Page from a Quran with maghribi calligraphy (Marinid dynasty, 13th or 14th century)

impossiblegeometry: u-n-d-o-m-i-e-l: sarahelmy: hindaothman: delucazade: Page from a Qur’an with maghribi calligraphy (Marinid dynasty, or century). (via touba)

A rare and finely decorated Qur’an leaf in eastern Kufic script, Persia or Central Asia, circa 1075-1125 AD

A rare and finely decorated Qur’an leaf in eastern Kufic script, Persia or Central Asia, circa AD

Surat 113 Al-Falaq (The Dawn), on right, & 114 An-Nas (Humankind) at left. Falaq: "Say I seek refuge with the Lord of the Dawn, from the mischief of created things; from the mischief of Darkness as it overspreads; from the mischief of those who practice Secret Arts; and from the mischief of the envious one as he practices envy." It is a reminder not to live in a way that  invites envy. . .of our neighbors & friends.. . or anyone. It is simply unkind. Malay/Javanese 19th century. (A Shabbas)

Surat 113 Al-Falaq (The Dawn), on right, & 114 An-Nas (Humankind) at left. Falaq: "Say I seek refuge with the Lord of the Dawn, from the mischief of created things; from the mischief of Darkness as it overspreads; from the mischief of those who practice Secret Arts; and from the mischief of the envious one as he practices envy." It is a reminder not to live in a way that invites envy. . .of our neighbors & friends.. . or anyone. It is simply unkind. Malay/Javanese 19th century. (A Shabbas)

Two Qur'an leaves in Maghribi script, North Africa, circa 14th century AD

Surat 39 Zumar (The Crowds) v. 28 to beginning "a recital in Arabic, free from distortion, that they may be aware. God has set forth a parable." (T Cleary trans) Maghribi script, North Africa, circa century AD. (A Shabbas)

Surat 35 Fatir (Originator of Creation) aka Malaika (The Angels), "Praise to God, who created (out of nothing) the heavens and the earth, who made the angels, messengers with wings. . ." Theme: the mystery of Creation and its maintenance by Angels.  Above: Surat 34 Saba (Sheba) includes the story of Solomon, the Jinns, and the worm . . .the worm who gnawed Solomon's staff and thereby taught the Jinn to believe in the unseen. Egypt 1300s AD. (Audrey Shabbas)

Muhaqqaq and thuluth scripts. Courtesy of the Freer Gallery of Art, Smithsonian Institution.

Last 2 leaves were destroyed . So, the calligrapher name is lost. The script of Maghrebi style (North African ). This 1 leaf with 2 pages represents verses from Sura Al - Qamar (The Moon ). The text represents a beautiful example of Arabic Calligraphy with North African style. | eBay!

Last 2 leaves were destroyed . So, the calligrapher name is lost. The script of Maghrebi style (North African ). This 1 leaf with 2 pages represents verses from Sura Al - Qamar (The Moon ). The text represents a beautiful example of Arabic Calligraphy with North African style. | eBay!

Surat 34 / 35: Features of the spiritual world represented in these two suras: Surat 34 Saba (Sheba) right & left assures us that no Good or Truth is ever lost; Falsehood has no power. Surat 35 (with heading on left) Fatir (Creator) deals with mystery of Creation & its maintenance by various forces, typified by wings of Angels. "Who made the angels messengers with wings - two, three or four pairs." (Yusuf Ali commentary). Abbasid Baghdad, 900s AD, 12x16cm. (Audrey Shabbas)

How the history of calligraphic Qu’rans reveals the development of geometry

Surat 80 Abasa (He Frowned). Early Meccan sura: Prophet "frowns/shows impatience" at blind & unkempt man who asks a question. Prophet is immediately hit with Revelation admonishing him. That he quickly shares this revelation with his audience, reflects Prophet's sincerity in Revelation given him to reprove him for some natural/human zeal that led him to a false step. He immediately asks the man's forgiveness & from then on held this man in high honor. This Qur'an: Egypt, 1300s. (Audrey…

The Freer Gallery of Art and the Arthur M. Sackler Gallery are the Smithsonian's museums of Asian art.

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Leaf from Century Quran in Maghribi. - Islamic Art and Quotes

المقتنيات في متحف الفن الإسلامي  مجلد من القرآن الجزء 30 المغرب أو تونس بين القرنين الثاني عشر والثالث عشر الميلاديين ورق MS.11  نص هذا المخطوط مكتوب بالحبر البني الداكن، أما علامات تشكيله فهي باللون الأزرق والأحمر والذهبي. تم تمييز لفظ الجلالة باللون الذهبي، وكذلك أسماء السور التي تم تظليل حدودها باللون الأحمر. وتسترسل انحناءات الخط المغربي الكبيرة على صفحاته لتوحي بنوع من الطلاقة الموجودة على ظهرها وكأنها ظلال الحروف. والجدير بالذكر أن فن الخط لم يكن يتقيد بقواعد صارمة في غرب العالم…

المقتنيات في متحف الفن الإسلامي مجلد من القرآن الجزء 30 المغرب أو تونس بين القرنين الثاني عشر والثالث عشر الميلاديين ورق MS.11 نص هذا المخطوط مكتوب بالحبر البني الداكن، أما علامات تشكيله فهي باللون الأزرق والأحمر والذهبي. تم تمييز لفظ الجلالة باللون الذهبي، وكذلك أسماء السور التي تم تظليل حدودها باللون الأحمر. وتسترسل انحناءات الخط المغربي الكبيرة على صفحاته لتوحي بنوع من الطلاقة الموجودة على ظهرها وكأنها ظلال الحروف. والجدير بالذكر أن فن الخط لم يكن يتقيد بقواعد صارمة في غرب العالم…

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