{"arkId":"cl010331038","url":"https:\/\/collections.louvre.fr\/ark:\/53355\/cl010331038","modified ":"2026-08-11","title":"Reliure \u00e0 d\u00e9cor de fleurs et d\u0027oiseaux","titleComplement":"","denominationTitle":[{"type":"D\u00e9nomination","value":"Reliure isol\u00e9e (Art du livre)"},{"type":"Titre","value":"Reliure \u00e0 d\u00e9cor de fleurs et d\u0027oiseaux"}],"displayDateCreated":"Date de cr\u00e9ation\/fabrication : 4\u00e8me quart du XVIIIe si\u00e8cle ; 1er quart du XIXe si\u00e8cle (1775 - 1825)","currentLocation":"non expos\u00e9","room":"","isMuseesNationauxRecuperation":false,"dateCreated":[{"startYear":1775,"endYear":1825,"imprecision":"","text":"4\u00e8me quart du XVIIIe si\u00e8cle ; 1er quart du XIXe si\u00e8cle","type":"Date de cr\u00e9ation\/fabrication","doubt":""}],"creator":[{"label":"Saadi","attributionLevel":"Attribution actuelle","linkType":"","dates":[{"date":"vers 1210","place":"Chiraz","type":"date de naissance"},{"date":"1291 ou 1292","place":"Chiraz","type":"date de mort"}],"creatorRole":"Ecrivain","authenticationType":"","doubt":"","attributedBy":"","attributedYear":"","wikidata":"Q170302"},{"label":"Ansari","attributionLevel":"Attribution actuelle","linkType":"","dates":[{"date":"04\/1006","place":"H\u00e9rat","type":"date de naissance"},{"date":"08\/03\/1089","place":"","type":"date de mort"}],"creatorRole":"Ecrivain","authenticationType":"","doubt":"","attributedBy":"","attributedYear":"","wikidata":""}],"objectNumber":[{"value":"AD 12131","type":"Num\u00e9ro principal"},{"value":"UCAD 12131","type":"Autre num\u00e9ro d\u0027inventaire"}],"collection":"D\u00e9partement des Arts de l\u0027Islam","printsDrawingsEntity":"","printsDrawingsCollection":"","objectType":"","originalObject":"","printState":"","description":"Type miniature : reliure isol\u00e9e","inscriptions":"Inscription : \r ; \u06cc\u06a9\u06cc \u062e\u0631\u062f\u0647 \u0628\u0631\u0634\u0627\u0647 \u063a\u0632\u0646\u06cc\u0646 \u06af\u0631\u0641\u062a \/ \u06a9\u0647 \u062d\u0633\u0646\u06cc \u0646\u062f\u0627\u0631\u062f \u0627\u06cc\u0627\u0632[\u0627\u06cc] \u0634\u06af\u0641\u062a \/  \u06af\u0644\u06cc\u0631\u0627 \u06a9\u0647 \u0646\u0647 \u0631\u0646\u06af \u0628\u0627\u0634\u062f \u0646\u0628\u0648\u06cc\/ \u063a\u0631\u06cc\u0628\u0633\u062a \u0633\u0648\u062f\u0627\u06cc \u0628\u0644\u0628\u0644 \u0628\u0631\u0648\u06cc\/ \u0628\u0645\u062d\u0645\u0648\u062f \u06af\u0641\u062a \u0627\u06cc\u0646\u062d\u06a9\u0627\u06cc\u062a \u06a9\u0633\u06cc\/ \u0648\u0632 \u0627\u0646\u062f\u06cc\u0634\u0647 \u067e\u06cc\u0686\u06cc\u062f \u0628\u0631\u062e\u0648\u062f \u0628\u0633\u06cc\/ \u06a9\u0647 \u0639\u0634\u0642 \u0645\u0646 \u0627\u06cc\u062e\u0648\u0627\u062c\u0647 \u0628\u0631 \u062e\u0648\u06cc \u0627\u0648\u0633\u062a \/ \u0646\u0647 \u0628\u0631 \u0642\u062f \u0648 \u0628\u0627\u0644\u0627\u06cc \u0646\u06cc\u06a9\u0648\u06cc \u0627\u0648\u0633\u062a \/ \u0634\u0646\u06cc\u062f\u0645 \u06a9\u0647 \u062f\u0631 \u062a\u0646\u06af\u0646\u0627\u06cc\u06cc \u0634\u062a\u0631\/ \u0628\u06cc\u0641\u062a\u0627\u062f \u0648 \u0628\u0634\u06a9\u0633\u062a \u0635\u0646\u062f\u0648\u0642 \u062f\u0631\/  \u0628\u06cc\u063a\u0645\u0627 \u0645\u0644\u06a9 \u0622\u0633\u062a\u06cc\u0646 \u0628\u0631\u0641\u0634\u0627\u0646\u062f \/ \u0648\u0632\u0627\u0646 \u062c\u0627 \u0628\u062a\u0639\u062c\u06cc\u0644 \u0645\u0631\u06a9\u0628 \u0628\u0631\u0627\u0646\u062f \/ \u063a\u0644\u0627\u0645\u0627\u0646 \u067e\u06cc \u062f\u0631 \u0648 \u0645\u0631\u062c\u0627\u0646 \u0634\u062f\u0646\u062f\/ \u0632 \u0633\u0644\u0637\u0627\u0646 \u0628\u06cc\u063a\u0645\u0627 \u067e\u0631\u06cc\u0634\u0627\u0646 \u0634\u062f\u0646\u062f\/ \u0646\u0645\u0627\u0646\u062f \u0627\u0632 \u063a\u0644\u0627\u0645\u0627\u0646 \u06af\u0631\u062f\u0646 \u0641\u0631\u0627\u0632\/  \u06a9\u0633 \u0627\u0646\u062f\u0631 \u0642\u0641\u0627\u06cc \u0645\u0644\u06a9 \u062c\u0632 \u0627\u06cc\u0627\u0632\/\r ; Lue par Farhad Kazemi, 2018.\r ; Saadi, Bustan (le verger), livre trois, de l\u0027amour et de la passion\r ; Translitt\u00e9ration : yak\u012b \u1e96urda bar \u0161\u0101h-i \u0121azn\u012bn girift \/ ka \u1e25usn\u012b nadarad ay\u0101z [ay] \u0161igift \/ gul\u012br\u0101 ka na rang ba\u0161ad nab\u016by \/ \u0121ar\u012bbast sawd\u0101-yi bulbul bar\u016by \/ \r ; bi-Ma\u1e25m\u016bd guft \u012bn \u1e25akayat kas\u012b \/ waz and\u012b\u0161a p\u012b\u010d\u012bd bar \u1e96\u016bd bas\u012b \/ \r ; ka \u02bfi\u0161q-i man ay-\u1e96v\u0101\u01e7a bar \u1e96\u016by-i \u016bst \/ na bar qad va b\u0101l\u0101-yi n\u012bk\u016b-yi \u016bst \/ \u0161an\u012bdam ka dar tangn\u0101-yi \u0161utur \/ byuft\u0101d va bi\u0161kast \u1e63and\u016bq-i dur \r ; bi-ya\u0121m\u0101 malik \u0101st\u012bn bar fi\u0161\u0101nd \/ vaz\u0101n \u01e7\u0101 bi ta\u02bf\u01e7\u012bl markab bir\u0101nd\r ; \u01e7ul\u0101m\u0101n pay-i dur va mar\u01e7\u0101n \u0161udand \/ zi sult\u0101n biya\u0121m\u0101 par\u012b\u0161\u0101n \u0161udand \r ; nam\u0101nd az \u0121ul\u0101m\u0101n-i garden far\u0101z\r ; kas andar qaf\u0101-yi malik \u01e7uz ay\u0101z\r ; Traduction : Une rose qui n\u0027a ni parfum ni couleur est une \u00e9tranget\u00e9. Le rossignol ne peut s\u0027en \u00e9prendre.\r ; Ma passion, \u00f4 savant, est pour son esprit, et non pour sa belle apparence. (Barbier de Meynard, Paris, 1880.)\r ; Nature du texte : Po\u00e9sie (Texte litt\u00e9raire)\r ; Langue : persan\r ; Type d\u0027\u00e9criture : Nasta\u2019liq\r ; Positionnement de l\u0027inscription : Plat recto couverture, plat de devant, la premi\u00e8re de couverture, 16 cartouches\r ; \r ; Inscription : \r ; \u06cc\u06a9\u06cc \u062e\u0631\u062f\u0647 \u0628\u0631\u0634\u0627\u0647 \u063a\u0632\u0646\u06cc\u0646 \u06af\u0631\u0641\u062a \/ \u06a9\u0647 \u062d\u0633\u0646\u06cc \u0646\u062f\u0627\u0631\u062f \u0627\u06cc\u0627\u0632[\u0627\u06cc] \u0634\u06af\u0641\u062a \/  \r ; \u06af\u0644\u06cc\u0631\u0627 \u06a9\u0647 \u0646\u0631\u0646\u06af \u0628\u0627\u0634\u062f \u0646\u0628\u0648\u06cc\/ \u063a\u0631\u06cc\u0628\u0633\u062a \u0633\u0648\u062f\u0627\u06cc \u0628\u0644\u0628\u0644 \u0628\u0631\u0648\u06cc \/ \r ; \u0628\u0645\u062d\u0645\u0648\u062f \u06af\u0641\u062a \u0627\u06cc\u0646\u062d\u06a9\u0627\u06cc\u062a \u06a9\u0633\u06cc\/ \u0648\u0632 \u0627\u0646\u062f\u06cc\u0634\u0647 \u067e\u06cc\u0686\u06cc\u062f ]\u0628\u0631[\u062e\u0648\u062f \u0628\u0633\u06cc\/ \r ; \u06a9\u0647 \u0639\u0634\u0642 \u0645\u0646 \u0627\u06cc\u062e\u0648\u0627\u062c\u0647 \u0628\u0631 \u062e\u0648\u06cc \u0627\u0648\u0633\u062a \/ \u0646\u0647 \u0628\u0631 \u0642\u062f \u0648 \u0628\u0627\u0644\u0627\u06cc \u0646\u06cc\u06a9\u0648\u06cc \u0627\u0648\u0633\u062a\/ \r ; \u0634\u0646\u06cc\u062f\u0645 \u06a9\u0647 \u062f\u0631 \u062a\u0646\u06af\u0646\u0627\u06cc\u06cc \u0634\u062a\u0631\/ \u0628\u06cc\u0641\u062a\u0627\u062f \u0648 \u0628\u0634\u06a9\u0633\u062a \u0635\u0646\u062f\u0648\u0642 \u062f\u0631\/ \r ; \u0628\u06cc\u063a\u0645\u0627 \u0645\u0644\u06a9 \u0622\u0633\u062a\u06cc\u0646 \u0628\u0631\u0641\u0634\u0627\u0646\u062f\/ \u0648\u0632\u0627\u0646 \u062c\u0627 \u0628\u062a\u0639\u062c\u06cc\u0644 \u0645\u0631\u06a9\u0628 \u0628\u0631\u0627\u0646\u062f \/ \r ; \u063a\u0644\u0627\u0645\u0627\u0646 \u067e\u06cc \u062f\u0631 \u0648 \u0645\u0631\u062c\u0627\u0646 \u0634\u062f\u0646\u062f\/ \u0632 \u0633\u0644\u0637\u0627\u0646 \u0628\u06cc\u063a\u0645\u0627 \u067e\u0631\u06cc\u0634\u0627\u0646 \u0634\u062f\u0646\u062f\/ \r ; \u0646\u0645\u0627\u0646\u062f \u0627\u0632 \u063a\u0644\u0627\u0645\u0627\u0646 \u06af\u0631\u062f\u0646 \u0641\u0631\u0627\u0632 \/ \u06a9\u0633 \u0627\u0646\u062f\u0631 \u0642\u0641\u0627\u06cc \u0645\u0644\u06a9 \u062c\u0632 \u0627\u06cc\u0627\u0632\/\r ; Lue par Farhad Kazemi, 2018. \r ; Saadi, Bustan (le verger), livre trois, de l\u0027amour et de la passion\r ; Translitt\u00e9ration : yak\u012b \u1e96urda bar \u0161\u0101h-i \u0121azn\u012bn girift \/ ka \u1e25usn\u012b nadarad ay\u0101z [ay] \u0161igift\r ; gul\u012br\u0101 ka na rang ba\u0161ad nab\u016by \/ \u0121ar\u012bbast sawd\u0101-yi bulbul bar\u016by\r ; bi-Ma\u1e25m\u016bd guft \u012bn \u1e25akayat kas\u012b \/ waz and\u012b\u0161a p\u012b\u010d\u012bd [bar] \u1e96\u016bd bas\u012b\r ; ka \u02bfi\u0161q-i man ay-\u1e96v\u0101\u01e7a bar \u1e96\u016by-i \u016bst \/ na bar qad va b\u0101l\u0101-yi n\u012bk\u016b-yi \u016bst\r ; \u0161an\u012bdam ka dar tangn\u0101-yi \u0161utur\r ; byuft\u0101d va bi\u0161kast \u1e63and\u016bq-i dur\r ; bi-ya\u0121m\u0101 malik \u0101st\u012bn bar fi\u0161\u0101nd \r ; vaz\u0101n\u01e7\u0101 bi ta\u02bf\u01e7\u012bl markab bir\u0101nd\r ; \u01e7ul\u0101m\u0101n pay-i dur va mar\u01e7\u0101n \u0161udand\r ; zi sult\u0101n biya\u0121m\u0101 par\u012b\u0161\u0101n \u0161udand \r ; nam\u0101nd az \u0121ul\u0101m\u0101n-i garden far\u0101z\r ; kas andar qaf\u0101-yi malik \u01e7uz ay\u0101z\r ; Traduction : Quelqu\u0027un critiquait le sultan de Ghazna en ces termes : \u00ab Chose \u00e9trange ! Ayaz est sans beaut\u00e9 : comment le rossignol peut-il aimer une rose qui n\u0027a ni \u00e9clat ni parfum ? \u00bb \r ; Le propos fut rapport\u00e9 \u00e0 Mahmoud, qui manifesta un vif m\u00e9contentement et r\u00e9pondit : \u00ab Ce que j\u0027aime dans Ayaz, sachez-le bien, ce sont les qualit\u00e9s de son \u00e2me et non la beaut\u00e9 et les gr\u00e2ces de sa personne. \u00bb \r ; Ce prince traversait un jour une gorge de montagne ; un de ses chameaux \u00e9tant tomb\u00e9, un coffret rempli de perles se brisa ; Mahmoud laissa ces bijoux \u00e0 la merci de son escorte et pressa l\u0027allure de son cheval.\r ; Ses pages, tout occup\u00e9s \u00e0 ramasser les perles et le corail, demeur\u00e8rent en arri\u00e8re de leur ma\u00eetre ; de tous ces nobles cavaliers, un seul \u00e9tait rest\u00e9 \u00e0 la suite du roi, c\u0027\u00e9tait Ayaz. (Barbier de Meynard, Paris, 1880)\r ; Nature du texte : Po\u00e9sie (Texte litt\u00e9raire)\r ; Langue : persan\r ; Type d\u0027\u00e9criture : Nasta\u2019liq\r ; Positionnement de l\u0027inscription : Plat verso couverture, plat de derri\u00e8re, la deuxi\u00e8me de couverture, 16 cartouches\r ; \r ; Inscription : \r ; \u0622\u0646\u0631\u0627 \u06a9\u0647 \u062c\u0627\u064a \u0646\u06cc\u0633\u062a \u0647\u0645\u0647 \u0634\u0647\u0631 \u062c\u0627\u064a \u0627\u0648\u0633\u062a \/ \u062f\u0631\u0648\u06cc\u0634 \u0647\u0631 \u06a9\u062c\u0627 \u06a9\u0647 \u0634\u0628 \u0622\u06cc\u062f \u0633\u0631\u0627\u064a \u0627\u0648\u0633\u062a \r ; \u0628\u06cc\u062e\u0627\u0646\u0645\u0627\u0646 \u06a9\u0647 \u0647\u06cc\u0686 \u0646\u062f\u0627\u0631\u062f \u0628\u062c\u0632 \u062e\u062f\u0627\u064a \/ \u0627\u0648 \u0631\u0627 \u06af\u062f\u0627 \u0645\u06af\u0648\u064a \u06a9\u0647 \u0633\u0644\u0637\u0627\u0646 \u06af\u062f\u0627\u064a [\u0627\u0648\u0633\u062a] \/ \r ; \u0647\u0631 \u0622\u062f\u0645\u064a \u06a9\u0647 \u06a9\u064f\u0634\u062a\u0647 \u0634\u0645\u0634\u06cc\u0631 \u062f\u0648\u0633\u062a \u0634\u062f \/ \u06af\u0648 \u063a\u0645 \u0645\u062e\u0648\u0631 \u06a9\u0647 \u0645\u0644\u06a9 \u0627\u0628\u062f \u062e\u0648\u0646 \u0628\u0647\u0627\u064a \u0627\u0648\u0633\u062a \/ \r ; \u0645\u0631\u062f \u062e\u062f\u0627 \u0628\u0645\u0634\u0631\u0642 \u0648 \u0645\u063a\u0631\u0628 \u063a\u0631\u06cc\u0628 \u0646\u06cc\u0633\u062a \/ \u0647\u0631\u062c\u0627\u06a9\u0647 \u0645\u06cc\u0631\u0648\u062f \u0647\u0645\u0647 \u0645\u0644\u06a9 \u062e\u062f\u0627\u064a \u0627\u0648\u0633\u062a \/ \r ; \u0639\u0627\u0634\u0642 \u06a9\u0647 \u0628\u0631 \u0645\u0634\u0627\u0647\u062f\u0647 \u062f\u0648\u0633\u062a \u062f\u0633\u062a \u06cc\u0627\u0641\u062a \/ \u0628\u0631 \u0647\u0631 \u0686\u0647 \u0628\u0639\u062f \u0627\u0632 \u0622\u0646 \u0646\u06af\u0631\u062f \u0627\u0698\u062f\u0647\u0627\u064a \u0627\u0648\u0633\u062a\/ \r ; \u0628\u06af\u0630\u0627\u0631 \u0647\u0631 \u0686\u0647 \u062f\u0627\u0631\u064a \u0648 \u0628\u06af\u0630\u0631 \u06a9\u0647 \u0647\u06cc\u0686 \u0646\u06cc\u0633\u062a \/ \u0627\u06cc\u0646 \u067e\u0646\u062c\u0631\u0648\u0632\u0647 \u0639\u0645\u0631 \u06a9\u0647 \u0645\u0631\u06af \u0627\u0632 \u0642\u0641\u0627\u064a \u0627\u0648\u0633\u062a \/\r ; Lue par Aida Alavi, 2018.\r ; Saadi, Ghazali\u0101t livre des conseils, Ghazal 11\r ; Translitt\u00e9ration : \u0101nr\u0101 ka \u01e7\u0101y n\u012bst hama \u0161ahr j\u0101y-i \u016bst \/ darv\u012b\u0161 har kuja ka \u0161ab \u0101yad sar\u0101y-i \u016bst\r ; b\u012b\u1e96\u0101num\u0101n ka h\u012b\u010d nad\u0101rad bi\u01e7uz \u1e96ud\u0101y \/ \u016b r\u0101 gid\u0101 mag\u016by ka sult\u0101n gid\u0101y-i [\u016bst] \r ; har \u0101dam\u012b ka ku\u0161ta-yi \u0161am\u0161\u012br-i d\u016bst \u0161ud \/ g\u016b \u0121am ma\u1e96ur ka mulk-i abad \u1e96\u016bn bah\u0101y-i \u016bst\r ; mard-i \u1e96\u016bd\u0101 bi-ma\u0161riq va ma\u0121rib \u0121ar\u012bb n\u012bst \/ har\u01e7\u0101 ka m\u012bravad hama mulk-i \u1e96ud\u0101y-i \u016bst\r ; \u02bf\u0101\u0161iq ka bar mu\u0161\u0101hida-yi d\u016bst dast y\u0101ft \/ ba har \u010da ba\u02bfd az \u0101n nigarad ajdah\u0101y-i \u016bst\r ; bug\u1e95\u0101r har \u010da d\u0101r\u012b va bug\u1e95ar ka h\u012b\u010d n\u012bst \/ In pan\u01e7r\u016bza \u02bfumr ka marg az qaf\u0101y-i \u016bst\r ; Traduction : Celui qui n\u2019a pas de demeure, toute la ville lui appartient \r ; Chaque lieu o\u00f9 le derviche arrive la nuit est son s\u00e9rail\r ; Le vagabond qui n\u2019a rien sinon Dieu\r ; Ne l\u2019appelle pas mendiant, car le Sultan est son mendiant\r ; Chaque homme qui a perdu sa vie avec l\u2019\u00e9p\u00e9e de l\u2019amour\r ; Dis : \u00ab ne sois pas triste car le territoire \u00e9ternel est le prix de ton sang \u00bb\r ; L\u2019homme de Dieu n\u2019est \u00e9tranger ni \u00e0 l\u2019est ni \u00e0 l\u2019ouest \r ; O\u00f9 qu\u2019il aille, tous les lieux sont les territoires de son dieu\r ; Quand l\u2019amoureux est arriv\u00e9 pour voir son amante \r ; Tout ce qu\u2019il peut voir ensuite lui para\u00eet un dragon\r ; D\u00e9laisse-toi de tout ce qui t\u2019appartient et va, car rien n\u2019existe\r ; Ces cinq jours de vie sont suivis de la mort (Traduit par Aida Alavi, 2018.)\r ; Nature du texte : Po\u00e9sie (Texte litt\u00e9raire)\r ; Langue : persan\r ; Type d\u0027\u00e9criture : Nasta\u2019liq\r ; Positionnement de l\u0027inscription : Contre plat avant (droite), contre plat d\u2019avant, la deuxi\u00e8me de couverture, 12 cartouches\r ; \r ; Inscription : \r ; \u0627\u0644\u0647\u064a \u0628\u0631 \u0627\u06cc\u0646 \u0628\u0633\u0627\u0637 \u067e\u06cc\u0627\u062f\u0647 \u0645\u0627\u0646\u062f\u0647 \u0627\u06cc\u0645 \/ \u0628\u0647\u0631\u06a9\u0647 \u0631\u062e \u0645\u064a \u0622\u0648\u0631\u06cc\u0645 \u0627\u0633\u0628 \u0645\u06cc\u062f\u0648\u0627\u0646\u062f\/ \u0632\u06cc\u0631\u0627\u06a9\u0647 \u0641\u0631\u0632\u06cc\u0646 \u0637\u0627\u0639\u062a \u0645\u0627 \u06a9\u062c \u0645\u06cc\u0631\u0648\u062f\/\r ; Lue par Aida Alavi, 2018. \r ; Auteur : Khwajah Abdullah Ansari\r ; Translitt\u00e9ration : il\u0101h\u012b bar \u012bn bas\u0101\u1e6d piy\u0101da manda \u012bm\/ bihar ka ru\u1e96 m\u012b\u0101var\u012bm asb m\u012bdav\u0101nad \/ z\u012br\u0101 ka farz\u012bn-i \u1e6d\u0101\u02bfat-i m\u0101 ka\u01e7 m\u012bravad\r ; Traduction : \u00d4 Dieu, nous sommes rest\u00e9s comme des pions dans ce territoire \/\r ; Chaque visage qu\u2019on tourne, le cavalier marche \/ Car notre dame de l\u0027ob\u00e9issance marche en diagonale (Traduit par Aida Alavi, 2018)\r ; Nature du texte : Prose (Texte litt\u00e9raire)\r ; Langue : persan\r ; Type d\u0027\u00e9criture : Nasta\u2019liq\r ; Positionnement de l\u0027inscription : Contre plat d\u2019avant, la deuxi\u00e8me de couverture, 3 cartouches\r ; \r ; Inscription : \r ; \u062c\u0627\u0646 \u0645\u0646\u060c \u062c\u0627\u0646 \u0645\u0646 \u0641\u062f\u0627\u06cc \u062a\u0648 \u0628\u0627\u062f \/\r ; Lue par Aida Alavi, 2018.\r ; Ghazali\u0101t Saadi, Ghazal 154\r ; Translitt\u00e9ration : \u01e7\u0101n-i man \u01e7\u0101n-i man fad\u0101y-i taw b\u0101d\r ; Traduction : Ma vie, Ma vie te soit  consacr\u00e9e (Traduit par Aida Alavi, 2018)\r ; Nature du texte : Po\u00e9sie (Texte litt\u00e9raire)\r ; Langue : persan\r ; Type d\u0027\u00e9criture : Nasta\u2019liq\r ; Positionnement de l\u0027inscription : Contre plat d\u2019avant, la deuxi\u00e8me de couverture, 1 cartouche\r ; \r ; Inscription : \r ; \u0647\u0631 \u0622\u062f\u0645\u064a \u06a9\u0647 \u06a9\u0634\u062a\u0647 \u0634\u0645\u0634\u06cc\u0631 \u062f\u0648\u0633\u062a \u0634\u062f\/  \u06af\u0648 \u063a\u0645 \u0645\u062e\u0648\u0631 \u06a9\u0647 \u0645\u0644\u06a9 \u0627\u0628\u062f \u062e\u0648\u0646\u0628\u0647\u0627\u064a \u0627\u0648\u0633\u062a\/ \r ; \u0639\u0627\u0634\u0642 \u06a9\u0647 \u0628\u0631 \u0645\u0634\u0627\u0647\u062f\u0647 \u062f\u0648\u0633\u062a \u062f\u0633\u062a \u06cc\u0627\u0641\u062a \/ \u0628\u0631 \u0647\u0631 \u0686\u0647 \u0628\u0639\u062f \u0627\u0632 \u0622\u0646 \u0646\u06af\u0631\u062f \u0627\u0698\u062f\u0647\u0627\u064a \u0627\u0648\u0633\u062a \/ \r ; \u0628\u06af\u0630\u0627\u0631 \u0647\u0631 \u0686\u0647 \u062f\u0627\u0631\u064a \u0648 \u0628\u06af\u0630\u0631 \u06a9\u0647 \u0647\u06cc\u0686 \u0646\u06cc\u0633\u062a \/ \u0627\u06cc\u0646 \u067e\u0646\u062c\u0631\u0648\u0632\u0647 \u0639\u0645\u0631 \u06a9\u0647 \u0645\u0631\u06af \u0627\u0632 \u0642\u0641\u0627\u064a \u0627\u0648\u0633\u062a\r ; Lue par Aida Alavi, 2018\r ; Saadi, Ghazali\u0101t, Ghazal 11\r ; Translitt\u00e9ration : har \u0101dam\u012b ka ku\u0161ta-yi \u0161am\u0161\u012br-i d\u016bst \u0161ud \/ g\u016b \u0121am ma\u1e96ur ka mulk-i abad \u1e96\u016bn bah\u0101y-i \u016bst \/ \u02bf\u0101\u0161iq ka bar mu\u0161\u0101hida-yi d\u016bst dast y\u0101ft \/\r ; ba har \u010da ba\u02bfd az \u0101n nigarad ajdah\u0101y-i \u016bst \/bug\u1e95\u0101r har \u010da d\u0101r\u012b va bug\u1e95ar ka h\u012b\u010d n\u012bst\r ; In pan\u01e7r\u016bza \u02bfumr ka marg az qaf\u0101y-i \u016bst\r ; Traduction : Chaque homme qui a perdu sa vie avec l\u2019\u00e9p\u00e9e de l\u2019amour\r ; Dis : \u00ab ne sois pas triste car le territoire \u00e9ternel est le prix de ton sang \u00bb\r ; Quand l\u2019amoureux est arriv\u00e9 pour voir son amante \r ; Tout ce qu\u2019il peut voir ensuite lui para\u00eet un dragon\r ; D\u00e9laisse-toi de tout ce qui t\u2019appartient et va, car rien n\u2019existe\r ; Ces cinq jours de vie sont suivis de la morte (Traduit par Aida Alavi, 2018)\r ; Nature du texte : Po\u00e9sie (Texte litt\u00e9raire)\r ; Langue : persan\r ; Type d\u0027\u00e9criture : Nasta\u2019liq\r ; Positionnement de l\u0027inscription : Contre plat arri\u00e8re (gauche), contre plat d\u2019arri\u00e8re, la quatri\u00e8me de couverture, 6 cartouches\r ; \r ; Inscription : \r ; \u0627\u0644\u0647\u064a \u0628\u0631 \u0627\u06cc\u0646 \u0628\u0633\u0627\u0637 \u067e\u06cc\u0627\u062f\u0647 \u0645\u0627\u0646\u062f\u0647 \u0627\u06cc\u0645 \/ \u0628\u0647\u0631\u06a9\u0647 \u0631\u062e \u0645\u064a \u0622\u0648\u0631\u06cc\u0645 \u0627\u0633\u0628 \u0628\u0631 \u0645\u0627 \u0627\u0633\u0628 \u0645\u06cc\u062f\u0648\u0627\u0646\u062f\/\r ; Lue par Aida Alavi, 2018.\r ; Khwajah Abdullah Ansari\r ; Translitt\u00e9ration : il\u0101h\u012b bar \u012bn bas\u0101\u1e6d piy\u0101da manda \u012bm \/ bihar ka ru\u1e96 m\u012b\u0101var\u012bm asb m\u012bdav\u0101nad\r ; Traduction : \u00d4 Dieu, nous sommes rest\u00e9s comme des Pions dans ce territoire\r ; Chaque visage qu\u2019on tourne, le Cavalier marche (Traduit par Aida Alavi, 2018)\r ; Nature du texte : Prose (Texte litt\u00e9raire)\r ; Langue : persan\r ; Type d\u0027\u00e9criture : Nasta\u2019liq\r ; Positionnement de l\u0027inscription : Contre plat d\u2019arri\u00e8re, la quatri\u00e8me de couverture, 2 cartouches\r ; \r ; Inscription : \r ; \u0622\u0646\u0631\u0627 \u06a9\u0647 \u062c\u0627\u06cc \u0646\u06cc\u0633\u062a \u0647\u0645\u0647 \u0634\u0647\u0631 \u062c\u0627\u064a \u0627\u0648\u0633\u062a \/ \u062f\u0631\u0648\u06cc\u0634 \u0647\u0631 \u06a9\u062c\u0627 \u06a9\u0647 \u0634\u0628 \u0622\u06cc\u062f \u0633\u0631\u0627\u064a \u0627\u0648\u0633\u062a \r ; \u0628\u06cc\u062e\u0627\u0646\u0645\u0627\u0646 \u06a9\u0647 \u0647\u06cc\u0686 \u0646\u062f\u0627\u0631\u062f \u0628\u062c\u0632 \u062e\u062f\u0627\u064a \/ \u0627\u0648 \u0631\u0627 \u06af\u062f\u0627 \u0645\u06af\u0648\u064a \u06a9\u0647 \u0633\u0644\u0637\u0627\u0646 \u06af\u062f\u0627\u064a \u0627\u0648\u0633\u062a\/ \r ; \u0645\u0631\u062f \u062e\u062f\u0627 \u0628\u0645\u0634\u0631\u0642 \u0648 \u0645\u063a\u0631\u0628 \u063a\u0631\u06cc\u0628 \u0646\u06cc\u0633\u062a \/ \u0647\u0631\u062c\u0627\u06a9\u0647 \u0645\u06cc\u0631\u0648\u062f \u0647\u0645\u0647 \u0645\u0644\u06a9 \u062e\u062f\u0627\u064a \u0627\u0648\u0633\u062a\/ \r ; \u0622\u0646 \u06a9\u0632 \u062a\u0648\u0627\u0646\u06af\u0631\u064a \u0648 \u062c\u0648\u0627\u0646\u064a \u0648 \u062e\u0648\u0627\u062c\u06af\u064a\/ \u0628\u06cc\u06af\u0627\u0646\u0647 \u0634\u062f \u0628\u0647\u0631 \u06a9\u0647 \u0631\u0633\u062f \u0622\u0634\u0646\u0627\u064a \u0627\u0648\u0633\u062a \/\r ; Lue par Aida Alavi, 2018.\r ; Saadi, Ghazali\u0101t, livre des conseils, Ghazal 11\r ; Translitt\u00e9ration : \u0101nr\u0101 ka \u01e7\u0101y n\u012bst hama \u0161ahr j\u0101y-i \u016bst \/ darv\u012b\u0161 har kuja ka \u0161ab \u0101yad sar\u0101y-i \u016bst\r ; b\u012b\u1e96\u0101num\u0101n ka h\u012b\u010d nad\u0101rad bi\u01e7uz \u1e96ud\u0101y \/ \u016b r\u0101 gid\u0101 mag\u016by ka sult\u0101n gid\u0101y-i [\u016bst] \r ; mard-i \u1e96\u016bd\u0101 bi-ma\u0161riq va ma\u0121rib \u0121ar\u012bb n\u012bst \/ har\u01e7\u0101 ka m\u012bravad hama mulk-i \u1e96ud\u0101y-i \u016bst\r ; \u0101n kaz tav\u0101ngar\u012b va \u01e7av\u0101n\u012b va \u1e96v\u0101\u01e7ag\u012b \/ b\u012bg\u0101na \u0161ud bihar ka rasad \u0101\u0161n\u0101y-i \u016bst\r ; Traduction : Celui qui n\u2019a pas de demeure, toute la ville lui appartient \r ; Chaque lieu o\u00f9 derviche arrive la nuit est son s\u00e9rail\r ; Le vagabond qui n\u2019a rien sinon Dieu\r ; Ne l\u2019appelle pas mendiant, car le Sultan et son mendiant\r ; L\u2019homme de Dieu n\u2019est \u00e9tranger ni \u00e0 l\u2019est et \u00e0 l\u2019ouest \r ; O\u00f9 qu\u2019il aille, tous les lieux sont les territoires de son dieu\r ; Celui qui de la puissance et de la jeunesse et de la richesse \r ; Devenu \u00e9tranger, (\u00e9loigner), Chaque un rencontrera est son amie (Traduit par Aida Alavi, 2018)\r ; Nature du texte : Po\u00e9sie (Texte litt\u00e9raire)\r ; Langue : persan\r ; Type d\u0027\u00e9criture : Nasta\u2019liq\r ; Positionnement de l\u0027inscription : Contre plat d\u2019arri\u00e8re, la quatri\u00e8me de couverture, 8 cartouches","namesAndTitles":"","onomastics":"","dimension":[{"type":"Hauteur","value":"47,5","displayDimension":"47,5 cm","unit":"cm","anteriorPrecision":"","posteriorPrecision":"","tri":1,"note":""},{"type":"Largeur","value":"33","displayDimension":"33 cm","unit":"cm","anteriorPrecision":"","posteriorPrecision":"","tri":2,"note":""}],"shape":"","materialsAndTechniques":"Mat\u00e9riau : Composite\r\nMat\u00e9riau\/Technique : Papier m\u00e2ch\u00e9, d\u00e9cor peint et verni (laque)","placeOfCreation":"","dateOfDiscovery":"","placeOfDiscovery":"","provenance":"Iran (Monde iranien - Caucase)","historicalContext":[],"objectHistory":"","jabachInventory":"","napoleonInventory":"","previousOwner":[{"value":"Mlle Collinot","note":"","role":", Donateur"}],"acquisitionDetails":[{"mode":"don manuel","doubt":"","dates":[{"type":"date","value":"28\/07\/1905","startYear":1905,"endYear":1905}]}],"ownedBy":"Etat","heldBy":"Union centrale des Arts D\u00e9coratifs, Paris","longTermLoanTo":"Mus\u00e9e du Louvre, AI, Paris","index":{"Mode d\u0027acquisition":[{"value":"don manuel"}],"place":[{"value":"Iran"}],"inscriptionType":[{"value":"Po\u00e9sie"},{"value":"Prose"}]},"bibliography":[{"bibliographyRef":"The Wonder of Patterns: Masterpieces from India, Iran and the Ottoman World from the Mus\u00e9e du Louvre, cat. exp. 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