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Lot Essay
While many kufic folios appear on the market as single folios or small sections, this elegantly executed kufic section is an extraordinary survival. Not only is it composed of a substantial 169 folios, but these folios are consecutive and include sixteen gold illuminated sura headings. The remarkably preserved folios would have formed part of a lavish commission and clearly present the harmonious geometry displayed by these magnificent kufic Qur’ans of the ninth century.
The script and illumination of this manuscript are closely comparable to two folios in the Khalili Collection (inv. nos. KFQ13 and KFQ14, Déroche, 1992, pp. 54-55, no. 9). Following Déroche’s classification of the early Abbasid scripts, the script of our section is stylistically closest to the B.II type, characterised by its relatively small size and thick strokes (1992, pp.35 and 38-9). While the geometric elegance of the kufic script as a whole is clear, it is particularly pronounced in this type of the script. Déroche notes that B.II manuscripts have more strictly detailed proportions than other types, and our manuscript conforms to the ‘ideal’ of 16 lines to the page (ibid., p. 54). The script presents a fine balance of extended, horizontal ya terminals, which counter the perfectly rounded mims and generously curved qaf and ‘ayn terminals. These letters are, in turn, punctuated by short slightly hooked vertical alifs and ta/zas, along with similarly vertical nuns descending below the line. These vertical strokes create a gentle rhythm to the text panel exemplifying the careful consideration that would have gone into the calligraphy.
The care that was taken in producing this fine manuscript is further evidenced by its illumination which is more elaborate than many contemporaneous examples. The verse markers of early Qur’ans range from simple monochrome roundels, or clusters of roundels, to polychrome rosettes filled with gold abjad numerals, as seen denoting every tenth verse on our manuscript. A further use of gold is displayed in the numerous sura headings and the ha’ khams markers. Even the vocalisation presents a wonderful array of red, green, yellow and blue.
The use of gold in such commissions came at an expense, especially given the need for skilled craftsmen, and was, therefore, sometimes substituted with yellow paint (ibid., p. 22). The consistent use of gold in this text would, therefore, indicate that it was commissioned by a wealthy patron. The expense involved in illuminating this manuscript would have added to the already costly process of producing such large manuscripts on vellum (Blair, 1988, p. 44). The generous spacing of the script suggests that there was little concern for the number of folios required to complete the text. This section, amounting to approximately sixteen chapters of the text, already occupies an impressive 169 folios. One can only imagine its size in its complete form, which would have certainly been an impressive statement of the patron’s wealth.
The script and illumination of this manuscript are closely comparable to two folios in the Khalili Collection (inv. nos. KFQ13 and KFQ14, Déroche, 1992, pp. 54-55, no. 9). Following Déroche’s classification of the early Abbasid scripts, the script of our section is stylistically closest to the B.II type, characterised by its relatively small size and thick strokes (1992, pp.35 and 38-9). While the geometric elegance of the kufic script as a whole is clear, it is particularly pronounced in this type of the script. Déroche notes that B.II manuscripts have more strictly detailed proportions than other types, and our manuscript conforms to the ‘ideal’ of 16 lines to the page (ibid., p. 54). The script presents a fine balance of extended, horizontal ya terminals, which counter the perfectly rounded mims and generously curved qaf and ‘ayn terminals. These letters are, in turn, punctuated by short slightly hooked vertical alifs and ta/zas, along with similarly vertical nuns descending below the line. These vertical strokes create a gentle rhythm to the text panel exemplifying the careful consideration that would have gone into the calligraphy.
The care that was taken in producing this fine manuscript is further evidenced by its illumination which is more elaborate than many contemporaneous examples. The verse markers of early Qur’ans range from simple monochrome roundels, or clusters of roundels, to polychrome rosettes filled with gold abjad numerals, as seen denoting every tenth verse on our manuscript. A further use of gold is displayed in the numerous sura headings and the ha’ khams markers. Even the vocalisation presents a wonderful array of red, green, yellow and blue.
The use of gold in such commissions came at an expense, especially given the need for skilled craftsmen, and was, therefore, sometimes substituted with yellow paint (ibid., p. 22). The consistent use of gold in this text would, therefore, indicate that it was commissioned by a wealthy patron. The expense involved in illuminating this manuscript would have added to the already costly process of producing such large manuscripts on vellum (Blair, 1988, p. 44). The generous spacing of the script suggests that there was little concern for the number of folios required to complete the text. This section, amounting to approximately sixteen chapters of the text, already occupies an impressive 169 folios. One can only imagine its size in its complete form, which would have certainly been an impressive statement of the patron’s wealth.