Layla and Majnun in the wilderness with animals, from a Khamsa (Quintet) of Amir Khusrau Dihlavic. 1590–1600 · Study 2013.301

Context from the museum

Nestled in the multicolored rocks are the reunited lovers Layla and Majnun, forced by society to remain separated for years. Majnun’s name means “madman,” since the separation drove him past the brink of sanity. Exiling himself to the wilderness, he became emaciated. When Layla found him after a prophetic dream, the wild animals gathered around, drawn to the purity and depth of their love. This painting illustrates a version of the story as told by an Indian author who wrote in Persian. He altered the ending given by previous Persian authors to the ancient Bedouin tale that originated among nomadic tribes of the Arabian Peninsula, in which Layla dies before the couple can be physically reunited.

Museum description reproduced from its CC0 open-access record. Read the original catalog entry.

A detail to notice

White paint, prone to flaking, chipped off her face, revealing the underdrawing.

Observation supplied by the Cleveland Museum of Art.

Read the dimensions before the image

The selected painting measurement for Layla and Majnun in the wilderness with animals, from a Khamsa (Quintet) of Amir Khusrau Dihlavi is 16.2 cm wide and 18.6 cm high, equivalent to approximately 6.4 × 7.3 inches. Dividing width by height gives a format ratio of 0.87:1. The rectangular bounding area is 0.03 square meters; it describes the measured footprint, not the amount of paint or the monetary value.

On an illustrative 300 cm wall, the recorded width occupies 5.4% of the span before adding a frame. A centered placement leaves approximately 141.9 cm on each side before adding a frame. These are calculations by Physical Art For Crypto using museum measurements. They are not the museum’s display recommendations.

Questions to bring to your own collection

With Layla and Majnun in the wilderness with animals, from a Khamsa (Quintet) of Amir Khusrau Dihlavi in view, identify one feature you can point to, then distinguish what the museum records from your personal response. Keep its medium, Gum tempera, ink, and gold on paper, in your notes when comparing contemporary works.

• Which part of this vertical composition catches your eye first?
• Would a 16.2 cm width still suit the space after allowing for furniture and a frame?
• What surface detail would you need to see in person or in a close photograph?