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Layla and Majnun
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Seated on a carpet with a lattice and floral design is a female figure, identified as “Layla” through the Urdu inscription above her head. She wears an elaborate headdress, a long red dress, a green shawl, and ornate jewelry, which includes a head ornament, necklaces, armlets, bracelets, earrings, and a nose ring. In her right hand she holds a green flask, while her left hand holds out a small blue and white cup. Her palms are dyed with henna. In front of her are two cups, a flask, two apples, a bowl, a tray of grapes, and a book on a stand. Across from her, seated on the ground and under a sapling, is an emaciated male figure. He is identified as “Majnun” through the Urdu inscription above his head. He is depicted with dark skin, curly hair, a beard, a pink loin cloth. The tale of the star-crossed lovers Layla and Majnun, who have been compared to Juliet and Romeo, has inspired many poets through the centuries. The best known version is that written by Nizami Ganjavi (1141-1209) in the 12th century.
Department of Islamic & Later Indian Art
Harvard Art Museums/Arthur M. Sackler Museum Friends of the Fogg Art Museum Fund
Title: Layla and Majnun
Description:
Seated on a carpet with a lattice and floral design is a female figure, identified as “Layla” through the Urdu inscription above her head.
She wears an elaborate headdress, a long red dress, a green shawl, and ornate jewelry, which includes a head ornament, necklaces, armlets, bracelets, earrings, and a nose ring.
In her right hand she holds a green flask, while her left hand holds out a small blue and white cup.
Her palms are dyed with henna.
In front of her are two cups, a flask, two apples, a bowl, a tray of grapes, and a book on a stand.
Across from her, seated on the ground and under a sapling, is an emaciated male figure.
He is identified as “Majnun” through the Urdu inscription above his head.
He is depicted with dark skin, curly hair, a beard, a pink loin cloth.
The tale of the star-crossed lovers Layla and Majnun, who have been compared to Juliet and Romeo, has inspired many poets through the centuries.
The best known version is that written by Nizami Ganjavi (1141-1209) in the 12th century.
Related Results
Illustrated Manuscript of Layla and Majnun by Hamdi
Illustrated Manuscript of Layla and Majnun by Hamdi
This is a small illustrated copy of Hamdi’s Layla and Majnun. Hamdi (d. 1503) was an Ottoman poet who wrote his Layla and Majnun in Turkish in 1499 after the famous Persian work of...
Majnun visited by his father in the desert (painting, verso; text, recto), folio from a manuscript of the Layla and Majnun by Nizami
Majnun visited by his father in the desert (painting, verso; text, recto), folio from a manuscript of the Layla and Majnun by Nizami
In the tragic romance between Layla and Qays (later known as majnun—“mad” or “possessed”), the two met and fell in love as schoolchildren. Layla’s father rejected Qays’s marriage p...
An Image of Majnun with Verses from the Poem Layla va Majnun
An Image of Majnun with Verses from the Poem Layla va Majnun
The unmistakable image of Majnun—dreamy-eyed but skeletal—marks the vertical axis of this work. The figure is boxed in by 20 lines of Persian poetry. The rubric “Image of Majnun” ...
Layla and Majnun before the King Who Sees the Divine in Everything (painting recto, text verso of folio 33) from a manuscript of Subhat al-abrar by Jami
Layla and Majnun before the King Who Sees the Divine in Everything (painting recto, text verso of folio 33) from a manuscript of Subhat al-abrar by Jami
The first illustration of this manuscript depicts the king who saw everything was the Divine: "He who appears in Layla's figure, He who looks on through Majnun's eyes."...
Illustrated Manuscript of Layla and Majnun by Nizami
Illustrated Manuscript of Layla and Majnun by Nizami
The manuscript opens with an illuminated sarlawh which consists of an original cartouche right above the text and a later addition on top of that. The original illuminated rectangu...
Illuminated sarlawh of the Layla and Majnun (later notes recto; text verso of folio 3), from a manuscript of Layla and Majnun by Jami
Illuminated sarlawh of the Layla and Majnun (later notes recto; text verso of folio 3), from a manuscript of Layla and Majnun by Jami
The manuscript opens with an illuminated sarlawh and gilded text panel. The text is copied in 13 lines in two columns and the text panels are remounted onto new margins. According ...

