Sanā’ī Ghaznavī (1080–1131 or 1141) lived in the city of Ghazni, Afghanistan. His perfect work of art, Hadiqat al Haqiqa (Garden of Truth), is the main Persian-dialect magical epic of Sufism and a very much respected exemplary. Alongside the artists ‘Attār (1145–1221) and Rumi (1207–1273), Sanā’ī is viewed as one of the considerable supernatural artists of traditional Persian writing.
This gathering of his ballads, the Divān, is an Indian reproduce of an Iranian lithograph from 1857. The heading is enhanced with the words Bismillâhi ‘l-rahmâni ‘l-rahim (“for the sake of God, the Compassionate, the Merciful”), the letters of which have been masterminded in the state of a feathered creature. This type of calligraphic piece was especially prominent in the Ottoman Empire.The Quinary of Niẓāmī Ganjavī
Niẓāmī Ganjavī (1141–1209), conceived in Ganjah (Azerbaijan), is viewed as the ace of sentimental epic verse. Ganjavī’s sonnets, composed utilizing casual dialect are respected all through the Persian-talking world, and he is viewed as a national image in Azerbaijan. Ganjavī’s significant work is the Panj Ganj (Five Treasures), otherwise called the Khamsah (Quinary). In this gathering of five long story ballads, every sonnet pays praise to the works of prior writers, for example, Sanā’ī and Ferdowsi.
The Khamsah turned into a well known subject in the Persian and Mughal Indian courts for original copies sumptuously delineated with miniatures. This page of a Kashmiri-Indian duplicate of a Khamsah, outlines stories from the Haft Paykar (Seven Beauties) and portrays the adoration enthusiasm of the legend Bahram Gur.