Relevant bibliographies by topics / Illumination of books and manuscripts, Islamic

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  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Illumination of books and manuscripts, Islamic'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 January 2023

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Journal articles on the topic "Illumination of books and manuscripts, Islamic"

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Jackson, Cailah. "The Illuminations of Mukhlis ibn ʿAbdallah al-Hindi: Identifying Manuscripts from Late Medieval Konya." Muqarnas Online 36, no. 1 (October 2, 2019): 41–60. http://dx.doi.org/10.1163/22118993-00361p03.

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Abstract The arts of the book of late medieval Rum (Anatolia) constitute a rich resource for Islamic art historians that remains relatively unknown in the wider scholarship. This complex period saw the disintegration of Seljuk rule and the partial absorption of the region into the Ilkhanid realm. Konya (present-day central Turkey), the former Seljuk capital, was hardly isolated from its better-known neighbors and was evidently an active center for the patronage of the arts of the book. This article contributes to ongoing discussions concerning late medieval Islamic manuscripts by discussing illuminations that were produced by Mukhlis ibn ʿAbdallah al-Hindi in thirteenth-century Konya. One of the two named illuminators active in the city, Mukhlis extensively decorated two manuscripts, both in 677h (1278): a small Qurʾan and a monumental copy of Jalal al-Din Rumi’s Mas̱navī. Both are the initial focus of the article. Following an analysis of these manuscripts, the article presents additional material as possible products of Mukhlis’s hand or of Konya generally, demonstrating both the relative visual distinctiveness of Konya illumination and the need to potentially re-examine works previously attributed to Egypt or Persia.
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Syukrie, Abdul Hakim. "Perkembangan Kaligrafi dan Urgensinya bagi Khazanah Mushaf." Jurnal Lektur Keagamaan 19, no. 1 (July 2, 2021): 69–102. http://dx.doi.org/10.31291/jlka.v19i1.911.

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Arabic script existed before the arrival of Islam, but it's just growing fast since the decline of the Al-Qur'an (Islam). It becomes an inseparable part of the Al-Qur'an and an important part of the mushaf history. Calligraphy has become the art of Islamic art not only because of its beauty, abstract, dynamic, modular structure, and combinative but because it makes Al-Qur'an as an object of creation. This article is a review of a book Khaṭ al-Muṣḥaf al-Syarīf wa Taṭawwuruhu fi al-'Ālam al-Islāmī by Abdul Aziz Hamid Saleh. He studied the development of Qur’anic calligraphy based on Islamic cultural areas: Hijāz, Syām, Iraq, Egypt, Spain, India, Far East, and South East Asia. The steps to reviewing this book are summarizing and analyzing. This book elaborates the science of calligraphy with history of Qur’anic manuscripts in the Islamic world. This paper emphasizes that calligraphy has characteristics that represent the place and the time it was developed. Based on the khat used, a Qur’anic manuscript can be revealed from which region and era it was copied. Therefore, calligraphy is an alternative method for studying the history of Qur’anic manuscripts apart from studying the colophon, types of paper, illumination and radiocarbon dating. Keywords: Islamic calligraphy, Islamic art, Qur’anic manuscript. Tulisan Arab sudah ada sebelum kedatangan Islam. Ia baru berkembang pesat setelah turunnya Al-Qur’an (Islam). Ia menjadi bagian tidak terpisahkan dari Al-Qur’an dan bagian penting dari sejarah mushaf. Kaligrafi menjadi seninya seni Islam bukan saja karena keindahannya, sifat abstrak, dinamis, struktur modular, dan kombinatif tetapi utamanya karena menjadikan Al-Qur’an sebagai objek kreasi. Artikel ini merupakan ulasan atas buku Khat al-Muṣḥaf al-Syarīf wa Taṭawwuruhu fi al-‘Ālam al-Islāmī karya Abdul Aziz Hamid Saleh. Ia mengulas sejarah perkembangan kaligrafi mushaf berbasis wilayah kebudayaan Islam: Hijaz, Syam, Iraq, Mesir, Andalus, India, dan Asia Jauh. Langkah yang dilakukan dalam mengkaji buku ini, yaitu mengikhtisarnya kemudian menelaahnya. Buku ini mengelaborasi ilmu kaligrafi dengan kajian sejarah mushaf al-Qur’an di dunia Islam. Tulisan ini menggaris bawahi sebuah mushaf Al-Qur’an dapat diungkap sejarahnya berdasar khat yang digunakan. Oleh sebab, itu Kaligrafi menjadi metode alternatif untuk menelaah sejarah mushaf Al-Qur’an selain melalui telaah kolofon, jenis kertas, ragam hias, dan uji karbon. Kata Kunci: Kaligrafi Islam, Mushaf Al-Qur’an, Seni Islam.
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Bongianino, Umberto. "A Rediscovered Almoravid Qurʾān in the Bavarian State Library, Munich (Cod. arab. 4)." Journal of Islamic Manuscripts 11, no. 3 (October 29, 2020): 263–91. http://dx.doi.org/10.1163/1878464x-01103001.

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Abstract This article examines and contextualizes a small Quranic manuscript, copied in al-Andalus in 533/1138–1139, whose importance has so far gone unrecognized. Among its many interesting features are: its early date; its lavish illumination; its colophon and the information contained therein; its system of notation and textual division; its use of different calligraphic styles, including Maghribī thuluth; and a series of didactic notes written at the beginning and end of the codex. Presented in the appendix is an updated list of the extant Qurʾāns in Maghribī scripts dated to before 600/1203–1204, aimed at encouraging the digitization, publication, and comparative study of this still largely uncharted material. The advancement of scholarship on the arts of the book, the transmission of the Qurʾān, and the consumption of Quranic manuscripts in the Islamic West depends upon the analysis of these and many other surviving codices and fragments, related to Cod. arab. 4 of the Bavarian State Library and its context of production.
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Stanford, Charlotte A. "Beyond Words: New Research on Manuscripts in Boston Collections, ed. Jeffrey F. Hamburger, Lisa Fagin Davis, Anne-Marie Eze, Nancy Netzer, and William P. Stoneman. Text, Image, Context: Studies in Medieval Manuscript Illumination, 8. Toronto: Pontifical Institute of Mediaeval Studies, 2021, 361 pp, 291 col. Ill." Mediaevistik 34, no. 1 (January 1, 2021): 274–76. http://dx.doi.org/10.3726/med.2021.01.20.

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This study stems from an exhibition/ conference of the same name, “Beyond Words,” presented in Boston in 2006; however, it goes well beyond the bounds of a conventional exhibition catalog, which was produced at the time to accompany the objects on display. The volume produced here expands these initial parameters to consider additional questions about the manuscripts held in these Boston collections, notably Houghton Library at Harvard University, McMullen Museum of Art at Boston College, and the Isabella Stewart Gardner Museum of Boston. The book is divided into four major sections, devoted respectively to monastic manuscripts (3 essays), courtly culture and patronage (5 essays), princes, patricians, prelates and pontiffs (4 essays), and illuminating history (3 essays) with a coda on manuscripts in the modern era provided by the final essay. As the editors remark in their introduction, the emphasis is Christian and central European; this is due in part to the collection parameters themselves (the above institutions have no Ethiopian or Hebrew manuscripts, for example) and in part by limitations of time and focus (there are a number of Islamic manuscripts in the Boston collections which have not been included here but would be well worth exploring in a separate study of their own). The richness and depth of the sixteen essays here offer insights into many aspects of the late medieval world. The chapter by Patricia Stirnemann on Gilbert de la Porrée traces book collection of the works of a single, theologically problematic author, and offers a valuable case study on the transmission of writings by a scholar charged (though exonerated) with heresy. Brigitte Miriam Bedos-Rezak demonstrates how the charters of the abbey of Sawley preserved in the Houghton library allow us to consider the “medial role” of document writing, and how this practice assisted an English Cistercian monastery to shape its own representation with its neighbors by crafting records of land ownership disputes. Kathryn M. Rudy examines manuscript workshops among nuns in Delft in the fifteenth century, providing a vivid model of book production practices in these devotional contexts.
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Déroche, François. "Le prince et la nourrice." Journal of Qur'anic Studies 19, no. 3 (October 2017): 18–33. http://dx.doi.org/10.3366/jqs.2017.0300.

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Le manuscrit du Coran dit « de la Nourrice » est l'un des plus célèbres de la collection de Kairouan, maintenant conservée au Musée des arts islamiques de Raqqada. Son origine est exceptionnellement bien connue grâce à un texte qui équivaut à un colophon et donne la date d'achèvement en ramadan 410/janvier 1020—ou légèrement plus tôt. Les dimensions remarquables de cette copie (environ 445x300 mm), sa calligraphie spectaculaire et son enluminure frappent l'imagination. Près de 2000 feuillets ont été préservés et une étude détaillée sera nécessaire pour comprendre cet important épisode de la calligraphie et de l'art du livre dans l'Ifriqiya ziride. Le présent article représente une première étape dans cette direction et montre que différents copistes et/ou enlumineurs ont été impliqués dans la réalisation de cet exemplaire en soixante volumes. Il tente de replacer ce superbe manuscrit dans le contexte de son époque. [The so-called ‘Qur'an of the Nurse’ is one of the most famous manuscripts from the Qayrawān collection, now in the Museum of Islamic arts in Raqqada. Its provenance is exceptionally well documented, with the equivalent of a colophon giving the date of completion in Ramaḍān 410/January 1020 or slightly before. The outstanding size of the copy (c. 445x300 mm), and its dramatic calligraphy and illumination capture the imagination. About 2,000 folios have survived and a full study of the manuscript is required in order to understand this important episode of calligraphy and art of the book in Zirid Ifriqiyya. The present paper is a first step towards this goal and shows that various copyists and/or illuminators have been involved in the production of the sixty-volume set. It tries to put this magnificent manuscript into the context of this period.]
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Dobronravin, Nikolai. "Design Elements and Illuminations in Nigerian “Market Literature” in Arabic and ʿAjamī." Islamic Africa 8, no. 1-2 (October 17, 2017): 43–69. http://dx.doi.org/10.1163/21540993-00801001.

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“Market literature” in Arabic and ʿAjamī is a particular variety of West African Islamic book culture, which is especially strong in northern Nigerian states. Arabic-script “Nithography” (by analogy to Nollywood, the modern Nigerian film industry) represents a unique phenomenon, although it is reminiscent of the nineteenth-century Islamic lithography in the Middle East. Nigerian “market literature” in Arabic and ʿAjamī has mostly followed the pre-colonial manuscript tradition of Central Sudanic Africa, including writing styles, colophons and glosses. In contrast to Middle Eastern book culture, Nigerian typeset printing largely preceded the era of offset. The innovative elements of offset book design in Nigeria and further perspectives of “Nithography” in Arabic and ʿAjamī are discussed.
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Sahafiasl, Parisa. "The General Features and Status of the Illumination Art in the Great Seljuk Period." Journal of The Near East University Faculty of Theology 7, no. 1 (June 22, 2021): 119–58. http://dx.doi.org/10.32955/neu.ilaf.2021.7.1.04.

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The most important reason for the enrichment of decorative arts (especially illumination art) in Islamic societies in various periods is the prohibition of depiction in Islam. The art of illumination, which was mostly used to decorate the Qur'an in different historical periods of Iran, including the Great Seljuk period, was influenced by the arts of previous periods and became a source of creativity and inspiration for Muslims and sometimes non-Muslim artists in other countries. This research was carried out in order to examine the status and general characteristics of illumination art during the Great Seljuk period. The descriptive-analytical method was used in the research. As a result, during the Great Seljuk period, the Qur'an manuscripts were made of paper instead of leather. The richness of motifs, patterns and colours, the use of various colours and geometric arrangements draw attention to the illuminations of this period. According to the results of this study, the most important illumination examples of the Great Seljuk period were used in the Quran manuscripts. In these manuscripts, it is seen that motifs such as schemes, six and eight-pointed stars and golden circles are used to decorate the headlines (serlevha pages), the heads of the sura, the interlines and zahriye parts. In addition, the illumination samples of the Great Seljuk period positively affected the later periods, especially the Ilkhanid and Memlukid periods, as well as all other arts. Great Seljuk elegant illumination samples with the beauty of their patterns, the order and delicacy of the motifs and the use of colours are masterpieces of Islamic art.
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Syakur, Moh, and Rafdi Dhiya Ulhaq. "Prince Paku Ningrat’s Qur’an Manuscript at the Sumenep Palace in 1793: Its Characteristics and Analysis." Santri: Journal of Pesantren and Fiqh Sosial 3, no. 2 (December 23, 2022): 137–50. http://dx.doi.org/10.35878/santri.v3i2.560.

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This article examines the Qur'anic manuscripts written by Prince Paku Ningrat in 1793 at the Sumenep Palace. Through a philological approach, it aims to know the history and characteristics of the manuscripts. This study found the characteristics of philology in Islamic studies through the characteristics of the Qur'anic manuscripts. There are several patterns that make the Mushaf stand out, such as the illumination on the Mushaf, which is beautiful and full of Madura culture. The use of Rasm script, punctuation, Tajweed and Waqf are characteristics of 18th 18th-century scripts from the post-modern era that are different from modern manuscripts.
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Yahya, Farouk. "Illustrated and Illuminated Manuscripts of the Dalāʾil al-khayrāt from Southeast Asia." Journal of Islamic Manuscripts 12, no. 3-4 (November 11, 2021): 529–81. http://dx.doi.org/10.1163/1878464x-01203012.

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Abstract Illustrated and illuminated manuscripts of the Dalāʾil al-khayrāt from Southeast Asia are an invaluable resource for our understanding of the painting tradition of this region. The many copies now kept in various institutions attest to its popularity, while the lavish treatment often given to manuscripts indicates the high regard local communities had for this text. The types of images featured are similar to those from other parts of the Islamic world, yet these images, as well as the decorative illumination, also reflect local artistic styles. This paper examines a selection of Southeast Asian manuscripts of the Dalāʾil al-khayrāt dating from the eighteenth and nineteenth centuries, situating them both within the broader context of manuscript production and usage, and the pietistic landscape of the region.
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Budi Wanodya, Ajeng Pudyastuti. "MANUSKRIP MUSHAF AL-QUR'AN PONDOK PESANTREN JOGOREKSO MAGELANG." AL ITQAN: Jurnal Studi Al-Qur'an 7, no. 1 (June 20, 2021): 91–136. http://dx.doi.org/10.47454/itqan.v7i1.726.

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This research examines the manuscripts of the Qur'anic mushaf at the Jogorekso Islamic Boarding School in Gunungpring Magelang by focusing on the aspects of codicology and qirā'at. The Mushaf of the Qur'an at the Jogorekso Islamic Boarding School, Gunungpring, Magelang itself is a manuscript that has been passed down from generation to generation. This Qur'anic manuscript is from the 19th century. The manuscript contains the text of the Qur'an from surah al-Fātiḥah to surah al-Nās. The researcher describes the physical manuscripts using a philological approach, namely codicology and textology. The type of paper used is European paper, as evidenced by the visible light, thick lines and thin lines, and watermarks and countermarks. This manuscript has plant-based and geometric illuminations in three parts, namely the beginning, middle and end. Illumination is also found in every surah in the name of a rectangular sura, also in each juz which is located on each right of the mushaf page which is in the form of a circle with various shapes that tend to be inconsistent. In addition, there are also verse symbols, punctuation marks, recitation signs, and ruk'. The study of qirā'at applied in surah al-Kahf found differences in qirā'at in fifty-five verses and the manuscripts of the Qur'anic manuscripts at the Jogorekso Islamic Boarding School in Gunungpring Magelang have various qirā'at.
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Dissertations / Theses on the topic "Illumination of books and manuscripts, Islamic"

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Jackson, Cailah. "Patrons and artists at the crossroads : the Islamic arts of the book in the lands of Rūm, 1270s-1370s." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:2d687f25-fb80-4470-b259-72714ba24386.

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This dissertation is the first book-length study to analyse the production and patronage of Islamic illuminated manuscripts in late medieval RÅ«m in their fullest cultural contexts and in relation to the arts of the book of neighbouring regions. Although research concerning the artistic landscapes of late medieval Rūm has made significant progress in recent years, the development of the arts of the book and the nature of their patronage and production has yet to be fully addressed. The topic also remains relatively neglected in the wider field of Islamic art history. This thesis considers the arts of the book and the part they played in artistic life within contemporary scholarly frameworks that emphasise inclusivity, diversity and fluidity. Such frameworks acknowledge the period's ethnic and religious pluralism, the extent of cross-cultural exchange, the region's complex political situation after the breakdown in Seljuk rule, and the itinerancy of scholars, Sufis and craftsmen. Analyses are based on the codicological examination of sixteen illuminated Persian and Arabic manuscripts, none of which have been published in depth. In order to appropriately assess the material and to partially redress scholarly emphases on the constituent arts of the book (calligraphy, illumination, illustration and binding), the manuscripts are considered as whole objects. The manuscripts' ample inscriptions also help to form a clearer picture of contemporary artistic life. Evidence from further illuminated and non-illuminated manuscripts and other textual and material primary sources is also examined. Based on this evidence, this dissertation demonstrates that Rūm's towns had active cultural scenes despite the frequent outbreak of hostilities and the absence of an effective centralised government. The lavishness of some manuscripts from this period also challenges the often-assumed connection between dynastic patronage and sophisticated artistic production. Furthermore, the identities and affiliations of those involved in the production and patronage of illuminated manuscripts reinforces the impression of an ethnically and religiously diverse environment and highlights the role that local amīrs and Sufi dervishes in particular had in the creation of such material.
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Rodrigues, Ubirajara Alencar 1966. "O colar perdido da caligrafia." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251132.

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Orientador: Milton Jose de Almeida
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2019-01-04T15:20:10Z (GMT). No. of bitstreams: 1 Rodrigues_UbirajaraAlencar_D.pdf: 41150719 bytes, checksum: dd62e343c9b0c326b696000c59b681f4 (MD5) Previous issue date: 2011
Resumo: Este é um estudo e uma pesquisa sobre imagens em literatura, cinema, letras e textos em manuscritos e miniaturas árabes e persas. O estudo passa pela novela O colar da pomba, de Ibn Hazm, andaluz do século XI, e suas aparições nem sempre claras no filme de Nacer Khemir, O colar perdido da pomba. O estudo aqui apresentado está relacionado ao meu estudo central sobre as letras e a caligrafia árabes, e sobre o modelo de biblioteca árabe medieval, nos séculos 8 e 9, o Bayt ak-Hikma, A casa da sabedoria, como designavam os persas, e depois os árabes.
Abstract: This is a study and a research of images in literature, film, letters and texts in Arabic and Persian manuscripts and miniatures. The study permeates the novel The Ring of the Dove by the Andalusian Ibn Hazm, written about the eleventh century, and how it implicity appears in Nacer Khemir's film, The Dove Lost Necklace. The study presented here relates to my study on the letters and Arabic calligraphy, and a model of medieval Arabic library of the 8th/9th, the Bayt al-Hikma, the House of Wisdom, as denominate by the Persian and the Arabs.
Doutorado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Mihan, Shiva. "Timurid manuscript production : the scholarship and aesthetics of Prince Bāysunghur’s Royal Atelier (1420-1435)." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277827.

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Considered one of the pinnacles of the arts of the book in the entire history of Persian art, the life of the Timurid prince, Bāysunghur (1397-1433) and his royal library-atelier have been studied for more than a century. Yet previous scholarship, although solid on it own terms, has not combined study of the entirety of production with sustained analysis of individual productions of Bāysunghur’s atelier. Prior to this study, a number of manuscripts were completely neglected, and several others were studied only briefly. What is more, the single extant document describing procedures and progress in the atelier, although well known, demanded further clarification on various levels. This dissertation discusses in six chapters the operation and productions of the library with particular attention paid to its highlight, Bāysunghur’s famous Shāhnāma. After an introduction to the field and an overview of previous studies, I turn to the report of the head of the atelier, clarifying some technical terms and establishing the date of the report. Secondly, the corpus of Bāysunghurī productions is examined chronologically and in relation to the librarian’s report, with individual manuscripts analysed with regard to their textual and aesthetic traits and their placement in an art historical context. Next, the Shāhnāma of Bāysunghur, which for many years has been inaccessible for close scholarly study, receives extended treatment. The final chapter presents a discussion of the textual and aesthetic content of the corpus and reconsiders the role of the atelier supervisor. The overall aim is to enhance and extend understanding of the arts of the book in a unique royal library, that of Prince Bāysunghur.
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Drechsler, Stefan Andreas. "Making manuscripts at Helgafell in the fourteenth century." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=236533.

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This thesis examines a cultural revolution that took place in the Icelandic artistic landscape during the medieval period. Within just one generation (c. 1350–1400), the house of canons regular of Helgafell rose to become the most important centre of illuminated manuscript production in western Iceland. This study delivers a comprehensive and critical multidisciplinary study that combines methodologies and sources from the fields of Art History, Old Norse-Icelandic Manuscript Studies and Medieval Nordic History. It maps important changes in the art historical market, as well as major movements of ideas between three distinct manuscript cultures: from Helgafell in Iceland, Norwich and surrounding East Anglia in England, and the region between Bergen and Trondheim in Western Norway. By conducting cross-disciplinary research, the philological and historical data, combined with a sound social network analysis methodology, this study presents a comprehensive approach that respects both the historical setting of the illuminated manuscript production and the products themselves. It thereby contributes to a new and multidisciplinary area of research that studies not only one but several western European cultures in relation to similar domestic artistic monuments and relevant historical evidence. By using the interdisciplinary approach outlined above, it offers a detailed perspective of one cultural site – Helgafell – in particular in regard to its artistic connections to other ecclesiastical and secular scriptoria in the broader North Atlantic region.
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Hunt, Elizabeth Moore. "Illuminating the borders of northern French and Flemish manuscripts, ca. 1270-1310 /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3137712.

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Poole, Kevin Ray. "Visualizing apocalypse image and narration in the tenth-century Gerona Beatus Commentary on the apocalypse /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1153502367.

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Sheppard, Jennifer M. "The Giffard Bible Bodleian Library MS Laud misc. 752 /." New York : Garland Pub, 1986. http://catalog.hathitrust.org/api/volumes/oclc/11970124.html.

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Magruder, James A. "The Sinope gospels an illuminated gospel book as anti-Chalcedonian polemic /." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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Gil, Marc. "Du Maître du Mansel au Maître de Rambures le milieu des peintres et des enlumineurs de Picardie, ca. 1400-1480 /." Lille : A.N.R.T., Université de Lille III, 2000. http://bibpurl.oclc.org/web/30345.

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Baker, Donna Tsuruda. "The artistic and sociological imagery of the merchant-banker on the book covers of the Biccherna in Siena in the early Renaissance /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6244.

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Books on the topic "Illumination of books and manuscripts, Islamic"

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Crofton, Black, Saidi Nabil, and Sam Fogg Rare Books & Manuscripts (Firm)., eds. Islamic manuscripts. London: Sam Fogg Rare Books and Manuscripts, 2003.

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Sam Fogg Rare Books & Manuscripts (Firm). Islamic manuscripts. London: Sam Fogg Rare Books and Manuscripts, 2000.

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Türk tezhip sanatı =: Turkish art of illumination. İstanbul: Gözen, 2003.

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Pratapaditya, Pal, Thackston W. M. 1944-, Voelkle William M, and Pierpont Library, eds. Islamic and Indian manuscripts and paintings in the Pierpont Morgan Library. New York: Pierpont Morgan Library, 1997.

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Lings, Martin. The Quranic art of calligraphy and illumination. New York: Interlink Books, 1987.

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İnal, Güner. Türk minyatür sanatı: Başlangıcından Osmanlılara kadar. Ankara: Atatürk Kültür Merkezi, 1995.

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Storck, Gerhard. Islamic art and manuscripts: Tuesday 13 October 1998. London: Christie's, 1998.

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Grabar, Oleg. Masterpieces of Islamic art: The decorated page from the 8th to the 17th century. Munich: Prestel, 2009.

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Grabar, Oleg. Masterpieces of Islamic art: The decorated page from the 8th to the 17th century. Munich: Prestel, 2009.

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Will, Kwiatkowski, and Museum für Islamische Kunst (Berlin, Germany), eds. Ink and gold: Islamic calligraphy. London: Published for Sam Fogg by Paul Holberton, 2006.

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Book chapters on the topic "Illumination of books and manuscripts, Islamic"

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Gori, Alessandro. "Between Manuscripts and Books: Islamic Printing in Ethiopia." In The Book in Africa, 65–82. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137401625_4.

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Jackson, Cailah. "Saūtıū ibn Hḥ asan: A Mevlevi Patron of Erzincan." In Islamic Manuscripts of Late Medieval Rum, 1270s-1370s, 169–225. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474451482.003.0005.

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The fourth and final chapter focuses on the patronage of one individual, who emerges from surviving material as the most prolific manuscript patron of late medieval Rum. The three manuscripts discussed in this chapter were commissioned by Sharaf al-Din Sati ibn Hasan, an amir, history writer and Mevlevi devotee. The key manuscripts are a copy of the Masnavi of Sultan Walad from 1366, a two-volume Divan-i Kabir from 1368 and a 1372 copy of the Masnavi, both by Jalal al-Din Rumi. Several manuscripts belonging to Sati’s son, Mustanjid, are also considered. Although a production centre is not named in the manuscripts, the patron and his family were based in Erzincan. This chapter outlines and contextualises the political and cultural activities of Sati and Mustanjid and considers where the manuscripts may have been produced. Moreover, the distinctiveness of the manuscripts’ illumination, and the patron’s connection to the Jalayirids, generates a discussion concerning the relationship between the arts of the books of Rum and the Mongol successor states.
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Atbaş, Zeynep. "Türk ve İslam Eserleri Müzesi." In Cengiz Han ve Mirası, 339–36. Turkish Academy of Science, 2021. http://dx.doi.org/10.53478/tuba.2021.036.

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"Ottoman sultans showed a great interest in books; on the one hand, they had their palace workshops prepare manuscripts ornamented with unique illustrations and illuminations; on the other hand, they collected books created in other locations of the Islamic world through various means, such as, gifting, looting, and purchasing. The subject of this article involves the artistic manuscripts from the Ilkhanid era that entered the Topkapı Palace Treasury. Most manuscripts in the Topkapı Palace Library consist of copies and sections (juz’) of the Koran. With their illumination and binding, these large-format books designed by the skillful illuminators and bookbinders of the Ilkhanid era are early fourteenth-century masterpieces of Islamic art of the book. Among these are Koran sections prepared for the famous Ilkhanid ruler, Sultan Uljaytu Khodabanda, and the renowned vizier, Rashid al-Din. Some examples were written by the most illustrious Islamic calligraphers, Yaqut al-Musta’simi and Arghun Kamili, illuminated by the famous artist of the era who worked in Baghdad, Muhammad b. Aybak b. Abdallah, and bound by bookbinder Abd al-Rahman. The Ilkhanid era was also a time when fascinating and important manuscripts were prepared in terms of book illustration. Two of the three Mongol-era manuscripts in the Topkapı Palace collection are copies of the Jami’at-Tawarikh—a general history of the world prepared by a commission led by the vizier Rashid al-Din under the order of the Ilkhanid ruler Ghazan Khan— while the third is a copy of the Garshaspnama. In addition, some paintings that appear in one of the palace albums belong to a volume of the Jami’at-Tawarikh on the history of Mongol khans, which has not survived. The significant and unique paintings of the Ilkhanid era are the Miʿrajnama paintings made by Ahmed Musa featured in the album prepared for Bahram Mirza, the brother of the Safavid sultan, Shah Tahmasp. The preface of the album written by Dust Muhammad refers to the famous painter Ahmed Musa, who lived in the era of the Ilkhanid ruler Abu Said, to have “removed the veil from the face of painting and invented the painting that was popular in that era.” In addition, the author states that he illustrated a Miʿrajnama. However, only the eight album pages with miʿraj images have survived this work. Through their bindings, illuminations, calligraphy, and illustrations, Ilkhanid era manuscripts from the Topkapı Palace constitute a vital collection that demonstrates the advanced level reached by the arts of the book during this era. "
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"CHAPTER FIVE Beyond Books: Quranic Manuscripts and Chancery Documents." In The Manuscript Tradition of the Islamic West, 277–356. Edinburgh University Press, 2022. http://dx.doi.org/10.1515/9781474499606-011.

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Harris, Neil. "Costs We Don’t Think About: Rubrication and Illumination." In Printing R-Evolution and Society 1450-1500. Venice: Edizioni Ca' Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-332-8/018.

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Rubrication, or the hand-finishing of manuscripts and (very) early printed books, falls between several areas of competence; however, it often tells us important things about the book and its early history; it also had a cost, and in description it is important to distinguish between ‘professional’ and ‘amateur’ rubrication. A copy of a Venetian incunable printed in 1474 in the collections of the Boston Public Library has on its final leaf a contemporary rubricator’s note, with the summary of the costs of illumination and rubrication. The edition concerned was maybe sold through the Zornale of Francesco de Madiis, the ledger of a Venetian bookseller, which records the sales of some 25,000 books between 1484 and 1488. These sales, however, mostly concerned books sold as unbound sheets, though occasionally bound copies are recorded with a consequent increase in price. Discovering the expense of rubrication and illumination, albeit in this one instance, makes it possible to understand better the real cost of purchasing a 15th-century book.
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El Shamsy, Ahmed. "Postclassical Book Culture." In Rediscovering the Islamic Classics, 31–62. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691174563.003.0003.

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This chapter concerns the postclassical book culture. At the beginning of the nineteenth century, the continuing loss of manuscripts to Europe and the dire state of endowed libraries in the Arabic-speaking world meant that the full breadth of the Arabo-Islamic classical heritage was slipping progressively further out of reach of Muslim scholars. The weakening and dissolution of the traditional institutions dedicated to the systematic preservation of books left literary reproduction largely at the mercy of the market: copyists would reproduce books only if there was demand for them. But scholars in this period showed surprisingly little interest in older, classical works. The reason for this lack of interest lay in a scholarly culture that rested on the twin pillars of textual scholasticism and epistemological esotericism.
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"New Light on the Translation of the Qurʾān of Ludovico Marracci from His Manuscripts Recently Discovered at the Order of the Mother of God in Rome." In Books and Written Culture of the Islamic World, 91–130. BRILL, 2015. http://dx.doi.org/10.1163/9789004283756_008.

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Riedel, Dagmar. "Of Making Many Copies There is No End: The Digitization of Manuscripts and Printed Books in Arabic Script." In The Digital Humanities and Islamic & Middle East Studies, edited by Elias Muhanna. Berlin, Boston: De Gruyter, 2016. http://dx.doi.org/10.1515/9783110376517-004.

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"La Biblioteca pubblica veneziana e gli incunaboli miniati." In Printing R-Evolution and Society 1450-1500. Venice: Edizioni Ca' Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-332-8/029.

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Venice was central to the production of printed books in the 15th-century and illumination continued to be applied to this new type of books, beyond the age of the manuscript. However, the illuminated incunabula preserved today in the Library of the Serenissima do not represent a noticeable percentage of the production of value. As is known, very few specimens printed on parchment or with miniatures entered the Marciana collections. Yet, the activity of the press was favoured by Bessarion, who included his remarkable Roman incunabula among his legacy to San Marco. The Roman incunabula of the Bessarion collection, published between 1468 and 1472, have characteristics that are entirely similar to the manuscripts he had commissioned in the last years of his life. The incunabula that entered the library in the later centuries, chiefly following the suppressions of the eighteenth and nineteenth centuries, are the result of different priorities.
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Abdeljaouad, Mahdi, and Pierre Ageron. "Sulaymân al-Harâ’irî (1824-1877): his attempts to reconcile the Islamic civilization with modern science and mathematics education." In “DIG WHERE YOU STAND” 6. Proceedings of the Sixth International Conference on the History of Mathematics Education, 177–91. WTM-Verlag Münster, 2020. http://dx.doi.org/10.37626/ga9783959871686.0.14.

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Who was Sulaymân al-Harâ’irî? Little is known about this enigmatic and controversial scholar. Born in Tunis in 1824, he settled in Paris in 1856 and died there in 1877. His unpublished manuscripts contain many translations into Arabic of French books, several of which are pertinent to mathematics. He translated arithmetic textbooks by Hippolyte Vernier, a surveying textbook by G. Frédéric Olivier and La Lande’s survey on uses of logarithms. He also drew up the plan for a comprehensive treatise on practical geometry, thus apparently laying the foundation for a Euro-Islamic hybrid mathematical knowledge. Keywords: Tunisia, Arabic language, translation, hybridization, arithmetic, logarithms, practical geometry
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Conference papers on the topic "Illumination of books and manuscripts, Islamic"

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Mohaghghegh, Mehdi. "Islamic philosophical manuscripts." In The Significance of Islamic Manuscripts. Al-Furqān Islamic Heritage Foundation, 1992. http://dx.doi.org/10.56656/100130.11.

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It was the translation movement in Islamic civilization which made the works of Greek scholars available to the Muslims.[i] But not only did translators put the various works of Aristotle, Plato, Galen, and other philosophers into Arabic; the works of the Greek philosophers were also classified and catalogued, in which context mention should be made of two works by Abū Naṣr al-Fārābī, in one of which he presented the works of Plato, and in the other the works of Aristotle.[ii] Ḥunayn b. Isḥāq in his letter to ʿAli b. Yaḥyā mentioned individually 129 books that his co-workers had translated with him, and he gives a detailed description of how he obtained the manuscripts and how he compared the manuscripts with each other in order to arrive at correct and complete texts.
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Khalidov, Anas B. "Collections of Islamic manuscripts in the former Soviet Union and their cataloguing." In The Significance of Islamic Manuscripts. Al-Furqān Islamic Heritage Foundation, 1992. http://dx.doi.org/10.56656/100130.04.

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Vast regions of the former Soviet Union have had a long Islamic past, in which a rich, diverse literature has played its part thousands of texts have been repeatedly copied. The earliest inscriptions and documents in Arabic to appear in Central Asia and the Southern Caucasus date from the beginning of the second/eighth centuries, and it was not much later that the first books were written. From the 160s/760s, Samarkand became a centre for paper production and supplied it to the whole Islamic world for almost two hundred years.
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Al-Babīb Al-Hīlah, Muhammad. "Classification of Andalusian and Maghribi books of Nawazl from the Middle of the fifth to the end of the Ninth century AH." In The Significance of Islamic Manuscripts. Al-Furqān Islamic Heritage Foundation, 1992. http://dx.doi.org/10.56656/100130.07.

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While the chief concern of Muslim jurists (fuqahā’) has always been to establish principles for dealing with every event necessitating the administration of justice in society within the circumstances of the age, they perform at the same time a number of other functions.
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Afshār, Īraj. "Persian manuscripts with special reference to Iran." In The Significance of Islamic Manuscripts. Al-Furqān Islamic Heritage Foundation, 1992. http://dx.doi.org/10.56656/100130.03.

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Before considering the work being done on Persian manuscripts and the places where they are kept, attention should first be focused upon two related topics. First, the place where the manuscripts were written. By looking at colophons where the place of origin is indicated, and in some cases, by assessing the style of the calligraphy, we discover that over a period of six or seven centuries, Persian manuscripts were written in all the lands where people either spoke Persian or were familiar With Persian literature. There are numerous Persian manuscripts which have been written in Arabic- speaking lands such as Syria, Iraq, and Egypt, and the European dominions of the Ottoman Empire, a number of which still remain in these countries. Moreover, the existence of Persian manuscripts in public libraries and private collections in India, Pakistan, and Turkey is an indication of the prevalence of the Persian language at the courts and at literary gatherings in those lands. The style of the calligraphy and illumination of these manuscripts was specific to these various regions, and one can distinguish them at a glance.
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Mohd Din, Nurul Huda, Mumtaz Mokhtar, Wan Samiati Andriana Wan Muhammad Daud, Syafril Amir Muhammad, and Nabilah Mudzafar. "The Conceptual Framework of Islamic Art in the Establishing Style of Art Illumination in Malay Manuscripts." In Proceedings of the 2nd International Conference on Design Industries & Creative Culture, DESIGN DECODED 2021, 24-25 August 2021, Kedah, Malaysia. EAI, 2022. http://dx.doi.org/10.4108/eai.24-8-2021.2315170.

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