Folio in a Qur’an, sura 114:4-6
Folio within a bound Qur’an; recto: right-hand half of a double-page finispiece; Sura al-Nas (the Mankind), sura 114: part of verse 4-6, recto begins with: -was al-khanas, prayers, colophon, Arabic in black naskh script, vocalized in black, 3 illuminated unwans with Arabic headings in white naskh script, roundel verse markers, marginal medallion containing the word for “ashr”; verso: pious tracts and prayers in praise of the Qur’an, verso begins with: hadha du’a khatumu, Arabic in white muhaqqaq script, vocalized in white; one of a group of 5 bound folios (F1932.66-70) from the manuscript (F1932.65); accessioned separately.
Border: The recto is set in gold, red, and blue rulings on cream-colored paper with a marginal medallion; the verso is set in gold and lapis illuminated border on cream-colored paper.
- Provenance
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To 1932
Hagop Kevorkian (1872-1962), New York to 1932 [1]From 1932
Freer Gallery of Art, purchased from Hagop Kevorkian, New York in 1932 [2]Notes:
[1] Object file, undated folder sheet note.
[2] See note 1. See also Freer Gallery of Art Purchase List file, Collections Management Office.
- Previous Owner(s) and Custodian(s)
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Hagop Kevorkian 1872-1962
- Description
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Folio within a bound Qur'an; recto: right-hand half of a double-page finispiece; Sura al-Nas (the Mankind), sura 114: part of verse 4-6, recto begins with: -was al-khanas, prayers, colophon, Arabic in black naskh script, vocalized in black, 3 illuminated unwans with Arabic headings in white naskh script, roundel verse markers, marginal medallion containing the word for "ashr"; verso: pious tracts and prayers in praise of the Qur'an, verso begins with: hadha du'a khatumu, Arabic in white muhaqqaq script, vocalized in white; one of a group of 5 bound folios (F1932.66-70) from the manuscript (F1932.65); accessioned separately.
Border: The recto is set in gold, red, and blue rulings on cream-colored paper with a marginal medallion; the verso is set in gold and lapis illuminated border on cream-colored paper.
- Label
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As the Qur'an represents the unadulterated word of God for Muslims, no effort was spared to heighten the text's beauty and splendor. Copied by the most accomplished calligraphers in the finest scripts, Qur'ans were often embellished with intricate, abstract designs in precious pigments made from powdered gold leaf and lapis lazuli. This art form, known as illumination, reached new levels of refinement and sophistication in sixteenth-century Iran. Artists would create lavish patterns to highlight chapter headings, verse endings, as well as the opening and closing pages of the Qur'an. This elaborate double-folio appears at the end of the manuscript and is inscribed with a short prayer (dua) in praise of the Qur'an, which would have been recited after reading the text.
- Collection Area(s)
- Arts of the Islamic World
- Web Resources
- Google Cultural Institute
- SI Usage Statement
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Usage Conditions Apply
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CC0 - Creative Commons (CC0 1.0)
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Usage Conditions Apply
There are restrictions for re-using this image. For more information, visit the Smithsonian's Terms of Use page.
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