026:Abu-Mansuri
3003:
2995:
2986:
2978:
2971:
2966:(or Demotte)
2962:
2954:
2737:House of Sām
2563:Banu Goshasp
2169:
2127:
2080:. Retrieved
2076:
2053:. Retrieved
2049:
2040:
2005:
2001:
1970:
1963:
1930:
1926:
1916:
1905:. Retrieved
1902:Khan Academy
1901:
1892:
1881:. Retrieved
1877:
1849:. Lulu.com.
1845:
1838:
1827:. Retrieved
1823:
1814:
1803:. Retrieved
1799:
1790:
1779:. Retrieved
1775:
1754:
1750:
1740:
1729:. Retrieved
1725:
1716:
1691:
1687:
1653:
1649:
1587:
1582:
1564:
1559:
1541:
1536:
1516:
1497:
1488:
1477:. Retrieved
1473:
1464:
1446:
1441:
1430:
1415:
1391:
1384:
1375:
1366:
1348:
1343:
1333:22 September
1331:. Retrieved
1295:
1274:
1255:
1246:
1236:
1225:. Retrieved
1221:
1211:
1202:
1198:
1185:
1174:. Retrieved
1170:
1147:
1138:
1130:
1126:
1122:
1118:
1113:
1105:
1089:
1084:
1074:
1070:
1069:
1065:
1049:
1044:
1005:
1002:
997:
995:
991:
985:
981:
969:
965:
961:
951:
937:
935:
929:
925:
921:
910:
908:
903:
901:
895:
891:
887:
875:
873:
869:
853:
849:
845:
835:
831:
827:
821:
819:
814:
807:
801:
797:
793:
783:
774:
758:
741:
731:
727:
719:
717:
709:
704:
698:
685:
673:
671:
664:
653:
651:
608:
596:
591:
587:
580:
578:
564:
557:Asad Gorgani
554:
550:
544:
536:
529:
523:
487:
460:
453:
437:
424:
416:
401:
373:
356:
355:
353:
346:
324:
313:خسرو و شیرین
303:
302:
301:
285:
258:
164:
113:
106:
99:
93:
92:
85:
74:
68:
36:
2970:Baysonghor
2946:Manuscripts
2796:Div-e Sepid
2791:Arzhang Div
2776:and animals
2277:Kay Lohrasp
2272:Kay Khosrow
2128:iranian.com
2008:: 359–395.
942:chiaroscuro
854:Collection:
593:Orhan Pamuk
203:in Tashkent
190:in Chișinău
137:Toghrul III
108:Haft Peykar
3251:Love poems
3215:Categories
2989:of Rashida
2917:Structures
2890:Alborzkouh
2885:Mazandaran
2855:Zabulistan
2774:Creatures
2713:Kashvadian
2568:Gordafarid
2415:Esfandiyār
2287:Kay Bahman
2191:Pishdadian
2183:Characters
2082:2024-04-19
2055:2024-04-19
1907:2024-04-19
1883:2024-04-19
1829:2024-04-19
1805:2024-04-19
1781:2024-04-19
1731:2024-04-19
1479:2021-05-05
1227:2008-04-25
1176:2010-07-26
1037:References
986:Collection
970:Collection
930:Collection
896:Collection
820:Dihlavi's
802:Collection
701:Bayezid II
658:, made by
381:Anushirvan
377:Hormizd IV
335:Khosrow II
289:Discovers
186:in Beijing
132:Akhsitan I
3028:Shahnameh
3004:Shahnameh
2996:Shahnameh
2987:Shahnameh
2979:Shahnameh
2972:Shahnameh
2963:Shahnameh
2955:Shahnameh
2953:Florence
2904:Kasa-Roud
2875:Ctesiphon
2804:Huma bird
2783:Akvan Div
2704:Clans and
2695:Biderafsh
2340:Kayanoush
2297:Kay Darab
2267:Kay Kāvus
2262:Kay Kawād
2229:Manuchehr
2171:Shahnameh
2024:0732-2992
1947:0026-1521
1708:0732-2992
1656:: 97–107.
1474:Cinemaazi
1328:30677644M
757:Figure.1
643:Madhubala
641:starring
619:Mór Jókai
595:'s novel
575:Influence
559:and his "
531:Shahnameh
348:Shahnameh
158:Monuments
76:Panj Ganj
3099:Category
2994:Windsor
2900:Tammisha
2824:Shabrang
2706:families
2690:Nastihan
2650:Afrasiab
2645:Garsivaz
2640:Aghrirat
2622:Turanian
2581:Katāyoun
2577:Manizheh
2573:Farangis
2543:Sindukht
2538:Shahrnāz
2435:Siyâvash
2430:Fariborz
2425:Faramarz
2420:Pashotan
2385:Gershasp
2380:Gostaham
2330:Shahrasp
2282:Goshtasb
2254:Kayanian
2244:Garshasp
2219:Fereydun
2209:Tahmuras
2199:Keyumars
2176:Ferdowsi
2117:Archived
2032:27811128
2002:Muqarnas
1423:Archived
1320:52727562
1282:(2012).
1263:Archived
1167:"Farhad"
1099:Archived
1096:"Farhad"
1059:Archived
1010:See also
688:Nizami's
490:Farrokhi
463:Shiroyeh
449:Ferdowsi
444:Behistun
404:Armenian
331:Sasanian
271:Ferdowsi
267:Shahnama
178:in Ganja
53:a series
51:Part of
3156:Inferno
3014:Related
3002:Davari
2880:Estakhr
2819:Shabdiz
2809:Simurgh
2635:Pashang
2630:Zadashm
2558:Tahmina
2553:Sudabeh
2533:Arnavāz
2528:Faranak
2495:Shaghad
2455:Goudarz
2450:Kashvad
2390:Nariman
2302:Dara II
2214:Jamshid
2204:Hushang
1955:3255244
1284:"Kissa"
892:Medium:
456:Isfahan
412:Mada'in
408:Armenia
389:Shabdiz
317:Persian
309:Persian
287:Khusraw
261:Khusraw
194:in Rome
182:in Baku
3190:Shirin
3021:Daqiqi
2860:Sistan
2838:Places
2814:Rakhsh
2685:Barman
2680:Houman
2665:Arjasp
2660:Shideh
2655:Tageuo
2607:Zahhak
2603:Mardas
2596:Tazian
2586:Azadeh
2548:Rudaba
2505:Barbad
2490:Zavara
2485:Gorgin
2475:Bahram
2470:Rohham
2465:Bizhan
2410:Sohrab
2405:Rostam
2325:Siamak
2320:Jamasp
2234:Nowzar
2030:
2022:
1953:
1945:
1853:
1706:
1595:
1572:
1549:
1524:
1454:
1403:
1356:
1326:
1318:
1308:
1205:: 208.
962:Medium
922:Medium
846:Medium
822:Khamsa
815:Khamsa
794:Medium
732:Khamsa
728:Khamsa
720:Khamsa
712:Hatifi
655:Shirin
526:Nizami
506:Anwari
494:Qatran
482:Shirin
440:Farhad
432:Caesar
430:. The
393:Barbad
385:Shirin
343:Persia
339:Shirin
291:Shirin
248:Nezami
70:Khamsa
2870:Balkh
2865:Kabul
2850:Turan
2675:Piran
2670:Viseh
2480:Hojir
2440:Farud
2370:Qaren
2365:Qobád
2350:Arash
2335:Abtin
2028:JSTOR
1951:JSTOR
1646:(PDF)
1286:. In
1195:(PDF)
966:Date:
926:Date:
888:Date:
510:Sanai
333:king
319:poet
2845:Iran
2375:Tous
2355:Salm
2345:Kāve
2239:Zaav
2224:Iraj
2020:ISSN
1943:ISSN
1851:ISBN
1704:ISSN
1593:IMDb
1570:IMDb
1547:IMDb
1522:ISBN
1452:IMDb
1401:ISBN
1354:IMDb
1335:2024
1316:OCLC
1306:ISBN
1117:The
1088:The
1048:The
982:Date
850:Date
798:Date
645:and
639:1956
635:1934
631:1931
625:and
611:Sufi
569:Sufi
508:and
480:and
397:Iran
370:Plot
67:The
3143:'s
2460:Giv
2400:Zāl
2395:Sām
2360:Tur
2174:of
2010:doi
1935:doi
1696:doi
1591:at
1568:at
1545:at
1450:at
1352:at
722:of
366:).
269:of
73:or
3217::
2075:.
2064:^
2048:.
2026:.
2018:.
2006:25
2004:.
2000:.
1980:^
1949:.
1941:.
1931:30
1929:.
1925:.
1900:.
1876:.
1865:^
1822:.
1798:.
1774:.
1763:^
1753:.
1749:.
1724:.
1702:.
1692:22
1690:.
1686:.
1662:^
1654:91
1652:.
1648:.
1605:^
1506:^
1496:.
1472:.
1399:.
1395:.
1374:.
1324:OL
1322:.
1314:.
1304:.
1245:.
1220:.
1201:.
1197:.
1169:.
1157:^
678:.
633:,
512:.
504:,
496:,
492:,
399:.
311::
55:on
3133:e
3126:t
3119:v
2162:e
2155:t
2148:v
2085:.
2058:.
2034:.
2012::
1957:.
1937::
1910:.
1886:.
1859:.
1832:.
1808:.
1784:.
1757:.
1755:3
1734:.
1710:.
1698::
1530:.
1500:.
1482:.
1435:)
1431:(
1409:.
1378:.
1337:.
1249:.
1230:.
1203:1
1179:.
1094:(
1079:"
1054:(
360:(
307:(
277:.
228:e
221:t
214:v
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
