Abstract
Nizami's love story Layli va Majnun is frequently depicted in medieval Islamic manuscripts. The poem operates on two simultaneous levels: the plane of earthly desire and the realm of spiritual pursuit of the Beloved. One particular illustrative sequence of the story, found in the 1431 VR-1000 Khamsa manuscript kept by the State Hermitage Museum, is more than a merely mimetic reflection of the text. Taking up American medievalist Stephen G. Nichols' conceptualization of the textual unconscious, this article examines the text/image relationship in VR-1000 to reveal how the images exceed, undermine, and ultimately allegorically reinforce the textual narrative.
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