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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."
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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.
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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.
1118:(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." (
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929:, 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
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895:, 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.
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1110:, 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:
902:, 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.
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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.
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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.
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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.
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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.
454:, 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.
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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
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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.
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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
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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
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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
574:: "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)."
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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.
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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
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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
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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
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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
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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
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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
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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
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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
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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.
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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
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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
989:, 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.
447:, 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.
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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.
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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.
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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.
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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.
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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
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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
590:(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.
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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.
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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).
556:. 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
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1122:, 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.)
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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
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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
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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.
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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
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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
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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
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1632:"From Persia and Beyond: a discussion of the illustrations to a Khamsa of Amir Khusrau Dihlavi in the State Library of Victoria"
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contains a verse from the text. Between each gold medallion are clouds, which were typical of the Ottoman artistic style.
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with its roots in Armenia and in the Christian regions of the Caucasus, where, as we have seen, Neẓāmi found his source;
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falls in love with Shirin and becomes Khosrow's love-rival. Khosrow cannot abide Farhad, so he sends him as an exile to
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1761:"Folio from a Khamsa (Quintet) by Nizami (d.1209); recto: text; verso: illustration: Khusraw sees Shirin bathing"
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Depictions of Khosrow and Shirin take many different forms, with many depictions coming from adapted versions of
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1809:"Nizami | "Khusrau Catches Sight of Shirin Bathing", Folio 50 from a Khamsa (Quintet) of Nizami of Ganja"
1736:"A Comparative Analysis of Factors Influencing the Evolution of Miniature in Safavid and Ottoman Periods"
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Khosrow, before proposing marriage to Shirin, tries to get intimate with another woman named Shekar in
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1785:"Transforming Discolored Pigments in a 16th-Century Persian Watercolor | Yale University Art Gallery"
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There are many references to the legend throughout the poetry of other Persian poets including
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969:Figure 7.Shirin Visiting Farhad/ Lewis P 265
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Shirin eventually consents to marry Khosrow after several romantic and heroic episodes. Yet,
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Reassessing Early Safavid Art and History, Thirty Five Years after Dickson & Welch 1981
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909:Figure 5.Shiring Before her Bath by Kamal
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Kusraw and Shirin frontispiece by Suzi Medium: Ink, watercolor, gold on paper Date:1498–99
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Figure 2.Shirin looks at Khusraw's image by Suzi
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follows the plot of Nizami's story, but also deviates from the original in some parts.
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Encyclopaedia of Islam, THREE, "Ferhad u Şirin (in Turkic literatures)", Muhsin Macit
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1987:"Mostly Modern Miniatures: Classical Persian Painting in the Early Twentieth Century"
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Figure 4.Khusrau Catches Sight of Shirin Bathing by Shaikh Zada
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An illustration of a similar scene is from a manuscript of Nizami's story. Titled
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and other Persian writers and popular tales, and other works have the same title.
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Figure 6.Khusraw Discovers Shirin Bathing by unknown artist
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The tale was also an inspiration for the 2012 Bollywood romantic comedy film,
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Figure 3.Khusraw discovers Shirin bathing in a pool by Murshid al-Shirazi
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The story was especially popular at the Ottoman court during the reign of
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One depiction of the scene hangs in the Seattle Art Museum and is titled
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Encyclopædia Iranica, "ḴOSROWO ŠIRIN AND ITS IMITATIONS", Paola Orsatti
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Orientalism and the Reception of Powerful Women from the Ancient World
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Medium: ink, gold and opaque watercolour on paper Date: 1480 and 1500
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Lornejad, Siavash; Doostzadeh, Ali (2012). Asatrian, Garnik (ed.).
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horse. She dons a headdress and an orange coat over her blue gown.
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Shapur, Khosrow's close friend and a painter, tells Khosrow of the
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1181:"ON THE MODERN POLITICIZATION OF THE PERSIAN POET NEZAMI GANJAVI"
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in a dream and Anushirvan gives him glad tidings of a wife named
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International Journal of Cultural and Social Studies (IntJCSS)
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The tale was used as the inspiration for a 2008 Iranian film,
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An adaptation that also gained widespread popularity is the
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2035:"OPenn: Lewis P 265 Illustration of Shirin Visiting Farhad"
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soon formed around the figure of Širin: one in her favor,
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mentioned that the legend was a popular story in his era.
1289:(Online ed.). Dhaka, Bangladesh: Banglapedia Trust,
1232:"Iranian Censors' Heavy Hand Falls On A Persian Classic"
1258:. Mahmood Awan. Academy of the Punjab in North America.
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Eugene Fuller Memorial Collection at Seattle Art Museum
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606:. In Europe, the story was told by Hungarian novelist
282:
Bathing, From Pictorial Cycle of Eight Poetic Subjects
1863:"Shirin Before Her Bath, AKM422, The Aga Khan Museum"
343:
Variants of the story were also told under the title
1956:
1286:
Banglapedia: the National Encyclopedia of Bangladesh
560:
influences, which are seen in Nizami's epic poetry.
2103:
Nizami: "Khosru & Shireen", Medieval Sourcebook
457:
1178:
854:
544:Besides Ferdowsi, Nizami's poem was influenced by
304:) is the title of a famous tragic romance by the
3201:
2062:"Remastered | AKM270 Fol. 81r | Aga Khan Museum"
801:
536:And by Truth, there is no sweeter story than it.
2088:Encyclopædia Iranica, "Farhad", Heshmat Moayyad
1670:
1153:
1267:
961:: Arts of the Islamic World at Brooklyn Museum
3114:
2143:
1149:
1147:
1112:Die von Guidi herausgegebene syrische Chronik
350:
209:
1887:"Khusraw Discovers Shirin Bathing (article)"
534:The tale of Khosraw and Shirin is well known
16:Persian tragic romance by the Nizami Ganjavi
1378:Ashish Rajadhyaksha; Paul Willemen (2014).
1198:
865:Khusraw Discovers Shirin Bathing in a Pool.
3121:
3107:
2150:
2136:
1765:Smithsonian's National Museum of Asian Art
1585:
1562:
1539:
1444:
1346:
1204:
1144:
704:during Bayezid II's reign (1481 - 1512).
683:
216:
202:
2157:
2002:
1503:Filippo Carlà-Uhink; Anja Wieber (2020).
1229:
1912:"Persian and Indian Miniature Paintings"
1831:
964:
944:
904:
870:
828:
776:
461:
269:
242:
227:
1984:
1916:The Metropolitan Museum of Art Bulletin
1733:
937:Illustrations of Shirin visiting Farhad
925:A fourth painting of the scene, titled
893:Khusrau Catches Sight of Shirin Bathing
850:Variations In Common Scenes Illustrated
159:Nizami Museum of Azerbaijani Literature
3202:
1909:
1625:
1623:
1621:
1619:
1617:
1615:
1509:. Bloomsbury Publishing. p. 265.
699:Another illustrated copy is a poem by
656:Jonathan Richman and the Modern Lovers
598:The tale has been retold by countless
136:Campaign on granting Nizami the status
3102:
2131:
2056:
2054:
1980:
1978:
1976:
1974:
1972:
1970:
1857:
1855:
1755:
1753:
1671:Yoltar-Yildirim, Ayşin (2005-03-22).
1666:
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1658:
1656:
1654:
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1629:
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1607:
1605:
1603:
1601:
1599:
1597:
1595:
1498:
1496:
1230:Recknagel, Charles (19 August 2011).
987:Shirin Visits Farhad at Mount Bisutun
719:around the 13th to 14th century. The
654:The story was also referenced in the
3265:Memory of the World Register in Iran
513:Although the story was known before
2115:The Story of Khosrow and Shirin at
1188:Yerevan Series for Oriental Studies
766:Collection: The Khalili Collections
727:Hatifi's Poem and Ottoman influence
508:
351:
301:
13:
2751:
2744:
2737:
2051:
1967:
1852:
1750:
1649:
1592:
1493:
1371:
750:Collection: Islamic Art at the Met
138:of the national poet of Azerbaijan
14:
3276:
2081:
1985:Simpson, Marianna Shreve (2008).
1734:Mesineh, Maryam (November 2017).
593:
3083:
3082:
2912:Gonbadan Castle (Dez-i Gonbadan)
927:Khusraw Discovers Shirin Bathing
755:
739:
670:
458:Popularity in Persian literature
262:, late 15th-early 16th century.
254:, Page from a manuscript of the
31:
3187:Shirin Farhad Ki Toh Nikal Padi
2027:
1950:
1903:
1879:
1825:
1801:
1777:
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1703:
1569:
1546:
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1402:
1353:
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855:Illustrations of Shirin Bathing
664:Shirin Farhad Ki Toh Nikal Padi
384:, and a great kingdom, that is
2123:The story of Farhad and Shirin
1813:The Metropolitan Museum of Art
1715:The Metropolitan Museum of Art
1223:
1172:
1154:Heshmat Moayyad (1999-12-15).
1134:
1125:
1100:
1071:
1031:
977:: Free Library of Philadelphia
891:A second illustration, titled
1:
2921:Bahman Castle (Dezh-i Bahman)
1957:Amīr Khusraw Dihlavī (1524).
1711:"Hatifi | Khusrau and Shirin"
1381:Encyclopedia of Indian Cinema
1291:Asiatic Society of Bangladesh
1025:
2924:Alanan Castle (Dezh-i Alanan
2066:remastered.agakhanmuseum.org
1236:RadioFreeEurope/RadioLiberty
658:song "Shirin & Fahrad".
563:
427:Meanwhile, a sculptor named
312:(1141–1209), who also wrote
7:
998:
163:Nizami Gəncəvi (Baku Metro)
131:Farhad (Persian literature)
10:
3281:
3210:12th-century Persian books
2918:Sepid Castle (Dezh-i Sepid
2915:Roein Castle (Dez-i Roein)
1832:Soudavar, Abolala (2016).
898:A third depiction, titled
18:
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2171:
2004:10.1163/22118993-90000140
1689:10.1163/22118993_02201006
1409:شیرین و فرهاد (فیلم ۱۳۱۳)
1205:Dick Davis (2005-01-06).
1114:, Wien 1893, p. 10.) The
252:and Courtiers in a Garden
3163:Shirin and Farhad (film)
1361:"Shirin Khushrau (1929)"
1283:; Ahmed, Sabbir (eds.).
887:: Islamic Art at the Met
793:: Islamic Art at the Met
2039:openn.library.upenn.edu
1630:Brend, Barbara (2013).
802:Amir Khusrau Dihlavi's
715:. Dihlavi composed his
684:Illustrated Adaptations
638:, 1970, 1975 and 1978.
358:
330:, who becomes queen of
3048:Rostam's Seven Labours
2927:Gang Castle (Gang-Dez)
2756:
2749:
2742:
1910:Dimand, M. S. (1935).
1483:"Shirin Farhad (1956)"
1249:A poetic legend retold
978:
962:
922:
900:Shirin Before Her Bath
888:
846:
794:
538:
487:Mas'ud-e Sa'd-e Salman
474:
411:and flees to Armenia.
288:
267:
240:
3260:Epic poems in Persian
3245:World Digital Library
3043:Rostam and Esfandiyar
2755:
2748:
2741:
1211:Encyclopaedia Iranica
1120:Patrologia Orientalis
968:
948:
921:: The Aga Khan Museum
908:
874:
832:
780:
762:Single-volume Qur'an
532:
465:
273:
246:
231:
2499:Eskandar (Alexander)
1554:Shirin Farhad (1975)
1436:Shirin Farhad (1945)
1386:Taylor & Francis
1338:Shirin Farhad (1926)
1160:Encyclopedia Iranica
1095:Encyclopædia Iranica
1080:Encyclopædia Iranica
1055:Encyclopædia Iranica
1040:Encyclopædia Iranica
713:Amir Khusrau Dihlavi
571:Encyclopædia Iranica
284:, mid 18th century.
19:For other uses, see
1789:artgallery.yale.edu
1108:Khuzistan Chronicle
604:Indian subcontinent
489:, Othman Mokhtari,
380:, a musician named
189: •
187:in Saint Petersburg
185: •
181: •
177: •
173: •
169: •
165: •
161: •
157: •
3135:Khosrow and Shirin
3059:Khosrow and Shirin
2897:Other locations...
2757:
2750:
2743:
2108:2007-08-07 at the
1414:2015-02-01 at the
1254:2020-02-10 at the
1116:Chronicle of Séert
1097:, Heshmat Moayyad)
1090:2020-11-08 at the
1050:2020-11-17 at the
1015:Persian literature
979:
963:
923:
889:
847:
795:
475:
326:for the Christian
293:Khosrow and Shirin
289:
268:
248:The Sasanian King
241:
83:Khosrow and Shirin
3255:Shahnameh stories
3215:Persian mythology
3197:
3196:
3174:(1956 Hindustani)
3096:
3095:
3070:Persian mythology
3065:Bijan and Manijeh
3038:Rostam and Sohrab
2733:
2732:
2509:Female characters
2489:Rostam Farrokhzād
2434:Zangay-i Shavaran
1960:[Khamsah]
1845:978-1-329-97615-3
1516:978-1-350-05011-2
1418:sourehcinema.com
1395:978-1-135-94325-7
1279:; Miah, Sajahan;
1057:, Paola Orsatti)"
1020:Persian mythology
568:According to the
346:Shirin and Farhad
226:
225:
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3250:Historical poems
3225:Medieval legends
3220:Poems in Persian
3123:
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2707:House of Goudarz
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649:Abbas Kiarostami
509:Nizami's version
376:, a steed named
354:
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315:Layla and Majnun
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155:Nizami Mausoleum
90:Layla and Majnun
76:Maḵhzan al-asrār
35:
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3023:Derafsh Kaviani
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2717:House of Nowzar
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1928:10.2307/3255244
1922:(12): 248–250.
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3182:(2008 Persian)
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3166:(1934 Persian)
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3130:Nizami Ganjavi
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594:Other versions
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587:My Name Is Red
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528:Nizami Ganjavi
510:
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473:in a miniature
467:Khosrow Parviz
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417:Constantinople
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310:Nizami Ganjavi
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2799:
2796:
2794:
2791:
2789:Koulad-Ghandi
2788:
2786:
2783:
2781:
2778:
2776:Kharvazan Div
2775:
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2770:
2769:
2767:
2761:
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2608:
2602:
2601:Mehrab Kaboli
2599:
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2240:
2234:
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2209:
2206:
2204:
2201:
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2183:
2181:
2177:
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2166:
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2153:
2148:
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2141:
2139:
2134:
2133:
2130:
2124:
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2119:
2118:
2113:
2111:
2107:
2104:
2101:
2099:
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2089:
2086:
2085:
2067:
2063:
2057:
2055:
2040:
2036:
2030:
2022:
2018:
2014:
2010:
2005:
2000:
1996:
1992:
1988:
1981:
1979:
1977:
1975:
1973:
1971:
1963:(in Persian).
1962:
1961:
1953:
1945:
1941:
1937:
1933:
1929:
1925:
1921:
1917:
1913:
1906:
1892:
1888:
1882:
1868:
1864:
1858:
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1847:
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1828:
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1790:
1786:
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1766:
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1745:
1741:
1737:
1730:
1716:
1712:
1706:
1698:
1694:
1690:
1686:
1683:(1): 95–109.
1682:
1678:
1674:
1667:
1665:
1663:
1661:
1659:
1657:
1655:
1653:
1644:
1640:
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1572:
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1560:
1556:
1555:
1549:
1542:
1537:
1533:
1532:
1526:
1518:
1512:
1508:
1507:
1499:
1497:
1488:
1487:Indiancine.ma
1484:
1478:
1464:
1460:
1454:
1447:
1442:
1438:
1437:
1431:
1425:
1423:
1417:
1413:
1410:
1405:
1397:
1391:
1387:
1383:
1382:
1374:
1366:
1365:Indiancine.ma
1362:
1356:
1349:
1344:
1340:
1339:
1333:
1318:
1314:
1310:
1306:
1302:
1300:984-32-0576-6
1296:
1292:
1288:
1287:
1282:
1278:
1274:
1270:
1264:
1257:
1253:
1250:
1245:
1237:
1233:
1226:
1212:
1208:
1207:"Vis o Rāmin"
1201:
1193:
1189:
1182:
1175:
1161:
1157:
1150:
1148:
1137:
1128:
1121:
1117:
1113:
1109:
1103:
1096:
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1074:
1067:
1065:
1061:
1056:
1053:
1049:
1046:
1042:
1041:
1034:
1030:
1021:
1018:
1016:
1013:
1011:
1010:Vis and Rāmin
1008:
1006:
1003:
1002:
996:
993:
990:
988:
983:
976:
972:
967:
960:
956:
952:
947:
943:
934:
932:
928:
920:
916:
912:
907:
903:
901:
896:
894:
886:
882:
878:
873:
869:
866:
861:
844:
840:
836:
831:
827:
823:
819:
815:
812:
805:
799:
792:
788:
784:
779:
775:
765:
758:
749:
742:
733:
724:
722:
718:
714:
710:
705:
702:
697:
695:
691:
681:
678:
671:Illustrations
668:
666:
665:
659:
657:
652:
650:
646:
645:
639:
637:
636:Pradeep Kumar
633:
629:
625:
621:
617:
616:Bengali Kissa
613:
612:Punjabi Qisse
609:
605:
601:
591:
589:
588:
583:
579:
575:
573:
572:
561:
559:
555:
554:Vis and Ramin
551:
550:Vis and Rāmin
547:
542:
537:
531:
529:
524:
522:
521:
516:
506:
504:
503:Nizam al-Mulk
500:
496:
492:
491:Naser Khusraw
488:
484:
480:
472:
468:
464:
455:
453:
448:
446:
441:
439:
434:
430:
425:
422:
418:
412:
410:
409:Bahrām Chobin
404:
402:
398:
394:
389:
387:
383:
379:
375:
371:
367:
356:
352:شیرین و فرهاد
348:
347:
341:
339:
338:
333:
329:
325:
321:
317:
316:
311:
307:
299:
295:
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139:
134:
132:
129:
127:
124:
122:
119:
118:
117:
116:
112:
111:
106:
105:
104:Eskandar-nāma
101:
99:
98:
94:
92:
91:
87:
85:
84:
80:
78:
77:
73:
72:
71:
70:
67:
66:
61:
60:
55:
54:
51:
48:
47:
43:
39:
38:
34:
30:
29:
26:
22:
21:Shirin Farhad
3190:(2012 Hindi)
3185:
3177:
3169:
3161:
3158:(1931 Hindi)
3153:
3143:
3134:
3133:
3058:
3057:
3028:Babr-e Bayan
3016:
3015:Abu-Mansuri
2992:
2984:
2975:
2967:
2960:
2955:(or Demotte)
2951:
2943:
2726:House of Sām
2552:Banu Goshasp
2158:
2116:
2069:. Retrieved
2065:
2042:. Retrieved
2038:
2029:
1994:
1990:
1959:
1952:
1919:
1915:
1905:
1894:. Retrieved
1891:Khan Academy
1890:
1881:
1870:. Retrieved
1866:
1838:. Lulu.com.
1834:
1827:
1816:. Retrieved
1812:
1803:
1792:. Retrieved
1788:
1779:
1768:. Retrieved
1764:
1743:
1739:
1729:
1718:. Retrieved
1714:
1705:
1680:
1676:
1642:
1638:
1576:
1571:
1553:
1548:
1530:
1525:
1505:
1486:
1477:
1466:. Retrieved
1462:
1453:
1435:
1430:
1419:
1404:
1380:
1373:
1364:
1355:
1337:
1332:
1322:20 September
1320:. Retrieved
1284:
1263:
1244:
1235:
1225:
1214:. Retrieved
1210:
1200:
1191:
1187:
1174:
1163:. Retrieved
1159:
1136:
1127:
1119:
1115:
1111:
1107:
1102:
1094:
1078:
1073:
1063:
1059:
1058:
1054:
1038:
1033:
994:
991:
986:
984:
980:
974:
970:
958:
954:
950:
940:
926:
924:
918:
914:
910:
899:
897:
892:
890:
884:
880:
876:
864:
862:
858:
842:
838:
834:
824:
820:
816:
810:
808:
803:
796:
790:
786:
782:
772:
763:
747:
730:
720:
716:
708:
706:
698:
693:
687:
674:
662:
660:
653:
642:
640:
597:
585:
580:
576:
569:
567:
553:
546:Asad Gorgani
543:
539:
533:
525:
518:
512:
476:
449:
442:
426:
413:
405:
390:
362:
345:
344:
342:
335:
313:
302:خسرو و شیرین
292:
291:
290:
274:
247:
153:
102:
95:
88:
82:
81:
74:
63:
57:
25:
2959:Baysonghor
2935:Manuscripts
2785:Div-e Sepid
2780:Arzhang Div
2765:and animals
2266:Kay Lohrasp
2261:Kay Khosrow
2117:iranian.com
1997:: 359–395.
931:chiaroscuro
843:Collection:
582:Orhan Pamuk
192:in Tashkent
179:in Chișinău
126:Toghrul III
97:Haft Peykar
3240:Love poems
3204:Categories
2978:of Rashida
2906:Structures
2879:Alborzkouh
2874:Mazandaran
2844:Zabulistan
2763:Creatures
2702:Kashvadian
2557:Gordafarid
2404:Esfandiyār
2276:Kay Bahman
2180:Pishdadian
2172:Characters
2071:2024-04-19
2044:2024-04-19
1896:2024-04-19
1872:2024-04-19
1818:2024-04-19
1794:2024-04-19
1770:2024-04-19
1720:2024-04-19
1468:2021-05-05
1216:2008-04-25
1165:2010-07-26
1026:References
975:Collection
959:Collection
919:Collection
885:Collection
809:Dihlavi's
791:Collection
690:Bayezid II
647:, made by
370:Anushirvan
366:Hormizd IV
324:Khosrow II
278:Discovers
175:in Beijing
121:Akhsitan I
3017:Shahnameh
2993:Shahnameh
2985:Shahnameh
2976:Shahnameh
2968:Shahnameh
2961:Shahnameh
2952:Shahnameh
2944:Shahnameh
2942:Florence
2893:Kasa-Roud
2864:Ctesiphon
2793:Huma bird
2772:Akvan Div
2693:Clans and
2684:Biderafsh
2329:Kayanoush
2286:Kay Darab
2256:Kay Kāvus
2251:Kay Kawād
2218:Manuchehr
2160:Shahnameh
2013:0732-2992
1936:0026-1521
1697:0732-2992
1645:: 97–107.
1463:Cinemaazi
1317:30677644M
746:Figure.1
632:Madhubala
630:starring
608:Mór Jókai
584:'s novel
564:Influence
548:and his "
520:Shahnameh
337:Shahnameh
147:Monuments
65:Panj Ganj
3088:Category
2983:Windsor
2889:Tammisha
2813:Shabrang
2695:families
2679:Nastihan
2639:Afrasiab
2634:Garsivaz
2629:Aghrirat
2611:Turanian
2570:Katāyoun
2566:Manizheh
2562:Farangis
2532:Sindukht
2527:Shahrnāz
2424:Siyâvash
2419:Fariborz
2414:Faramarz
2409:Pashotan
2374:Gershasp
2369:Gostaham
2319:Shahrasp
2271:Goshtasb
2243:Kayanian
2233:Garshasp
2208:Fereydun
2198:Tahmuras
2188:Keyumars
2165:Ferdowsi
2106:Archived
2021:27811128
1991:Muqarnas
1412:Archived
1309:52727562
1271:(2012).
1252:Archived
1156:"Farhad"
1088:Archived
1085:"Farhad"
1048:Archived
999:See also
677:Nizami's
479:Farrokhi
452:Shiroyeh
438:Ferdowsi
433:Behistun
393:Armenian
320:Sasanian
260:Ferdowsi
256:Shahnama
167:in Ganja
42:a series
40:Part of
3145:Inferno
3003:Related
2991:Davari
2869:Estakhr
2808:Shabdiz
2798:Simurgh
2624:Pashang
2619:Zadashm
2547:Tahmina
2542:Sudabeh
2522:Arnavāz
2517:Faranak
2484:Shaghad
2444:Goudarz
2439:Kashvad
2379:Nariman
2291:Dara II
2203:Jamshid
2193:Hushang
1944:3255244
1273:"Kissa"
881:Medium:
445:Isfahan
401:Mada'in
397:Armenia
378:Shabdiz
306:Persian
298:Persian
276:Khusraw
250:Khusraw
183:in Rome
171:in Baku
3179:Shirin
3010:Daqiqi
2849:Sistan
2827:Places
2803:Rakhsh
2674:Barman
2669:Houman
2654:Arjasp
2649:Shideh
2644:Tageuo
2596:Zahhak
2592:Mardas
2585:Tazian
2575:Azadeh
2537:Rudaba
2494:Barbad
2479:Zavara
2474:Gorgin
2464:Bahram
2459:Rohham
2454:Bizhan
2399:Sohrab
2394:Rostam
2314:Siamak
2309:Jamasp
2223:Nowzar
2019:
2011:
1942:
1934:
1842:
1695:
1584:
1561:
1538:
1513:
1443:
1392:
1345:
1315:
1307:
1297:
1194:: 208.
951:Medium
911:Medium
835:Medium
811:Khamsa
804:Khamsa
783:Medium
721:Khamsa
717:Khamsa
709:Khamsa
701:Hatifi
644:Shirin
515:Nizami
495:Anwari
483:Qatran
471:Shirin
429:Farhad
421:Caesar
419:. The
382:Barbad
374:Shirin
332:Persia
328:Shirin
280:Shirin
237:Nezami
59:Khamsa
2859:Balkh
2854:Kabul
2839:Turan
2664:Piran
2659:Viseh
2469:Hojir
2429:Farud
2359:Qaren
2354:Qobád
2339:Arash
2324:Abtin
2017:JSTOR
1940:JSTOR
1635:(PDF)
1275:. In
1184:(PDF)
955:Date:
915:Date:
877:Date:
499:Sanai
322:king
308:poet
2834:Iran
2364:Tous
2344:Salm
2334:Kāve
2228:Zaav
2213:Iraj
2009:ISSN
1932:ISSN
1840:ISBN
1693:ISSN
1582:IMDb
1559:IMDb
1536:IMDb
1511:ISBN
1441:IMDb
1390:ISBN
1343:IMDb
1324:2024
1305:OCLC
1295:ISBN
1106:The
1077:The
1037:The
971:Date
839:Date
787:Date
634:and
628:1956
624:1934
620:1931
614:and
600:Sufi
558:Sufi
497:and
469:and
386:Iran
359:Plot
56:The
3132:'s
2449:Giv
2389:Zāl
2384:Sām
2349:Tur
2163:of
1999:doi
1924:doi
1685:doi
1580:at
1557:at
1534:at
1439:at
1341:at
711:of
355:).
258:of
62:or
3206::
2064:.
2053:^
2037:.
2015:.
2007:.
1995:25
1993:.
1989:.
1969:^
1938:.
1930:.
1920:30
1918:.
1914:.
1889:.
1865:.
1854:^
1811:.
1787:.
1763:.
1752:^
1742:.
1738:.
1713:.
1691:.
1681:22
1679:.
1675:.
1651:^
1643:91
1641:.
1637:.
1594:^
1495:^
1485:.
1461:.
1388:.
1384:.
1363:.
1313:OL
1311:.
1303:.
1293:.
1234:.
1209:.
1190:.
1186:.
1158:.
1146:^
667:.
622:,
501:.
493:,
485:,
481:,
388:.
300::
44:on
3122:e
3115:t
3108:v
2151:e
2144:t
2137:v
2074:.
2047:.
2023:.
2001::
1946:.
1926::
1899:.
1875:.
1848:.
1821:.
1797:.
1773:.
1746:.
1744:3
1723:.
1699:.
1687::
1519:.
1489:.
1471:.
1424:)
1420:(
1398:.
1367:.
1326:.
1238:.
1219:.
1192:1
1168:.
1083:(
1068:"
1043:(
349:(
296:(
266:.
217:e
210:t
203:v
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
