The Khamseh Nizami preserved in the British Museum is one of the most important manuscripts of the Timurid period. This manuscript is of great importance due to the presence of illustrations attributed to Behzad or under his supervision, and the richness of the content of “the Ascension of the Prophet Mohammad” from Nizami Ganjavi’s perspective is also an additional reason. The objectives of this research are to identify the relationship between the Quranic inscriptions and the remembrances (adhkar) inspired by them, and to explore their connection to the overall narrative of the manuscript, which has been largely neglected so far. The present research aims to provide reliable and authoritative answers to the following two questions: First, what is the relationship between the calligraphic inscriptions and the remembrances (adhkar) in the manuscript? Second- For what reasons did the artist refrain from writing the exact verses of the Holy Quran and use the remembrances(adhkar) inspired by the Quran? The present research is qualitative and has analyzed the manuscript in question with a descriptive-analytical and interpretive approach. The target population of the present research was selected non-randomly from among the illustrations of the manuscript in question. It is as if the primary function of calligraphy in Islamic art is often to remind us of God’s presence; this is the primary and fundamental purpose of this art, and it is observed that it has maintained this function in painting as well. The artist has employed a nominal sentence that is free from the constraints of time and place, acknowledging the oneness of God Almighty and the messengership, the truthfulness of the promise, and the faithfulness of the beloved Prophet of Islam ﷺ. The timelessness and placelessness of the sentences engraved on the curtain of the House of God, apart from the simplicity of the sentence, which makes it easy for the audience to read it and the ease of writing it on the narrow strip of the Kaaba curtain by the artist, can indicate that by choosing a simple, explicit, and of course timeless and placeless phrase, the artist extends the oneness of God Almighty and the messengership, the truthfulness of the promise, and the faithfulness of the beloved Prophet of Islam ﷺ to all places and times. In this painting, Mirak has avoided using the verses of the Holy Quran directly, which may be because the artist has depicted the Grand Mosque and the House of God, which are manifestations of God Almighty’s presence. He did not see the need to depict divine verses because he had depicted a significant event in which the only person present was the Prophet Muhammad (ﷺ), who had complete theoretical and practical knowledge of all aspects. He has considered this event to be free from any proof. The results of the research indicate that by incorporating verses and admonitions into the painting, the artist creates a visual reminder whose warning aspect remains intact as long as the painting exists. On the other hand, the artist does not only want a mere relationship between the divine names and the audience, but also seeks to place God at the center of his audience’s attention and to encourage his audience not to have a purely verbal aspect of remembrance, but to turn to God with all their being and have a living and existential relationship with God.
In summary, it can be suggested that Mirak’s choice of a “bird’s-eye view” for illustrating the Mi’raj event places the audience in a focused central position. By depicting the Kaaba from above, viewers can simultaneously “observe” the scene of the Mi’raj and “read” the inscriptions on the Kaaba’s curtain. This duality of “visual-textual” elements establishes an existential connection between God and the audience. The declarative phrase “La ilaha illa Allah” inscribed on the Kaaba curtain signifies a focal point centered on God, complemented by the Prophet’s (peace be upon him) depiction as “Sadiq al-Waad al-Ameen,” a truthful and trustworthy messenger of divine revelation (the Qur’an). This phrase conveys not merely text but an overarching divine perspective toward the narration of the Mi’raj.
Additionally, the artist may have purposefully included specific symbolic details, such as a ring on the Prophet’s finger, to introduce intentional gaps in the visual narrative. These gaps prompt viewers to engage in “additional reading,” interpreting the ring as a metaphor for the Prophet’s (peace be upon him) role as the “Seal of Wilayah.” As noted earlier in research, unraveling hidden visual puzzles embedded in such artworks was among the leisure activities of the Timurid court. It is therefore plausible that details such as a 180-degree shift in the architectural depiction of Masjid al-Haram, the omission of the word “Al-Malik” from the curtain inscriptions of the Kaaba, and the inclusion of the ring were deliberately crafted as “visual mysteries.” These elements invited audiences to solve them through interpretive insight, fostering contemplation, memory retention, and moral reflection, an educational aspect embedded within these artistic creations.