Islamic Manuscripts

Historic folios of the Qur'an and prayer books featuring intricate calligraphy, colorful decorations, and gold accents, originating from various periods in Spain and Iran.

Page from the Koran, 12th century, 13 3/8 x 7 11/16 in. (34 x 19.6 cm) (image, sheet), Ink, colors and gold on paper, Iran, 12th century, The essence of writing is in the spirit.

Double page from a Manuscript of the Qur'an (9:123-126; 9:126-129 and 10:9-12; 10:12-14). Spain, 13th century. Manuscripts; folios. Ink, colors and gold on parchment

Folio from a Qur'an Manuscript 14th century. Folio from a Qur'an Manuscript 453395

Bifolium from the Pink Quran. Unknown, illuminator 13th century Probably produced for a noble patron from either Granada or Valencia, this thirteenth-century Spanish manuscript of the Quran, the sacred text of Muslims, is known as the Pink Quran, due to its distinctive tinted paper. The Quran is a written text created to document the word of God, as orally dictated by the Archangel Gabriel to the Prophet Muhammad, who died in 11 After Hegira (632CE by the Gregorian Calendar). The Quran is divided into 30 parts, each of which is called as juz, with over 6236 verses. The number 30 is significant in the Islamic faith since, in the Muslim Calendar, there are 30 days in each month. The Pink Quran is written in five lines to a folio in Maghribi, a cursive script developed in Northern Africa (the Mahgreb), Iberia (Al-Andalus), and the West African Sahel (Biled as-Sudan). Because figural imagery was prohibited in copies of the Quran, calligraphy and its associated organic and geometric decorat

Book of Prayers dated A.H. 1109/ A.D. 1697 Muhammad Hussein Kaziruni This prayer book with gold writing on dark blue paper was copied by Muhammad Hussain Kaziruni in 'revival naskh', the rounded script that became popular in the late 17th century thanks to the scribe Ahmad Nairizi. Active in the late 17th and early 18th century, Muhammad Hussain Kaziruni signed one of his calligraphies with a term indicating that he was working in the capital, Isfahan, presumably in the court library of the last Safavid shah, Shah Sultan Husain.. Book of Prayers 455287

Page from a Qur'an (verso), 1100s. Seljuk Iran. Ink, gold, and colors on paper; sheet: 30.6 x 20 cm (12 1/16 x 7 7/8 in.); text area: 14 cm (5 1/2 in.).

Qur'an Juz II 17th-18th century The earliest surviving Chinese Qur'ans date to the fifteenth century and were associated with Chinese Sunni Muslim communities called the Hui. The Qur'ans were divided into juz' (one of thirty parts into which the Qur'an is divided) and followed a standard format that endured throughout the Ming Period (1368-674) and later.This juz' is written in Sini script, a variation of muhaqqaq (one of the six canonical proportional scripts). Several of its folios are illuminated with decorative patterns characteristic of Sini Qur'ans. These are typically executed in gold and outlined in black, green, and red ink. The patterns and motifs found in these Qur'ans include overlapping circles, eye-shaped and lobed cartouches, four-petalled floral diesigns and star-shaped geometric forms, and plaited framing devices. This juz' features ornate swirling vegetal designs in the outside borders and is bound in richly decorated stamped brown leather binding featuring Sini calli

Folio from a Qur'an Manuscript 14th century This Quran which probably belongs to fourteenth century Iran is written in muhaqqaq script. Each folio has seven lines with interlinear Persian translation in naskh script and an ornamental medallion on the right-hand side margin of the verso. Every ayat (verse) ends with a round verse-marker in gold and opaque water colors. The medallion on the right-hand side margin of the verso marks a section (juz) of the chapter. The verses 33-37 are from Surah al-Araf (The Elevated Places, chapter 7), which directs a believer to the transference of the soul and the world hereafter.. Folio from a Qur'an Manuscript 454114

Folio from a Qur'an Manuscript 9th century This small-scale Qur'an was used as an intimate personal object, probably worn or carried as an amulet during travel. Despite its diminutive size, it shares many features with other early Qur'ans, which were often much larger and used as memory guides for public recitations. Here, densely packed writing in kufic script is lengthened horizontally, and red dots mark short vowels.. Folio from a Qur'an Manuscript 451677

Page from the Koran, 12th century, 13 3/8 x 7 11/16 in. (34 x 19.6 cm) (image, sheet), Ink, colors and gold on paper, Iran, 12th century, The essence of writing is in the spirit.

Page from Manuscript of the Qur'an (25:42-53; 25:53-61). Iraq or Iran, 10th-11th century. Manuscripts; folios. Ink, colors, silver, and gold on paper

Qur'anic Compilation Page Calligrapher Abu Muhammad 'Abd al-Qayyum ibn Muhammad ibn Karamshah al-Tabrizi ca. 1370 The manuscript this folio comes from contains the five suras, or chapters, from the Qur'an that start with the phrase al-hamd li-allah (praise to God). The pages of the manuscript were laid out and decorated in the same way as a complete Qur'an: each page has five lines of beautiful muhaqqaq script outlined with brush-applied gold, rosettes mark the end of each verse, and bands of illumination indicate the start of each chapter. Folios from the manuscript are now dispersed, but the name of the calligrapher, Abu Muhammad 'Abd al-Qayyum ibn Muhammad ibn Karamshah al-Tabrizi, is given in the colophon on a page in a private collection. The colophon does not provide the date of the manuscript or the name of its patron, but the style of the illumination and calligraphy is comparable to that in Qur'ans made for Mamluk patrons in the late fourteenth century and in slightly later co

Folio from a Qur'an Manuscript. Dimensions: 19.5 in. high 14.00 in. wide (49.5 cm high 35.6 cm wide). Date: 14th century.This Qur'an which probably belongs to fourteenth century Iran is written in muhaqqaq script. Each folio has seven lines with interlinear Persian translation in naskhi script. The verses 75-81of this folio belong to the tenth section of Surah al-A'raf (chapter 7), which gives the account of Prophet Salih and Lot. The marginal medallion on the verso is employed for ornamental purpose. Museum: Metropolitan Museum of Art, New York, USA.

Folio from a Qur'an Folio from a Qur'an, 14th century. Ink on paper, 13 1/5 in. x 5 1/5 in. Arts of the Islamic World 14th century

Maghribi is a decorative variant of Kufic script that was developed and mainly used in North Africa (the Maghrib) and Muslim Spain. It is often ornamented with diacritical marks in red, green, blue, or yellow, and with gold, as here. The Koran from which this leaf was taken is further distinguished by its high-quality, pink-tinted paper.

Leaf (page) from the Quran. Middle Eastern, 950-1250 A.D. From the 10th century, the text of the Qur'an was sometimes written in a large, decorative script, which had originally been used only for titles in books.

Centro de Interpretación Madina Yabisa, edificio de la Cúria, construido durante los siglos XIV-XV, Ibiza, balearic islands, Spain.

Folio from a Qur'an Manuscript 14th century This Quran folio, which is one of a group of ten, is written in muhaqqaq script. Each folio has seven lines with interlinear Persian translation in naskhi script. The verses 102-110 belong to Surah Kahf (The Dwellers of the Cave, Chapter 18).Folios 1979.295.8-.10 are slightly different from the rest of the seven folios due to the color of the paper and the ink. Some diacritical marks and verse ending marks are missing. Verse ending marks are comprised of three dots in red. The paper is of different quality and the ink is of black whereas folios 1979.295.1-.7 of the same group are penned in brown ink.. Folio from a Qur'an Manuscript 458445

Folios from a Qur'an Manuscript 10th century These two leaves from an early Qur'an are written in kufic script in dark brown ink, with vowel markings in red. The chapter heading, with two ornate arabesque leaves in the margin, is richly gilded. The text is from the end of Sura 5 (al-Ma'ida, "of the Table Spread") and the beginning of Sura 6 (al-An'am, "of the Cattle"). A circular, lobed motif on the upper corner of the margin bears the words "one hundred seventeen," referring to the number of verses on the page.. Folios from a Qur'an Manuscript 447937

Page from the Quran, 993, Muhammad ibn Ahmad ibn Yasin, 13 x 8 1/8 in. (33.02 x 20.64 cm) (sheet), Ink, colors, and gold on paper, Iran, late Abbasid period (936-1258), This double-sided page was once part of a monumental Quran consisting of over 1,300 pages in four volumes. The calligrapher Muhammad ibn Ahmad ibn Yasin, whose signature appears on the Quran, demonstrates how copying and adorning the word of God would have been a form of both religious and artistic expression. He was especially skilled in exploiting the qualities of the qalam, a reed pen that was cut at an angle so that the ink could be applied at different pressures and slants. These four well-ordered lines are written in an innovative, transitional script called 'broken cursive,' noted for its sharp angles and variety in the size of its letters and width of its strokes. In this rhythmic composition, the long letters below the baseline visually propel the eye forward through the text (Arabic text is read right to le

Section from Koran, Syria, 14th century, ink and gold on paper Turin, Italy - 22 August 2023. Oriental Art Museum. Section from Koran, Syria, 14th century, ink and gold on paper Copyright: xZoonar.com/PAOLOxGALLOxMODENAx 22279547

Page of Calligraphy from an Album

Munajat (Confidential Talks) of 'Ali ibn Abu-Talib. Dimensions: H. 6 7/8 (17.4 cm)W. 5 1/8 in. (13.1 cm). Date: ca. 1200.The munajat, or "confidential talks," of the first Shiite Imam 'Ali b. Abi-Talib take the form of prayers to God. Along with the forty sayings of Imam 'Ali, akin to the hadith, or traditions of the Prophet Muhammad, books of munajat provided doctrinal guidance to medieval Shiites. Although the Seljuqs and their successors had tried to promote Sunni Islam and suppress Shiism, their efforts were neither systematic nor entirely successful, as the existence of this book attests. Museum: Metropolitan Museum of Art, New York, USA.

Qur'an leaf in Eastern Kufic script Made 1001-1100 Iran. Ink, opaque watercolors and gold on paper . Islamic

Page from a Manuscript of the Qur'an (30:27-33; 30:33-40). Egypt, AD 1561-62 / AH 969. Manuscripts; folios. Ink, opaque watercolor, and gold on paper

Manuscript Leaves from an Arabic Manuscript 6th-14th century () Arabic. Manuscript Leaves from an Arabic Manuscript 479384

Folio from a Qur'an Manuscript probably 15th century A unique cursive script was used for Indian Qur'ans between the late fourteenth and mid-sixteenth centuries. Called bihari (from the region of Bihar), although it is not known exactly where it was developed, the scripts main traits are wide, extended horizontal lines and thin delicate verticals. Qur'ans of this style also often feature several different colors for the text (such as red for the word Allah and gold for the start of a new section), and include zigzagging Persian commentary in the margins.. Folio from a Qur'an Manuscript 452836

Page from a Manuscript of the Qur'an (59:10-17; 59:18-24, 60:sura heading). Egypt, 14th century. Manuscripts; folios. Ink, opaque watercolor, and gold on paper

Manuscript 11th-12th century. Manuscript 447107

Section of a Qur'an. Dimensions: H. 20 in. (50.8 cm)W. 13 1/4 in. (33.7 cm). Date: 13th century. Museum: Metropolitan Museum of Art, New York, USA.

Folio from a Qur'an Manuscript ca. 1250-1300 Qur'ans of the Maghreb or the Islamic west, including North Africa and Spain, diverged at an early date from the stream of developments further east. The preservation of a number of archaic calligraphic features derived from kufic and the use of parchment are typical of the region during the thirteenth and fourteenth centuries. Despite these archaizing features, the use of gold ink, the exaggerated curves of the letters below the baseline, and colorful diacritic marks lend the composition a striking rhythmic quality.. Folio from a Qur'an Manuscript 449110

Qur'an 19th century This Quran comprises a compilation of loose folios that are held together within an embossed decorative leather wrap cover. This construction is characteristic of West African bookmaking traditions. The text is written in the barnavi script (particular script from Borno), common in Nigeria and Chad and distinguished by bold application, round letters and short lettershafts. Additional characteristics of this Quran are the decorative inserted tables that serve to divide chapters and sections. These are composed as geometric patterns with simple repeat motifs—circles, cross, double-T and others, which are rendered as colorful grids in red, brown and sparkling yellow. In addition to reflecting the artistic vibrancy of West Africa, these patterns bear talismanic and other meanings that surpass the devotional function of such manuscripts.. Qur'an. 19th century. Ink and opaque watercolor on paper; embossed leather cover. Made in Nigeria or Chad. Codices

Qur'an Manuscript Folio (recto), 1200s-1300s. Southern Spain. Ink, gold, and color on parchment; sheet: 52.7 x 55.4 cm (20 3/4 x 21 13/16 in.); text area: 46.5 x 44 cm (18 5/16 x 17 5/16 in.).

Section from the "Qur'an of `Umar Aqta' late 14th-early 15th century (before 1405) `Umar Aqta' This fragment of a page comes from one of the largest copies of the Qur'an ever produced. Each line of script, written in the muhaqqaq style, is over three feet long, and each page was originally over seven feet tall. This page probably comes from a gigantic Qur'an that the calligrapher 'Umar Aqta' wrote for the ruler Timur (Tamerlane, d. 1405). Apparently Timur was unimpressed after 'Umar Aqta' wrote a Qur'an so small that it could fit under a signet ring, so the calligrapher wrote another Qur'an so large it had to be brought to Timur on a cart.. Section from the "Qur'an of `Umar Aqta' 453986

Folio from a Qur'an Manuscript 14th century This Quran folio is part of a group of 10, and is written in muhaqqaq script. Each folio has seven lines with interlinear Persian translation in naskhi script. The verses 87-95 of this folio belong to Surah Kahf (The Dwellers of the Cave, Chapter 18).Folios 1979.295.8-.10 are slightly different from the rest of the seven folios due to the color of the paper and the ink. Some diacritical marks and verse ending marks are missing. Verse ending marks are comprised of three dots in red. The paper is of different quality and the ink is of black whereas folios 1979.295.1-.7 of the same group are penned in brown ink.. Folio from a Qur'an Manuscript 458440

Muhaqqaq is one of the main six types of calligraphic script in Arabic. The Arabic word muhaqqaq means 'consummate' or 'clear', and originally was used to denote any accomplished piece of calligraphy. Often used to copy masahif (singular mushaf, i.e. loose sheets of Quran texts), this majestic type of script was considered one of the most beautiful, as well as one of the most difficult to execute well. The script saw its greatest use in the Mameluk era (1250-1516/1517). In the Ottoman Empire, it was gradually displaced by Thuluth and Naskh; from the 18th century onward, its use was largely restricted to the Basmala in Hilyas. It is believed that the style was invented in the Abbasid era by Ibn Muqla, and later developed by Ibn al-Bawwab.

Section of a Qur'an Manuscript late 14th-early 15th century Copied by `Umar Aqta' These two lines of calligraphy in elegant muhaqqaq script are from chapter 40 (Sura al-Mu'min, The Believer) of the Qur'an. The fragment on which they are written was once part of a Qur'an manuscript that is probably the largest ever produced. Originally, each page included seven lines of script copied on one side only. A double-page would fit perfectly into the gigantic stone Qur'an stand made for the congregational mosque of Bibi Khanum in Samarqand and commissioned by a grandson of Timur (Tamerlane, d. 1405). Its calligrapher was likely the renowned 'Umar Aqta'. Historical sources tell us that 'Umar tried to impress Timur by writing a Quran so small that it could fit under a signet ring. When the sultan was unmoved, 'Umar wrote a Qur'an so large that it had to be brought to Timur on a cart.. Section of a Qur'an Manuscript. late 14th-early 15th century. Ink, opaque watercolor, and gold on paper. Attrib

A section of the Koran. Date/Period: 9th-10th century. Ink, color and gold on parchment. Height: 24.5 cm (9.6 in); Width: 33 cm (12.9 in). Author: Artist Unknown.

Folio from a Qur'an Manuscript 14th century This Quran, which probably dates to fourteenth century Iran, is written in muhaqqaq script, a version practiced at the Ilkhanid court. Each folio has seven lines with interlinear Persian translation in naskhi script and an ornamental medallion on the right-hand side margin of the verso. Every ayat (verse) ends with a round verse marker painted in gold and opaque water colors. These verses 23-28 are from Surah al-Araf (chapter 7), which guide the believer to observe modesty and be aware of Satans beguile. Folio from a Qur'an Manuscript 452942

Two Contiguous Pages from a Manuscript of the Qur'an (2:91-94; 2:95-98 and 2:98-102; 2:102-103). Iran or Iraq, circa 1200. Manuscripts; folios. Ink, colors and gold on paper

Leaf from a Qur'an (verso), 1000s-1100s. Egypt, 11th-12th century. Ink, gold, and colors on paper; sheet: 41.2 x 29.7 cm (16 1/4 x 11 11/16 in.); text area: 28 x 19 cm (11 x 7 1/2 in.).

Folio from a Qur'an Manuscript. Dimensions: Ht. 10 1/2 in. (26.7 cm)W. 7 7/8 in. (20 cm). Date: dated A.H. 485/A.D. 1092.These two pages almost certainly come from a dispersed Qur'an dated A.H. 485/A.D. 1092 in "new style" script. This script was used mainly in the eastern Islamic lands after paper replaced parchment as writing material in the tenth century. The shafts of the letters are elongated, extending well above each line; for this reason, the usual page format for this type of script is vertical. The vowels and diacritical marks, rendered in blue, red, gold, and silver, add a touch of color. The page on the right is also notable for the presence of an elaborate vertical cartouche referring to the number of verses, which, in both pages, are from Sura 30 ("of the Romans"). Museum: Metropolitan Museum of Art, New York, USA.

Decorated Text Page (Sūrat al-Anām 6:119-121). Unknown

Album of Calligraphies Including Poetry and Prophetic Traditions (Hadith) ca. 1500 Shaikh Hamdullah ibn Mustafa Dede This album contains samples written by Shaykh Hamdullah, the most famous Ottoman calligrapher. The text comes from the Hadith, the compilation of the Prophet Muhammad's words and deeds that is an important source for moral and legal guidance in the Islamic tradition. On each page, several lines of a small script (naskh) are framed by one or two lines in a larger script (thuluth or muhaqqaq) and then pasted onto sheets of marbleized paper, each with a different pattern.. Album of Calligraphies Including Poetry and Prophetic Traditions (Hadith) 453166

Page from a Manuscript of the Qur'an (26:25-38; 26:38-49). Iraq or Iran, 10th-11th century. Manuscripts; folios. Ink, colors, silver, and gold on paper

Anthology of Persian Poetry 17th century Hafiz. Anthology of Persian Poetry 443198

A page from a 16th century Ottoman copy of the Koran, hand-written on handmade paper, embellished in gold leaf Date: 16th century

ALABANZAS DE MAHOMA-FOL 17-33-12133-ZELADA-. Location: BIBLIOTECA NACIONAL-COLECCION. MADRID. SPAIN.

Islamic Arts Museum. Quran. North Africa. 19 th. Kuala Lumpur. Malaysia.

Qur'an section: Juz XI. Sultanate, fifteenth century. Manuscript on cream paper, text: 19.7 x 13.3cm, folio: 27.9 x 21.6cm.

Section from the "Qur'an of `Umar Aqta". Calligrapher: `Umar Aqta'. Dimensions: H. 19 1/2 in. (49.5 cm)W. 43in. (109.2cm). Date: late 14th-early 15th century (before 1405).This fragment of a page comes from one of the largest copies of the Qur'an ever produced. Each line of script, written in the muhaqqaq style, is over three feet long, and each page was originally over seven feet tall. This page probably comes from a gigantic Qur'an that the calligrapher 'Umar Aqta' wrote for the ruler Timur (Tamerlane, d. 1405). Apparently Timur was unimpressed after 'Umar Aqta' wrote a Qur'an so small that it could fit under a signet ring, so the calligrapher wrote another Qur'an so large it had to be brought to Timur on a cart. Museum: Metropolitan Museum of Art, New York, USA.

Folios from a Qur'an Manuscript 14th century. Folios from a Qur'an Manuscript 453383

Folio from a Qur'an Manuscript second half 8th century This large early Abbasid Qur'an leaf in kufic script includes segments from suras of Ibrahim (sura 14) and the Rock (sura 15). The sixteen lines of text are penned in a distinct syle of kufic which priveleges horizontality over verticality. The letters are stretched horizontally along the baseline while descending letters are rounded like hooks making for a graphically striking overall effect. As in many early Qur'an folios, the vowels are marked with red and green dots and illumination is kept to a minimum.. Folio from a Qur'an Manuscript 453579

Page of the Koran, Islamic art, 11th Century.

CODICE ARABE SIGLO XVI PAGINA DOBLE. Location: BIBLIOTECA NACIONAL-COLECCION. MADRID. SPAIN.

Calligraphy in Nastaliq writing in a frame of colored splashing, anonymous, c. 1600 - c. 1699 Calligraphy in Nastaliq writing. The leaf is described on both sides and provided with a splash edge. Iran calligrafie: paper brush Calligraphy in Nastaliq writing. The leaf is described on both sides and provided with a splash edge. Iran calligrafie: paper brush

Page from a Manuscript of the Qur'an (78:20-25; 78:26-30). Spain, probably Valencia, 12th century. Manuscripts; folios. Ink, opaque watercolor, and gold on parchment

This ethical guide for rulers was composed in 1603 by Bukhari al-Johori, and contains advice on good governance. This manuscript version was made by master calligrapher Muhammad bin Umar Syaikh Farid at Penang, Malaysia, on 4 Zulhijah 1239 AH (31 July 1824 CE).

Page from the Koran, 9th-10th century, 4 11/16 × 14 1/16 in. (11.9 × 35.7 cm), Ink on parchment, Iran, 9th-10th century

ISLAMIC ART: KORAN. Turkish manuscript, 1882, with marginal floral decoration. Private Collection

Page of Calligraphy. Northern India (), 16th century. Drawings. Ink on brown paper

The children's object book. Published by Frederick Warne. Picture books for children. Designed in England and printed by G. Loewensohn at Fürth, Bavaria

Page of Calligraphy early 16th century Sultan Muhammad Nur Poetry, calligraphic exercises, and headings have been pasted onto both sides of this folio. The text, which was written in several different hands, includes nastaliq, taliq shikasta, muhaqqaq, and thuluth scripts. A poem written diagonally by the calligrapher Sultan Muhammad Nur uses religious imagery to describe the beauty of the beloved, and the large writing to the left of the poem is a calligraphic exercise in which the letter shin is repeated several times.. Page of Calligraphy. early 16th century. Ink, opaque watercolor, and gold on paper. Attributed to Iran. Codices

Section of a Qur'an Manuscript. Calligrapher: Copied by `Umar Aqta'. Dimensions: H. 17 5/16 in. (44 cm)W. 38 1/4 in. (97.2 cm). Date: late 14th-early 15th century.These two lines of calligraphy in elegant muhaqqaq script are from chapter 40 (Sura al-Mu'min, The Believer) of the Qur'an. The fragment on which they are written was once part of a Qur'an manuscript that is probably the largest ever produced. Originally, each page included seven lines of script copied on one side only. A double-page would fit perfectly into the gigantic stone Qur'an stand made for the congregational mosque of Bibi Khanum in Samarqand and commissioned by a grandson of Timur (Tamerlane, d. 1405). Its calligrapher was likely the renowned 'Umar Aqta'. Historical sources tell us that 'Umar tried to impress Timur by writing a Qur'an so small that it could fit under a signet ring. When the sultan was unmoved, 'Umar wrote a Qur'an so large that it had to be brought to Timur on a cart. Museum: Metropolitan Museum o

Centro de Interpretación Madina Yabisa, edificio de la Cúria, construido durante los siglos XIV-XV, Ibiza, balearic islands, Spain.

One folio from a poem on the astrolabe composed in 1711/1123 by Qiwm al-Dn Muammad al-asan, who worked in the Persian city of Qazwin

Coran medieval.Centro de interpretacion de la Ibiza musulmana Madina Yabisa.Casa de la Cúria (s.XVI).Eivissa.Ibiza.Islas Pitiusas.Baleares.España.

Turkey, Konya, Mevlana Museum, ottoman Koran 1672

Page from the Quran, seventh-century manuscript, Historical, digitally restored reproduction from an original of the time.

Page from a Manuscript of the Qur'an (57:25-27; 57:27). Iraq, 14th century (Jalayirid Period). Manuscripts; folios. Ink, colors and gold on paper

France, Paris. 5th arrondissement. Arab World Institute. Closeup of a Gospel written in Coptic (liturgical language of the Christians of Egypt).

Decorated Incipit Page with Vere Dignum Monogram. Unknown

Calligraphic Page with Blue Borders. India, 18th century. Books. Ink, opaque watercolor, and gold on paper

Qur'an Manuscript in Muhaqqaq 1199-1399 Iran. Ink, colors, and gold on paper . Islamic

TREATY GENERATION OF THE FETUS AND BIRTH-ARAB MEDICAL WORK. Author: AL BATIB. Location: MONASTERIO-BIBLIOTECA-COLECCION. SAN LORENZO DEL ESCORIAL. MADRID. SPAIN.

Carpet Page; Possibly Kairouan, Tunisia; 9th century; Pen and ink, gold paint, and tempera colors on parchment; Leaf: 14.4 × 20.8 cm (5 11,16 × 8 3,16 in.)

Carpet Page. Unknown

35mm original

Page from a Manuscript of the Qur'an (6:100-102; 6:102-105). Iraq, 14th century (Jalayirid Period). Manuscripts; folios. Ink, colors and gold on paper

Page from a Manuscript of the Qur'an (74:14-31; 74:31-48). Iran, 9th-10th century. Manuscripts; folios. Ink, opaque watercolor, and gold on parchment

Medieval Coran. Interpretation Centre of Muslim Ibiza Madina Yabisa.Casa de la Cúria (16th century).Eivissa.Ibiza.Islas Pitiusas.Baleares.Spain.

The opening of a version of the treatise on chemical medicine titled Ghyat al-itqn f tadbr badan al-insn by Ibn Sallm (d. 1670/1081). The copy is written in a North African Maghribi script and was completed on 1 Jumadá II 1241 (= 11 January 1826) by the copyist Muammad ibn Muammad al-Af.... al-anaf. At the top of the page there is an impression of an undated octagonal owner's seal.

Folio from the "Blue" Qur'an Folio from the "Blue" Qur'an, 9th-10th century. Ink, gold, and silver (now oxidized) on blue-dyed parchment, 11 3/16 x 15 in. (28.4 x 38.1 cm). If God is light, one might consider the gilded words on this Quran page as rays of light for those who read and recite his revelations. The “Blue” Quran, so named after the rich, indigo-dyed parchment used for its folios, is arguably one of the most extraordinary luxury manuscripts ever created. The angular gold Kufic script was executed using the technique of chrysography, in which ground gold suspended in solution is carefully applied. The unusual color scheme may have been inspired by Byzantine manuscripts; it also may bear some relation to the decoration of the mihrab (prayer niche) at the Great Mosque of Cordoba in Spain. The page shown here includes Arabic text from the chapter called “The Women” (Surat al-Nisā, 4:56-59); these verses refer to the rewards of Paradise awaiting believers in the hereafter. Ar

Materia medica. Arabic, fol. 14v, Mîrzâ Bâqir (fl. 19th c.), 1889 - 1890, Tehran or Mashhad

$Kamal al-Din Hasan ibn Ali ibn Hasan al-Farisi or Abu Hasan Muhammad ibn Hasan (1267- 12 January 1319 (Persian: ) was a prominent Persian born in Tabriz, Iran. He made two major contributions to science, one on optics, the other on number theory. Farisi was a pupil of the great astronomer and mathematician Qutb al-Din al-Shirazi, who in turn was a pupil of Nasir al-Din Tusi. His work on optics was prompted by a question put to him concerning the refraction of light. Shirazi advised him to consult 'The Book of Optics' of Ibn al-Haytham (Alhacen), and Farisi made such a deep study of this treatise that Shirazi suggested that he write what is essentially a revision of that major work, which came to be called the Tanqih.$

Bound Manuscript of Hadith with Persian Translations by Jami Manuscript dated A.H. 935/A.D. 1528; binding ca. 1575-1600 Shah Mahmud Nishapuri Shah Mahmud Nishapuri, one of the leading calligraphers at the court of Shah Tahmasp (reigned 1524-76), copied this manuscript of Hadith (traditions) of the Prophet Muhammad with a Persian translation by the poet Jami (1414-1492). The manuscript consists of seven folios of nasta'liq writing with an illuminated heading ('unwan) and an introduction in Persian. The body of the text contains illuminated corner pieces and bands of floriated vine scrolls separating lines of Arabic script from lines of Persian translation written diagonally. The colophon states that Shah Mahmud Nishapuri copied the manuscript in "dar al-sultana Tabriz," the Safavid capital in A.H. 935/A.D. 1528. The writing is exquisite, and the care with which the manuscript is laid out and illuminated reflects the high level of patronage in Tahmasp's court. Shah Mahmud Nishapuri, know

Yellow oxeye (Buphthalmum salicifolium), bûfthâlmûn n.p., fol. 170, Mîrzâ Bâqir (fl. 19th c.), 1889 - 1890, Tehran or Mashhad, 16 x 14.8 cm

Page of Calligraphy from a Kalila wa Dimna second quarter 16th century This manuscript contains seventy-eight paintings and many text folios telling the famous tales of the jackals Kalila and Dimna. Based on the book of ancient Indian animal fables, the Panchatantra written by Vidyapati (Bidpai), the stories spread all over the Middle East where they became wildly popular. This manuscript has a strong flavor of Mamluk Egypt in the figure styles and bold drawings, with hints of Ottoman tulips and Safavid turbans. However, the burnt orange palette and darkly-inked lines have led to an attribution to Sultanate Gujarat where it is suggested this manuscript was copied from an Egyptian original. Its life in India is also attested by a Devanagari inscription at the end, although the rest of the Arabic text is written in a strong, left-leaning naskh-like script.. Page of Calligraphy from a Kalila wa Dimna 453140

Page from a Manuscript of the Qur'an (2:72-73; 2:73-74)

ISLAMIC ART: KORAN. Turkish manuscript, 1882, with marginal floral decoration. Private Collection

Qur'an Manuscript 1000-1199 Iran. Ink, opaque watercolors, and gold on paper . Islamic

Two pages from the Koran of Muley Zidan, Emperor of Morocco in 1594.. Juan Laurent, photographer (French, 1816 - 1886) 1870

Nepal cardamom (Amomum subulatum), hamâmâ, fol. 25, Mîrzâ Bâqir (fl. 19th c.), 1889 - 1890, Tehran or Mashhad, 15.5 x 12.2 cm

The opening of the treatise on regimen, Nuzhat al-adhhn f al al-abdn ('The Delight of the Minds Concerning the Improvement of Bodies') by Dd ibn Umar al-Ank (d. 1599/1008). The copy was completed on 2 Rajab 1154 [= 13 September 1741 by Muammad ibn Muammad Mamd, known as al-akm al-Ldhaq, that is, the physician of Laodicea, a coastal town of Syria.

The page is one of 2,000 similar folios that make up this copy of the Qur'an, which is bound in 30 volumes, one for reading each day of the month.

MANUSCRITO ARABE SCIENTIIES - PAGINA 82. Author: FARABIUS o ALFARABI o FARABI o ABUNASER (873-950). Location: MONASTERIO-BIBLIOTECA-COLECCION. SAN LORENZO DEL ESCORIAL. MADRID. SPAIN.

GREAT MEDICAL ENCYCLOPEDIA, KNOWN AS "TASRIF" - BOOK XXX- DETAILING MEDICAL INSTRUMENTS - 11TH CENTURY. Author: AL ZAHRAWI / ABULCASIS. Location: MONASTERIO-BIBLIOTECA-COLECCION. SAN LORENZO DEL ESCORIAL. MADRID. SPAIN.

Arabesques détails d'ornementation d'un Qorân arabe (XVIIe siècle), 1877, Cournault, Charles., 1877., Paris. Publisher, A. Morel et Cie, Libraires-Éditeurs. Architecture, Islamic; Art, Egypt, Cairo; Islamic decoration and ornament; Illumination of books and manuscripts., 45.5 x 33 cm

Vakfiye (endowment deed). Date/Period: 1756. Ink, colours and gold on paper. Height: 307 mm (12.08 in); Width: 190 mm (7.48 in). Author: Unknown scribe.

ANTIFONARIO MOZARABE SIGLO XI. Location: CATEDRAL-ARCHIVO. LEON. SPAIN.

UK/Arabia: The 'Birmingham Quran' manuscript, detail. Hijaz, Arabia, c. 568-645

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