If you would like to get in touch, please feel free to contact: email hidden; JavaScript is required
Browse collection
- Full collection
- 18th Century & earlier
- Ackermann
- Africa
- Alken
- Animals
- Arabasia
- Architecture/Mansions
- Art
- Australasia
- Botany
- British Isles
- Caricatures
- Children
- China
- Chromo added colour
- Chromolithographs
- Conchology
- Costume
- Cruikshank
- Culture/Lifestyle
- Dutch
- East European
- Far East
- France
- Furniture/Antiques
- General
- Germany
- Grandville
- Heraldry
- History
- History - England
- History - Europe
- Holy Land
- India
- India - sepia
- Islam
- Italy
- Japan
- Literature
- London
- Manuscript
- Map
- Military
- Monnier
- Natural history
- Pastimes
- Pochoir
- Polar regions
- Portraits
- Religious/Christian
- Religious/other
- Rowlandson
- Russia
- Science
- Scrapbook
- Sepia
- South America
- Sports/Hunting
- Stamps
- Swiss
- The Americas
- Theatre
- Travel/Scenery
- Watercolours
- World
Jalal al-Din Rumi
The six books of the Masnavi by Rumi
The Masnavi or Masnavi-ye-Ma'navi is an extensive poem written in Persian by Jalal al-Din Muhammad Balkhi, also known as Rumi. The Masnavi is one of the most influential works of Sufism, ascribed to be like a "Quran in Persian". It has been viewed by many commentators as the greatest mystical poem in world literature. The Masnavi is a series of six books of poetry that together amount to around 25,000 verses or 50,000 lines. It is a spiritual text that teaches Sufis how to reach their goal of being truly in love with God.
- Published
- Probably Anatolia, circa 1600.
- Plates
- 6 + 2
- Binding/Size
- M=4to
- Value
- 0-5000
- Published
- Probably Anatolia, circa 1600.
- Ref
- 1577
Decorated manuscript on polished paper, the Masnavi of Jalal al-Din Rumi, in Persian, probably from Anatolia, circa 1600 AD with twentieth-century illustrations in the text (added later). 127 by 177 mm. Text in four columns, 25 lines informal cursive script verging on nasta'liq, headings in red, columns and text block ruled in red throughout, later commentaries to endleaves (some preliminary leaves bound upside-down), one ownership inscription dated 1021 AH (1612 AD), a few early seal impressions, housed in later lacquered boards with identical decorative floral and border designs back and front, inner boards with two portraits within oval frames set against red backgrounds. rebacked in modern leather,