Survey of the oldest illustrated manuscript of Nezami's Khamseh based on a comparative illustrated manuscript of Jalayeri's Khamseh (788 AH)

One of the worthy works in the study of history of Persian painting is illustrated manuscripts that contain Persian painting evolution. In this article, we will present the most historical and important illustrated manuscripts of “Nezami's Khamseh” with attendance of the World Heritage Committee and UNESCO representative in Iran that was registered on 16 January 2010. This prescription is important because if we consider death of Zabihulla Safa in 619 H.A, then the death of the author of this work is less than one hundred years away, but according to the foreign and Iranian written sources, another version of the oldest "Nezami's Khamseh" has been proposed and this prescription could be one of the nearest to Nezami’s work and has been manipulated less than other manuscripts. Although this work was registered in 2010, it is propounded to the oldest version of "Nezami's Khamseh" in the Iranian and foreign reference and evidence. For identifying this prescription from Tehran University, the oldest version introduced to the art of information should be amended. The current article aims to introduce the “Nezami’s Khamse" from Tehran University and then compare it with the JALAYERI version. The Tehran University Khamse, has been written in 21*30 cm size and has four headers in Lazuli, Golden and Black colors that have been benighted by Khatayee inscription and illustrated with 17 paintings from Mongolia duration.
The Tehran University Khamse, has written in 21*30 cm size and has four headers in Lazuli, Golden and Black colors that have been benighted by Khatayee inscription and illustrated with 17 paintings from Mongolia duration. These paintings were created about its description of words and related to their texts. We can see a kind of strong combination with Sols, Naskh, Nastaliq and Broken scripts that have been sorted professionally. These scripts include “the poems of Eskandar nameh, Haft peykar and Leily & Majnoon”. The kind of paper is “Samarkand” too and uses in the other eightieth century scripts. Although there are Mongolian and Chinese cultures, a little influence of Seljuk duration is able to see in these paints. In fact, the paints are link between writing and painting of Seljuk and Mongolian periods. This version was not ordered by royal palace, because was far from some elegance method of writhing in the other similar scripts and we can say; this version was for business and selling targets, because before attack and domination of “Timor” was common in Shiraz. Therefore Shiraz was trade center for its security in that period.
In the result of article we perceive that an Iranian artist painted his work in the celestial and heavenly imagination firstly because his mind is joined by Literature that was influenced by traditions, believes, Islamic theosophy, social conditions and he considered to mystical concepts about the sorting of objects and some elements and their usages too, but it had faded gradually in the end of eleventh century was shaped terrestrial so far from celestial implications that was influenced by European paints. This perceptible changes and metamorphose was slow and gradually among four centuries but had been exist all days and its rate of changes completely depends on social, political and cultural conditions in its period and times.