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↑  Paola Orsatti, “Ḵosrow o Širin and its Imitations,” at Encyclopaedia Iranica Online, 2006, available at www.iranicaonline.org.
↑  Winter 1992 (special issue on Neẓāmi, primarily devoted to Haft Pey-kar); Fritz Meier, “Turandot in Persien,” ZDMG 95, 1941, pp. 1–27.
↑  Amīr Khosrow. (2011). In Encyclopædia Britannica. Retrieved from http://www.britannica.com/EBchecked/topic/20788/Amir-Khosrow "a group of five long idylls in emulation of the Khamseh of the celebrated Persian poet Neẓāmī (c. 1141–1209)."
↑  Taceddin Ahmedi. (2011). In Encyclopædia Britannica. Retrieved from http://www.britannica.com/EBchecked/topic/10240/Taceddin-Ahmedi "Modeled after the work of the great Persian poet Neẓāmī (d. 1209)"
↑  Sinan Şeyhi. (2011). In Encyclopædia Britannica. Retrieved from http://www.britannica.com/EBchecked/topic/537283/Sinan-Seyhi "Hüsrev ü Şirin (“Khosrow and Shirin”). Inspired by the work of the same name by the great Persian poet Neẓāmī (d. 1209)"
↑  Gäncä. (2011). In Encyclopædia Britannica. Retrieved from http://www.britannica.com/EBchecked/topic/225148/Ganca "Notable buildings include Dzhuma-Mechet Mosque (built 1620) and the modern mausoleum of the 12th-century Persian poet Neẓāmī Ganjavī."
↑  ROBINSON, Samuel. (2009). In Encyclopædia Iranica. Retrieved from http://www.iranicaonline.org/articles/robinson-samuel " Several volumes of poetry selected from the most famous of Persian classical poets were published privately. These volumes were signed only with his initials (‘S.R’) at the end of each preface. In 1873, he published two volumes on Nezāmi and Jāmi.[...]Memoir of the Life and Writings of the Persian Poet Nizami, and analysis of the second part of his Alexander Book, London and Manchester, 1873"
↑  جلال متینی، «حکیم نظامی شاعری اندیشه‌ور»، در ایران‌شناسی، سال سوم، شمارهٔ ۳، پاییز ۱۳۷۰، ص۴۵۳
↑  http://www.iranicaonline.org/articles/leyli-o-majnun-narrative-poem
↑  V. Minorsky, Studies in Caucasian History, Cambridge University Press, 1957. pg 34: "The author of the collection of documents relating to Arran Mas’ud b. Namdar (c. 1100) claims Kurdish nationality. The mother of the poet Nizami of Ganja was Kurdish (see autobiographical digression in the introduction of Layli wa Majnun). In the 16th century there was a group of 24 septs of Kurds in Qarabagh, see Sharaf-nama, I, 323. Even now the Kurds of the USSR are chiefly grouped south of Ganja. Many place-names composed with Kurd are found on both banks of the Kur"
↑  «The Poetry of Nizami Ganjavi: Knowledge, Love, and Rhetortics", New York, 2001. pg 2: «His father, Yusuf and mother, Rai'sa, died while he was still relatively young, but maternal uncle, Umar, assumed responsibility for him"
↑  امین، سید حسن، ویژه نامهٔ نظامی گنجه‌ای: تبار، زبان و خاندان نظامی، نشریه زبان و ادبیات، فروردین ۱۳۸۶، شماره ۳۹، ص ۱۷–۱۸
↑
↑  ذبیح‌الله صفا، تاریخ ادبیات در ایران، جلد دوم،
↑  ذبیح‌الله صفا، تاریخ ادبیات در ایران، جلد دوم، ص ۷۹۹
↑  طبع که با عقل به دلالگی است،منتظر نقد چهل سالگی است
↑  مخزن الاسرار: نظامی گنجوی، مصحح: عزیزالله علیزاده، تهران: فردوس، ۱۳۸۷، (وزیری، گالینگور)، ۲۲۴ صفحه. ISBN 978-964-320-364-1
↑  جلال متینی، حکیم نظامی شاعری اندیشه‌ور، ایران‌شناسی، سال سوم، شمارهٔ ۳، پاییز ۱۳۷۰، ص ۴۵۵
↑  Peter J. Chelkowski, "Mirror of the Invisible World", New York: Metropolitan Museum of Art, 1975. pp 6: «Nizami's strong character, his social sensibility, and his poetic genius fused with his rich Persian cultural heritage to create a new standard of literary achievement. Using themes from the oral tradition and written historical records, his poems unite pre-Islamic and Islamic Iran" ,
↑  تحلیل شخصیت خیام. جعفری، محمدتقی(1372)، چاپ سوم. تهران: نشر کیهان.
↑  دیوان قصاید و غزلیات نظامی، نظامی، الیاس بن یوسف(1380)، به اهتمام سعید نفیسی، چاپ هفتم، تهران: انتشارات فروغی
↑  Dick Davis VIS O RĀMIN Iranica (July 20, 2005).

The poem had an immense influence on Neẓāmi, who takes the bases for most of his plots from Ferdowsi but the basis for his rhetoric from Gorgāni. This is especially noticeable in his Ḵosrow o Širin, which imitates a major scene (that of the lovers arguing in the snow) from Vis o Rāmin, as well as being in the same meter (hazaj) as Gorgāni’s poem. Nezami’s concern with astrology also has a precedent in an elaborate astrological description of the night sky in Vis o Rāmin. Given Nezami’s own paramount influence on the romance tradition, Gorgāni can be said to have initiated much of the distinctive rhetoric and poetic atmosphere of this tradition, with the exception of its Sufi preoccupations, which are quite absent from his poem.
↑  تاریخ ادبیات ایران
↑  http://www.bbc.com/persian/arts/2011/08/110818_l41_book_classical_censorship_comment.shtml
↑  http://www.asriran.com/fa/news/177488/آیا-مولوی-سعدی-حافظ-خیام-و-نظامی-هم-نیاز-به-ممیزی-دارند
↑  "สำเนาที่เก็บถาวร". คลังข้อมูลเก่าเก็บจากแหล่งเดิมเมื่อ 2016-02-29. สืบค้นเมื่อ 2022-03-16.
↑  http://www.tebyan.net/newindex.aspx?pid=125386
↑  "สำเนาที่เก็บถาวร". คลังข้อมูลเก่าเก็บจากแหล่งเดิมเมื่อ 2016-02-05. สืบค้นเมื่อ 2022-03-16.
↑  فاروق تیمورتاش. شیخی و خسرو و شیرینی، استانبول، 1980، مقدمه.
↑  پیش‌گفتار کتاب نظامی و ادبیات ترکی نوشتهٔ ارسلی نوشابی، نشریات علم، باکو ۱۹۸۰
↑  محسنی، محمدرضا ۱۳۸۹: «پان ترکیسم، ایران و آذربایجان» ، انتشارات سمرقند، ص ۲۱۳
↑  جلال متینی، «سندی معتبر بودن بر در ترک بودن نظامی گنجوی!»، ایرانشناسی، سال ۴, ۱۳۷۱.
↑  Encyclopædia Iranica, NEẒĀMI QUNAVI, Osman G. Özgüdenlı
↑  محمدعلی کریم‌زاده تبریزی، «دیوان ترکی نظامی گنجوی!»، ایرانشناسی، سال هفدهم، شماره-ی سوم، ۱۳۸۴.
↑  World Organisation Against Torture, Confirmation in appeal of the sentencing against Mr. Novruzali Mammadov to ten years in prison, 7 January 2009, AZE 001 / 0808 / OBS 139.2, available at: http://www.unhcr.org/refworld/docid/496efd900.html [accessed 26 January 2011]
↑  Ans Press News Portal, “Editors of “Tolishi Sedo” newspaper took stand of betrayl of country”, 19 فروردین 2007, https://web.archive.org/web/20080512201826/http://anspress.com/nid51166.html [accessed 26 January 2011].
↑  AI - Amnesty International: Amnesty International Report 2010 - The State of the World's Human Rights, 28 May 2010 (available at ecoi.net).
http://www.ecoi.net/local_link/143047/243697_en.html เก็บถาวร 2014-02-21 ที่ เวย์แบ็กแมชชีน [accessed May 2011]
↑  دائرةالمعارف فارسی: گنجه
↑  C. Edmund Bosworth, Ganja in Encyclopaedia Iranica
↑  محمدامین ریاحی، مقدمه بر نزهت‌المجالس، ص ۲۸
↑  محمدامین ریاحی، مقدمه بر نزهت‌المجالس، ص ۳۰
↑  در فصل ۲۱ کتاب (ارمنی اصلی لغت «پارسی» را به جای «ایرانی» بکار برده‌است):

should be noted that in the Middle Ages Armenians all Iranian-speaking were called " parsik - Persians, as reflected in the translation of that passage into English: Kirakos Gandzakatsi Kirakos Gandzakats'i's History of the Armenians / Translation from Classical Armenian by Robert Bedrosian. - New York: 1986. - P. 197.
This city was densely populated with Iranians and a small number of Christians. It was extremely inimical to Christ and His worship, insulting and cursing the Cross and the Church, scorning and deriding the priests and attendants. Therefore, when their limit of sin had filled up, the protest against their wickedness rose to the Lord. Earlier a sign of their [impending] destruction appeared, just as had happened above Jerusalem, before its destruction.
اصل ارمنی:
Kirakos Gandzakets'i, Patmut'iwn Hayots' [Kirakos of Gandzak, History
of Armenia], edited by K.A. Melik'-Ohanjanyan, (Erevan, 1961), p. 235.
Ays k'aghak's bazmambox lts'eal parsko'k', ayl sakaw ew k'ristone'iwk'...
1 2  دربارهٔ سیاسی‌سازی شاعر ایرانی نظامی گنجوی در دوران نوین»، نوشته سیاوش لرنژاد و علی دوست‌زاده که اکتبر ۲۰۱۲ (مهرماه ۱۳۹۱) به زبان انگلیسی منتشر شده‌است.
Siavash Lornejad, Ali Doostzadeh "On the Modern Politicization of the Persian Poet Nezami Ganjavi", Edited by Victoria Arakelova, YEREVAN SERIES FOR ORIENTAL STUDIES, Yerevan, October 2012.
↑  History of the Armenians / Translation from Classical Armenian by Robert Bedrosian. - New York: 1986.
http://rbedrosian.com/kg8.htm
↑  محمدامین ریاحی، مقدمه بر نزهت‌المجالس.
↑  C. A. (Charles Ambrose) Storey and Franço de Blois (۲۰۰۴), “Persian Literature - A Biobibliographical Survey: Volume V Poetry of the Pre-Mongol Period. ”, RoutledgeCurzon; 2nd revised edition (June 21, 2004). Pg ۳۶۳: “Nizami Ganja’i, whose personal name was Ilyas, is the most celebrated native poet of the Persians after Firdausi. His nisbah designates him as a native of Ganja (Elizavetpol, Kirovabad) in Azerbaijan, then still a country with an Iranian population, and he spent the whole of his life in Transcaucasia;
↑  محمدامین ریاحی - نزهت المجاس - دانشنامه ایرانیکا:
Amin Riyahi, Nozhat al-Majales, in Encycloapedia Iranica


The most significant merit of Nozhat al-majāles, as regards the history of Persian literature, is that it embraces the works of some 115 poets from the northwestern Iran (Arrān, Šarvān, Azerbaijan; including 24 poets from Ganja alone), where, due to the change of language, the heritage of Persian literature in that region has almost entirely vanished.

Nozhat al-mājales is thus a mirror of the social conditions at the time, reflecting the full spread of Persian language and the culture of Iran throughout that region, clearly evidenced by the common use of spoken idioms in poems as well as the professions of the some of the poets (see below). The influence of the northwestern Pahlavi language, for example, which had been the spoken dialect of the region, is clearly observed in the poems contained in this anthology.

In contrast to poets from other parts of Persia, who mostly belonged to higher echelons of society such as scholars, bureaucrats, and secretaries, a good number of poets in the northwestern areas rose from among the common people with working class backgrounds, and they frequently used colloquial expressions in their poetry. They are referred to as water carrier (saqqāʾ), sparrow dealer (ʿoṣfori), saddler (sarrāj), bodyguard (jāndār), oculist (kaḥḥāl), blanket maker (leḥāfi), etc., which illustrates the overall use of Persian in that region. Chapter eleven of the anthology contains interesting details about the everyday life of the common people, their clothing, the cosmetics used by women, the games people played and their usual recreational practices such as pigeon fancying (kabutar-bāzi; p. 444), even-or-odd game (ṭaq yā joft bāzi; p. 446), exercising with a sledgehammer (potk zadan; p. 443), and archery (tir-andāzi; p. 444). There are also descriptions of the various kinds of musical instruments such as daf (tambourine; see DAF[F] and DĀYERA), ney (reed pipe), and čang (harp), besides details of how these instruments were held by the performers (pp. 150–63). One even finds in this anthology details of people's everyday living practices such as using a pumice (sang-e pā) to scrub the sole of their feet and gel-e saršur to wash their hair (pp. 440–41).
คัมเซะฮ์ เนะซอมี เขียนในปี 1524 ในเมือง Herat ที่อยู่ในพิพิธภัณฑ์ศิลปะเมโทรโพลิแทนในนิวยอร์ก
ครั้งแรกโคสโรเห็นชีรินแหวกว่ายในน้ำพุ ฉากนี้เป็นที่มีชื่อเสียงที่สุดในวรรณคดีเปอร์เซีย
ภาพใลลาและมัจนูนในโรงเรียน จิตรกรรมคำบรรยายบทประพันธ์ของเนะซอมีในสมัยติมูริด
ขุมคลังแห่งความเร้นลับ
ต้นฉบับลายมือของคัมเซห์ เนะซามี โดยศิลปินชาวอิหร่าน Kamal al-Din Behzad ปี 1494 บอกเล่าเรื่องราวการ เสด็จขึ้นสู่สวรรค์ ของท่านศาสดาแห่งศาสนาอิสลาม
ขุมคลังแห่งความเร้นลับ
พิธีฝังศพของมัจนูน
กรอบรูปขนาดใหญ่ของเนะซอมี บนผนังทำเนียบประธานาธิบดีอินเดีย
แสตมป์ที่ระลึกของเนะซอมี พิมพ์ใน โซเวียต พ.ศ. 2524
แสตมป์ที่ระลึกของเนะซอมี พิมพ์ใน โซเวียต พ.ศ. 2524
ส่วนหนึ่งจากบทประพันธ์คัมเสห์ เนซามี ในปี ค.ศ. 1548 ซึ่งเก็บไว้ในชีราซ