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Manuscript of the Qur‘an, with lacquer binding
View through Harvard Museums
This Qur'an manuscript opens with double illuminated pages with prayers copied in gold in medallions and pendants in the center. The first text pages containing sura 1 and 2 are also fully illuminated as well as the beginning of each juz. The remaining text pages are copied in 15 lines to a page in naskh script. The Persian translation is written in red ink under each line. The manuscript was copied by Ibn Muhammad Sharif Abu'l-Qasim al-Isfahani in Jumada I 1247 H (November 1831). On the outer covers, the lacquer binding repeats the design of the illumination. A lobed medallion with pendants is set against a field covered with arabesque; the central field is framed by prayers in cartouches arranged as the border. On the inner surface, a lobed medallion with pendants holding mixed flowers is set against a red ground embellished with gold arabesque.
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:
This Qur'an manuscript opens with double illuminated pages with prayers copied in gold in medallions and pendants in the center.
The first text pages containing sura 1 and 2 are also fully illuminated as well as the beginning of each juz.
The remaining text pages are copied in 15 lines to a page in naskh script.
The Persian translation is written in red ink under each line.
The manuscript was copied by Ibn Muhammad Sharif Abu'l-Qasim al-Isfahani in Jumada I 1247 H (November 1831).
On the outer covers, the lacquer binding repeats the design of the illumination.
A lobed medallion with pendants is set against a field covered with arabesque; the central field is framed by prayers in cartouches arranged as the border.
On the inner surface, a lobed medallion with pendants holding mixed flowers is set against a red ground embellished with gold arabesque.
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