Facing Pages from a Manuscript of the Qur'an

İsim	Facing Pages from a Manuscript of the Qur'an
Basım Tarihi:	Hegira c. third quarter 10th century / AD c. third quarter 16th century
Basım Yeri	Iran, Shiraz -
Konu	Safavid — Ink, colors, and gold on paper
Tür	Kitap
Dil	Belirlenmemiş dil
Dijital	Evet
Yazma	Evet
Fiziksel Boyutlar	Each page: 48.9 x 30.8cm
Kütüphane:	Museum With No Frontiers
Demirbaş Numarası	M.2010.54.1; AC1999.158.1
Kayıt Numarası	EPM_us_Mus21_46
Lokasyon	Los Angeles County Museum of Art (LACMA)
Tarih	Hegira c. third quarter 10th century / AD c. third quarter 16th century
Notlar	In the second half of the sixteenth century especially,Shirazwas an important hub for the creation of large-format luxury manuscripts of theQur’an, some of which were intended for export to the Ottoman Empire. This pair of facing pages from the closing section of a dispersed manuscript includes thedu‘a al-khatm, or prayer said at the conclusion of a reading of theQur’an; it is preceded by the closing verses of theQur’an, and followed by afalnama, (a Persian versified form of divination). The beautiful decoration framing the goldcalligraphyof the khatm prayer epitomizes theShirazstyle of illumination in its colorful exuberance. The recto of the right-hand page is comprised ofSuras113-114 indicating that the full text must have similarly composed of large lines of bluemuhaqqaqand goldthuluthalternating with blocks of smallernaskhin black on gold-sprinkled paper, framed by panels of scrolling floral illumination, thesuraheadings in white on gold and polychrome illuminated panels, marginal roundels marking various points in the text. Numerous similarly decorated manuscripts of theQur’anare preserved in Istanbul collections, demonstrating a distinct Turkish affinity for theShirazstyle.
Örnek Metin	M.2010.54.1Collection of Edwin Binney, 3rd, Portland, ME, until 1986. In 1991, became possession of LACMA, until 2010 (gifted to); LACMA, The Edwin Binney, 3rd, Collection of Turkish Art at the Los Angeles County Museum of Art.AC1999.158.1Collection of Roland Yazhari, Portland, Oregon, until 1999 (sold to); LACMA, Shinji Shumeikai Discretionary Fund. — The pages relate to the standard program of illumination and calligraphy associated with Shiraz qur’ans from the mid –second half of the 16th century, the most famous of which is the so-called Ruzbihan Qur’an (Chester Beatty Library, Dublin, Is 1558), after its calligrapher Ruzbihan Muhammad al-Tab‘i al-Shirazi. — The pages relate to the standard program of illumination and calligraphy associated with Shiraz Qur’ans of the Safavid period.
Bu sayfanın künyesi	Prepared by:LACMA STAFF
Seçili bibliyografya	Komaroff, Linda,Gifts of the Sultan: The Art of Giving at the Islamic Courts, Los Angeles: Los Angeles County Museum of Art, 2011: 145, 263, fig. 129, cat. no. 152.Komaroff, Linda,Beauty and Identity: Islamic Art from the Los Angeles County Museum of Art, Los Angeles: Los Angeles County Museum of Art, 2016: 216-217, cat. no. 111.

Kaynağa git Museum With No Frontiers

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Museum With No Frontiers

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Facing Pages from a Manuscript of the Qur'an

Basım Tarihi Hegira c. third quarter 10th century / AD c. third quarter 16th century

Basım Yeri Iran, Shiraz -

Konu Safavid — Ink, colors, and gold on paper

Tür Kitap

Dil Belirlenmemiş dil

Dijital Evet

Yazma Evet

Fiziksel Boyutlar Each page: 48.9 x 30.8cm

Kütüphane Museum With No Frontiers

Demirbaş Numarası M.2010.54.1; AC1999.158.1

Kayıt Numarası EPM_us_Mus21_46

Lokasyon Los Angeles County Museum of Art (LACMA)

Tarih Hegira c. third quarter 10th century / AD c. third quarter 16th century

Notlar In the second half of the sixteenth century especially,Shirazwas an important hub for the creation of large-format luxury manuscripts of theQur’an, some of which were intended for export to the Ottoman Empire. This pair of facing pages from the closing section of a dispersed manuscript includes thedu‘a al-khatm, or prayer said at the conclusion of a reading of theQur’an; it is preceded by the closing verses of theQur’an, and followed by afalnama, (a Persian versified form of divination). The beautiful decoration framing the goldcalligraphyof the khatm prayer epitomizes theShirazstyle of illumination in its colorful exuberance. The recto of the right-hand page is comprised ofSuras113-114 indicating that the full text must have similarly composed of large lines of bluemuhaqqaqand goldthuluthalternating with blocks of smallernaskhin black on gold-sprinkled paper, framed by panels of scrolling floral illumination, thesuraheadings in white on gold and polychrome illuminated panels, marginal roundels marking various points in the text. Numerous similarly decorated manuscripts of theQur’anare preserved in Istanbul collections, demonstrating a distinct Turkish affinity for theShirazstyle.

Örnek Metin M.2010.54.1Collection of Edwin Binney, 3rd, Portland, ME, until 1986. In 1991, became possession of LACMA, until 2010 (gifted to); LACMA, The Edwin Binney, 3rd, Collection of Turkish Art at the Los Angeles County Museum of Art.AC1999.158.1Collection of Roland Yazhari, Portland, Oregon, until 1999 (sold to); LACMA, Shinji Shumeikai Discretionary Fund. — The pages relate to the standard program of illumination and calligraphy associated with Shiraz qur’ans from the mid –second half of the 16th century, the most famous of which is the so-called Ruzbihan Qur’an (Chester Beatty Library, Dublin, Is 1558), after its calligrapher Ruzbihan Muhammad al-Tab‘i al-Shirazi. — The pages relate to the standard program of illumination and calligraphy associated with Shiraz Qur’ans of the Safavid period.

Bu sayfanın künyesi Prepared by:LACMA STAFF

Seçili bibliyografya Komaroff, Linda,Gifts of the Sultan: The Art of Giving at the Islamic Courts, Los Angeles: Los Angeles County Museum of Art, 2011: 145, 263, fig. 129, cat. no. 152.Komaroff, Linda,Beauty and Identity: Islamic Art from the Los Angeles County Museum of Art, Los Angeles: Los Angeles County Museum of Art, 2016: 216-217, cat. no. 111.