For example, the miniature “Majnun at the tent of Laili” is particularly interesting. Apart from Majnun’s figure, reminiscent of an emaciated Indian hermit, the background is remarkable: animals are depicted grazing far away significant ly reduced in size, which creates a perspective that is often used in Indian miniatures. But still, compared with the same scene as illustrated in the Dub lin manuscript of 1668–1671, there are not very many Indian features in our miniature; mainly because there is almost no volume, the paints are rarely mixed: they are not diluted in a different tone but applied plain.
Comparing miniatures with other illustrations of the Quintet of 1668–1671 and the drawings of the “Bustan” by Sa‘di of 1649 we can see that, for example, the appearance of Majnun, despite the similarity of the style of exe cution, is absolutely different, although the women’s clothing in the drawings of the “Bustan” is very close to that in the Quintet. In general, the greatest similarity is found with the illustrations of the Quintet by Nizami of 1654–1656.
You can learn more about the topic in the book-album "Arts of the book in the 15th–17th-century Mawarannahr" (Volume XVII) in the series "Cultural Legacy of Uzbekistan in the World Collections".
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