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He is responsible for initiating Mawlana Jalal ad-Din Muhammad Rumi (rah), usually known as Rumi in the West, into Islamic mysticism, and is immortalized by Rumis poetry collection Diwan-e Shams-e Tabriz-i ('The Works of Shams of. His recorded work is dated between AH 964/AD 1556-57 and AH 1001/AD 1592-93): the first of these states that it was copied in Kerbala, the second, in the Safavid capital Qazvin (see Mehdi Bayani, ahval va athar-e khosh-navisan, vol. Hazrat Shams-e-Tabrizi (raz) AD 1248 was an Iranian Sufi mystic born in the city of Tabriz in Iranian Azerbaijan. His immediate pupils were 'Ali Riza and 'Abd al-Baqi. 1524-76), for whom he executed royal decrees (firmans).
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His father was also a calligrapher, active during the reign of the Safavid ruler Shah Tahmasp (reg. It is a collection of ghazals named in the honor of dervish Shamsuddin, who was Rumi’s great friend and inspiration.
Shams tabrizi al islam full#
'Ala' al-Din al-Tabrizi, whose full name was 'Ala' al-Din Muhammad ibn Shams al-Din Muhammad al-Hafiz al-Tabrizi, known as Mulla 'Ala' Beyg, was a master calligrapher from Tabriz, whose hand was copied by later calligraphers including Ahmad al-Nayrizi and 'Ali 'Askar al-Arsanjani. Diwan-e Shams-e Tabrizi: Diwan-e Shams-e Tabrizi (or Diwan-e-Kabir) is one of the masterpieces of Rumi.
Shams tabrizi al islam plus#
Arabic manuscript on buff paper, 356 pages plus 2 flyleaves, 12 lines to the page, written in black naskh, verses separated by gold and polychrome pointed floral roundels, sura headings in white cursive script against gold ground within cusped cartouches on illuminated panels, some including words in naskh within clouds on reserved ground, margins ruled in colours and gold, catchwords, occasional marginal notes, marginal verse markers in the form of quatrefoil and drop-shaped illuminated medallions, two frontispiece bifolios with fine, full-page illumination in polychrome and gold, the following folio with an illuminated headpiece, two finispiece bifolios with similar full-page illumination, and three further illuminated double pages at the end with prayers and Falnama,with fine original gold-stamped brown morocco binding with central field and border cartouches of floral motifs and cloud scrolls, fine gold-stamped doublures with central field of tightly intertwined cloud scrolls, central medallion and cornerpieces of gilt filigree over polychrome grounds, border cartouches of gilt-stamped calligraphy consisting of pious phrases and an outer border band with further cartouches of gilt filigree, with flap.