Text and sūra title rubricated; gold roundels at end of each verse; pages bordered in red, black, and gold; pp. 5-8 illuminated in colors with gold; roundels in margins indicate divisions of text into 30 equal sections.ḥayātī wa-baʻd wafātī fī yad awlādī al-dhukūr wa-baʻd al-inqirāḍ fī yad aqrabāʼī min al-dhukūr....Date, copyist's name, name of source of copy, and conditions of inheritance of this item in colophon (beg. p. 612): ḥarrarahu ... al-sayyid Muḥammad Amīn al-Ṣafwatī ibn Aḥmad bi-ḥāfiẓ al-Qurʼān Nān Zādah ... qad waqaʻa al-farāgh fī al-yawm al-ʻasharah min Jumāzī al-ākhir li-sanat thalāth wa-sabʻīn wa-miʼatayn wa-alf [i.e. 5 February 1857] ... qad waqaftu hādhā al-muṣḥaf al-sharīf ibtighāʼan li-mirḍāt Allāh taʻālá bi-sharṭ an yūjad wa-yuḥfaẓ fī yadī mā dumtu fī
blue paper endpapers; red leather binding and slipcase stamped and painted in gold and silver.Illumination on pp. [1-2]; chapter headings and colophons illuminated; verse endings marked with illuminated rosettes, each different; text enclosed in gold borders; illuminated rosettes in margins mark end of each juzʼ (1/30th); marginal indications in red for sixtieths (ḥizb or niṣf juzʼ) and 120ths (niṣf ḥizb) of text; rubricated marginal commentaries in hand of Muḥammad Khalūṣī; tables and closing discourse are rubricated and enclosed in golded borders; vol. edges gilded and painted; gilded[i.e. 1895 or 6]; name of copyist of terminal discourse in colophon on p. [545]: sawwadahu Muḥammad Khalūṣī min tilmīdh al-maʻrūf bi-al-ḥājj Muḥammad Shawqī ... fī Muḥarram sanat 1310 [i.e. July-August 1892].Date of copying and copyist's name in colophon on p. [502]: sawwdahu kathīr al-musāwī ... Būrdūrī al-faqīr al-ḥaqīr Nūrī ʻUthmān al-mushtahar al-ḥāfiẓ al-Qurʼān bi-Qāyish Zādah rāqiman ʻalá mā wāfaqa muṣḥaf al-sharīf ithnā wa-miʼah ... qad waqaʻa al-farāgh fī awākhir shahr Dhī al-Ḥijjah li-sanat tisʻa wa-thalāthamiʼah wa-alf [i.e. July 1892]; date of gilding and gilder's name at bottom of colophon: dhahhabahu al-ḥājj Aḥmad min tilmīdh al-ḥājj Ḥasan[?] sanat 1313marginal notes/ examined by M. Zacharia 8/24/89.""With marginal notes, excerpted from many sources, on textual variants, division of the text into verses, liturgical pronunciation etc.; a closing prayer [pp. 503-505]; tables showing the relationship of the Ten Readers (ḳurrāʼ), the Twenty Reciters (ruwāt), [and the Eighty Brotherhoods (ṭuruq), pp. [506-508], an explanatory discourse by the writer of the marginal notes [pp. 509-545]. Cataloging by William Hoyt Worrell, 1925. Researcher's note: "Calligraphic masterpiece/unique gilding/interesting
Illuminated ʻunwān on pp. [1-2]; chapter headings illuminated in gold and colored inks; gold dots mark verse endings; text enclosed in borders of gold and black; illuminated foliate roundels in margins mark tenths (ʻushr), thirtieths (juzʼ), sixtieths (ḥizb) of text, and prostrations (sajdah); edges gilt.Date and copyist's name in colophon: sawwadahu aḍʻaf al-ʻibād wa-aḥqaruhum Muṣṭafá ibn ʻAbd Allāh al-mushtahir bi-Ḥātimī al-mansūb li-marḥūm wa-maghfūr Ṣadrī Aʻẓam Naṣūḥ Pāshā ... wa-waqaʻa al-farāgh min taḥrīr hādhihi al-muṣḥaf al-karīm fī sanat ithnayn wa-thalāthīn wa-alf fī shahr Jumādhī al-ākhir [i.e. April 1623].Pp. [722-32]: prayers in Arabic and instructions in Turkish for the reading of the Qurʼān.
Illuminated ʻunwān on pp. [1-2]; chapter headings illuminated in blue and gold; gold dots mark verse endings; text enclosed in gold and black bordres; tenths (ʻushr), thirtieths (juzʾ), and sixtieths (ḥizb) of text, and prostrations (sajdah), indicated in margins in gold ink; edges patterned in green and gold gilt; binding stamped in gold.Date, copyist's name, and provenance in colophon: katabahu Ḥafiẓ Muḥammad ibn Qāsim al-mushtahir bi-al-Imām ... wa-waqaʻa al-farāgh min al-khidmah bi-tanmīqihi ... fī Dār al-Fatḥ Qusṭanṭīnīyah ... fī shahr Rabīʻ al-awwal min sanat sabaʻ wa-thalāthīn wa-alf min al-hijrah al-nabawīyah [i.e. November-December 1627]....The Koranic text, followed by a prayer.
Illuminated ʻunwān on pp. [1-2]; chapter headings in gold; gold and polychrome roundels mark end of each verse; 30 subsections indicated in margins in gold script; text enclosed in borders of red, blue, black, and gold; edges gilded in pattern of green and gold gilt.al-shaykh nādahu fī baladat Brūsā....Date suggested by researcher, 14 May 1980: "Dated as late 16th or 17th century. Colophon evidently copied verbatim from earlier copy: date, place, scribe, everything. By: Muhammad Isa Waley, Dept. of Oriental Manuscripts and Printed Books, British Library." Date of original copy, copyist's name, and provenance in colophon: qad waqaʻa al-farāgh min taḥrīr hādhā al-kalām al-qadīr fī yawm al-thulāthā min shuhūr sanat ithnay wa-ʻishrūn wa-sabaʻmiʾah [i.e. 1322 or 3] ... ʻan yad Muṣṭafá Dahdah
Illumination on pp. [1-2]; chapter headings illuminated; gold dots and foliate flourishes mark verse and chapter endings; text enclosed in wide gold borders; illuminated marginal rosettes mark thirtieths with (juzʼ) and quarters within each juzʼ with "ḥizb"; gilder's name at bottom of p. [522]: dhahhabahu Bahāʼ al-Dīn bin Tawfīq; edges gilded with foliate patterns; green leather endpages painted with gold and silver sunburst designs; binding gold-stamped and painted in silver and gold foliate designs.Date and copyist's name on p. [518] at opening of closing invocation: qad tasharrafa bi-kitābat hādhihi al-muṣḥaf al-sharīf ... Kathīr al-Masāwī al-Būrdūrī Nūrī Ḥāfiẓ ʻUthmān al-mushtahar bi-Qāyish Zādah ... li-sanat khams wa-thalāthamiʼah wa-alf.
Illuminated ʻunwān on pp. [1-2]; chapter headings in gold rectangles; verse endings marked by gold dots; text enclosed within foliate borders, mainly in gold; thirtieths (juzʾ), quarters (rubʻ), thirds (thulth) and halves (nuṣf) of text indicated in margins by gold foliate roundels; gold lines separate lines of text.Date of 17th cent. from cataloging of William Hoyt Worrell, 1925.
Folios from a painted manuscript. Illustrated and signed.Culture: Islamic, IranianMaterials/Techniques: ink, opaque pigment, gold, and paperNote: General note: Single page paintings/drawings later incorporated into an album.Note: Production: Iran
Series of folios from a dispersed copy of the Qur'an, written in gold on parchment dyed blueCulture: Islamic, TunisianMaterials/Techniques: ink on vellum, gold, silver, vellum, color, ink, color, gold and silver on vellum dyed blue ; script style: d. iv (see déroche 1992, 92)Note: Citation/references: Anthony Welch, Calligraphy in the Arts of the Muslim World, University of Tennessee Press (Austin, TX, 1979), page 15, 48-49/figure 4 ; Annemarie Schimmel, "Poetry and Calligraphy: Thoughts about their Interrelation in Persian Culture", ed. Richard Ettinghausen Westview Press, Inc. (Colorado, 1979), p. 176, fig. 109 ; Kristin A. Mortimer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums/Abbeville Press (Cambridge, MA; New York, NY, 1985), page 78/figure 82 ; Karel Otavsky, Islamische Textilkunst des Mittelalters: Aktuelle Probleme, Abegg-Stiftung (Riggisberg, 1997), fig. 3, pg. 21, b/w ; Jonathan Bloom, "Riggisberger Berichte", Islamische Textilkunst des Mittelalters: Aktuelle Probleme, Abegg-Stiftung (Switzerland, 1997), page 21/figure 3 ; Jonathan Bloom and Sheila Blair, Islamic Arts, Phaidon Press (New York, NY, 1997), p 73 - 75, fig. 37 ; Laurie Adams, Art Across Time, Volume I: Prehistory to the Fourteenth Century, McGraw-Hill College (London, England, 1999), p. 322, fig. 10.2 ; Laurie Adams, Art Across Time: Second Edition, McGraw-Hill (New York, 2002), p 328/fig.9.2 ; Hans Belting, Florenz und Bagdad: Eine westösliche Geschichte des Blicks, Verlag C.H. Beck (Munich, 2008) ; Hans Belting, Florence and Baghdad: Renaissance Art and Arab Science (Fireca i Bagdad: Zapadno-istocna povijest pogleda), Verlag C.H. Beck (Munich, Germany, 2008), p. 76, ill. ; Hans Belting, Florence and Baghdad: Renaissance Art and Arab Science, Belknap Press (Cambridge, MA, 2011), p. 70, fig. 22 ; Laurie Adams, Art Across Time, McGraw-Hill (New York, NY, 2011), p. 308, fig. 9.2Note: Exhibitions: Calligraphy in the Arts of the Muslim World, Asia House, 01/11/1979 - 03/11/1979; Cincinnati Art Museum, Cincinnati, 04/17/1979 - 05/27/1979 ; Islamic Art From the Collections of the Fogg Art Museum, Harvard University, Fogg Art Museum, Cambridge, 08/01/1974 - ; Calligraphy in the Arts of the Muslim World, Seattle Art Museum, 06/28/1979 - 08/12/1979; Saint Louis Art Museum, St. Louis, 09/14/1979 - 10/28/1979 ; Islamic Art and the Written Word, Fogg Art Museum, Cambridge, 10/05/1983 - 11/27/1983 ; Geometry of the Spirit: Islamic Illumination and Calligraphy, Harvard University Art Museums, Cambridge, 04/30/1988 - 06/26/1988 ; The Continuous Stroke of a Breath: Calligraphy from the Islamic World, Harvard University Art Museums, Arthur M. Sackler Museum, Cambridge, 12/20/2003 - 07/18/2004Note: General note: Fragments from the same Qur'an: section in the National Institute of Art and Archaeology in Tunis (cf. Lings & Safadi 1976, no. 11; Paris 1982, no. 350); at least 75 folios remained in Kairouan in the 1950s (Shabbuh 1956, 345, pl. 3; al-Buhli al-Niyal 1963, no. 1); scattered folios in Boston, Museum of Fine Arts, MS.33.686; Cambridge, MA, Harvard University Art Museums, MS.1967.23 (Welch 1979, no. 4); Dublin, Chester Beatty Library, MS.1405 (Arberry 1967, no. 4; James 1980, no. 9); Geneva, collection of Sadruddin Aga Khan (Welch & Welch 1982, 20–2), and two private collections (Geneva 1984, no. 1; Geneva 1985, no. 3); London, private collection (Bloom 1989, 99); Paris, Institute du monde arabe, AC 84-09; Riyadh, collection of Rifaat Shaykh al-Ard (Geneva 1988, no. 4); Tunis, National Library, MS.Rutbi 197 (London 1976, no. 498); others sold at Sotheby's, London, on 16 April 1984 (lot no. 147), 15 October 1984 (lot no. 220), 22 May 1986 (lot no. 243) and 20 November 1986 (lot no. 279), and at Sotheby's, Geneva, on 25 June 1985 (lot no. 11); also a single folio in the private collection of F. R. Martin (Grohmann 1967, 111)Note: Production: possibly Kairouan, Tunisia