Mughal Era Quran Manuscript with fine Calligraphy, India, 18th Century
Mughal-‐era Quran, early 18th Century.
563 folios.
Folio size: 22.5cm x 13cm. Text panel 17.5cm x 8cm.
This Quran appears to be a composite manuscript. Given the differences in illumination and script, it is possible that this Quran was originally in two volumes and was bound together at a later date.
The earlier components: The illuminated double folio for Surat al-‐Fatihah and Surat al-‐Baqarah on folios 1r and 2v and the black naskh of the Quranic text itself appear to be the earliest components of the manuscripts, dating perhaps from 1750-‐ 1800.
The illuminated bi-‐folio that contains Surat al-‐Fatihah and the beginning of Surat al-‐ Baqarah is decorated in what has been described as the 'Kashmiri' style, namely, delicate gold floral scrolling patterns on a dark blue background. It is possible that it dates from the second half of the 18th century, when this form of manuscript production was at its height in Kashmir. The text is flanked on either side by a subtle leaf design in black in white, with illuminated panels above and below containing gold cartouches.
The cartouche above the text presents the name of the surah in red thuluth script, while the cartouche underneath the text box provides the number of verses in the surah. The text box and panels are outlined in a further band of gold and polychrome, outside of which the largest band of illumination decorates the page. The Arabic text is set in large bands against a plain background in a confident and elegant black naskh script, while smaller bands underneath the original Quranic text contain its Persian translation penned in small red nasta'liq script by different hands. In parts, it would appear that this subscript was added at a later date (see below for further commentary).
The later components: lluminated double folio for Surat al-‐Isra', and the illuminated double folio for Surat al-‐Falaq and al-‐Nas.
The red nasta'liq Persian translation contained as a subscript in smaller bands underneath the main text was written by more than one scribe, as the hand changes notably throughout the Quran. It would also appear that some pages have perhaps been replaced or added, as the black naskh script also declines in quality at certain points in the second half of the manuscript (which was perhaps a separate work; or, missing pages were written and added at a later date). Gold discs with blue decoration written in black thuluth script in the margin mark divisions in the text, while at other points a red naskhi 'ayn is used instead to mark places in the text where a ruku' is required.
The bi-‐folio containing the beginning of Surat al-‐Isra is decorated with spiralling floral and leaf motifs connecting gold floral medallions in gold, white, red, and pink
against a blue background (faded in places) on the outer band enclosing the text. The headpiece above the text also contains a spiral leaf and floral motif in white and orange set against a gold background, while the gold cartouche where the surah's name would normally be inscribed is empty. The layout of the text on the page is not as orderly as in previous pages. For instance, the basmalah is crowded, and space has not been left for the final line of red Persian nasta'liq translation text, suggesting that either the margin has been replaced at a later date, or that the scribe or illuminator who carried out the artwork in the second half of this Quran was not as skilled as the craftsmen who undertook work on the first half. The illumination on this page would suggest that it is of a later date or different provenance than that on Surat al-‐Fatihah. The illumination itself, while charming, is not as delicate or sophisticated as that surrounding Surat al-‐Fatihah.
The illuminated bi-‐folio decorating the page containing Surat al-‐Falaq and al-‐Nas contains an almost identical style of illumination, from the standpoint of motifs and colour, and also features floral patterns in orange, pink and gold against a light blue background. Perhaps these two examples of later decoration were attempting to echo the earlier Kashmiri-‐style illumination that graces the opening pages of the manuscript. On the other pages of the text which do not contain elaboration illumination, the occasional floral decoration in gold on an unpainted background is typical of Indian artistry of the 18th and 19th centuries. At other points, a red thuluth script against a rectangle of gold is used to mark the title of the surah. This also seems to be a later addition to the text. Catchwords appear in the bottom left margin of the recto side of the folio. The text block seems to have been rebound in a tasteful Islamic-‐style red leather binding with geometrical gold tooling.
563 folios.
Folio size: 22.5cm x 13cm. Text panel 17.5cm x 8cm.
This Quran appears to be a composite manuscript. Given the differences in illumination and script, it is possible that this Quran was originally in two volumes and was bound together at a later date.
The earlier components: The illuminated double folio for Surat al-‐Fatihah and Surat al-‐Baqarah on folios 1r and 2v and the black naskh of the Quranic text itself appear to be the earliest components of the manuscripts, dating perhaps from 1750-‐ 1800.
The illuminated bi-‐folio that contains Surat al-‐Fatihah and the beginning of Surat al-‐ Baqarah is decorated in what has been described as the 'Kashmiri' style, namely, delicate gold floral scrolling patterns on a dark blue background. It is possible that it dates from the second half of the 18th century, when this form of manuscript production was at its height in Kashmir. The text is flanked on either side by a subtle leaf design in black in white, with illuminated panels above and below containing gold cartouches.
The cartouche above the text presents the name of the surah in red thuluth script, while the cartouche underneath the text box provides the number of verses in the surah. The text box and panels are outlined in a further band of gold and polychrome, outside of which the largest band of illumination decorates the page. The Arabic text is set in large bands against a plain background in a confident and elegant black naskh script, while smaller bands underneath the original Quranic text contain its Persian translation penned in small red nasta'liq script by different hands. In parts, it would appear that this subscript was added at a later date (see below for further commentary).
The later components: lluminated double folio for Surat al-‐Isra', and the illuminated double folio for Surat al-‐Falaq and al-‐Nas.
The red nasta'liq Persian translation contained as a subscript in smaller bands underneath the main text was written by more than one scribe, as the hand changes notably throughout the Quran. It would also appear that some pages have perhaps been replaced or added, as the black naskh script also declines in quality at certain points in the second half of the manuscript (which was perhaps a separate work; or, missing pages were written and added at a later date). Gold discs with blue decoration written in black thuluth script in the margin mark divisions in the text, while at other points a red naskhi 'ayn is used instead to mark places in the text where a ruku' is required.
The bi-‐folio containing the beginning of Surat al-‐Isra is decorated with spiralling floral and leaf motifs connecting gold floral medallions in gold, white, red, and pink
against a blue background (faded in places) on the outer band enclosing the text. The headpiece above the text also contains a spiral leaf and floral motif in white and orange set against a gold background, while the gold cartouche where the surah's name would normally be inscribed is empty. The layout of the text on the page is not as orderly as in previous pages. For instance, the basmalah is crowded, and space has not been left for the final line of red Persian nasta'liq translation text, suggesting that either the margin has been replaced at a later date, or that the scribe or illuminator who carried out the artwork in the second half of this Quran was not as skilled as the craftsmen who undertook work on the first half. The illumination on this page would suggest that it is of a later date or different provenance than that on Surat al-‐Fatihah. The illumination itself, while charming, is not as delicate or sophisticated as that surrounding Surat al-‐Fatihah.
The illuminated bi-‐folio decorating the page containing Surat al-‐Falaq and al-‐Nas contains an almost identical style of illumination, from the standpoint of motifs and colour, and also features floral patterns in orange, pink and gold against a light blue background. Perhaps these two examples of later decoration were attempting to echo the earlier Kashmiri-‐style illumination that graces the opening pages of the manuscript. On the other pages of the text which do not contain elaboration illumination, the occasional floral decoration in gold on an unpainted background is typical of Indian artistry of the 18th and 19th centuries. At other points, a red thuluth script against a rectangle of gold is used to mark the title of the surah. This also seems to be a later addition to the text. Catchwords appear in the bottom left margin of the recto side of the folio. The text block seems to have been rebound in a tasteful Islamic-‐style red leather binding with geometrical gold tooling.
