Relevant bibliographies by topics / Romanesque Illumination of books and manuscripts

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Romanesque Illumination of books and manuscripts'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Romanesque Illumination of books and manuscripts"

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Ralph, Karen. "Performance, Object, and Private Devotion: The Illumination of Thomas Butler’s Books of Hours." Religions 11, no. 1 (December 31, 2019): 20. http://dx.doi.org/10.3390/rel11010020.

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This article considers the major cycles of illumination in two Books of Hours belonging to Thomas Butler, seventh Earl of Ormond (c.1424–1515). The article concludes that the iconography of the two manuscripts reflects the personal and familial piety of the patron and was designed to act as a tool in the practice of devotion.
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Nash, Penelope. "Illuminated manuscripts and incucabula in Cambridge: A catalogue of western book illumination in the Fitzwilliam museum and the Cambridge colleges, part five: Illuminated incunabula, volume one: Books printed in Italy [Book Review]." Journal of the Australian Early Medieval Association 15 (November 1, 2019): 127–29. http://dx.doi.org/10.35253/jaema.2019.1.6.

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Review(s) of: Illuminated manuscripts and incucabula in Cambridge: A catalogue of western book illumination in the Fitzwilliam museum and the Cambridge colleges, part five: Illuminated incunabula, volume one: Books printed in Italy, by Andriolo, Azzura Elena and Reynolds, Suzanne, (London and Turnhout: Harvey Miller, 2017) hardcover, 288 pages, RRP 149 pounds/Euro175; ISBN: 9781909400856.
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Nurfalina, Yuliana, Ahmad Taufiq Hidayat, and Yulfira Riza. "MANUSCRIPT DECORATIONS: ILLUMINATIONS AND ILLUSTRATIONS ON SOME EXISTING MANUSCRIPTS IN KERINCI." Al-Tsaqafa : Jurnal Ilmiah Peradaban Islam 20, no. 2 (December 28, 2023): 142–52. http://dx.doi.org/10.15575/al-tsaqafa.v20i2.27665.

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ABSTRACTThis research is presented to examine the decoration contained in the manuscripts in Kerinci, because it is seen from the problem that in the development of civilization and the tradition of writing manuscripts it is common to change the form of illumination and illustration in manuscripts due to various factors which are the result of human creativity. For the method that the author uses in this research is using a qualitative method with a codicological approach, whose primary source focuses on several Kerinci manuscripts that have been digitized. Then for other sources this research is assisted by references such as books, articles, and other sources related to this study. The result of this paper is knowledge and description of the decoration on the manuscript in the form of illumination and illustration on several manuscripts found in the Kerinci region in the form of manuscript decoration and explanation of the meaning of the contents of the manuscript.Keywords: Decoration, Script, Illumination, Illustration, Kerinci. ABSTRAKPenelitian ini dihadirkan untuk menelisik hiasan yang terdapat pada naskah yang ada di Kerinci, dikarenakan dilihat dari persoalan bahwa dalam perkembangan peradaban dan tradisi penulisan naskah lumrah terjadi perubahan bentuk iluminasi maupun ilustrasi pada naskah karena disebabkan oleh berbagai faktor yang merupakan hasil dari kreativitas manusia. Untuk metode yang penulis gunakan dalam penelitian ini yaitu memakai metode kualitatif dengan pendekatan kodikologi, yang sumber primernya berfokus kepada beberapa naskah-naskah Kerinci yang sudah digitalisasi. Kemudian untuk sumber-sumber lainnya penelitian ini dibantu oleh referensi seperti buku, artikel, dan sumber lainnya yang berkaitan dengan kajian ini. Adapun hasil dari tulisan ini adalah pengetahuan dan deskripsi tentang hiasan pada naskah berupa iluminasi dan ilustrasi pada beberapa naskah yang terdapat di wilayah Kerinci yang berupa hiasan naskah dan penjelasan dari makna isi naskah.Kata Kunci: Hiasan, Naskah, Iluminasi, Ilustrasi, Kerinci.
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Azizah, Faras Puji. "Illumination on the Bamboo Manuscript "Karang Mindu" Collection of Bakhtiar Hanif Kerinci." Journal of Philology and Historical Review 1, no. 1 (June 5, 2023): 17–29. http://dx.doi.org/10.61540/jphr.v1i1.37.

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The Karang Mindu manuscript is one of the ancient manuscripts originating from Kerinci, one of the collections of Bakhtiar Hanif, which we know that these ancient manuscripts are very important to protect, because they are relics of our ancestors that have high historical value. Not only that, from ancient manuscripts we can find out about the culture of the past about the illumination on the bamboo manuscript "Karang Mindu" collection of Bakhtiar Hanif Kerinci. The purpose of this article is to find out about the manuscript. Overall, the method used in this research is to use a qualitative method using a literature study, by collecting the main source from the EAP Library with documentation number EAP 117/63/1/15, besides that the author also collects sources from various previous studies, books, articles, journals, which are related to the research theme. The result of this research is the content of the manuscript text Karang Mindu explains about a poet whose love is unrequited, besides that there are also interesting illuminations such as Pucuk Rebung, and Keluk Paku. The manuscript motive also describes the life of ancient people who always utilized nature for their needs. Therefore, studying the illuminations in the manuscript helps to strengthen and maintain Kerinci's cultural heritage or local wisdom.
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Kitzinger, Beatrice. "Wandalgarius’ Letters of the Law: Figural Initials and Book Culture in the Late Eighth Century." Zeitschrift für Kunstgeschichte 84, no. 3 (September 1, 2021): 291–324. http://dx.doi.org/10.1515/zkg-2021-3001.

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Abstract Long sidelined by art historians, the Wandalgarius Codex is a compendium of legal texts dated to 793 that represents an early venture in a trend associated with the 790s: populating initial letters with lively figures. This article centers the Wandalgarius Codex in discussion of experimental book illumination in the late eighth century. The decade saw re-definition of the visual organization of books, the uses illumination could serve, and the ways manuscripts in many genres reflected and shaped projects of education and reform. The essay sets Wandalgarius’ approach to initials in conversation with the well-known Gellone Sacramentary, and investigates the scribe-draftsman’s characterization of his own work as an ambitious contemporary book-maker.
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Paris-Popa, Andreea. "Breaking the Contract between God and the Visual-Literary Fusion: Illuminated Manuscripts, William Blake and the Graphic Novel." American, British and Canadian Studies 30, no. 1 (June 1, 2018): 133–52. http://dx.doi.org/10.2478/abcsj-2018-0008.

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Abstract This essay follows three different stages of the fusion of images and words in the tradition of the book. More specifically, it tackles the transformation undergone by the initially religious combination of visual figures and scriptural texts, exemplified by medieval illuminated manuscripts into the spiritual, non-dogmatic, illuminated books printed and painted by poet-prophet William Blake in a manner that combines mysticism and literature. Eventually, the analysis reaches the secularized genre of the graphic novel that renounces the metaphysical element embedded in the intertwining of the two media. If ninth-century manuscripts such as the Book of Kells were employed solely for divinely inspired renditions of religious texts, William Blake’s late eighteenthcentury illuminated books moved towards an individual, personal literature conveyed via unique pieces of art that asserted the importance of individuality in the process of creation. The modern rendition of the image-text illumination can be said to take the form of the graphic novel with writers such as Will Eisner and Alan Moore overtly expressing their indebtedness to the above-mentioned tradition by paying homage to William Blake in the pages of their graphic novels. However, the fully printed form of this twentieth-century literary genre, along with its separation from the intrinsic spirituality of the visual-literary fusion in order to meet the demands of a disenchanted era, necessarily reconceptualize the notion of illumination.
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Kelders, Ann. "De Gouden Eeuw van de Bourgondisch-Habsburgse Nederlanden." Queeste 27, no. 1 (January 1, 2020): 63–70. http://dx.doi.org/10.5117/que2020.1.003.keld.

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Abstract The Royal Library of Belgium (kbr) has opened a new permanent museum showcasing the historical core of its collections: the luxurious manuscript library of the dukes of Burgundy. Centred around a late medieval chapel that is part of kbr’s present-day building, the museum introduces visitors to medieval book production, the historical context of the late medieval Low Countries, and the subject matter of the ducal library. The breadth of the dukes’ (and their wives’!) interests is reflected in the manuscripts that have come down to us, ranging from liturgical books over philosophical treatises to courtly literature. The Museum places late medieval book production squarely in its historical and artistic context. Visitors are not only introduced to the urban culture that provided a fruitful meeting place between artists, craftsmen, and patrons, but also to the broader artistic culture of the late Middle Ages. By presenting the manuscripts in dialogue with other forms of art such as panel paintings and sculpture, the exhibition stresses that artists at times moved between various media (e.g. illumination and painting) and were influenced by iconography in other forms of art.
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Clanchy, Michael. "Images of Ladies with Prayer Books: What do they Signify?" Studies in Church History 38 (2004): 106–22. http://dx.doi.org/10.1017/s042420840001576x.

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Monastic illumination of manuscripts gave to writings a force and prestige which was unprecedented. Throughout the millennium of western monasticism (500-1500 A.D.), the rich founded monasteries so that monks might pray and worship on their behalf. The monks displayed the fruit of their labours to their patrons in their churches and other works of art, particularly in their books. When with growing prosperity from about 1250 onwards the demand for individual prayer reached down to the middle class of knights and burgesses, they began to want wonderworking books of their own. They could not afford to buy a chantry chapel or a jewelled reliquary, but a small illuminated manuscript came within their means as the first step towards the purchase of paradise. Ladies in particular took to reciting the Latin Psalter and treasuring illuminated Books of Hours. In fifteenth-century depictions of the Annunciation, Mary is often shown seated in a sunlit bower with an open Book of Hours on her lap or displayed on a lectern. Likewise she is sometimes depicted with the Child Jesus on her knee, showing him a Book of Hours. The habit of possessing books might never have reached the laity if writing had not been so luxurious and so covetable. Illumination introduced the laity to script through images which could not fail to attract the eye. The children of the prosperous were introduced to the Psalter by their mothers or a priest for the purpose both of learning to read and of beginning formal prayer. To own a Psalter was therefore an act of familial as well as public piety.These words were written twenty years ago, for a conference at the Library of Congress in 1980 on ‘Literacy in historical perspective’. Since then, these themes have been addressed in several lectures and research papers at conferences, and I would stand by the main ideas expressed in that passage. Monks had indeed given extraordinary prestige to books and in particular to the illuminated liturgical book, which is a medieval invention. By the thirteenth century such books were being adapted for lay use and ownership, typically in Books of Hours. However, it is mistaken to say that lay use ‘began’ then, as the aristocracy – particularly in Germany – had been familiar with prayer books for centuries. In the twelfth century, Hildegard of Bingen was said to have learned only the Psalter ‘as is the custom of noble girls’. A Psalter for lay use dating from c.1150, which belonged to Clementia von Zähringen, has been preserved. It contains a full-page portrait of a lady – presumably Clementia herself – at folio 6v between the end of the Calendar and the Beatus page beginning the Psalms. This book has 126 folios in its present state (possibly one folio is missing at the end) and it measures 11 cm X 7 cm, no larger than a woman’s hand. The biography of Marianus Scotus, the eleventh-century Irish hermit who settled at Regensburg, describes how he wrote for poor widows and clerics ‘many little books and many Psalter manuals’ (‘multos libellos multaque manualia psalteria’). The diminutive form ‘libellos’ and the adjective ‘manualia’ emphasise that these manuscripts were small enough to hold in the hand, like Clementia von Zähringen’s book.
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Anderson, Emily R. "Printing the Bespoke Book." Nuncius 35, no. 3 (December 14, 2020): 536–60. http://dx.doi.org/10.1163/18253911-03503005.

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Abstract In 1482, Erhard Ratdolt, a prominent German printer in Venice, issued the editio princeps of Euclid’s Elements. Ratdolt experimented with the new technology of printing to overcome the difficulty in arranging geometric diagrams alongside the text. This article examines the materials and techniques that Ratdolt used in his edition of Elements including his use of vellum, gold printing, and illumination for special copies as well as his use of woodcuts, movable type, and metal-cast diagrams. Significantly, the legacy of Ratdolt’s innovations continued almost one hundred years later in subsequent editions of Elements. In 1572, Camillo Francischini printed Federico Commandino’s Latin translation and commentary, and today, there are at least two surviving copies of this edition printed on blue paper. Both printers, Ratdolt and Francischini, used the printing press to produce unique and bespoke books using material and visual cues from luxury objects like illuminated manuscripts. These case studies of Euclid’s Elements brings together the fields of art history, history of the book, and the history of geometry, and analyzes the myriad ways that printers employed the printing press in the early modern period to elevate and modernize ancient, mathematical texts.
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Popova, Galina. "“Libros de privilegios” from the Castilian Towns of 13—14th Centuries." ISTORIYA 13, no. 11 (121) (2022): 0. http://dx.doi.org/10.18254/s207987840023283-0.

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Modern medieval studies consider the “Libros de Privilegios” as an important and very informative source for the history of medieval municipal administration and the town chanceries. These manuscripts, being essentially cartularies, constitute a special group of legal texts originating from the city. The features of their codicology, paleography and illumination make it possible to study the development of document management practices in cities. The article compares the “Libros de Privilegios” from four towns of the Kingdom of Castile — Toledo, Seville, Murcia and Lorca. Ordered by concejos to municipal scribes, they testify to a common vector of development of municipal government in different towns, regardless of the time of their inclusion in the Kingdom of Castile. The books of privileges considered in the article were compiled in the period from the last quarter 13th century until the end of the 30s of the 14th century, although the Fuero of Toledo taken as a basis in them was formed and was issued in the form of a charter in the first quarter of the 13th century. After the consejos received from the king the Fuero of Toledo in the version of 1222 as a fundamental document regulating local legal life, they later either independently selected documents for inclusion in their «Libros de Privilegios» (Toledo, Seville, Murcia), or determined a sample for copying (Lorca).
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Dissertations / Theses on the topic "Romanesque Illumination of books and manuscripts"

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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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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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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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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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Pulliam, Heather. "Opening the senses : the Gospel book as an instrument of salvation as articulated by the minor decoration and full-page illustrations of the Book of Kells." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/15322.

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This thesis argues that the minor decoration and full-page images of the Book of Kells reflects a cohesive theme: the role of the gospel book in man's apprehension of God. This is demonstrated by an examination of the decorated initials and smaller images in relation to the text and a reinterpretation of the full-page images within the context of patristic commentary and the writings of the period. It is argued that the decorated initials and minor imagery are not merely ornamental but instead emphasize and comment upon the text. They do so in three ways: Firstly, they draw the eye to passages of gospel text that describe the visual apprehension and recognition of Christ as the Son of God. In demonstrating this, the assumption that the decorated initials operate in a traditional manner, such as marking lections or Eusebian sections, is rejected. The atypical function of the decoration, highlighting themes rather than liturgical or content divisions, indicates the unique function of the manuscript. Secondly, it is argued that the decorated initials employ the metaphorical imagery of the Psalms to describe the distinction between the manuscript's audience who acknowledge Christ as the Son of God, and those described within the text as confused and unable to recognize the identity of Christ despite his presence in their midst. Thirdly, the imagery of the decorated initials describes the manner in which the Godhead is literally contained within the text of the gospel book. The larger images also emphasize the recognition of Christ and distinguish between those who look to the Word of God and those who fail to do so. Additionally, the full-page imagery instructs the audience in the use of the manuscript. To an even greater extent than the minor decoration, the larger images articulate the role of the Gospel book and liturgy as a visible guide to an invisible deity and shield against temptation.
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Petzold, Andreas. "The use of colour in English, Romanesque manuscript illumination with particular reference given to the St. Albans psalter and related manuscripts." Thesis, Courtauld Institute of Art (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252025.

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Swanepoel, Liani Colette. "Aeneas se onderwêreldse reis in illustrasie : 'n resepsie-historiese studie van tonele in Aeneïs VI /." Link to the online version, 2006. http://hdl.handle.net/10019.1/1690.

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Books on the topic "Romanesque Illumination of books and manuscripts"

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Landesbibliothek, Württembergische. Die romanischen Handschriften der Württembergischen Landesbibliothek Stuttgart. Stuttgart: A. Hiersemann, 1987.

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Assirelli, Marco. I libri miniati di età romanica e gotica / saggi e catalogo di Marco Assirelli, Massimo Bernabò, Giovanna Bigalli Lulla ; introduzione di Maria Grazia Ciardi Duprè Dal Poggetto. Assisi: Casa editrice francescana, 1988.

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Assirelli, Marcello. I libri miniati di età romanica e gotica / saggi e catalogo di Marco Assirelli, Massimo Barnabò, Giovanna Bigalli Lulla ; introduzione di Maria Grazia Ciardi Duprè Dal Poggetto. Assisi: Casa Editrice Francescana, 1988.

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Theo, Kölzer, Stähli Marlis, and Becht-Jördens Gereon, eds. Liber ad honorem Augusti sive de rebus Siculis: Codex 120 II der Burgerbibliothek Bern : eine Bilderchronik der Stauferzeit. Sigmaringen : J. Thorbecke: Jan Thorbecke Verlag, Stuttgart, 1994.

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Beatus, Saint, Presbyter of Liebana, d. 798. and Museu Diocesà d'Urgell, eds. El Beato de la Seu d'Urgell y todas sus miniaturas: Un libro del primer milenio con mensajes para hoy /cAntonio Cagigós Soro. Seu d'Urgell: Museu Diocesà d'Urgell, 2000.

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Soro, Antonio Cagigós. El Beato de la Seu d'Urgell y todas sus miniaturas: Un libro del primer milenio con mensajes para hoy. Seu d'Urgell: Museu Diocesà d'Urgell, 2000.

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Pratesi, Lorenza Cochetti. Limoges, il sud e la Spagna. Roma: Bulzoni, 1992.

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Cames, Gérard. Dix siècles d'enluminure en Alsace. [Strasbourg]: Contades, 1989.

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Staatsbibliothek Bamberg. Die Handschriften des 12. Jahrhunderts der Staatsbibliothek Bamberg. Wiesbaden: Harrassowitz, 1995.

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Donovan, Claire. The Winchester Bible. Toronto: University of Toronto Press, 1993.

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Book chapters on the topic "Romanesque Illumination of books and manuscripts"

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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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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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Blair, Sheila S., and Jonathan M. Bloom. "The Islamic World." In The Oxford History of the Book, 183–205. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192886897.003.0008.

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Abstract Because of the sanctity of the revelation and the desire to record it faithfully, writing and books have always played an extraordinarily important role in the Islamic world. Islamic culture has spanned a millennium and a half, from the early seventh century to the present day, and exists around the globe from southern Spain and North Africa to Indonesia and beyond. Following a brief introduction to the principles of Arabic script, this chapter surveys this vast production in four broad chronological blocks: Qur’an manuscripts from the first centuries of Islam; the transition from parchment to paper in medieval times; deluxe books with illustrations produced from the late thirteenth century to the early seventeenth; and other forms and formats typical of more recent times including albums, loose-leaf Qur’an manuscripts from Africa, printing, and artists’ books. The purpose is to investigate books from the Islamic lands not only as written texts but also as physical objects that shed light on important social and intellectual questions such as the change from the oral to the written, rates of literacy, identification of readership, the roles of illustration and illumination, collecting, preservation, and libraries.
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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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5

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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