Author
Name not mentioned. However, it is very possible that it was the famous engraver, Atiq bin Hassan, whose name we find on many tombstones dating back to this period.
Author Original
الاسم غير مذكور ولكن، من الممكن جدّاً أن يكون النقّاش الشهير، عتيق بن حسن، والذي نجد اسمه على العديد من شواهد القبور التي ترجع إلى هذه الفترة
Publication Date
Dhu al-Hijjah 423 AH/November 1032 AD
Publication Place
-
Museum of Islamic Arts; Raqqada; Kairouan
Subject
White marble carved in relief.
Type
Other
Language
Undetermined
Digital
Yes
Manuscript
No
Physical Dimensions
العرض: 184 سم؛ القطر: 25 سم
Library
Museum With No Frontiers
Library Asset ID
SF 970
Record ID
object;ISL;tn;Mus01;29;ar
Library Location
Museum of Islamic Arts; Raqqada; Kairouan
Date
Dhu al-Hijjah 423 AH/November 1032 AD
Notes
This stele takes the form of a prismatic blade. Its text extends on both sides (two lines on each side). The text is carved in bold, italic, and leafy Kofi script. The painting is decorated on both sides with various decorative elements. On the base there is a series of architectural elements, consisting of a collar, a raised-edge partition, a frieze of pearls and disc-shaped decoration. The text is outlined and surrounded by a raised-edge separator. Its ends are defined by four corner panels, each of which contains a multi-lobed palm leaf. The empty areas of the writing fields are decorated with separate floral decorative elements (florets with three or five lobes, almonds) or with abstract decorative shapes (circular buds). The Muslim artist, who was always keen to create a complete balance between the different sections of the writing field, tried to treat the letters themselves. To achieve this balance, he would sometimes stretch the letters upward, and at other times, he would decorate them with floral endings (halves of palm fronds, florets, leaves), ascending or descending, opposite or opposite. He shortened the connecting angles between the letters as much as possible, and broke their rigidity and horizontality by replacing them with semicircular connecting points. The woman mentioned is of Arab origin. In fact, her father was an Ansari descended from the Aws (or Khazraj) tribes. The honorary title she holds indicates her high social status (Lady of All). The type of marble used and the precision of the stone’s execution also reinforce this hypothesis. The inscription extends on two sides. Side “A” contains Qur’anic verses that remind of the oneness of God, and relate to destiny and death. Side “B” contains the following text: “This is the tomb of the Lady of All, the daughter of Al-Hasan bin Ali bin Khalaf Al-Ansari. She died on the night of Thursday, the 22nd of Dhul-Hijjah in the year 423 [November 1032]…”
Sample Text
Mourad Rammah “Tombstone” in Discover Islamic Art. Museum Without Borders, 2026. https://islamicart.museumwnf.org/database_item.php?id=object;ISL;tn;Mus01;29;ar
