Al-Qur'an Al-Karim
Qur'an / Koran
(Istanbul). 23 sha'ban 984 a.h. i.e. Nov 15th, 1576
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A complete 16th-century Ottoman manuscript Qur'an, the elegant production of Hasan ibn 'Abdallah.
This small and unusual Qur'an, very likely intended for the personal use of the calligrapher, Hasan ibn 'Abdallah, epitomises the restrained elegance of the scribal ateliers of contemporary Istanbul and the continuing influence of the master, Sheikh Hamdullah. The lack of an inscription, seal or attribution, in combination with the small format and simplicity of the present work suggest that it was produced by the calligrapher for personal use.
Although no Hasan ibn 'Abdallah is recorded in 'Manaqib-i hunar waran' (Epic Deeds of Artists, the earliest survey of Ottoman calligraphers, painters, illuminators and so on), a Hasan ibn 'Abdallah is known to have illuminated two Qur'ans copied by Sheikh Hamdullah in the early years of the century. While a long period of time separates the Sheikh Hamdallah associated Hasan ibn 'Abdallah and the scribe for the present copy, several distinctive features suggest it is not implausible that this Qur'an is the work of the same individual: an uncommonly large number of cancels feature in the text - all carefully corrected with liquid gold - although the manuscript is by no means slovenly. The earlier Hasan ibn 'Abdallah is known to have been both a diligent editor and an error-prone copyist and the argument that a novice or apprentice would lavish (or be permitted to!) such an amount of gold on his text bears no weight. That the manuscript is the work of an elderly scribe, enacting a very personal virtuous devotion to his religion toward the end of his life, is rather more plausible.
This small and unusual Qur'an, very likely intended for the personal use of the calligrapher, Hasan ibn 'Abdallah, epitomises the restrained elegance of the scribal ateliers of contemporary Istanbul and the continuing influence of the master, Sheikh Hamdullah. The lack of an inscription, seal or attribution, in combination with the small format and simplicity of the present work suggest that it was produced by the calligrapher for personal use.
Although no Hasan ibn 'Abdallah is recorded in 'Manaqib-i hunar waran' (Epic Deeds of Artists, the earliest survey of Ottoman calligraphers, painters, illuminators and so on), a Hasan ibn 'Abdallah is known to have illuminated two Qur'ans copied by Sheikh Hamdullah in the early years of the century. While a long period of time separates the Sheikh Hamdallah associated Hasan ibn 'Abdallah and the scribe for the present copy, several distinctive features suggest it is not implausible that this Qur'an is the work of the same individual: an uncommonly large number of cancels feature in the text - all carefully corrected with liquid gold - although the manuscript is by no means slovenly. The earlier Hasan ibn 'Abdallah is known to have been both a diligent editor and an error-prone copyist and the argument that a novice or apprentice would lavish (or be permitted to!) such an amount of gold on his text bears no weight. That the manuscript is the work of an elderly scribe, enacting a very personal virtuous devotion to his religion toward the end of his life, is rather more plausible.
[2 blank leaves, 323 leaves, 2 blank leaves]. 8vo. (175 x 120 mm). First leaf verso and second leaf recto with 'Bismillah' and opening, seven lines in black ink in naskh script with diacritics in red within triple-framed compartments, gilt foliate decoration against a lapis background above and beneath containing gilt cartouches with sura headings and verse counts in white tawqi', the margins with decorative work in blue, and 323 leaves with manuscript text in black ink in naskh, 13 lines per page within triple rules in gilt, black and blue with catchwords, verse divisions (and corrections) marked with circular gilt motif throughout with sura headings and marginal hizb and juz' divisions in gilt, final leaf verso with gilt flecking and colophon. Manuscript text in Arabic on burnished laid paper throughout with numerous cancels in gilt, occasional marginal and interlinear corrections, occasional additions, some staining and soiling. Contemporary dark chocolate morocco with flap, boards with gilt decorative frame borders to surround elaborate gilt decorative arabesque stamped panels with central arabesque and cornerpieces with floral decoration, red morocco doublures ruled in gilt with central floral vignettes.
#47394
