Love Stories and Lovers' Scenes in Persian Painting฀ Heba

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Love Stories and Lovers’ Scenes in Persian Painting฀

Heba64 Mahmoud Saad Abdel Naby Love Stories and Lovers’ Scenes in Persian Painting ______Heba฀Mahmoud฀Saad฀Abdel฀Naby฀______

36 Potiphar, thinking that he was YusufAssociate she saw Professorin her dreams. of IslamicThe story Archaeology gives details about Yusuf and his brothers, and tempting picture was on one wall, rather than between the painting's real characters (pl.2). By the second half of the how he ended at Potiphar court. Zulaykha finally found Yusuf that she saw in her dreams and declared her love. She sixteenth century, paintings of Yusuf and Zulaykha story were more expressive. They depicted Yusuf embracing Faculty of Tourism and Hotels, Alexandria University 37 tried to seduce him but he refused. So, she accused him of seducing her, and threw him into prison. Many years later, Zulaykha in their marriage scene (pl. 3, 4). YusufAbstract฀ came out of prison and became Aziz of Egypt. Although Zulaykha was old and lost her beauty then, she was still The third feature that marked lovers' scenes accompanying lyrical love stories was the care for both the main in love with Yusuf. On seeing her, Yusuf prayed for God to keep her youth and beauty and then married her. Soon after, characters and the scene's background. Such care for details contributed in creating a detailed image of the story as This research aims to study the scenes of 17lovers in Persian painting from the fourteenth to the end of the seventeenth Yusuf died and Zulaykha followed him. The story of Jami has Sufi aspects; where Zulaykha's lust for Yusuf described by the poet. The scene's details reinforce the mood and meaning of the story. representscenturies. theThe soul's studied longing scenes for classified God.18 into two types; the first include paintings with famous love stories in Persian literature, of these; Khusraw and Shirin, Layla and Majnun, Yusuf and Zulaykha, Bahram Gur and Azda. Those Paintings฀of฀lovers฀accompanying฀lyrical฀poetry฀or฀independently฀represented฀ paintingsThe were story depicting of Jami thewas important full of details episodes that of attracte the story.d painters, The second who either type favored. includes The paintings often depictedthat were scenes either showedaccompanying Zulaykha lyrical entering poetry Egypt, or independent. the Egyptian During women the 17overwhelmedth century such by paintings Yusuf's beauty,were representing Zulaykha couples trying to o r se loversduce Another category of lovers' paintings; accompanying romantic poetry (ghazal) or independently represented, became Yusufin postures at her palace, reflecting19 and intimacy the marriage and liberation. scene of Yusuf The research,and Zulaykha. therefore,20 Another aims famous to study Persian the twolove paintinstory wasgs' the types; story to more frequent during the fifteenth till the end of the seventeenth century. They were not part of a story, depicted of฀Khusraw฀and฀Shirin,฀presented by the gifted poet Nizami. The story tells฀the love story of the Sasanian king Khusraw unspecific event with unidentified characters. During the fifteenth century, paintings of lovers were discrete. Such compare between them and explain their features. It also aims to clear the reasons that led to appearing and accept of 38 IIdaring and thescenes Armenian of lovers princess that reflect Shirin. closeness, Although lib theerty st andory eroticism.bases on figures recorded in Shahnamah of Firdawsi, Nizami paintings represented two lovers sitting in a garden and amused by musicians (pl. 5, 6). In other paintings, the lover set forth more details in his Quintet. He gave the story a real unity, expanding it with his thoughts on religion, was embracing his beloved (pl. 7)39 or kneeling in front of her to offer her a cup of wine (pl. 8).40 Those painting usually philosophyKeywords :and Persian government, painting, thus,romantic creating poetry, a romance Persian oflove great stories, dramatic eroticism intensity. The story recounts how Khusraw fell show a fruitful tree, where the two lovers sit under its shadow or the beloved leaned on. Often, lovers' scenes with wine in love with Shirin on hearing about her outstanding beauty. He sent his attendant and painter, Shapur, to Armenia to bottles, or the lover presents his beloved a wine cup. ………………………………………………………………………………………………………………………………฀ find her. The latter traveled disguised as a monk, searched for Shirin's palace and managed to present her a portrait of It was also during the fifteenth century that Bihzad introduced innovative daring themes in his paintings KhusrawIntroduction฀ that made her fall in his love. Khusraw traveled to meet Shirin, the two lovers eventually met but Khusraw accompanying Khamsa of Nizami and Bustan of Sacdi. His works relaxed the formality of the court, humanized the had to go back to reclaim his throne from his enemy Chubin. Longtime ago, the two lovers left each other, during which style of painting and thus, encouraged the following painters to tackle new themes, including scenes of lovers. During thePassionate sculptor poetry Farhad was fell one in loveof the with main Shirin. themes Khusr of Perawsian tried poetry to convince and many Farhad poets to were stay famous away from for their Shirin pa ssionatebut in vain, lyrical so poetry such as Sunna’i,1 'Attar,2 al-Rumi,3 Sacdi,4Hafiz5 and Jami.6 Their works varied between realism, mystic and the sixteenth century, Muhammadi41 had his fingerprint in introducing a revolutionary style, which later became he sent him false news of Shirin's death that made Farhad kill himself. The two lovers unified and married, but their 42 43 spiritual poems. Tale poetry was another theme of Persian poetry that appeared as early21 as the eleventh century and popular. Two lovers paintings of Muhammadi; the first shows two lovers by a pool (pl. 9), and the second shows story ends tragically when an enemy killed Khusraw, and then Shirin takes her own life. 44 included both passionate and historical stories. The poem of Vis฀ and฀ Ramin of Gurgani7 is the earliest example of two lovers in a pavilion. In the first painting, the lover is embracing his beloved with his left arm and offers her a cup passionateLater, poetry Jami in and a tale Hatifi form. adopted Later Nizami'scenturies; version. other poets Pain becameters who famed. produced8 They fake adopted scenes some usually great favored stories certaof epicin of wine with his right. His beloved declines the wine-cup gracefully but firmly while still keeping her arm round his episodes of the story. Of these, scenes of Shirin looking at Khusraw's portrait,22 Khusraw looking – in surprise - at shoulder. The two lovers standing beside a pool; cypress and willow tree are behind, besides a large bottle in the literature and giving them23 a new character; by changing the mood24 and proposing more details about25 feelings and Shirinemotions while of havingthe heroic bath, tale. Khusraw9 In the twelfthat Shirin's century, palace cAttar or castle, applied Shirin this in visits Khusraw, Farhad and at theBirds mountain, Language andtales. Shirin's Other middle. The second painting depicts the lover playing the tar in a garden pavilion while his beloved embraced him. Two 26 Layla฀and฀Majnun weddingsuch as Nizamito Khusraw.10 in his Quintet,In his Quintet, Khwadju, Nizami11 Jami presented and Hatifi 12 - during the thirteenth's story, onetill theof thesixteenth famous centuri love storieses- either in other women play the tambourine and dulcimer, and a dark-skinned youth is there with a covered stem cup. On the Islamicdid. Sketching world. AlthoughPoetic writings the original in general story began dates by to thethe fourteenthsecond half century. of the Paintersseventh traditionallycentury, it became changed popular the styles when of pavilion's both sides, there are cypress and willow trees, a pool with a fountain stands at the base between two large adopted and presented by Nizami. He based his story on the main character of the original story Qays b. Al-Mulawwah, 45 miniatures according to the text. Thus, in epics like Shahnameh, combats and reaching throne scenes usually exist, vases. Those two paintings give a clear idea of the typical Muhammadi style. It sketches slim and graceful figures who probably lived in the Najd desert. Nizami used all the available material about the story but he added, altered and with rounded, youthful and slightly smiling faces. Landscape details and decorated buildings kept to minimum and in while Nizami and Khwadju's poetry have static lyrical miniatures.13 In fact, painters paid special attention to the adapted many details to create his tragic masterpiece. A story for Nizami about Qays and Lyla, who fall in love at general uses rather pale colors. school,passionate when poetry they since grew it up, enabled Qays beganthe painter composing to show poem his talents about through his love the for miniature Layla, sothat considered should re flect mad the or Majnuntext and. Whenforesee he its proposed meaning. for her, Layla's parents opposed their engagement, so separated the two lovers. Qays then fled his It is worth mentioning that other paintings depicting lovers realized during the sixteenth century. The common feature between them was representing the lover kneeling and pulling his beloved from her veil, dress or hand but she tribe andThe began heritage wandering of Persian into tale the poetry desert included and lived love with stories. wild Poets animals. presented Soon after,these anotherstories repeatedly, man married each Layla; imposing she 46 became ill and eventually died. Majnun visited her grave and died in the nearby.27 was priming and escaping from him (pl. 10, 11 and 12). Muhammadi’s scenes of lovers in particular presented more his touch. Such stories were a rich source of lovers' paintings; whom the story main characters. The present study intimate physical contact for Riza cAbbasi47 to present more liberal scenes. Riza cAbbasi was the master of these scenes, examinesPersian the paintingspoets such accompanying as Jami and suchHatifi love adopted stori esand to corevealpied theirNizami's features. version The of study the story.also traces Paintings the changed of the story taste by whom many students affected. Riza cAbbasi produced several paintings of lovers. The first (pl. 13) depicts two certainof passionate parts accompanied poetry; that their sometimes works. withThe lovers'scenes sfavoredcenes. Further,by painters it will were: trace Layla the and independent Qays at school, scenes M ofajnun lovers visits that lovers in outdoor scene, sitting on a carpet, and a mountain is behind.48 The lover approaches his beloved with a wine- thecame camp into of fashionLayla,28 during Majnun the in seventeenththe desert,29 and century Majnun with at uniqueLayla's style.grave. The30 Another study romantic presents twostory scenes' presented typ byes Nizami through cup in one hand and a wine bottle in the other, while she is leaning on a large cushion and embracing her lover in an invariant his Quintet stylized was and the dated story examples;of Bahram฀Gur฀฀฀and฀the฀seven฀princesses to compare between painting two. This types, based and on the highlight classical each story type's of Bahram features. Gur In inviting gesture. The mountain with few plants and trees decorate the background. A vase, a plate with fruits, and a V,addition, the Sasanian the study Persian analyzes King, the son atmosphere and successor of each of type,Yazdegerd and clears I. He motives reigned of from altered 420 Persian to 438. taste.Firdawsi mentioned this bottle of wine occupy the carpet's three corners, leaving the fourth corner for the two lovers. The second painting (pl. story in Shahnamah. It focused on Bahram Gur’s adventures, military skill and efforts to ruling well. Nizami’s version Famous฀Persian฀Love฀Stories฀and฀their฀accompanying฀paintings฀฀ 14) is a preparatory sketch depicting a seated lover holding his beloved face under her chin and putting his left hand on of the story is psychologically subtle, erotic and symbolic. The story recounts how Bahram Gur traveled to Yemen to her knee. While his beloved looks at him in passion and holds his belt (sash).49 The painting depicts an elderly man learnIn 446 kingship A.H/1054 art, A.D where Gurgani he saw presented a room with- one seven of the portraits earliest lyricalof seven poems- princesses the story and of fell฀Vis฀and฀Ramin.฀ in love with them.This passionateWhen he behind the two lovers and approaches the man. This sketch carried out as a painting (pl. 15) where a cupbearer -offering returnedstory was to about Persia Merv's and became king "Mubid", the king, whohe married wanted the to sevenmarry princessesthe beautiful and princess built a certain Shehru. colored She refused, palace afornd eachpromised one. the two lovers two wine cups- represented instead of the elderly man, with more detailed background.50 The fourth and Thishim herfocused daughter. on the The stories daughter that each "Vis" princess brought tell ups himwith asthe he king visits Mubid's on successive brother daysRamin. of theWhen week. Vis Theturned symbolism up sixteen, of most important painting of Riza (pl. 16), represents the most clearly erotic work Riza had produced up to 1630.51 It 31 planets,her mother colors, asked and her the tonumber marry sevenher brother pervades Wiru. the romance.When Mubid The knew, paintings he asked accompanied Shehru tothe fulfill story herrepresented promise, Ba buthram she depicts two entwined lovers, where the beloved sits on the lap of her lover while he embraces her to hold her body and 32 Gurrefused. with A eachwar broke princess out between in her palace. the two Each counties, palace king re Mubidpresented seized with Vis different to marry. colored At the same cloth time and Vis furnitur met e,"Ramin" and her face. The woman's uplifted breast and exposed navel, the man's hand penetrating her clothes, besides a half-drunken 33 representsafter a long Bahram period Gur of abandonmentin the seven portraits and fell room. in love with him. Mubid tried hard to separate between the two lovers. wine bottle, these reflects an approach toward eroticism and sexuality.52 A fifth painting of Riza (pl. 17), represents the 53 RaminPainters battled hisof brotherseveral andart schools killed him. repeatedly The story copied came a ndto enddecorated with the the marriage works of of Nizami, Vis and SaRamin.cdi, Khwadju,14 This no Jami sketched and two lovers in a more intimate pose; the beloved sits on her lover's lap, who embraces her with both arms and leg. The Hatifi.story was Yet, the a generalearliest reviewpassionate of the poems paintings key, whichaccom encouragedpanying love poets stories, for writing.which were in lyrical poetry form, and reveals pose of the two lovers, the eye contact between them, their close faces and intertwined bodies all reflect submission and certain features. First, it seems that painters sketched certain scenes of each story. These scenes were the most passion. The story of฀Yusuf฀and฀Zulaykha was another classic Persian love story based on the story of Yusuf, mentioned expressive of the story, representing the plot and focusing on each story's turning point events. Second, the scenes were c in the Old Testament and the holy Quran. Firdawsi first introduced between 384- 6 A.H. / 994- 6 A.D. Other poets like Riza Abbsi who fashioned more distinct paintings rather than album paintings, displayed notable technical skill conservative in presenting the two lovers and never presented them in intimate postures unless by the end of the al-Bukhari, al-Harawi and Jami -in his Haft Awrang- represented it either.15 Firdawsi related his version to the holy in presenting cloth surfaces, motion and the characters of his paintings. He displayed an enduring interest in novel sixteenth century. The16 lover usually represented peeking at his beloved, visiting her place (camp, house or palace), subject-matter.54 He succeeded in introducing the lovers as the paintings' main theme. He also managed to present displayingQuran description. his heroic actions,While Jami's or finally version sitting revealed with her firsthand to celebrate details; the n triumpheither mentioned of their love. in the Eve holyn the Quran famous nor scene the Old of Testament. Jami focused on the love story and the main character's "Zulaykha" feelings. The story of Jami tells how innovative poses and compositions of the lovers that reflect passion and lust. His ingenious representation of the lovers Khusraw looking at Shirin while bathing, which was depicting Shirin naked, was a conservative scene (pl.1). It intended encouraged other contemporaries and followers to depict even more openly sensual scenes of lovers. Among the lovers toZulaykha depict the fall surprise in love of with Khusraw Yusuf atwhen seeing she Shirin saw him rather in thandreams. depicting She, then, the beauties went to ofEgypt Shirin’s and bodymarried and Aziz the seductiof Egypt,on 34 35 paintings assigned to Riza’s followers, is a drawing with ink and watercolors (pl. 18) depicts the two lovers standing by her naked body might imply. Bihzad, who famed with his realistic and innovative treatment, started to represent a tree, the lover embracing his beloved and trying to kiss her.55 Another painting assigned to Mucin Musawir56 depicts intimacy between the two lovers. His style and new ideas of traditional scenes helped the following artist to represent the two lovers sitting, and the lover is embracing his beloved with one arm and wraps her with his embroidered cloak lovers in intimate postures; the following category will discuss. Bihzad in his representation of Yusuf escaping from with the other. A servant, who sits close to the lovers, offers the beloved a cup of wine and the wine bottle is in front of seduces by Zulaykha in her maze-like palace was presenting a new approach of presenting lovers with intimacy. This them.57 A third painting assigned to Muhammad Yusuf al-Husayni58 depicts two men kneeling before a standing

Love Stories and Lovers’ Scenes in Persian Painting 65 ______Love Stories and Lovers’ Scenes in Persian Painting฀ tempting picture was on one wall, rather than between the painting's real characters (pl.2).36 By the second half of the sixteenth century, paintings of YusufHeba฀Mahmoud฀Saad฀Abdel฀Naby฀ and Zulaykha story were more expressive. They depicted Yusuf embracing Zulaykha in their marriage scene (pl. 3, 4).37 Associate Professor of Islamic Archaeology The third feature that marked lovers' scenes accompanying lyrical love stories was the care for both the main characters and the scene's background.Faculty of SuchTourism care foandr details Hotels, contributed Alexandria in creating University a detailed image of the story as described by the poet. The scene's details reinforce the mood and meaning of the story. Abstract฀ Paintings฀of฀lovers฀accompanying฀lyrical฀poetry฀or฀independently฀represented฀ This research aims to study the scenes of lovers in Persian painting from the fourteenth to the end of the seventeenth Anothercenturies. category The studied of lovers' scenes paintings; classified accompanying into two types; romantic the first poetry include (ghazal paintings) or independentlywith famous love represented, stories in becamePersian moreliterature, frequent of these; during Khusraw the fifteenth and Shirin, till the Layla end of and the Majnun, seventeenth Yusuf century. and Zulaykha, They were Bahram not part Gur of and a st ory, Azda. depicted Those unspecificpaintings were event depicting with unidentified the important characters. episodes Duri ofng the the story. fifteenth The century, second typepaintings includes of lovers paintings were that discrete. were eitherSuch 38 paintingsaccompanying represented lyrical twopoetry lovers or independent. sitting in a gardeDuringn and the amused17th century by musicians such paintings (pl. 5, were 6). representing In other paintings, couples theor loverslover 39 40 wasin postures embracing reflecting his beloved intimacy (pl. 7) and or liberation.kneeling in Thefront research, of her to offer therefore, her a aimscup of to wine study (pl. the 8). two Those paintin paintinggs' types; usually to showcompare a fruitful between tree, them where and the explain two lovers their sitfeatures. under itsIt alsoshadow aims or to the clear beloved the reasons leaned on.that Often, led to loverappearis' scenesng and with accept wine of bottles,daring scenesor the loverof lovers presents that reflecthis beloved closeness, a wine lib certyup. and eroticism. KeywordsIt was: Persian also duringpainting, the romantic fifteenth poetry, century Persian that love Bihza stories,d introduced eroticism innovative daring themes in his paintings accompanying Khamsa of Nizami and Bustan of Sacdi. His works relaxed the formality of the court, humanized the style……………………………………………………………………………………………………………………………… of painting and thus, encouraged the following painters to tackle new themes, including scenes of lovers. During ฀ the sixteenth century, Muhammadi41 had his fingerprint in introducing a revolutionary style, which later became Introduction฀ popular.42 Two lovers paintings of Muhammadi; the first shows two lovers by a pool (pl. 9),43 and the second shows twoPassionate lovers inpoetry a pavilion. was one44 Inof thethe firstmain painting, themes ofthe Per loversian is poetry embracing and many his beloved poets were with famous his left for arm their and pa offersssionate her lyricala cup ofpoetry wine suchwith ashis Sunna’ right. i,His1 'Attar, beloved2 al-Rumi, declines3 Sathecdi, win4Hafize-cup5 and gracefully Jami.6 Theirbut firmly works while varied still between keeping realism, her arm mystic round andhis shoulder.spiritual poems. The two Tale lovers poetry standing was another beside theme a pool; of cyPpressersian andpoetry willow that treeappeared are behind,as early besides as the aelevent large h b centuryottle in and the middle.included The both second passionate painting and depicts historical the lover stories. playi Thnge the poem tar in of aVis฀ garden and฀ pavilion Ramin ofwhile Gurgani his beloved7 is the e earliestmbraced example him. Two of otherpassionate women poetry play inthe a taletambourine form. Later and dulcimer,centuries; andother a poetsdark-skinned became youthfamed. is8 Theythere adoptedwith a covered some great stem stories cup. Onof epicthe pavilion'sliterature both and givingsides, there them are a newcypress character; and willow by chan trees,ging a pool the moodwith a and fountain proposing stands more at the details base b aboutetween feel twoings large and 45 vases.emotions Those of the two heroic paintings tale.9 giveIn the a cleartwelfth idea century, of the ctypicAttaral applied Muhammadi this in style.Khusraw, It sketches and Birds slim Language and graceful tales. figures Other withsuch rounded,as Nizami youthful10 in his and Quintet, slightly Khwadju, smiling11 faces. Jami andLandscape Hatifi12 details - during and the decorated thirteenth buildings till the sixteenth kept to m centuriinimumes- and either in generaldid. Sketching uses rather Poetic pale writingscolors. in general began by the fourteenth century. Painters traditionally changed the styles of miniaturesIt is worthaccording mentioning to the text. that Thus,other paintings in epics lidepictike Shahnamehng lovers, realizedcombats during and reaching the sixteenth throne century. scenes Thusuallye common exist, featurewhile Nizamibetween and them Khwadju's was representing poetry havethe lover static kne lyricelingal and miniatures. pulling13 his In beloved fact, painters from her paid veil, special dress or attention hand but to she the waspassionate priming poetry and escaping since it fromenabled him the (pl. painter 10, 11 to and show 12). his46 Muhammadi’stalent through thescenes miniature of lovers that in shouldparticular reflect presented the text more and intimateforesee itsphysical meaning. contact for Riza cAbbasi47 to present more liberal scenes. Riza cAbbasi was the master of these scenes, by whom many students affected. Riza cAbbasi produced several paintings of lovers. The first (pl. 13) depicts two The heritage of Persian tale poetry included love stories. Poets presented these stories repeatedly, each imposing lovers in outdoor scene, sitting on a carpet, and a mountain is behind.48 The lover approaches his beloved with a wine- his touch. Such stories were a rich source of lovers' paintings; whom the story main characters. The present study cup in one hand and a wine bottle in the other, while she is leaning on a large cushion and embracing her lover in an invitingexamines gesture. the paintings The mountain accompanying with few such plants love andstori treeses to decoratereveal their the features.background. The studyA vase, also a platetraces with the changedfruits, and taste a bottleof passionate of wine poetry;occupy the that carpet's sometimes three with corners, lovers' leaving scenes. the Further, fourth corner it will for trace the thetwo independent lovers. The sceneseconds of painting lovers (pl. that 14)came is a into preparatory fashion duringsketch depicting the seventeenth a seated century lover holding with unique his beloved style. face The under study her presents chin and two putti scenes'ng his typ leftes hand through on hervariant knee. stylized While andhis beloved dated examples; looks at him to compare in passion bet andween holds painting his belt two (sash). types,49 andThe highlight painting eachdepicts type's an elderlyfeatures. man In behindaddition, the the two study lovers analyzes and approaches the atmosphere the man. of eachThis type,sketch and carried clears out motives as a painting of altered (pl. Persian 15) where taste. a c upbearer -offering theFamous฀Persian฀Love฀Stories฀and฀their฀accompanying฀ two lovers two wine cups- represented instead of the elderlypaintings฀฀ man, with more detailed background.50 The fourth and most important painting of Riza (pl. 16), represents the most clearly erotic work Riza had produced up to 1630.51 It depictsIn 446 A.H/1054two entwined A.D lovers, Gurgani where presented the beloved - one of sits the on e arliestthe lap lyrical of her poems- lover while the story he embraces of฀Vis฀and฀Ramin.฀ her to holdThis her passionatebody and herstory face. was The about woman's Merv's uplifted king "Mubid", breast and who exposed wanted n avel,to marry the man's the beautiful hand penetrating princess Shehru.her clothes, She besidrefused,es a ahalf-drunkennd promised winehim herbottle, daughter. these reflects The daughter an approach "Vis" towardbrought erot upicism with andthe kingsexuality. Mubid's52 A brotherfifth painting Ramin. of When Riza (pl.Vis 17),turned represents up sixteen, the twoher loversmother in asked a more her intimate to marry pose; her53 brother the beloved Wiru. sits Whe onn herMubid lover's knew, lap, hewho asked embraces Shehru her to with fulfill both her arms promis ande, leg. but The she poserefused. of the A wartwo brokelovers, out the between eye contact the twobetween counties, them, k ingtheir Mubid close seizedfaces and Vis intertwined to marry. At bodies the same all ref timelect Vis submission met "Ramin" and passion.after a long period of abandonment and fell in love with him. Mubid tried hard to separate between the two lovers. Ramin battled his brother and killed him. The story came to end with the marriage of Vis and Ramin.14 This no sketched Riza cAbbsi who fashioned more distinct paintings rather than album paintings, displayed notable technical skill story was the earliest passionate poems key, which encouraged poets for writing. in presenting cloth surfaces, motion and the characters of his paintings. He displayed an enduring interest in novel subject-matter.The story54 Heof฀Yusuf฀and฀Zulaykha succeeded in introducing was another the lovers classic as Persianthe pain lovetings' story main based theme. on th Hee story also of managed Yusuf, tomentioned present innovativein the Old posesTestament and compositions and the holy Quran.of the lovers Firdawsi tha t fireflectrst introduced passion andbetween lust. 384- His ingenious6 A.H. / 994- represen 6 A.D.tation Ot herof thepoets lovers like encouragedal-Bukhari, otheral-Harawi contemporaries and Jami -inand his followers Haft Awrang- to depict represented even more itopenly either. sensual15 Firdawsi scenes related of lovers. his version Among tothe the lovers holy paintingsQuran description. assigned to16 Riza’sWhile Jami'sfollowers, version is a drawingrevealed withfirsthand ink and details; watercolors neither (pmentionedl. 18) depicts in the the holy two loversQuran standingnor the Old by 55 c 56 aTestament. tree, the lover Jami embracing focused on his the beloved love story and tryingand the to m kissain her.character's Another "Zulaykha" painting feelings.assigned Theto Mu storyin Musawir of Jami tells depicts how theZulaykha two lovers fall insitting, love withand theYusuf lover when is embracing she saw himhis belovedin dreams. with She, one then, arm andwent wraps to Egypt her withand marriedhis emb roideredAziz of Egypt,cloak with the other. A servant, who sits close to the lovers, offers the beloved a cup of wine and the wine bottle is in front of them.57 A third painting assigned to Muhammad Yusuf al-Husayni58 depicts two men kneeling before a standing

Love Stories and Lovers’ Scenes in Persian Painting฀ Heba Mahmoud Saad Abdel Naby Love Stories and Lovers’ Scenes in Persian Painting ______66 Heba฀Mahmoud฀Saad฀Abdel฀Naby฀______Associate Professor of Islamic Archaeology 59 woman. One man is embracing her waist, while she took his turban off and put it on her head. A famous painting of An important question might arise about the social conditions that led the society to accept such erotic flagrant Afzal al-Husayni60 depicts the two lovers lain on two large cushions (pl. 19).61 The lover embraces his beloved and puts paintings as a depiction of sensual love. In fact, the causes influenced Persian artists between 1630 and 1722 can his hands on her naked bellyFaculty with part of of Tourismher under clothes.and Hotels, While Alexandriathe beloved leans University on his right shoulder and offers him answer. The work of Riza cAbbasi was the first cause to influence Persian painting during the seventeenth century. His aAbstract฀ cup of wine. The painting displays two barefooted lovers with a wine-cup, a wine bottle, a fruits plate and a vase 62 63 early advanced works introduced new subjects; yet, his works after he left the court atelier to consort with lowlife before them. Muhammad Qasim's painting depicts two naked lovers (pl. 20), shows a more erotic scene. The woman 68 liesThis on research a large aimscushion to studywith nakedthe scenes body, of although lovers in h Persianer veil ispainting downward from from the fourteenthher head behind to the herend body.of the The seventeenth lover is people were rebellious. When he returned to the court atelier he intended to break all the molds and his works became sittingcenturies. on hisThe knees studied next scenes to her, classified embracing into her two wit thypes; two thearms first and include his cloak paintings covers withhis shouldersfamous love and storiesback. Hein Persianis also more ponderous. His lovers' paintings in particular depicted more openly sensual scenes. The clearly erotic lovers wearingliterature, a European of these; style Khusraw hat, a andcup and Shirin, wine Layla bottle and placed Majnun, before. Yusuf and Zulaykha, Bahram Gur and Azda. Those painting of Riza (pl. 16) produced during the reign of Shah Safi (1619-42), who was addict. This reflected Safi’s 69 paintings were depicting the important episodes of the story. The second type includes paintings that were either attitude to eroticism and sexuality. This explains why Riza’s contemporaries and followers found suitable A review of lovers' paintings, either accompanying romantic poetry or individually depicted reveals several accompanying lyrical poetry or independent. During the 17th century such paintings were representing couples or lovers environment when they mirrored Riza’s works and even outdo him with more erotic paintings. The same environment features. The scene depicts lovers standing or sitting, usually in outdoors scenes. The Physical contact between the two was present during the reign of Shah cAbbas II (1642-66) who also addicted to drugs, wine and sex. loversin postures varied reflecting between a intimacy simple touch and liberation. to a tight Theemb research,racing making therefore, the bodies aims toof studythe two the lovers two paintinone compgs' types;act unit. to Intimacycompare betweenbetween loversthem andin fifteenth explain centurytheir features. paintings It alsowas aimsrestrict, to clearbut gradually the reasons increased that led to toreach appeari its maximumng and accept by the of The European influence was the second cause to affect Persian Painting during the seventeenth century. In fact, seventeenthdaring scenes century. of lovers This that applies reflect to closeness, the lovers' lib geertystures. and Duringeroticism. the fifteenth century, the paintings usually depicted the relations between Iran and Europe have existed for several centuries, but slightly during the earlier years.70 By the early c belovedKeywords glimpsing: Persian shyness painting, and romantic fondness poetry, towards Persian the lover love whostories, is flirting eroticism with her. Then, more eye contact presented in sixteenth century Shah Abbas I had received ambassadors from Spain, Portugal, Russia and England. By the late 1620s later paintings with inviting gestures or even tempting looks. On the other hand, some paintings depicted the lovers with the flow of the European visitors to the court of Isfahan increased; introducing the Iranian public to European art, dress a……………………………………………………………………………………………………………………………… dreamy look and unfocused facial expressions reflect their mental separation from the physical surroundings. ฀ and behavior. Clearly, those foreigners fascinated Riza cAbbasi, who inspired his paintings' themes from their lives. MinimizedIntroduction฀ background details depicting one or two trees beside or behind lovers; besides plants and sometimes rocks. Wine cups and bottles were common in all lovers' paintings from the fifteenth till the end of the seventeenth century. By the mid-seventeenth century; trade with Europe finely proved and Europeans visited Iran. They preferred Passionate poetry was one of the main themes of Persian poetry and many poets were famous for their passionate lyrical single paintings and portraits; and their production was to satisfy their taste. They even brought their pattern books with Analysis฀of฀lovers'฀scenes฀and฀reasons฀for฀their฀appearance฀฀ 71 c 1 ' 2 3 c 4 5 6 them; so artists can follow their style in products. Besides, Shah Abbas II have favored Western art that he sent the poetry such as Sunna’i, Attar, al-Rumi, Sa di, Hafiz and Jami. Their works varied between realism, mystic and 72 Lovers'spiritual scenes poems. in TalePersian poetry painting was appearanother in theme two ma ofin P types.ersian Scenespoetry withthat loveappeared stories; as writtenearly as in the lyri eleventcal poetryh century form, andand Persian painter Muhammad Zaman to Rome to study Western art. As a result, European style of art, clothes and scenesincluded with both romantic passionate poetry and (ghazal) historical or independent stories. The. The poem comparison of Vis฀ and฀ between Ramin the of Gurganiscenes' 7two is thecategories earliest revealed example the of themes prevailed and had its market, besides the spread of lovers' paintings to satisfy the need of such market. followingpassionate facts: poetry in a tale form. Later centuries; other poets became famed.8 They adopted some great stories of epic We should also mention the influence of literature on painting. Most poems of al-Rumi, Hafiz Jami and other literatureThe and first giving category them appeared a new character;during the by fourteenth changing century, the mood and andcontinued proposing till the more end details of the aboutsixteenth feel ingscentury. and fewer fame poets -prevailed from the 12th century- were romantic with Sufi features. Love in such poems represented in 9 c Scenesemotions varied of the in heroic style accordingtale. In the to twelfth the artistic century, school Attar and applied artists' background.this in Khusraw, They and were Birds consistent Language with ta les. the Other story a metaphorical context; where symbols of love, suffering and wish for the beloved intimating the soul yearning for events,such as focusing Nizami10 on in important his Quintet, episodes. Khwadju, They11 Jami also andshowed Hatifi continual12 - during care the for thirteenth the characters till the and sixteenth as well centuri as backgroundes- either God.73 The paintings accompanying those poems reflect love displaying both real and metaphorical features. During the detailsdid. Sketching to draw an Poetic ideal writingsimage of inthe general two lovers' began e nvironment.by the fourteenth This highlights century. Painters meaning traditionally of love rather cha thannged appearance the styles ofof seventeenth century, real romantic poetry prevailed; representing the lover and his beloved with all what happens love.miniatures However, according scenes to were the text. traditional Thus, in in presentingepics like Shahnameh the two lovers,, combats and never and reaching presented throne them scenes in intima usuallyte postures exist, between them in simple words without metaphorical meanings.74 unlesswhile by Nizami the end and of Khwadju's the sixteenth poetry century. have Sufi static features lyrical of miniatures. most famous13 In Persian fact, painterslove stories paid force speciald the attention painters toto thebe morepassionate traditional, poetry whilesince it depicting enabled the painter paintings to s withowh his the talent story. through Therefore, the miniaturemost lovers' that scenesshould depictereflect dthe minimum text and In other words, love represented in liberal environment in which sensation features highlighted and erotic physicalforesee itscontact meaning. between them. feelings stressed. Thus that era paintings reflected the dominating taste. It is worth mentioning that lovers' paintings during the seventeenth century were model of the art reflecting the decay of the Persian society. Foreign standards TheThe secondheritage category of Persian appeared tale poetry during included the second love shalftories. of Poetsthe fifteenth presented century these andstories continued repeatedly, till theeach en imposingd of the retreat of Sufism and decline of morals affected Europeans in the Persian society. These all took part in accepting many seventeenthhis touch. Suchcentury. stories These were were a richindependent source of scenes lover s'w ith paintings; unidentified whom characters. the story Those main scenes characters. were Themore p resentliberal studythan ethics, previously rejected by the Persian society on religious or ethical basis, such as addicting drugs, wine, and sex. theexamines first category the paintings scenes, accompanying and reflected intimacysuch love r eachedstories toits reveal supreme their in features.the seventeenth The study century also tracesscenes. the Unlike changed the tastefirst Because of such moral decline, an era of religious intolerance has occurred during the reign of Shah Sultan Husayn category paintings, painters did not pay much attention for the details of the background. Wine cups and bottles were of passionate poetry; that sometimes with lovers' scenes. Further, it will trace the independent scenes of lovers that (1694- 1722), and such paintings of lovers disappeared. commoncame into in fashionthis category during scenes the seventeenth background. century This was wi tha clear unique influence style. Theof literature study presents on painting two since scenes' Persian types poets through as earlyvariant as stylizedHafiz usually and dated mentioned examples; lovers to with compare wine in bet theirween romantic painting poems. two types, Wine and was highlight the comfort each from type's love features. distress, In Conclusion฀ soaddition, lover liked the study to become analyzes drunk the atmosphereto cure love of woes. each type,Therefore, and clears scenes motives depicted of altered the lover Persian presenting taste. a wine cup to his beloved, the Saqi or servant presenting wine to the two lovers, or just depicting wine bottles before them. The scenes' Paintings with lovers' scenes appeared in Persian painting as early as the fourteenth century, and were at first firstFamous฀Persian฀Love฀Stories฀and฀their฀accompanying฀ category with other scenes, flourished because of Persianpaintings฀฀ court patronage. Great works of famous Persian poets accompanying classical love stories. Such paintings were conservative and depicting scenes related to the story. By the with paintings of great painters in manuscripts; these considered among the rulers' successes to brag. There was a fifteenth century, another category of lovers' scenes appeared in Persian painting, and were accompanying romantic ฀Vis฀and฀Ramin.฀ constantIn 446 A.H/1054 association A.D between Gurgani brighteningpresented - one the of ruler, the e stablearliest society,lyrical poems- and incentive the story art. of Therefore, politicalThis instabilitypassionate lyrical poems. They presented more intimate lovers' scenes. By the end of the sixteenth century, single independent duringstory was the aboutsecond Merv's half of king the fifteenth"Mubid", century who wanted overshadowed to marry painting;the beautiful since princess painters Shehru. moved Shefrom refused, one court and to promised another paintings appeared, and the lovers' scenes increased, especially during the seventeenth century representing liberal dependinghim her daughter. on patrons. The64 daughter "Vis" brought up with the king Mubid's brother Ramin. When Vis turned up sixteen, erotic scenes. These focused on the sensation features of love, and depicted the moral decline of the Persian society.฀ her mother asked her to marry her brother Wiru. When Mubid knew, he asked Shehru to fulfill her promise, but she refused.During A war thebroke second out between half of the the two sixteenth counties, century king Mubid a crucial seized change Vis to has marry. occurred At the and same affected time Vis painting. met "Ramin" Shah Tahmasp,after a long one period major ofpatron abandonment of painting and and fell among in love Bih withzad learners. him. Mubid He became tried hard a religious to separate bigot between and turne thed histwo back lovers. on 65 c painting.Ramin battled His hissuccessors; brother and Isma killedil II him. and TheMuhammad story came Khudabanda to end with didn’t the marriage provide of artists Vis and the Ramin.needed14 care. This Asno sketcheda result, artistsstory wascould the no earliest longer passionate live on royal poems patronage key, which and encouraged they depended poets increasingly for writing. on commissions from private citizens. Therefore, new expressions tested and new trials made to break out of the mold of classical painting.66 Besides, painters producedThe single-page story of฀Yusuf฀and฀Zulaykha portraits and individual was anotherpaintings. classic The Persianmanuscripts love ofstory that based era were on th noe storylonger of skYusuf,etched mentioned texts but albumsin the Old of paintings. Testament67 andSince the painters holy Quran. sold their Firdawsi works fi torst anyone introduced who betweencould afford 384- them, 6 A.H. they / 994- chose 6 A.D.new themesOther poets for their like paintingsal-Bukhari, might al-Harawi prevail andamong Jami new -in customers. his Haft Awrang- Those paintingsrepresented appeared it either. by15 the Firdawsi end of therelated sixteenth his version century, to includedthe holy 16 scenesQuran ofdescription. workingmen, While shaykhs, Jami's dervishes, version courtiersrevealed andfirsthand courtesans, details; elegantly neither mentionedclad youths in and the lovers. holy Quran nor the Old Testament.These Jami conditions focused caused on the the love second story categoryand the mofain love character'srs' scenes "Zulaykha" to appear. Thefeelings. new Thescenes story were of Jdifferingami tells from how thoseZulaykha accompanying fall in love various with Yusuf stories: when they she were saw indep himendent, in dreams. with She,fewer then, details went on tothe Egypt background, and married focus ingAziz on of the Egypt, two lovers with more liberal positions. Although Muhammadi was the first painter to introduce lovers with more intimate postures, Riza cAbbasi had a deep role in presenting them in varied liberal voluptuous and astonishing postures. His paintings were popular during the seventeenth century; and his followers and students extensively copied and mirrored them.

Love Stories and Lovers’ Scenes in Persian Painting 67 ฀ ______Love Stories and Lovers’ Scenes in Persian Painting

An important question might arise about the social conditions that led the society to accept such erotic flagrant paintings as a depiction of sensual love.Heba฀Mahmoud฀Saad฀Abdel฀Naby฀ In fact, the causes influenced Persian artists between 1630 and 1722 can c answer. The work of Riza AbbasiAssociate was the first Professor cause to influence of Islamic Persian Archaeology painting during the seventeenth century. His early advanced works introduced new subjects; yet, his works after he left the court atelier to consort with lowlife people were rebellious.68 WhenFaculty he returned of Tourism to the court and atelier Hotels, he intendedAlexandria to break University all the molds and his works became more ponderous. His lovers' paintings in particular depicted more openly sensual scenes. The clearly erotic lovers paintingAbstract฀ of Riza (pl. 16) produced during the reign of Shah Safi (1619-42), who was addict. This reflected Safi’s 69 attitudeThis research to eroticism aims to study and sexuality.the scenes of This lovers explains in Persian why painting Riza’s from contemporaries the fourteenth and to the followers end of the found seventeenth suitable environmentcenturies. The when studied they scenesmirror edclassified Riza’s worksinto two and types; even theoutdo first him include with morepaintings erotic with paintings. famous The love same stories environment in Persian c wasliterature, present of during these; the Khusraw reign of Shah and Shirin,Abbas LaylaII (1642-66) and Majnun, who also Yusuf addicted and to Zulaykha, drugs, wine Bahram and sex. Gur and Azda. Those paintings were depicting the important episodes of the story. The second type includes paintings that were either The European influence was the second cause to affethct Persian Painting during the seventeenth century. In fact, relationsaccompanying between lyrical Iran poetryand Europe or independent. have existed During for several the 17 centuries, century butsuch slightly paintings during were the representing earlier years. couples70 By theor loversearly sixteenthin postures century reflecting Shah c intimacyAbbas I had and received liberation. ambassadors The research, from Spain, therefore, Portug aimsal, Russia to study and the England. two paintin By thegs' late types; 1620s to thecompare flow of between the European them and visitors explain to the their court features. of Isfahan It also increased; aims to clearintroducing the reasons the Iranian that led public to appeari to Europeanng and art,accept dress of anddaring behavior. scenes Clearly,of lovers those that reflectforeigners closeness, fascinated liberty Riza and cAbbasi, eroticism. who inspired his paintings' themes from their lives. KeywordsBy the: Persian mid-seventeenth painting, romantic century; poetry, trade Persian with Europe love s tories, finely eroticismproved and Europeans visited Iran. They preferred single……………………………………………………………………………………………………………………………… paintings and portraits; and their production was to satisfy their taste. They even brought their pattern books with ฀ them; so artists can follow their style in products.71 Besides, Shah cAbbas II have favored Western art that he sent the PersianIntroduction฀ painter Muhammad Zaman to Rome to study Western art.72As a result, European style of art, clothes and themesPassionate prevailed poetry and was had one its of market, the main besides themes the of sp Perreadsian of poetry lovers' and paintings many poetsto satisfy were the famous need offor su theirch market. passionate lyrical 1 ' 2 3 c 4 5 6 poetry We such should as Sunna’ also i,mention Attar, the al-Rumi, influence Sa ofdi, literatureHafiz andon painting. Jami. Their Most works poems varied of al-Rumi, between Hafiz realism, Jami mysticand other and fewerspiritual fame poems. poets Tale-prevailed poetry from was theanother 12th century- theme of were Persian romantic poetry with that Sufi appeared features. as Love early in as such the poemselevent representedh century and in 7 aincluded metaphorical both passionate context; where and historical symbols of stories. love, Th suffe ering poem and of Vis฀ wish and฀ for Ramin the beloved of Gurgani intimating is the the earliest soul yearning example for of 8 God.passionate73 The poetrypaintings in accompanyinga tale form. Later those centuries; poems reflect other lovpoetse displaying became famed. both real They and adoptedmetaphorical some features.great stories During of epicthe seventeenthliterature and century, giving real them romantic a new character; poetry prevailed by chan; representingging the mood the and lover proposing and his more beloved details with about all w hat feel ings happens and 9 c betweenemotions them of the in simpleheroic wordstale. Inwithout the twelfth metaphorical century, m eanings.Attar applied74 this in Khusraw, and Birds Language tales. Other such as Nizami10 in his Quintet, Khwadju,11 Jami and Hatifi12 - during the thirteenth till the sixteenth centuries- either did. SketchingIn other words,Poetic writings love represented in general inbegan liberal by environthe fourteenthment in century. which Painters sensation traditionally features highlighted changed the and styles erotic of feelingsminiatures stressed. according Thus to that the era text. paintings Thus, inreflecte epics dli kethe Shahnamehdominating, taste.combats It isand worth reaching mentioning throne thatscenes lovers' usually paintings exist, duringwhile Nizami the seventeenth and Khwadju's century poetry were model have staticof the lyric art reflectingal miniatures. the 13decay In fact, of the painters Persian paid society. special Fore attentionign standards to the retreatpassionate of Sufism poetry and since decline it enabled of morals the painteraffected to Eu showropeans his intalent the Persianthrough society. the miniature These allthat took should part reinflect accepting the text many and ethics,foresee previously its meaning. rejected by the Persian society on religious or ethical basis, such as addicting drugs, wine, and sex. Because of such moral decline, an era of religious intolerance has occurred during the reign of Shah Sultan Husayn (1694- 1722),The heritage and such of Persianpaintings tale of poetrylovers disappeaincluded red.love s tories. Poets presented these stories repeatedly, each imposing his touch. Such stories were a rich source of lovers' paintings; whom the story main characters. The present study Conclusion฀examines the paintings accompanying such love stories to reveal their features. The study also traces the changed taste Paintingsof passionate with poetry; lovers' that scenes sometimes appeared with in lovers' Persian s cenes. painting Further, as early it will as trace the fourteenth the independent century, scene ands ofwer loverse at first that accompanyingcame into fashion classical during love the stories. seventeenth Such paintings century were with conservative unique style. and The depicting study presents scenes related two scenes' to the typstory.es throughBy the fifteenthvariant stylizedcentury, and another dated category examples; of tolovers' compare scen es bet appearedween painting in Persian two types,painting, and and highlight were accompany each type'sing features. romantic In lyricaladdition, poems. the study They analyzes presented the moreatmosphere intimate of lovers'each type, scenes. and clears By the motives end of of the altered sixteenth Persian century, taste. singl e independent paintingsFamous฀Persian฀Love฀Stories฀and฀their฀accompanying฀ appeared, and the lovers' scenes increased, especiallypaintings฀฀ during the seventeenth century representing liberal erotic scenes. These focused on the sensation features of love, and depicted the moral decline of the Persian society.฀ In 446 A.H/1054 A.D Gurgani presented - one of the earliest lyrical poems- the story of฀Vis฀and฀Ramin.฀This passionate story was about Merv's king "Mubid", who wanted to marry the beautiful princess Shehru. She refused, and promised him her daughter. The daughter "Vis" brought up with the king Mubid's brother Ramin. When Vis turned up sixteen,

her mother asked her to marry her brother Wiru. When Mubid knew, he asked Shehru to fulfill her promise, but she refused. A war broke out between the two counties, king Mubid seized Vis to marry. At the same time Vis met "Ramin" after a long period of abandonment and fell in love with him. Mubid tried hard to separate between the two lovers. Ramin battled his brother and killed him. The story came to end with the marriage of Vis and Ramin.14 This no sketched story was the earliest passionate poems key, which encouraged poets for writing. ฀Yusuf฀and฀Zulaykha The story of was another classic Persian love story based on the story of Yusuf, mentioned in the Old Testament and the holy Quran. Firdawsi first introduced between 384- 6 A.H. / 994- 6 A.D. Other poets like al-Bukhari, al-Harawi and Jami -in his Haft Awrang- represented it either.15 Firdawsi related his version to the holy Quran description.16 While Jami's version revealed firsthand details; neither mentioned in the holy Quran nor the Old Testament. Jami focused on the love story and the main character's "Zulaykha" feelings. The story of Jami tells how Zulaykha fall in love with Yusuf when she saw him in dreams. She, then, went to Egypt and married Aziz of Egypt,

Love Stories and Lovers’ Scenes in Persian Painting฀

Heba68 Mahmoud Saad Abdel Naby ______Heba฀Mahmoud฀Saad฀Abdel฀Naby฀______Associate Professor of Islamic Archaeology Plates฀ Faculty of Tourism and Hotels,฀ Alexandria University Abstract฀ This research aims to study the scenes of lovers in Persian painting from the fourteenth to the end of the seventeenth centuries. The studied scenes classified into two types; the first include paintings with famous love stories in Persian literature, of these; Khusraw and Shirin, Layla and Majnun, Yusuf and Zulaykha, Bahram Gur and Azda. Those paintings were depicting the important episodes of the story. The second type includes paintings that were either accompanying lyrical poetry or independent. During the 17th century such paintings were representing couples or lovers in postures reflecting intimacy and liberation. The research, therefore, aims to study the two paintings' types; to compare between them and explain their features. It also aims to clear the reasons that led to appearing and accept of daring scenes of lovers that reflect closeness, liberty and eroticism. Keywords: Persian painting, romantic poetry, Persian love stories, eroticism ………………………………………………………………………………………………………………………………฀ Introduction฀

Passionate poetry was one of the main themes of Persian฀ poetry and many poets were famous for their passionate lyrical 1 ' 2 3 c 4 5 6 ฀ poetryPl.฀1:฀Welch,฀Royal฀Persian฀Manuscripts,฀pl.฀25฀ such as Sunna’i, Attar, al-Rumi, Sa di, Hafiz฀฀฀฀฀฀฀฀฀฀Pl.฀2฀:฀฀ and Jami. Roxburg, Their works “Kamal varied al between-Din฀Bihzad”, realism, fig. mystic 1฀ and spiritual฀ poems. Tale poetry was another theme of Persian poetry that appeared as early฀ as the eleventh century and 7 included both passionate and฀ historical stories. The poem of Vis฀ and฀ Ramin of Gurgani฀ is the earliest example of passionate poetry in a tale form. Later centuries; other poets became famed.8 They adopted some great stories of epic literature and giving them a new character; by changing the mood and proposing more details about feelings and emotions of the heroic tale.9 In the twelfth century, cAttar applied this in Khusraw, and Birds Language tales. Other such as Nizami10 in his Quintet, Khwadju,11 Jami and Hatifi12 - during the thirteenth till the sixteenth centuries- either did. Sketching Poetic writings in general began by the fourteenth century. Painters traditionally changed the styles of miniatures according to the text. Thus, in epics like Shahnameh, combats and reaching throne scenes usually exist, while Nizami and Khwadju's poetry have static lyrical miniatures.13 In fact, painters paid special attention to the passionate poetry since it enabled the painter to show his talent through the miniature that should reflect the text and foresee its meaning. The heritage of Persian tale poetry included love stories. Poets presented these stories repeatedly, each imposing his touch. Such stories were a rich source of lovers' paintings; whom the story main characters. The present study examines the paintings accompanying such love stories to reveal their features. The study also traces the changed taste of passionate poetry; that sometimes with lovers' scenes. Further, it will trace the independent scenes of lovers that came into fashion during the seventeenth century with unique style. The study presents two scenes' types through variant stylized and dated examples; to compare between painting two types, and highlight each type's features. In addition, the study analyzes the atmosphere of each ฀type, and clears motives of altered Persian taste. ฀ Pl.฀3:฀Grube,฀The฀Classical฀Style,฀fig.78฀ Pl.฀4:฀Robinson,฀Persian฀Painting,฀fig.฀25฀ Famous฀Persian฀Love฀Stories฀and฀their฀accompanying฀฀ ฀ paintings฀฀ In 446 A.H/1054 A.D Gurgani presented - one of the earliest lyrical poems- the story of฀Vis฀and฀Ramin.฀This passionate story was about Merv's king "Mubid", who wanted to marry the beautiful princess Shehru. She refused, and promised him her daughter. The daughter "Vis" brought up with the king Mubid's brother Ramin. When Vis turned up sixteen, her mother asked her to marry her brother Wiru. When Mubid knew, he asked Shehru to fulfill her promise, but she refused. A war broke out between the two counties, king Mubid seized Vis to marry. At the same time Vis met "Ramin" after a long period of abandonment and fell in love with him. Mubid tried hard to separate between the two lovers. Ramin battled his brother and killed him. The story came to end with the marriage of Vis and Ramin.14 This no sketched story was the earliest passionate poems key, which encouraged poets for writing. The story of฀Yusuf฀and฀Zulaykha was another classic Persian love story based on the story of Yusuf, mentioned in the Old Testament and the holy Quran. Firdawsi first introduced between 384- 6 A.H. / 994- 6 A.D. Other poets like al-Bukhari, al-Harawi and Jami -in his Haft Awrang- represented it either.15 Firdawsi related his version to the holy Quran description.16 While Jami's version revealed firsthand details; neither mentioned in the holy Quran nor the Old ฀ Testament. Jami focused on the love story and the m฀ ain character's "Zulaykha" feelings.Pl.฀6:฀ The story of Jami tells how Pl.฀5:฀Grube,฀The฀Classical฀Style,฀fig.15฀ Zulaykha fall in love with Yusuf when she saw him in www.asia.si.edu/collections/singleObject.cfm?ObjectNudreams. She, then, went to Egypt and married Aziz of Egypt,m ฀ ber=F1907.275฀ ฀

Heba Mahmoud Saad Abdel Naby 69 ______Love Stories and Lovers’ Scenes in Persian Painting฀

Plates฀ Heba฀Mahmoud฀Saad฀Abdel฀Naby฀ ฀ Associate Professor of Islamic Archaeology Faculty of Tourism and Hotels, Alexandria University Abstract฀ This research aims to study the scenes of lovers in Persian painting from the fourteenth to the end of the seventeenth centuries. The studied scenes classified into two types; the first include paintings with famous love stories in Persian literature, of these; Khusraw and Shirin, Layla and Majnun, Yusuf and Zulaykha, Bahram Gur and Azda. Those paintings were depicting the important episodes of the story. The second type includes paintings that were either accompanying lyrical poetry or independent. During the 17th century such paintings were representing couples or lovers in postures reflecting intimacy and liberation. The research, therefore, aims to study the two paintings' types; to compare between them and explain their features. It also aims to clear the reasons that led to appearing and accept of daring scenes of lovers that reflect closeness, liberty and฀฀ eroticism. ฀ Pl.฀7:฀Grube,฀The฀Classical฀Style,฀fig.14฀ Pl.฀8:฀Grube,฀The฀Classical฀Style,฀fig.16฀ Keywords: Persian painting, romantic poetry, Persian love s฀tories, eroticism ………………………………………………………………………………………………………………………………฀ ฀ ฀ Pl.฀1:฀Welch,฀Royal฀Persian฀Manuscripts,฀pl.฀25฀ ฀฀฀฀฀฀฀฀฀฀Pl.฀2฀:฀฀Roxburg, “Kamal al-Din฀Bihzad”, fig. 1฀ Introduction฀ ฀ ฀ Passionate poetry was one of the main themes of Persian poetry and many poets were famous for their passionate lyrical ฀ ฀ poetry such as Sunna’i,1 'Attar,2 al-Rumi,3 Sacdi,4Hafiz5 and Jami.6 Their works varied between realism, mystic and spiritual poems. Tale poetry was another theme of Persian poetry that appeared as early as the eleventh century and included both passionate and historical stories. The poem of Vis฀ and฀ Ramin of Gurgani7 is the earliest example of passionate poetry in a tale form. Later centuries; other poets became famed.8 They adopted some great stories of epic literature and giving them a new character; by changing the mood and proposing more details about feelings and emotions of the heroic tale.9 In the twelfth century, cAttar applied this in Khusraw, and Birds Language tales. Other such as Nizami10 in his Quintet, Khwadju,11 Jami and Hatifi12 - during the thirteenth till the sixteenth centuries- either did. Sketching Poetic writings in general began by the fourteenth century. Painters traditionally changed the styles of miniatures according to the text. Thus, in epics like Shahnameh, combats and reaching throne scenes usually exist, while Nizami and Khwadju's poetry have static lyrical miniatures.13 In fact, painters paid special attention to the passionate poetry since it enabled the painter to show his talent through the miniature that should reflect the text and foresee its meaning. The heritage of Persian tale poetry included love stories. Poets presented these stories repeatedly, each imposing his touch. Such stories were a rich source of lovers' paintings; whom the story main characters. The present study examines the paintings accompanying such love stories to reveal their features. The study also traces the changed฀ taste ฀ ฀ of passionatePl.฀9:฀Robinson,฀Persian฀Drawings,฀pl.฀46฀ poetry; that sometimes with lovers' scenes. Further,Pl.฀10:฀Grube,฀The฀Classical฀Style,฀fig.48฀ it will trace the independent scenes of lovers that Pl.฀4:฀Robinson,฀Persian฀Painting,฀fig.฀25฀ Pl.฀3:฀Grube,฀The฀Classical฀Style,฀fig.78฀ came into fashion during the seventeenth century with unique style. The study presents฀ two scenes' types through ฀ ฀ variant stylized and dated examples; to compare between painting two types, and highlight each type's features. In addition, the study analyzes the atmosphere of each type, and clears motives of altered Persian taste. Famous฀Persian฀Love฀Stories฀and฀their฀accompanying฀paintings฀฀ In 446 A.H/1054 A.D Gurgani presented - one of the earliest lyrical poems- the story of฀Vis฀and฀Ramin.฀This passionate story was about Merv's king "Mubid", who wanted to marry the beautiful princess Shehru. She refused, and promised him her daughter. The daughter "Vis" brought up with the king Mubid's brother Ramin. When Vis turned up sixteen, her mother asked her to marry her brother Wiru. When Mubid knew, he asked Shehru to fulfill her promise, but she refused. A war broke out between the two counties, king Mubid seized Vis to marry. At the same time Vis met "Ramin" after a long period of abandonment and fell in love with him. Mubid tried hard to separate between the two lovers. Ramin battled his brother and killed him. The story came to end with the marriage of Vis and Ramin.14 This no sketched story was the earliest passionate poems key, which encouraged poets for writing. The story of฀Yusuf฀and฀Zulaykha was another classic Persian love story based on the story of Yusuf, mentioned ฀ in the Old Testament and the holy Quran. Firdawsi first introduced between 384- 6 A.H. / 994- 6 A.D. Other poets like ฀ Pl.฀6:฀ Pl.฀5:฀Grube,฀The฀Classical฀Style,฀fig.15฀ al-Bukhari, al-Harawi and Jami -in his Haft Awrang- represented it either.15 Firdawsi related his version to the holy www.asia.si.edu/collections/singleObject.cfm?ObjectNum ฀ Quran description.16 While Jami's version revealed firsthand details; neither mentioned in the holy Quran nor the Old ber=F1907.275฀ Testament. Jami focused on the love story and the main character's "Zulaykha" feelings. The story of Jami tells฀฀ how ฀ ฀ Pl.฀12:฀ Zulaykha fall in love with Yusuf when she saw him in dreams. She, then, went to Egypt and married Aziz of Egypt, Pl.฀11:฀https://www.mfa.org/collections/object/a- http://www.asia.si.edu/collections/singleObject.c young-man-offering-a-cup-of-wine-to-a-girl-13883฀ fm?ObjectNumber=S1986.316฀ ฀ ฀ ฀ ฀

Love Stories and Lovers’ Scenes in Persian Painting฀

70 Heba฀Mahmoud฀Saad฀Abdel฀Naby฀

Associate Professor of Islamic Archaeology

Faculty of Tourism and Hotels, Alexandria University Abstract฀ This research aims to study the scenes of lovers in Persian painting from the fourteenth to the end of the seventeenth centuries. The studied scenes classified into two types; the first include paintings with famous love stories in Persian literature, of these; Khusraw and Shirin, Layla and Majnun, Yusuf and Zulaykha, Bahram Gur and Azda. Those paintings were depicting the important episodes of the story. The second type includes paintings that were either accompanying lyrical poetry or independent. During the 17th century such paintings were representing couples or lovers in postures reflecting intimacy and liberation. The research, therefore, aims to study the two paintings' types; to compare between them and explain their features. It also aims to clear the reasons that led to appearing and accept of daring scenes of lovers that reflect closeness, liberty and eroticism. Keywords: Persian painting, romantic poetry, Persian love stories, eroticism ………………………………………………………………………………………………………………………………฀ Introduction฀ Passionate poetry was one of the main themes of Persian poetry and many poets were famous for their passionate lyrical poetry such as Sunna’i,1 'Attar,2 al-Rumi,3 Sacdi,4Hafiz5 and Jami.6 Their works varied between realism, mystic and ฀ spiritual poems. Tale poetryPl.฀13:฀ was another theme of Persian poetry that appeared as early as the eleventh century฀ and Pl.฀14:฀ 7 includedhttp://www.asia.si.edu/collections/singleObject.cfm both passionate and historical stories. The ? poem of Vis฀ and฀ Ramin of Gurgani is the earliest example of passionate poetry in a tale form. Later centuries; other poetshttp://www.asia.si.edu/collections/singleObject.cfm became famed.8 They adopted some great stories of? epic ObjectNumber=S1986.315฀ ObjectNumber=S1986.311฀ ฀literature and giving them a new character; by changing the mood and proposing more details about feelings and emotions of the heroic tale.9 In the twelfth century, cAttar฀ applied this in Khusraw, and Birds Language tales. Other such as Nizami10 in his Quintet, Khwadju,11 Jami and Hatifi฀ 12 - during the thirteenth till the sixteenth centuries- either did. Sketching Poetic writings in general began by the fourteenth century. Painters traditionally changed the styles of miniatures according to the text. Thus, in epics like Shahnameh, combats and reaching throne scenes usually exist, while Nizami and Khwadju's poetry have static lyrical miniatures.13 In fact, painters paid special attention to the passionate poetry since it enabled the painter to show his talent through the miniature that should reflect the text and foresee its meaning. The heritage of Persian tale poetry included love stories. Poets presented these stories repeatedly, each imposing his touch. Such stories were a rich source of lovers' paintings; whom the story main characters. The present study examines the paintings accompanying such love stories to reveal their features. The study also traces the changed taste of passionate poetry; that sometimes with lovers' scenes. Further, it will trace the independent scenes of lovers that came into fashion during the seventeenth century with unique style. The study presents two scenes' types through variant stylized and dated examples; to compare between painting two types, and highlight each type's features. In addition, the study analyzes the atmosphere of each type, and clears motives of altered Persian taste. Famous฀Persian฀Love฀Stories฀and฀their฀accompanying฀paintings฀฀ In 446 A.H/1054 A.D Gurgani presented - one of the earliest lyrical poems- the story of฀Vis฀and฀Ramin.฀This passionate story was about Merv's king "Mubid", who wanted to marry the beautiful princess Shehru. She refused, and promised him her daughter. The daughter "Vis" brought up ฀฀with the king Mubid's brother Ramin. When Vis turned up sixteen, her motherPl.฀15:฀http://www.corbisimages.com/stock- asked her to marry her brother Wiru. When Mubid knew, he asked ShehruPl.฀16:฀ to fulfill her promise, but she refused.photo/rights-managed/IH100317/miniature- A war broke out between the two counties, king Mubidhttp://www.metmuseum.org/Collections/search-the- seized Vis to marry. At the same time Vis met "Ramin" after a long painting-of-a-bird-and-scene฀period of abandonment and fell in love with him. Mubid tried collections/451023฀hard to separate between the two lovers. ฀Ramin battled his brother and killed him. The story came to฀ end with the marriage of Vis and Ramin.14 This no sketched ฀story was the earliest passionate poems key, which encouraged poets for writing. The story of฀Yusuf฀and฀Zulaykha was another classic Persian love story based on the story of Yusuf, mentioned in the Old Testament and the holy Quran. Firdawsi first introduced between 384- 6 A.H. / 994- 6 A.D. Other poets like al-Bukhari, al-Harawi and Jami -in his Haft Awrang- represented it either.15 Firdawsi related his version to the holy Quran description.16 While Jami's version revealed firsthand details; neither mentioned in the holy Quran nor the Old Testament. Jami focused on the love story and the main character's "Zulaykha" feelings. The story of Jami tells how Zulaykha fall in love with Yusuf when she saw him in dreams. She, then, went to Egypt and married Aziz of Egypt,

Heba Mahmoud Saad Abdel Naby Love Stories and Lovers’ Scenes in Persian Painting 71 Love Stories and Lovers’ Scenes in Persian Painting฀ ______

Heba฀Mahmoud฀Saad฀Abdel฀Naby฀ Associate Professor of Islamic Archaeology Faculty of Tourism and Hotels, Alexandria University Abstract฀ This research aims to study the scenes of lovers in Persian painting from the fourteenth to the end of the seventeenth centuries. The studied scenes classified into two types; the first include paintings with famous love stories in Persian literature, of these; Khusraw and Shirin, Layla and Majnun, Yusuf and Zulaykha, Bahram Gur and Azda. Those paintings were depicting the important episodes of the story. The second type includes paintings that were either accompanying lyrical poetry or independent. During the 17th century such paintings were representing couples or lovers in postures reflecting intimacy and liberation. The research, therefore, aims to study the two paintings' types;฀ to compare between them and explain their features. It also aims to clear the reasons thatPl.฀18:฀ led to appearing and accept of ฀ daring scenesPl.฀17:฀Kühnel,฀Miniaturmalerei,฀79฀ of lovers that reflect closeness, liberty and eroticism.www.asia.si.edu/collections/singleObject.cfm Keywords: Persian painting, romantic poetry, Persian love stories, eroticism?ObjectNumber=F1954.28 ฀ ฀ ฀ ………………………………………………………………………………………………………………………………฀ Pl.฀13:฀ Pl.฀14:฀ http://www.asia.si.edu/collections/singleObject.cfm? http://www.asia.si.edu/collections/singleObject.cfm? Introduction฀ ObjectNumber=S1986.315฀ ObjectNumber=S1986.311฀ ฀ Passionate poetry was one of the main themes of Persian poetry and many poets were famous for their passionate lyrical ฀ poetry such as Sunna’i,1 'Attar,2 al-Rumi,3 Sacdi,4Hafiz5 and Jami.6 Their works varied between realism, mystic and ฀ spiritual poems. Tale poetry was another theme of Persian poetry that appeared as early as the eleventh century and included both passionate and historical stories. The poem of Vis฀ and฀ Ramin of Gurgani7 is the earliest example of passionate poetry in a tale form. Later centuries; other poets became famed.8 They adopted some great stories of epic literature and giving them a new character; by changing the mood and proposing more details about feelings and emotions of the heroic tale.9 In the twelfth century, cAttar applied this in Khusraw, and Birds Language tales. Other such as Nizami10 in his Quintet, Khwadju,11 Jami and Hatifi12 - during the thirteenth till the sixteenth centuries- either did. Sketching Poetic writings in general began by the fourteenth century. Painters traditionally changed the styles of miniatures according to the text. Thus, in epics like Shahnameh, combats and reaching throne scenes usually exist, while Nizami and Khwadju's poetry have static lyrical miniatures.13 In fact, painters paid special attention to the passionate poetry since it enabled the painter to show his talent through the miniature that should reflect the text and foresee its meaning. ฀ Pl.฀20:฀ The heritage of Persian tale poetry included love฀ stories.asianartnewspaper.com/sites/default/files/articles_ Poets presented these stories repeatedly, each imposinga Pl.฀฀19:฀Robinson,฀Persian฀Drawings,฀pl.฀68฀ his touch. Such stories were a rich source of lovers' paintings;dditional/1950%20130%20LoversDalliance.jpg฀ whom the story main characters. The present study ฀ examines the paintings accompanying such love stories to reveal฀ their features. The study also traces the changed taste of฀ passionate poetry; that sometimes with lovers' scenes. Further, it will trace the independent scenes of lovers that cameEndnotes฀ into fashion during the seventeenth century with unique style. The study presents two scenes' types through variant stylized and dated examples; to compare between painting two types, and highlight each type's features. In ฀฀ addition, the study analyzes the atmosphere of each type, and clears motives of altered Persian taste. Pl.฀15:฀http://www.corbisimages.com/stock- Pl.฀16:฀ Famous฀Persian฀Love฀Stories฀and฀their฀accompanying฀1 Sunna’i was one of the famous Persian poets of the 6th centurypaintings฀฀ A.H./12th A.D. The date of his birth is uncertain and his photo/rights-managed/IH100317/miniature- http://www.metmuseum.org/Collections/search-the- death was between 525 A.H. / 1130 A.D. and 545 A.H./1150 A.D. He was famous for romantic poetry. Escad Qandil, painting-of-a-bird-and-scene฀ collections/451023฀ In 446Funun฀al-She A.H/1054c r฀al-FarisiA.D Gurgani= Arts presented of Persian - one Poetry of the (Cairo, earliest 1981), lyrical 204-209. poems- the story of฀Vis฀and฀Ramin.฀This passionate ฀ ฀ story was about Merv's king "Mubid", who wanted to marry the beautiful princess Shehru. She refused, and promised 2 cAttar, Farid al-Din Muhammad b. Ibrahim was a Persian mythical poet. The dates of his birth and death cannot be ฀ him her daughter. The daughter "Vis" brought up with the king Mubid's brother Ramin. When Vis turned up sixteen, herfixed mother with asked certainty. her to What marry is heraccepted brother is Wiru.that he Whe wasn bornMubid in 513knew, A.H./ he asked1119 A.D.Shehru and to died fulfill in her586 promis A.H./ e,1190 but A.D.she refused.The main A war works broke attributed out between to himthe two are counties,Mantik฀ al-Tayr king Mubid, Ilahi-nama seized ,Vis Musibat-nama to marry. At, theUshturnama same time, VisDjawhar฀ met "Ramin" al-Dhat , c c afterMazhar฀al- a long periodAdja’ib of andabandonment Lisan฀al-Ghayb and fell. H. inRitter, love “ withATTAR him.,” Encyclopedia฀of฀Islam฀ Mubid tried hard to separateI (Leiden, between 1954-2002), the two 752-755. lovers. Ramin3 Al-Rumi, battled Jalal his brotheral-Din wasand killedone of him. the greatestThe story Pers cameian topoets. end withHe was the marriageborn in 604 of Vis A.H. and / 1207Ramin. A.D.14 This and no die sketchedd in 672 storyA.H/ was 1273 the earliestA.D. He passionate was a student poems of key, Shams which al-Din encouraged al-Tabrizi poets who for attracted writing. him to Sufism. Al-Rumi was famous for Funun฀al-Shecr his romanticThe story poetry of฀Yusuf฀and฀Zulaykha which has Sufi aspects. was another Qandil, classic Persian love, 210- story 216. based on the story of Yusuf, mentioned in4 Sathec di,Old Abu Testament cAbd Allah and theMusharrif holy Quran. al-Din Firdawsi b. Muslih first฀was introduced one of the between great Persian 384- 6 poets. A.H. /He 994- lived 6 A.D. between Other 610-15 poets A.H/like al-Bukhari,1213-19 A.D.al-Harawi and 691and A.H./1292Jami -in his A.D. Haft The Awrang- most important represented of hisit either. work15 were Firdawsi Bustan related which his was version completed to the in holy 655 QuranA.H./1237 description. A.D.16 and While Gulistan Jami's which version was revealed completed firsthand a year later.details; He n eitherwas famous mentioned for ghazals in the holyand his Quran works nor has the been Old a Testament.major formative Jami focused influence on theon subsequentlove story writingand the inm Persia.ain character's R. Davis, "Zulaykha" “SAcDI,” Encyclopedia฀of฀Islam feelings. The story of VIII, Jami 719-723. tells how Zulaykha fall in love with Yusuf when she saw him in dreams. She, then, went to Egypt and married Aziz of Egypt, 5 Hafiz, Shams al-Din Muhammad Shirazi was a Persian lyric poet and commonly considered the pre-eminent master of the ghazal form. He lived between 717-26 A.H. /1317-26 A.D. and 791 A.H. /1389 A.D. His greatest achievement

Love Stories and Lovers’ Scenes in Persian Painting฀ Heba Mahmoud Saad Abdel Naby Love Stories and Lovers’ Scenes in Persian Painting

______72 Heba฀Mahmoud฀Saad฀Abdel฀Naby฀

Associate Professor of Islamic Archaeology was his Diwan฀which is thought to be completed in 770 A.H./1368 A.D. G. M. Wickens, “HAFIZ,” Encyclopedia฀of฀ Soucek, “Nizami on Painters and Painting”, fig. 4,5; Yolter-Yildirim, “A 1498-99 Khusraw va Shirin”, fig. 9. c Islam III, 55-57; Qandil, Funun฀al-SheFaculty of rTourism, 217-222. and Hotels, Alexandria University 23 Ernst Kühnel, Miniaturmalerei฀Im฀Islamischen฀Orient (Berlin, 1923), fig. 68; Robinson, Persian฀Paintings, fig. 14; 6 c Persian฀ Drawings The฀Classical฀Style฀in฀Islamic฀Painting ,฀ Abstract฀ Jami, Abd al-Rahman Nur al-Din b. Nezam al-Din Ahmad-e Dasti was a Persian poet, scholar and Sufi. He was born Robinson, , fig.6; Ernst J. Grube, (1968), fig. 62; S. C. in 817 A.H./1414 A.D and died in 898 A.H./1492 A.D. Jami’s most important work were his Diwan and Haft฀Awrang Welch, Royal฀Persian฀Manuscripts (London, 1976), fig. 25. This research aims to study the scenes of lovers in Persian painting from the fourteenth to the end of the seventeenth or the seven thrones. The latter included seven poems which were Selselat฀al-Dahab,฀Salaman฀o฀Absal,฀Tohfat฀al- 24 Robinson, Persian฀Drawings, fig. 7; Grube, The฀Classical฀Style, fig.57; Graber, Mostly฀Miniatures, fig. 20, 23. centuries.ahrar,฀ Sohbat฀ The studied al-abrar,฀ scenes Yusuf฀ classified and฀ Zulykha,฀ into two Layla฀ types; an thed฀ Majnun฀first include and฀ paintings Kerad-nama-ye฀ with famous Eskandari. love stories Paul Losensky, in Persian 25 literature,“Jami,” Encyclopedia฀Iranica of these; Khusraw andXIV, Shirin, 469-475. Layla and Majnun, Yusuf and Zulaykha, Bahram Gur and Azda. Those Robinson, Persian฀Paintings, fig. 21; Grube, The฀Classical฀Style, fig. 91; Yolter-Yildirim, “A 1498-99 Khusraw va paintings were depicting the important episodes of the story. The second type includes paintings that were either Shirin”, fig. 11 7 accompanying Oleg Graber, Mostly฀Miniatures:฀An฀Introduction฀to฀Persian฀Paintlyrical poetry or independent. During the 17th centurying฀ such(N.J, paintings 2001), were104. Althoughrepresenting the couplesstory of o Yusufr lovers 26 Robinson, Persian฀Paintings, fig.15; Yolter-Yildirim, “A 1498-99 Khusraw va Shirin”, fig. 12 inand postures Zulaykha reflecting by Firdawsi intimacy was older and liberation.than that story The of research, Vis and Ramin therefore, by Gurgani, aims to the study former the was two probabl paintinygs' classified types; to compareas an epic between story not them romantic. and explain their features. It also aims to clear the reasons that led to appearing and accept of 27 Laurence Binyon, “Persian Painting”, Journal฀of฀Royal฀Society฀of฀Arts฀79 (1930), 57;฀Chelkowski, Encyclopaedia฀of฀ 8daring Muhammad scenes Kafafi,of lovers “Al that-Adab reflect al-Farisi,” closeness, in Turath฀Faris liberty and eroticism.= The Heritage of Persia (Cairo, 1959), 273. Islam III, 78. 28 9Keywords Graber, Mostly฀Miniatures: Persian painting,, 104. romantic poetry, Persian love stories, eroticism Graber, Mostly฀Miniatures, fig. 36 in other scenes Majnun was led by an old woman to the camp of Layla: Zaki M. Hasan, Funun฀al-Islam= Arts of Islam (Cairo, 1948), fig. 135; Welch, Royal฀Persian฀Manuscripts, fig. 28. 10……………………………………………………………………………………………………………………………… Nizami, Djamal al-Din Abu Muhammad Ilyas b. Yusuf b. Zaki Mu’ayyad was one of the great Persian poets and ฀ 29 Hasan, Funun฀al-Islam, fig. 131; Robinson, Persian฀Drawings, fig. 49; Welch, Royal฀Persian฀Manuscripts, fig. 30. Introduction฀thinkers. He lived between 535 A.H./1141 A.D. and 575-613 A.H./1180-1217 A.D. His greatest achievement was the Quintet or Khamsa which includes five poems: Makhzan฀al-Asrar or the Treasury of Mysteries (completed in 582 30 Hasan, Funun฀al-Islam, fig. 117. PassionateA.H./1184-5 poetry A.D.), was the one romance of the main of Khusraw฀and฀Shirin themes of Persian poetry (completed and many after poets 581A.H./1184A.D.), were famous for the their romance passionate of Layla฀ lyrical poetryand฀ Majnun such as (written Sunna’ i, in1 'Attar, 584 A.H./11882 al-Rumi, A.D),3 Sacdi, Haft฀4Hafiz Paykar5 and orJami. the6 Theirstory of works Bahram varied Gur between and the realism, seven princesse mystic ands 31 Hanaway, “Bahrām”, Vol. III, Fasc. 5, 514-522 Iskandar-nama spiritual(completed poems. in 593A.H./1197A.D.)Tale poetry was another and theme of Persian (written poetry inthat 587A.H./1191A.D.). appeared as early as P. the Chelkowski, eleventh century “NIZAMI and 32 Grube, The฀Classical฀Style, fig. 63 includedGANDJWI both,” Encyclopedia฀ passionate and of฀ Islam historical VIII, stories. 76-81; Th Hasane poem al-Basha, of Vis฀ and฀Al-Taswir฀ Ramin al-Islami฀ of Gurgani fi฀7 al- isc sur the al-Wusta= earliest example Islamic of passionatePainting in poetry Medieval in a Timestale form. (Cairo, Later 1992), centuries; 121-123. other฀ poets became famed.8 They adopted some great stories of epic 33 Hasan, Funun฀al-Islam, fig. 116 11literature and giving them a new c character; by changing the mood and proposing more details about feelings and 34 Khwadju, Kamal al-Din Abu9 l- ata’ Mahmud b. Alic was one of the great Persian poets. He was born in 689 Although this scene was repeatedly depicted by various painters and in various regions, they all maintained the same emotions of the heroic tale. In the twelfth century, Attar applied this in Khusraw,Diwan andKhamsa Birds Language taHumay฀les. Other u฀ features and the paintings were generally conservative. Shirin was depicted inside water which covers the lower half A.H./1290 A.D.10 and died in 753 A.H./135211 A.D. His w12orks include his , (including suchHumayun as Nizami, Gul฀ u฀in Nawruzhis Quintet,, Kamal-nama Khwadju,, Rawdat฀Jami and al-Anwar Hatifi - and during Gawhar-nama the thirteenth) and till the other sixteenth compositions centuri es- of either less of her body while her long hair descends to cover her breasts. did.importance. Sketching Iraj Poetic Dehghan, writings฀“KH winADJU general,” Encyclopedia฀of฀Islam began by the fourteenth IV, 909-910 century..฀ Painters traditionally changed the styles of miniatures according to the text. Thus, in epics like Shahnameh, combats and reaching throne scenes usually exist, 35 Bihzad, Kamal al-Din, was a famous Persian painter. He was born in Herat in 854 A.H./1450 A.D. and became a 11while Hatifi, Nizami cAbd Allah and Khwadju'swas a Persian poetry poet haveand nephew static lyricof cAbdal miniatures. al-Rahman13 Jami. In fact, He was painters born paidin 858 special A.H./ 1454 attention A.D. to and the leading painter at the court of sultan Husayn Mirza and his vizier Mir Ali Shir Nawa’i. Then he moved to Tabriz, passionatedied in 927 poetry A.H./ since 1521 it A.D.enabled He thewas painter known tofor s howhis Khamsahis talent which through was the famous miniature in the that Ottoman should Empire reflect theand textIndia; and where Shah Isma’il made him director of the royal library. Then he worked under the patronage of his son, Shah foreseeproofing its hismeaning. widespread fame. Khamsa of Hatifi included Layla฀ and฀ Majnun, Shirin฀ and฀ Khusruw,฀ Haft฀ manzar,฀ Tahmasp till his death. Bihzad gained fame and was known for his innovative ideas of paintings and his introduction Timur-nama and Fotuhat-e฀Shahi. Hatifi died before completing the last work. Michele Bernardini, “HATEFI, CABD- of a greater measure of realism or naturalism in the Persian painting. For more details about Bihzad see: Vera ALLAHThe,”฀Encyclopedia฀Iranica heritage of Persian tale XII, poetry 55-57. included love stories. Poets presented these stories repeatedly, each imposing Kubickova, Persian฀Miniatures, trans. R.Finlayson-Samsour (London, n.d.) 27-28; Zaki M. Hasan, Al-Taswir฀fi฀al- his touch. Such stories were a rich source of lovers' paintings; whom the story main characters. The present study Islam฀cind฀al-Furs=฀Painting in Islam at Persia,฀(Cairo, 1936),฀48-53;฀Eric Schroeder, “The Persian Exhibition and the 11 Sheila R. Canby, Persian฀Painting (British Museum Press, 2004), 44. examines the paintings accompanying such love stories to reveal their features. The study also traces the changed taste Bihzad Problem”, Bulletin฀of฀the฀Fogg฀Art฀Museum,7, 1 (Nov., 1937), 3-14; Robinson, Persian฀ Drawings,฀ 20-21; 12of Hatifi, passionate cAbd poetry;Allah was that a Persian sometimes poet withand nephew lovers' sofcenes. cAbd Further,al-Rahman it willJami. trace He was the born independent in 858 A.H./ scene 1454s of A lovers.D. and that Muhammad Mustafa, “Al-Taswir al-Irani fi al-csrin al-Timuri wa al-Safawi”, in Derasat฀fi฀al-Fan฀al-Farisi= Studies camedied intoin 927 fashion A.H./ during1521 A.D. the seventeenthHe was known century for his wi Khamsath unique which style. was The famous study in presents the Ottoman two scenes' Empire typ andes throughIndia; in Persian Art, (Cairo, 1970), 20-23;฀ Welch, Royal฀ Persian฀ Manuscripts, 16-18; Canby, Persian฀ Painting, 74-75;฀ variantproofing stylized his widespread and dated fame. examples; Khamsa to compare of Hatifi bet includedween painting Layla฀ and฀ two Majnun types, , andShirin฀ highlight and฀ Khusruw,฀ each type's Haft฀ features. manzar,฀ In David Rice, Islamic฀ Art (London, 1991), 222-226; Hasan al-Basha, Mawsuct฀ al-cemara฀ wal-Athar฀ wal-Funun฀ al- addition,Timur-nama the study and Fotuhat-e฀Shahianalyzes the atmosphere. Hatifi died of each before type, completing and clears the motives last work. of altered Mich Persianele Bernardini, taste. “HATEFI, CABD- Islamyyia฀III (Cairo, 1999), 63-69; David J. Roxburg, “Kamal al-Din Bihzad and Authorship in Persianate Painting”, c Famous฀Persian฀Love฀Stories฀and฀their฀accompanying฀ALLAH,”฀Encyclopaedia฀Iranica XII, 55-57. paintings฀฀ Muqarnas, 17 (2000), 119-146; Naglaa Hasan al-Sarraf, Al-qiam฀al-faniyya฀li-a mal฀Bihzad฀fi฀funun฀al-kitab, (MA Thesis, Helwan University, 2004), 82-90. 13 Persian฀Painting In Canby, 446 A.H/1054 A.D Gurgani, 44. presented - one of the earliest lyrical poems- the story of฀Vis฀and฀Ramin.฀This passionate 36 This painting was representing the seduction of Yusuf. It is a painting from Būstān of Sacdi that was dated 893 A.H./ 14story This was story about was Merv'swritten kingby Gurgani "Mubid", in aboutwho wanted 446 A.H to./ marry 1054 A.D.the beautiful Amin Badawi, princess Al-Kesah฀fi฀al-Adab฀al-Farisi Shehru. She refused, and promised= The 1488 A.D. and preserved in the General Egyptian Book Organization in Cairo (Adab Farsi 908). himStory her in daughter. Persian Literature The daughter (Cairo, "Vis" 1964), brought 229-232. up with the king Mubid's brother Ramin. When Vis turned up sixteen, her mother asked her to marry her brother Wiru. When Mubid knew, he asked Shehru to fulfill her promise, but she 37 Pl. 3 was attributed to the Qazwin style and produced between 1572 and 1581 A.D. and pl. 4 was attributed to Shiraz 15 Badawi, Al-Kesah, 232. refused. A war broke out between the two counties, king Mubid seized Vis to marry. At the same time Vis met "Ramin" style and produced in 988A.H./1580 A.D. Grube, The฀Classical฀Style, fig. 78; Robinson, Persian฀Paintings, fig. 25. 16after Badawi, a long Al-Kesah period ,of 237. abandonment and fell in love with him. Mubid tried hard to separate between the two lovers. 38 Pl. 5 was attributed to Heart and was produced in813 A.H./1410 A.D. Grube, The฀Classical฀Style, fig. 15. Ramin battled his brother and killed him. The story came to end with the marriage of Vis and Ramin.14 This no sketched 17 Badawi, Al-Kesah, 232-257; Ramadan Metwali, Kesat฀Yusuf฀wa฀Zulykha=฀The Story of Yusuf and Zulaykha (Cairo, story was the earliest passionate poems key, which encouraged poets for writing. pl. 6 was attributed to Turkoman period during late 15th century. The latter is now preserved at Freer Gallery of Art, 2008), 203-239. Washington, DC. http://www.asia.si.edu/collections/singleObject.cfm?ObjectNumber=F1907.275 The story of฀Yusuf฀and฀Zulaykha was another classic Persian love story based on the story of Yusuf, mentioned 18 Metwali, Kesat฀Yusuf฀wa฀Zulykh,226. in the Old Testament and the holy Quran. Firdawsi first introduced between 384- 6 A.H. / 994- 6 A.D. Other poets like 39 Pl. 7 was attributed to Samarkand or Heart and produced in 813 A.H. /1410 A.D. Grube, The฀Classical฀Style, fig. 14. 19al-Bukhari, Graber, Mostly฀Miniatures al-Harawi and Jami, fig. 29. -in his Haft Awrang- represented it either.15 Firdawsi related his version to the holy 40 Pl. 8 was attributed to Heart style and was produced during the beginning the 15th century. Grube, The฀ Classical฀ Quran description.16 While Jami's version revealed firsthand details; neither mentioned in the holy Quran nor the Old 20 B.W. Robinson, Persian฀Paintings (London, 1952), fig. 25. Style, fig. 16. Testament. Jami focused on the love story and the main character's "Zulaykha" feelings. The story of Jami tells how 21Zulaykha Priscilla fallP. Soucek,in love “Nizamiwith Yusuf on whenpainters she and saw painti himng,” in dreams. Islamic฀Art฀in฀the฀Metropolitan฀Museum฀of฀Art,฀ She, then, went to Egypt and married Azized. Richardof Egypt, 41 Muhammadi is known as the son and pupil of Sultan Muhammad. We don’t know when exactly he was born but it Ettinghausen (New York, 1992), 15-18;฀Chelkowski, “NIZAMI GANDJWI,” Encyclopedia฀of฀Islam III, 77-78;฀Yolter- was probably between 933 A.H./1526 and 937 A.H./1530 A.D. . He grew up in Heart and by the age of thirty he was Yildirim, “A 1498-99 Khusraw Va Shirin: Turning the Pages of an Ottoman Illustrated Manuscript,” Muqarnas 22 fully active and enjoyed a high reputation. Muhammadi, like most of the painters working in the second half of the (2005), 95-104. sixteenth century, was most concerned with single paintings depicting individuals. He also made album paintings for the Haft฀Awrang of Ibrahim Mirza, a manuscript produced in 1580 including Gulistan and Bustan of Sacdi, Divan of 22 B. W. Robinson, Persian฀Drawings฀From฀the฀14th฀through฀the฀19th฀Centuries (London, 1965), fig. 29

฀฀December฀2014฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀Vol.฀11,฀Issue฀2฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀Journal฀of฀Association฀of฀Arab฀Universities฀ for฀Tourism฀and฀Hospitality Love______Stories and Lovers’ Scenes in Persian Painting______73 ฀ Love Stories and Lovers’ Scenes in Persian Painting

Soucek, “Nizami on Painters and Painting”, fig. 4,5; Yolter-Yildirim, “A 1498-99 Khusraw va Shirin”, fig. 9. Heba฀Mahmoud฀Saad฀Abdel฀Naby฀ 23 Ernst Kühnel, Miniaturmalerei฀Im฀Islamischen฀Orient (Berlin, 1923), fig. 68; Robinson, Persian฀Paintings, fig. 14; Robinson, Persian฀ Drawings, fig.6;Associate Ernst J. Professor Grube, The฀Classical฀Style฀in฀Islamic฀Painting of Islamic Archaeology (1968),,฀ fig. 62; S. C. Welch, Royal฀Persian฀Manuscripts (London, 1976), fig. 25. Faculty of Tourism and Hotels, Alexandria University 24 Robinson, Persian฀Drawings, fig. 7; Grube, The฀Classical฀Style, fig.57; Graber, Mostly฀Miniatures, fig. 20, 23. Abstract฀ 25 Robinson, Persian฀Paintings, fig. 21; Grube, The฀Classical฀Style, fig. 91; Yolter-Yildirim, “A 1498-99 Khusraw va ThisShirin”, research fig. 11aims to study the scenes of lovers in Persian painting from the fourteenth to the end of the seventeenth centuries. The studied scenes classified into two types; the first include paintings with famous love stories in Persian 26 Persian฀Paintings literature, Robinson, of these; Khusraw , andfig.15; Shirin, Yolter- LaylaYildirim, and Majnun,“A 1498 -99 Yusuf Khusraw and Zulaykha,va Shirin”, Bahramfig. 12 Gur and Azda. Those 27paintings Laurence were Binyon, depicting “Persian the Painting”, important Journal฀of฀Royal฀Society฀of฀Arts฀79 episodes of the story. The second (1930), type includes57;฀Chelkowski, paintings Encyclopaedia฀of฀ that were either accompanyingIslam III, 78. lyrical poetry or independent. During the 17th century such paintings were representing couples or lovers in postures reflecting intimacy and liberation. The research, therefore, aims to study the two paintings' types; to 28 Mostly฀Miniatures compare Graber, between them and ,explain fig. 36 theirin other features. scenes It Majnun also aims was to led clear by thean oldreasons woman that to led the to camp appeari of ngLayla: and Zakiaccept M. of Hasan, Funun฀al-Islam= Arts of Islam (Cairo, 1948), fig. 135; Welch, Royal฀Persian฀Manuscripts, fig. 28. daring scenes of lovers that reflect closeness, liberty and eroticism. 29 Hasan, Funun฀al-Islam, fig. 131; Robinson, Persian฀Drawings, fig. 49; Welch, Royal฀Persian฀Manuscripts, fig. 30. Keywords: Persian painting, romantic poetry, Persian love stories, eroticism 30 Hasan, Funun฀al-Islam, fig. 117. ………………………………………………………………………………………………………………………………฀ 31 Hanaway, “Bahrām”, Vol. III, Fasc. 5, 514-522 Introduction฀ 32 Grube, The฀Classical฀Style, fig. 63 Passionate poetry was one of the main themes of Persian poetry and many poets were famous for their passionate lyrical 33poetry Hasan, such Funun฀al-Islam as Sunna’i,1, fig.'Attar, 1162 al-Rumi,3 Sacdi,4Hafiz5 and Jami.6 Their works varied between realism, mystic and spiritual poems. Tale poetry was another theme of Persian poetry that appeared as early as the eleventh century and 34 Although this scene was repeatedly depicted by various painters and in various regions, they all maintained the same included both passionate and historical stories. The poem of Vis฀ and฀ Ramin of Gurgani7 is the earliest example of features and the paintings were generally conservative. Shirin was depicted inside water which covers the lower half passionate poetry in a tale form. Later centuries; other poets became famed.8 They adopted some great stories of epic of her body while her long hair descends to cover her breasts. literature and giving them a new character; by changing the mood and proposing more details about feelings and 35emotions Bihzad, ofKamal the heroic al-Din, tale. was9 Ina famousthe twelfth Persian century, painter. cAttar He appliedwas born this in inHerat Khusraw, in 854 andA.H./1450 Birds Language A.D. and tabecameles. Other a suchleading as Nizami painter10 atin thehis courtQuintet, of sultanKhwadju, Husayn11 Jami Mirza and andHatifi his12 vizier- during Mir the Ali thirteenth Shir Nawa’i. till the Then sixteenth he moved centuri to es-Tabriz, either did.where Sketching Shah Isma’il Poetic mwritingsade him in director general of began the royalby the library. fourteenth Then century. he work Paintersed under traditionally the patronage cha ofnged his the son, styles Shah of miniaturesTahmasp tillaccording his death. to Bihzadthe text. gained Thus, fame in epics and waslike knownShahnameh for his, combatsinnovative and ideas reaching of paintings throne andscenes his introductionusually exist, whileof a Nizamigreater measure and Khwadju's of realism poetry or naturalism have static in lyric theal Persian miniatures. painting.13 In For fact, more painters details paid about special Bihzad attention see: Vera to the passionateKubickova, poetry Persian฀Miniatures since it enabled, trans.the painter R.Finlayson-Samsour to show his talent (London, through n.d.) the miniature27-28; Zaki that M. should Hasan, re flectAl-Taswir฀fi฀al- the text and c foreseeIslam฀ itsind฀al-Furs=฀ meaning. Painting in Islam at Persia,฀(Cairo, 1936),฀48-53;฀Eric Schroeder, “The Persian Exhibition and the Bihzad Problem”, Bulletin฀of฀the฀Fogg฀Art฀Museum,7, 1 (Nov., 1937), 3-14; Robinson, Persian฀ Drawings,฀ 20-21; MuhammadThe heritage Mustafa, of Persian“Al-Taswir tale poetryal-Irani included fi al-csrin love al-Timuri stories. waPoets al- Safawi”,presented in these Derasat฀fi฀al-Fan฀al-Farisi stories repeatedly, each= imposingStudies hisin touch. Persian Such Art, stories (Cairo, were 1970), a rich 20-23; source฀ Welch, of loverRoyal฀s' Persian฀ paintings; Manuscripts whom the, 16-18;story main Canby, characters. Persian฀ The Painting, present 74-75; study฀ examinesDavid Rice, the paintingsIslamic฀ Artaccompanying (London, 1991), such love 222-226 stori;es Hasan to reveal al-Basha, their features. Mawsuc t฀The al- cstudyemara฀ also wal-Athar฀ traces the wal-Funun฀ changed taste al- ofIslamyyia฀III passionate poetry;(Cairo, that1999), sometimes 63-69; David with J. lovers' Roxburg, scenes. “Kamal Further, al-Din it willBihzad trace and the Authorship independent in Persianate scenes of Painting”, lovers that cameMuqarnas into fashion, 17 (2000), during 119-146; the seventeenth Naglaa Hasan century al-Sarraf, with unique Al-qiam฀al-faniyya฀li-a style. The studyc mal฀Bihzad฀fi฀funun฀al-kitab presents two scenes' types , through (MA variantThesis, stylized Helwan andUniversity, dated examples; 2004), 82-90. to compare between painting two types, and highlight each type's features. In addition, the study analyzes the atmosphere of each type, and clears motives of altered Persian taste. 36 This painting was representing the seduction of Yusuf. It is a painting from Būstān of Sacdi that was dated 893 A.H./ Famous฀Persian฀Love฀Stories฀and฀their฀accompanying฀1488 A.D. and preserved in the General Egyptian Book Organizationpaintings฀฀ in Cairo (Adab Farsi 908). 37In Pl. 446 3 A.H/1054was attributed A.D to Gurgani the Qazwin presented style -and one produc of theed earliest between lyrical 1572 poems- and 1581 the A.D.story andof฀Vis฀and฀Ramin.฀ pl. 4 was attributThised topassionate Shiraz storystyle was and aboutproduced Merv's in 988A.H./1580 king "Mubid", A.D. who Grube, wanted The฀Classical฀Style to marry the beautiful, fig. 78;princess Robinson, Shehru. Persian฀Paintings, She refused, and fig. promised 25. him her daughter. The daughter "Vis" brought up with the king Mubid's brother Ramin. When Vis turned up sixteen, 38 The฀Classical฀Style her Pl. mother 5 was attributedasked her to to Heart marry and her was brother produced Wiru. in81 Whe3 A.H./1410n Mubid knew,A.D. Grube, he asked Shehru to fulfill, fig.her 15.promis e, but she pl.refused. 6 was A attributed war broke to out Turkoman between periodthe two during counties, late k15ingth Mubidcentury. seized The latterVis to is marry. now preserved At the same at Freertime VisGalle metry "Ramin"of Art, afterWashington, a long period DC. http://www.asia.si.edu/collections/sin of abandonment and fell in love withgleObject.cfm?ObjectNumber=F1907.275 him. Mubid tried hard to separate between the two lovers. Ramin battled his brother and killed him. The story came to end with the marriage of Vis and Ramin.14 This no sketched 39 The฀Classical฀Style story Pl. 7was was the attributed earliest topassionate Samarkand poems or Heart key, andwhich prod encourageduced in 813 poets A.H. for /1410 writing. A.D. Grube, , fig. 14. 40 th The฀ Classical฀ Pl. 8 The was story attributed of฀Yusuf฀and฀Zulaykha to Heart style and was was another produce classicd during Persian the beginninglove story thebased 15 on century. the story Grube, of Yusuf, mentioned Style in the ,Old fig. Testament16. and the holy Quran. Firdawsi first introduced between 384- 6 A.H. / 994- 6 A.D. Other poets like 41al-Bukhari, Muhammadi al-Harawi is known and as Jamithe son -in and his pupilHaft Awrang-of Sultan rMepresenteduhammad. it Weeither. don’t15 Firdawsiknow when related exactly his heversion was born to the but holy it Quranwas probably description. between16 While 933 Jami'sA.H./1526 version and revealed 937 A.H./1530 firsthand A.D. details; . He grewneither up mentioned in Heart and in bythe the holy age Quran of thirty nor he the was Old Testament.fully active Jami and focusedenjoyed ona high the lovereputation. story andMuhamma the maindi, character'slike most of"Zulaykha" the painters feelings. working The in thestory second of Jami half tells of thehow Zulaykhasixteenth fall century, in love was with most Yusuf concerned when shewith saw single him p aintingsin dreams. depicting She, then, individuals. went to HeEgypt also and made married album Aziz paintings of Egypt, for the Haft฀Awrang of Ibrahim Mirza, a manuscript produced in 1580 including Gulistan and Bustan of Sacdi, Divan of

Love Stories and Lovers’ Scenes in Persian Painting฀ Heba Mahmoud Saad Abdel Naby Love Stories and Lovers’ Scenes in Persian Painting ______74 Heba฀Mahmoud฀Saad฀Abdel฀Naby฀

Hafiz and other minor works. ForAssociate more details Professor about Muhammadi of Islamic see: Archaeology Basil Gray, Persian฀Painting (London, 1961), 58 Muhammad Yusuf al-Husayni was one of the followers of Riza cAbbasi. He was active during the end of 16th till mid th c 155-159; David Rice, Islamic฀Painting:฀A฀SurveyFaculty of Tourism and (London, Hotels, 1971); Alexandria Anthony UniversityWelch, “Painting and Patronage under 17 century. Al-Basha, Mawsu t, 98. Shah Abbas I”, Iranian฀Studies฀7, ¾ (1974), 466-370; B.W. Robinson, Studies฀in฀Persian฀Art II฀(London, 1993), 63- 59 Ahmad, Acmal฀Rida฀cAbbasi, 457-458. Abstract฀83; Abolala Soudavar, “The Age of Muhammadi”, Muqarnas, 17 (2000), 53-72; Canby, Persian฀Painting, 92-94. 60 c 42This Abolala research Soudavar, aims to “The study Age the of scenes Muhammadi”, of lovers 53 in Persian painting from the fourteenth to the end of the seventeenth Afzal al-Husayni was a Persian painter who was active during the reign of Shah Abbas II (1052-77 A.H.//1642- - centuries. The studied scenes classified into two types; the first include paintings with famous love stories in Persian 66A.D.). He was famous for his paintings in the extensively illustrated Šāh nāma of Ferdowsī That was made for 43 This painting was attributed to Muhammadi and was produced in about 1575 A.D. It is now preserved at Museum of c literature, of these; Khusraw and Shirin, Layla and Majnun, Yusuf and Zulaykha, Bahram Gur and Azda. Those Shah Abbas II and now in the Leningrad Public Library. Half of its paintings were attributed to Afzal al-Husayni in Fine Arts, Boston. Robinson, Persian฀Drawings, Pl. 46; Soudavar, “The Age of Muhammadi”, fig. 27. Encyclopaedia฀ paintings were depicting the important episodes of the story. The second type includes paintings that were either addition to a number of single paintings following Isfahan style. P. P. Soucek, “Afzal Al-Hosayni,” Iranica 44accompanying Robinson mentioned lyrical poetry that this or paintingindependent. is preserved During tinhe Topkapi 17th century Sarayi such Museum paintings Library were inrepresenting Istanbul (R. couples 1012ff o 2a)r lovers but , I/6, 600-601. inSoudavar postures said reflecting that it is intimacy preserved and at Keir liberation. Collectio Then in research, Surrey. Robinson, therefore, Studies฀in฀Persian฀Art฀II aims to study the two, 68; paintin Soudavar,gs' types; “The to 61 This painting was made by Afzal al-Husayni in 1057 A.H. /1647 A.D. It is preserved now in Victoria and Albert compareAge of Muhammadi”,between them 54.and explain their features. It also aims to clear the reasons that led to appearing and accept of Museum. Robinson, Persian฀Drawings, pl. 68. daring scenes of lovers that reflect closeness, liberty and eroticism. 45 Robinson, Studies฀in฀Persian฀Art฀II, 69. 62 Muhammad Qasim was one of the followers of Riza cAbbasi who gained fame by 1071 A.H. /1660 A.D. He painted Keywords: Persian painting, romantic poetry, Persian love stories, eroticism c 46 Pl. 10 was attributed to Bukhara style and was produced in about 957 A.H. /1550 A.D. Grube, The฀Classical฀Style, many single paintings and was very faithful to Riza’s style. Al-Basha, Mawsu t, 99. ………………………………………………………………………………………………………………………………fig.48. ฀ 63 This painting was made by Muhammad Qasim and it is now preserved in Harvard Art Museum. Pl.Introduction฀ 11 was attributed to Heart during the 16th century and it is currently preserved in Museum of Fine Arts in Boston. http://asianartnewspaper.com/sites/default/files/articles_additional/1950%20130%20LoversDalliance.jpg https://www.mfa.org/collections/object/a-young-man-offering-a-cup-of-wine-to-a-girl-13883 64 Persian฀Painting Passionate poetry was one of the main themes of Persian poetry and many poets were famous for their passionate lyrical Canby, , 67 Pl.poetry 12 was such attributed as Sunna’ to i,Qazwin1 'Attar, style2 al-Rumi, in about3 Sa 1590cdi,4 A.D.Hafiz and5 and it is Jami. currently6 Their preserved works varied at Freer between art Gall realism,ery. mystic and 65 Gary, Persian฀Painting, 138; Welch, Royal฀Persian฀Manuscripts, 23; Canby, Persian฀Painting, 83 spiritual poems. Tale poetry was another theme of Persian poetry that appeared as early as the eleventh century and ฀http://www.asia.si.edu/collections/singleObject.cfm?ObjectNumber=S1986.316 66 included both passionate and historical stories. The poem of Vis฀ and฀ Ramin of Gurgani7 is the earliest example of Robinson, Persian฀Drawings, 23;฀Welch, Royal฀Persian฀Manuscripts, 23 47 c c 8 passionate Riza Abbasi poetry was in aa leadingtale form. artist Later at the centuries; court of other the Saf poetsawid became Shah famed.Abbas I. They He wasadopted the sonsome of greatthe court stories artist of epicAli 67 Lisa Golombek, “Toward a Classification of Islamic Painting”, in Islamic฀Art฀in฀the฀Metropolitan฀Museum฀of฀Art, ed. literatureAsghar. Sources and giving mentioned them a that new Riza character; abandoned, by chan or atging least the rebelled, mood andhis art proposing in mid-career more (between details about 1013 feelA.H./ings 1604 and Richard Ettinghausen (New York, 1992), 23; Hasan al-Basha, Mawsuct฀al-cemara฀wal-Athar฀wal-Funun฀al-Islamyyia฀ 9 c emotionsA.D and of1019 the A.H./heroic 1610 tale. A.D.) In the and twelfth took upcentury, distinctly Attar lower-class applied this companions. in Khusraw, In 1019-44and Birds A.H./ Language 1610-35 tales. A.D. Other he III (Cairo, 1999), 81. suchresumed as Nizami his court10 in his employment Quintet, Khwadju, and introduced11 Jami aand ponde Hatifirous12 - figuralduring style,the thirteenth a palette till of the half-tones sixteenth and centuri mules-ti-figure either 68 did.compositions Sketching toPoetic his oeuvre.writings His in general works stronglybegan by influ the encedfourteenth contemporaries century. Painters and followers traditionally throughout changed thethe 1styles1th/17 ofth Canby, The฀Rebellious฀Reformer,฀77-94 c Persian฀Painting Islamic฀Painting miniaturescentury. For according more details to the about text. Riza Thus, Abbasi in epics see: li Gary,ke Shahnameh , combats, 159-170; and reaching Rice, throne scenes usually, 154-185; exist, 69 Canby, The฀Rebellious฀Reformer,฀173;฀Canby, Persian฀Painting, 99. whileAnthony Nizami Welch, and “Painting Khwadju's and poetry Patronage”, have static 478- 482; lyric alAbolala miniatures. Soudavar,13 In “Riza fact, painters-e ‘Abbasi paid and special Asfahan attention Painting” to thein C 70 th th passionatePersian฀Courts poetry (New since York,it enabled 1992), the 261- painter301;Sheila to show R. his Canby, talent “R throughIDA A theBBASI miniature”, Encyclopedia฀of฀Islam that should reflect III, the 509-510; text and S.J. Falk, Qajar฀Painting:฀Persian฀Oil฀Paintings฀of฀the฀18 ฀and฀19 ฀Centuries (London, 1972), 18. Sheila R. Canby, The฀Rebellious฀Reformer:฀Drawings฀and฀Paintings฀of฀Riza-yi฀Abbasi฀of฀Isfahan (London, 1996), 19- foresee its meaning. 71 Canby, Persian฀Painting, 108. 22; Ahmad Hasan Ahmad, Al-Qiam฀al-Fanniyya฀fi฀Rusum฀al-Kitab฀lil-madrasa฀al-Safawiyya฀al-Thanya฀bi-Iran฀min฀ Khilal฀AThecmal฀Rida฀ heritage ofcAbbasi Persian, (MA tale poetryThesis, included Helwan loveUniversity, stories. Poets1997), presented 140-144; these al-B asha,stories Mawsu repeatedly,ct฀III, e86-97;Canby,ach imposing 72 Gary, Persian฀Painting, 168-170. hisPersian฀Painting touch. Such stories, 98-101; were Abolala a rich Soudavar, source of “Le lover Chants' paintings; Du Monde: whom A Disenc the storyhanting main Echo characters. of Safavid The Art present History”, study 73 Persian฀Painting฀from฀the฀Mongols฀to฀the฀ examinesIran฀46 (2008), the paintings 269. accompanying such love stories to reveal their features. The study also traces the changed taste Anthony Welch, “Worldly and Otherworldly Love in Safavi Painting” in of passionate poetry; that sometimes with lovers' scenes. Further, it will trace the independent scenes of lovers that Qajars (London , 2000), 301-317. 48 The attribution of this painting to Riza cAbbasi is not certain but it was produced in 1620 A.D. following his style. It came into fashion during the seventeenth century with unique style. The study presents two scenes' types through 74 c is preserved in Freer Art Gallery. http://www.asia.si.edu/collections/singleObject.cfm?ObjectNumber=S1986.315 Muhammad al-Saeed Abdel Moamen, Al-Zawahir฀al-Adabiyya฀fi฀al- asr฀al-Safawi = Literary Phenomena during the variant stylized and dated examples; to compare between painting two types, and highlight each type's features. In Safavid Period (Cairo, 1978), 368. 49addition, This painting the study was analyzes attributed the to atmosphere Riza cAbbasi of eachand produced type, and inclears about motives 1019-24 of A.H.altered /1610-15 Persian Ataste..D. It is now preserved Famous฀Persian฀Love฀Stories฀and฀their฀accompanying฀in Freer Art Gallery. http://www.asia.si.edu/collections/singleObject.cfm?ObjectNumber=S1986.311paintings฀฀ 50 c ﻗﺼﺺ ﺍﻟﺤﺐ ﻭﻣﻨﺎﻅﺮ ﺍﻟﻤﺤﺒﻴﻦ ﻓﻲ ﺍﻟﺘﺼﻮﻳﺮ ﺍﻟﻔﺎﺭﺳﻲ In This 446 paintingA.H/1054 was A.D made Gurgani by Riza presented Abbasi - one between of the 1039 earliest A.H./1629 lyrical poems- and 1045 the A.H./1635story of฀Vis฀and฀Ramin.฀ A.D. It is preservedThis passionate now in ฀ storySeattle was Art about Museum. Merv's king http://www.corbisimages.com/stock "Mubid", who wanted to marry-photo/rights-managed/IH100317/miniature-painting-of the beautiful princess Shehru. She refused, and promised-a- ﻳﻬﺪﻑ ﺍﻟﺒﺤﺚ ﺇﻟﻰ ﺩﺭﺍﺳﺔ ﻣﻨﺎﻅﺮ ﺍﻟﻤﺤﺒﻴﻦ ﻓﻲ ﺍﻟﺘﺼﻮﻳﺮ ﺍﻟﻔﺎﺭﺳﻲ ﻣﻨﺬ ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﻋﺸﺮ ﻭﺣﺘﻰ ﺍﻟﻘﺮﻥ ﺍﻟﺴﺎﺑﻊ ﻋﺸﺮ. ﻫﺬﻩ ﺍﻟﻤﻨﺎﻅﺮ ﻳﻤﻜﻦ ﺗﻘﺴﻴﻤﻬﺎ ﺇﻟﻲ himbird-and-scene her daughter. The daughter "Vis" brought up with the king Mubid's brother Ramin. When Vis turned up sixteen, ﻣﺠﻤﻮﻋﺘﻴﻦ: ﺍﻷﻭﻟﻰ ﻣﻨﺎﻅﺮ ﺗﺼﺎﺣﺐ ﻗﺼﺺ ﺍﻟﺤﺐ ﺍﻟﺸﻬﻴﺮﺓ ﺍﻟﺘﻲ ﺷﺎﻋﺖ ﻓﻲ ﺍﻷﺩﺏ ﺍﻟﻔﺎﺭﺳﻲ ﻣﺜﻞ ﻗﺼﺔ ﺧﺴﺮﻭ ﻭﺷﻴﺮﻳﻦ، ﻭﻟﻴﻠﻰ ﻭﺍﻟﻤﺠﻨﻮﻥ، 51her This mother painting asked was her attributedto marry her to Rizabrother cAbbasi Wiru. in Whe aboutn Mubid 1040 knew,A.H /1630 he asked A.D. Shehru It is preserved to fulfill herin thepromis Metropolitane, but she ﻭﻳﻮﺳﻒ ﻭﺯﻟﻴﺨﺔ، ﻭﺑﻬﺮﺍﻡ ﺟﻮﺭ ﻭ ﺃﺯﺩﺓ ﻭﻫﻲ ﺗﺼﻮﺭ ﻣﻘﺎﻁﻊ ﻣﻬﻤﺔ ﻣﻦ ﺗﻠﻚ ﺍﻟﻘﺼﺺ. ﻭﺍﻟﻤﺠﻤﻮﻋﺔ ﺍﻟﺜﺎﻧﻴﺔ ﺗﻤﺜﻞ ﻣﻨﺎﻅﺮ ﺻﺎﺣﺒﺖ ﺍﻟﺸﻌﺮ ﺍﻟﻐﻨﺎﺋﻲ ﺃﻭ "refused.Museum, A warNew broke York. out http://www.metmuseum.org/Collections/ between the two counties, king Mubidsearch-the-collections/451023 seized Vis to marry. At the same time Vis met "Ramin ﺷﻌﺮ ﺍﻟﻐﺰﻝ ﺃﻭ ﺃﺧﺮﻯ ﻅﻬﺮﺕ ﻣﺴﺘﻘﻠﺔ ﺗﻤﺎﻣﺎً ﻋﻦ ﺃﻱ ﻧﺼﻮﺹ. ﻭﺍﻟﻤﺠﻤﻮﻋﺔ ﺍﻷﺧﻴﺮﺓ ﻅﻬﺮﺕ ﻓﻲ ﺍﻟﻘﺮﻥ ﺍﻟﺴﺎﺑﻊ ﻋﺸﺮ ﻭﻛﺎﻧﺖ ﺗﻌﻜﺲ ﺍﻟﺘﺤﺮﺭ. ﻟﺬﺍ .after a long period of abandonment and fell in love with him. Mubid tried hard to separate between the two lovers 52 Canby, The฀Rebellious฀Reformer, 173; Ahmad, Acmal฀Rida฀cAbbasi, 312-313. ﻳﻬﺪﻑ ﺍﻟﺒﺤﺚ ﻟﺪﺭﺍﺳﺔ ﺍﻟﻤﺠﻤﻮﻋﺘﻴﻦ ﻣﻦ ﺍﻟﻤﻨﺎﻅﺮ ﻭﺍﻟﻤﻘﺎﺭﻧﺔ ﺑﻴﻨﻬﻤﺎ ﻣﻊ ﺗﻮﺿﻴﺢ ﺳﻤﺎﺕ ﻛﻞ ﻣﺠﻤﻮﻋﺔ. ﻛﻤﺎ ﻳﻬﺪﻑ ﺃﻳﻀﺎ ﻟﻠﻮﻗﻮﻑ ﻋﻠﻰ ﺍﻷﺳﺒﺎﺏ ﺍﻟﺘﻲ Ramin battled his brother and killed him. The story came to end with the marriage of Vis and Ramin.14 This no sketched ﺃﺩﺕ ﻟﻈﻬﻮﺭ ﻣﻨﺎﻅﺮ ﺍﻟﻤﺤﺒﻴﻦ ﻓﻲ ﻛﻞ ﻓﺘﺮﺓ ﻭﺗﺤﻮﻟﻬﺎ ﻣﻦ ﻣﻨﺎﻅﺮ ﻣﺘﺤﻔﻈﺔ ﺇﻟﻰ ﻣﻨﺎﻅﺮ ﻣﺘﺤﺮﺭﺓ ﺗﺘﺴﻢ ﺑﺎﻟﺠﺮﺃﺓ. .53story This was painting the earliest was attributed passionate to poemsRiza cAbbasi key, which and produced encouraged in 1041poets A.H. for writing. /1631 A.D. Kühnel, Miniaturmalerei, 79 54 Canby,The Persian฀Painting story of฀Yusuf฀and฀Zulaykha, 98-91. was another classic Persian love story based on the story of Yusuf, mentioned in the Old Testament and the holy Quran. Firdawsi first introduced between 384- 6 A.H. / 994- 6 A.D. Other poets like 55 This painting was attributed to Safavid period, c. 1630 A.D. but its painter was unknown. It is preserved in Freer Art al-Bukhari, al-Harawi and Jami -in his Haft Awrang- represented it either.15 Firdawsi related his version to the holy Gallery. http://www.asia.si.edu/collections/singleObject.cfm?ObjectNumber=F1954.28 Quran description.16 While Jami's version revealed firsthand details; neither mentioned in the holy Quran nor the Old 56Testament. Mucin Musawir Jami focusedwas Riza on c Abbasi’sthe love moststory prolificand the and main well character's-known student, "Zulaykha" who createdfeelings. numerous The story single-page of Jami tells figural how Zulaykhacompositions fall inand love contributed with Yusuf to severalwhen she illustrated saw him texts. in dreams. He was She, active then, from went 1040/1630 to Egypt until and themarried early Aziz12th/late of Egypt, 17th century. He was highly influenced by his master and his style was marked with Western pictorial concepts that became increasingly popular among his contemporaries. Al-Basha, Mawsuct, 100-103;Massumeh Farhad, “Isfahan: School of Painting and Calligraphy”, Encyclopaedia฀Iranica XIV, 40-43 57 Ahmad, Acmal฀Rida฀cAbbasi, 440- 441.

฀฀December฀2014฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀Vol.฀11,฀Issue฀2฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀฀Journal฀of฀Association฀of฀Arab฀Universities฀ for฀Tourism฀and฀Hospitality Love______Stories and Lovers’ Scenes in Persian Painting______75 ฀ Love Stories and Lovers’ Scenes in Persian Painting

58 Muhammad Yusuf al-Husayni was one of the followers of Riza cAbbasi. He was active during the end of 16th till mid 17th century. Al-Basha, Mawsuct, 98. Heba฀Mahmoud฀Saad฀Abdel฀Naby฀ 59 Ahmad, Acmal฀Rida฀cAbbasi, 457-458.Associate Professor of Islamic Archaeology 60 Afzal al-Husayni was a PersianFaculty painter of Tourism who was and act iveHotels, during Alexandria the reign of University Shah cAbbas II (1052-77 A.H.//1642- 66A.D.). He was famous for his paintings in the extensively illustrated Šāh-nāma of Ferdowsī That was made for Abstract฀Shah cAbbas II and now in the Leningrad Public Library. Half of its paintings were attributed to Afzal al-Husayni in Thisaddition research to a aimsnumber to study of single the scenespaintings of loversfollowing in Persian Isfahan painting style. P. from P. Soucek, the fourteenth “Afzal toAl -theHosayni,” end of theEncyclopaedia฀ seventeenth centuries.Iranica, I/6,The 600-601. studied scenes classified into two types; the first include paintings with famous love stories in Persian 61literature, This painting of these; was Khusrawmade by Afzal and Shirin, al-Husayni Layla in and 1057 Majnun, A.H. /1647 Yusuf A.D. and It Zulaykha, is preserved Bahram now in Gur Victoria and Azda. and Albert Those paintingsMuseum. were Robinson, depicting Persian฀Drawings the important, pl. episodes 68. of the story. The second type includes paintings that were either accompanying lyrical poetry or independent. During the 17th century such paintings were representing couples or lovers 62 c in Muhammad postures reflecting Qasim was intimacy one of andthe followers liberation. of The Riza research, Abbasi who therefore, gained aims fame toby study 1071 theA.H. two /1660 paintin A.D.gs' He types; painted to c comparemany single between paintings them andand wasexplain very their faithful features. to Riza It’s also style. aims Al -Basha,to clear Mawsu the reasonst, 99. that led to appearing and accept of 63daring This scenes painting of lovers was that made reflect by closeness, Muhammad liberty Qasim and eroticism. and it is now preserved in Harvard Art Museum. Keywordshttp://asianartnewspaper.com/sites/default/files/ar: Persian painting, romantic poetry, Persianticles_additional/1950%20130%20LoversDalliance.jpg love stories, eroticism 64 ……………………………………………………………………………………………………………………………… Canby, Persian฀Painting, 67 ฀ 65Introduction฀ Gary, Persian฀Painting, 138; Welch, Royal฀Persian฀Manuscripts, 23; Canby, Persian฀Painting, 83 66 Passionate Robinson, poetry Persian฀Drawings was one of the, 23; main฀Welch, themes Royal฀Persian฀Manuscripts of Persian poetry and many, 23 poets were famous for their passionate lyrical 1 ' 2 3 c 4 5 6 67poetry Lisa Golombek, such as Sunna’ “Towardi, Attar, a Classification al-Rumi, of Sa Islamicdi, Hafiz Painting”, and Jami. in Islamic฀Art฀in฀the฀Metropolitan฀Museum฀of฀Art Their works varied between realism, mystic, anded. spiritualRichard poems. Ettinghausen Tale poetry (New wasYork, another 1992), theme 23; Hasan of P ersianal-Basha, poetry Mawsu thatc t฀al-appearedcemara฀wal-Athar฀wal-Funun฀al-Islamyyia฀ as early as the eleventh century and 7 includedIII (Cairo, both 1999), passionate 81. and historical stories. The poem of Vis฀ and฀ Ramin of Gurgani is the earliest example of passionate poetry in a tale form. Later centuries; other poets became famed.8 They adopted some great stories of epic 68literature Canby, The฀Rebellious฀Reformer,฀ and giving them a new character;77-94 by changing the mood and proposing more details about feelings and 9 c 69emotions Canby, The฀Rebellious฀Reformer,฀173;฀of the heroic tale. In the twelfthCanby, century, Persian฀Painting Attar applied, 99. this in Khusraw, and Birds Language tales. Other such as Nizami10 in his Quintet, Khwadju,11 Jami and Hatifi12 - during the thirteenth till the sixteenth centuries- either 70did. S.J. SketchingFalk, Qajar฀Painting:฀Persian฀Oil฀Paintings฀of฀the฀18 Poetic writings in general began by the fourteenthth฀and฀19 century.th฀Centuries Painters (London, traditionally 1972), 18. cha nged the styles of Shahnameh 71miniatures Canby, Persian฀Painting according to the, 108. text. Thus, in epics like , combats and reaching throne scenes usually exist, while Nizami and Khwadju's poetry have static lyrical miniatures.13 In fact, painters paid special attention to the 72passionate Gary, Persian฀Painting poetry since it, 168-170.enabled the painter to show his talent through the miniature that should reflect the text and foresee its meaning. 73 Anthony Welch, “Worldly and Otherworldly Love in Safavi Painting” in Persian฀Painting฀from฀the฀Mongols฀to฀the฀ QajarsThe (London heritage , 2000), of Persian 301-317. tale poetry included love stories. Poets presented these stories repeatedly, each imposing his touch. Such stories were a rich source of lovers' paintings; whomc the story main characters. The present study 74 Muhammad al-Saeed Abdel Moamen, Al-Zawahir฀al-Adabiyya฀fi฀al- asr฀al-Safawi = Literary Phenomena during the examines the paintings accompanying such love stories to reveal their features. The study also traces the changed taste Safavid Period (Cairo, 1978), 368. of passionate poetry; that sometimes with lovers' scenes. Further, it will trace the independent scenes of lovers that

came into fashion during the seventeenth century with unique style. The study presents two scenes' types through

variant stylized and dated examples; to compare between painting two types, and highlight each type's features. In .of altered Persian taste ﻗﺼﺺ ﺍﻟﺤﺐ motives ﻭﻣﻨﺎﻅﺮ and clears ﺍﻟﻤﺤﺒﻴﻦ ﻓﻲ ,each type ﺍﻟﺘﺼﻮﻳﺮ of ﺍﻟﻔﺎﺭﺳﻲ addition, the study analyzes the atmosphere฀ ﻳﻬﺪﻑ ﺍﻟﺒﺤﺚ ﺇﻟﻰ ﺩﺭﺍﺳﺔ ﻣﻨﺎﻅﺮ ﺍﻟﻤﺤﺒﻴﻦ ﻓﻲ ﺍﻟﺘﺼﻮﻳﺮ ﺍﻟﻔﺎﺭﺳﻲ ﻣﻨﺬ ﺍﻟﻘﺮﻥ paintings฀฀ﺍﻟﺮﺍﺑﻊ ﻋﺸﺮ ﻭﺣﺘﻰ ﺍﻟﻘﺮﻥ ﺍﻟﺴﺎﺑﻊ ﻋﺸﺮ. ﻫﺬﻩ ﺍﻟﻤﻨﺎﻅﺮ ﻳﻤﻜﻦ ﺗﻘﺴﻴﻤﻬﺎ ﺇﻟFamous฀Persian฀Love฀Stories฀and฀their฀accompanying฀ﻲ ﻣﺠﻤﻮﻋﺘﻴﻦ: This passionateﺍﻷﻭﻟﻰ ﻣﻨﺎﻅﺮ ﺗﺼﺎﺣﺐ of ฀Vis฀and฀Ramin.฀ ﻗﺼﺺ the storyﺍﻟﺤﺐ -poemsﺍﻟﺸﻬﻴﺮﺓ ﺍﻟﺘﻲ lyrical ﺷﺎﻋﺖ arliestﻓﻲ the e ﺍﻷﺩﺏ one of - ﺍﻟﻔﺎﺭﺳﻲ ﻣﺜﻞ presentedﻗﺼﺔ ﺧﺴﺮﻭ A.D Gurgani ﻭﺷﻴﺮﻳﻦ، ﻭﻟﻴﻠﻰ In 446 A.H/1054ﻭﺍﻟﻤﺠﻨﻮﻥ، ﻭﻳﻮﺳﻒ and promised ﻭﺯﻟﻴﺨﺔ، ﻭﺑﻬﺮﺍﻡ,refused ﺟﻮﺭShe ﻭ ﺃﺯﺩﺓ .Shehru ﻭﻫﻲ ﺗﺼﻮﺭprincess ﻣﻘﺎﻁﻊ beautiful ﻣﻬﻤﺔ theﻣﻦ ﺗﻠﻚ ﺍto marry ﻟﻘﺼﺺ. who wanted ﻭﺍﻟﻤﺠﻤﻮﻋﺔ ﺍﻟﺜﺎﻧﻴﺔ ,"Mubid" ﺗﻤﺜﻞ king ﻣﻨﺎﻅﺮ Merv's ﺻﺎﺣﺒﺖ about ﺍﻟﺸﻌﺮ was ﺍﻟﻐﻨﺎﺋﻲ storyﺃﻭ ﺷﻌﺮ ,sixteen ﺍﻟﻐﺰﻝup ﺃﻭ turnedﺃﺧﺮﻯ Vis ﻅﻬﺮﺕ When ﻣﺴﺘﻘﻠﺔ ﺗﻤﺎﻣﺎً.Ramin ﻋﻦ ﺃﻱ brother ﻧﺼﻮﺹ. the king Mubid'sﻭﺍﻟﻤﺠﻤﻮﻋﺔ ﺍﻷﺧﻴwith ﺮﺓ up ﻅﻬﺮﺕ broughtﻓﻲ ﺍﻟﻘﺮﻥ"Vis" ﺍﻟﺴﺎﺑﻊ daughter ﻋﺸﺮ The ﻭﻛﺎﻧﺖ ﺗﻌﻜﺲ .her daughter ﺍﻟﺘﺤﺮﺭ. himﻟﺬﺍ she ﻳﻬﺪﻑ e, butﺍﻟﺒﺤﺚ promis ﻟﺪﺭﺍﺳﺔ fulfill her ﺍﻟﻤﺠﻤﻮﻋﺘﻴﻦ to ﻣﻦ ﺍﻟﻤﻨShehru ﺎﻅﺮ he askedﻭﺍﻟﻤﻘﺎﺭﻧﺔ ﺑﻴﻨﻬﻤﺎ,knew ﻣﻊ Mubid ﺗﻮﺿﻴﺢWhe n ﺳﻤﺎﺕ ﻛﻞ .Wiru ﻣﺠﻤﻮﻋﺔ. brother ﻛﻤﺎ her ﻳﻬﺪﻑ marry ﺃﻳﻀﺎher to ﻟﻠﻮﻗﻮﻑ askedﻋﻠﻰ motherﺍﻷﺳﺒﺎﺏ herﺍﻟﺘﻲ ﺃﺩﺕ "Ramin" ﻟﻈﻬﻮﺭ met ﻣﻨﺎﻅﺮ time Vis ﺍﻟﻤﺤﺒﻴﻦ ﻓﻲ same ﻛﻞ theﻓﺘ ﺮﺓ At ﻭﺗﺤﻮﻟﻬﺎ .marry ﻣﻦVis to ﻣﻨﺎﻅﺮ seized ﻣﺘﺤﻔﻈﺔ ﺇﻟﻰ ing Mubidﻣﻨﺎﻅﺮ k ﻣﺘﺤﺮﺭﺓ ,counties ﺗﺘﺴﻢ the twoﺑﺎﻟﺠﺮﺃﺓ. refused. A war broke out between after a long period of abandonment and fell in love with him. Mubid tried hard to separate between the two lovers. Ramin battled his brother and killed him. The story came to end with the marriage of Vis and Ramin.14 This no sketched story was the earliest passionate poems key, which encouraged poets for writing. The story of฀Yusuf฀and฀Zulaykha was another classic Persian love story based on the story of Yusuf, mentioned in the Old Testament and the holy Quran. Firdawsi first introduced between 384- 6 A.H. / 994- 6 A.D. Other poets like al-Bukhari, al-Harawi and Jami -in his Haft Awrang- represented it either.15 Firdawsi related his version to the holy Quran description.16 While Jami's version revealed firsthand details; neither mentioned in the holy Quran nor the Old Testament. Jami focused on the love story and the main character's "Zulaykha" feelings. The story of Jami tells how Zulaykha fall in love with Yusuf when she saw him in dreams. She, then, went to Egypt and married Aziz of Egypt,