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Manuscript of the Qur’an, with lacquer binding
View through Harvard Museums
The manuscript opens with double illuminated pages with central medallions with prayers followed by double illuminated text pages with suras 1and 2. The text is copied in naskh script, 21 lines to a page, with illuminated chapter headings. The colophon page gives the name of the scribe, Muhammad Salih Muhammad Muhsin al-Isfahani who finished copying in H 1132 (1719). It appears that the folios, which were originally copied on cream-colored paper, have been re-margined with pink paper at a later date when some illuminated folios were also added to the text block. The lacquer binding, which may date from this later refurbishment, has a central medallion with pendants filled with floral sprays set against a gold floral arabesque. A thin band frames the field. The inner covers are decorated with a diamond-shaped central flower group and pendants. A thin band surrounds the field.
Department of Islamic & Later Indian Art
Ezzat-Malek Soudavar Geneva Switzerland (by 2014) by descent; to her son Abolala Soudavar Houston Texas (2014) gift; to Harvard Art Museums 2014.
Note:
Ezzat-Malek Soudavar (1913-2014) formed this collection over a period of sixty years. She purchased the works of art on the international art market.
Harvard Art Museums/Arthur M. Sackler Museum Gift of A. Soudavar in memory of his mother Ezzat-Malek Soudavar
Title: Manuscript of the Qur’an, with lacquer binding
Description:
The manuscript opens with double illuminated pages with central medallions with prayers followed by double illuminated text pages with suras 1and 2.
The text is copied in naskh script, 21 lines to a page, with illuminated chapter headings.
The colophon page gives the name of the scribe, Muhammad Salih Muhammad Muhsin al-Isfahani who finished copying in H 1132 (1719).
It appears that the folios, which were originally copied on cream-colored paper, have been re-margined with pink paper at a later date when some illuminated folios were also added to the text block.
The lacquer binding, which may date from this later refurbishment, has a central medallion with pendants filled with floral sprays set against a gold floral arabesque.
A thin band frames the field.
The inner covers are decorated with a diamond-shaped central flower group and pendants.
A thin band surrounds the field.
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