Islamic Persian Miniature Laylah and Majnun Wall Art

The fainting of Laylah and Majnun, from the Nizami’s Khamsah, Shirazi style Safavid Persian illuminated manuscript in Nasta’liq script.

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The new dawn cast its cloak of gold over the earth, pinned the golden stud
of the sun to the ear of the sky, and banished the stars with one glance.
And now Majnun appeared with his friends at his side, near the tent of his
beloved Layla. He was risking much; never before had he ventured this far
without the veil of night to cover him. But his patience had worn thin and he
could bear the situation no longer. His heart was melting for Layla; before it
was destroyed completely, he had to see her. Like a drunkard, his mind
confused and dazed, he stumbled towards her tent, verses of love falling from
his lips.

And suddenly he was there, on the very threshold of his heart’s most holy
shrine. He had to rub his eyes to make sure he was not still dreaming. But
there it stood — Layla’s tent — and, to his amazement, the curtains were
drawn back. And there, sitting in the entrance of the tent, clearly visible in the
half-light, was Layla herself.

Majnun let out a deep groan, as though ready to faint. And then Layla saw
him. For a second that seemed like an eternity their eyes met, and in the
mirror of each other’s gaze, they read the whole story of their fear, their
longing, their pain, and their love. Tears filled their eyes as they spoke to each
other with mute eloquence, exchanging sighs on the breeze that acted as
a messenger between them.

Layla was the radiance of dawn itself; Majnun was a candle, slowly
consuming itself with desire before her. Layla in her splendor was a rosegarden; Majnun was a beacon of longing. Layla scattered the seeds of love; Majnun watered them with his tears. Layla was a spirited beauty from another
world; Majnun was the blazing torch that lit her way from that world to the
world of men. Layla was a jasmin blossom in spring; Majnun was an autumn
plain, where no jasmin grows.