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"Whether by consulting the position of planets, casting horoscopes or interpreting dreams, the art of divination has been a universal practice for centuries. In the sixteenth and early seventeenth centuries in Iran and Turkey, one of the most splendid tools to gain insight into the unknown was a series of illustrated manuscripts known as the Falnama (Book of omens). Popular at court and on the streets of Isfahan and Istanbul, only four 'monumental' copies of these exceptional works remain. They are notable for their impressive scale and brilliantly painted images of prophets, heroes, villains and signs of the zodiac. With their encouraging or dire omens, they represent some of the most original manuscripts associated with Safavid Iran and Ottoman Turkey." "Featured in this, the first publication ever devoted to the Falnama as a genre, are intact volumes as well as text folios and illustrations now dispersed among international public and private collections. Considering the Falnama's pictorial and verbal auguries as integrated ensembles, these images and their prognostications shed new light on the Safavid and Ottoman artistic, cultural, political and religious landscape of the period. Essays by scholars of Safavid, Ottoman and Byzantine history, culture and language, complemented by full-colour illustrations, offer detailed analysis of the form, content and meaning of these rarely seen works of art. The first ever translations of three of the four monumental copies provide insight into a vivid and enduring aspect of human concern - the unknown."--Jacket.
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This book traces the history of manuscript production in the Islamic West between the 10th and the 12th centuries. It interrogates the material evidence that survives from this period, paying special attention to the origin and development of Maghribi round scripts, the distinctive form of Arabic writing employed in al-Andalus (Muslim Iberia) and Northwest Africa. More than 200 dated manuscripts written in Maghribi round scripts - many of which have not previously been published and are of great historical significance - are presented and discussed. This leads to a reconstruction of the activity of Maghribi calligraphers, copyists, notaries and secretaries, creating a better understanding of the development of their practices. Using a blend of art historical methods, palaeographic analyses and a thorough scrutiny of Arabic sources, the author paints a comprehensive and lively picture of Maghribi manuscript culture, from its beginnings under the Umayyads of Cordova until the heyday of the Almohad caliphate. He lifts the veil on a glorious, yet neglected season in the history of Arabic calligraphy, shedding new light on a tradition that was crucial for the creation of the Andalusi identity and its spread throughout the medieval Mediterranean.
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The Islamic manuscript has many forms and shapes, from notes on a scrap of paper to the most preciously illuminated manuscript that can compete with the best one can find in the western world. Usually, a text would be written out at least twice: first as a draft and then as a clean copy from which later copies would be made. Usually, draft versions would either be destroyed, or washed and dried as a means to save paper, or used as reinforcement material by the bookbinder. Thus very few drafts have come down to us. And this is precisely what lends the present manuscript, containing a draft commentary on Qurʾān 24:35 (the celebrated Light Verse) by the famous 11th/17th-century philosopher Ṣadr al-Dīn Shīrāzī (d. 1050/1640) its special interest. Also in this manuscript: sundry notes on the Qurʾān and excerpts from two works by Najm al-Dīn Dāya (d. 654/1256) and ʿAbd al-Razzāq Kāshī (d. 736/1336)
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Islamic illumination of books and manuscripts --- Islamic art --- Qurʼan
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This book is a first attempt to present Omani Quranic manuscripts and their illuminations to a wider public and to discuss their originality in the wider context of Quranic manuscripts, Islamic art as a whole and beyond that in the wider context of Oriental art in general. This book focuses on the most prominent components of Quran illuminations, the frontispieces. The organization of the material starts with the most unpretentiously designed, plain frontispieces without frames and without horizontally subdivided pages and ends with one-page or double-page frontispieces with illuminations in two well-defined different styles which can be subdivided into several under groups. The first of these styles is named "Omani" and the second "Persian influenced" The first style is characterized by primarily geometric ornaments whereas vegetal forms and sophisticated designs distinguish the second. The origin of the second style can be easily traced back to Iran, most probably Southern Iran and there to the school of Shiraz. This style is closely related to the art of India Quran illuminations which doubtlessly had influenced Omani Quran illuminations too. The question of the origins of the fascinating first style, which has no equals in the Islamic world, can be answered in different ways and will be discussed in a separate subchapter.
Islamic illumination of books and manuscripts --- Qurʼan --- Manuscripts --- Qur'an --- Illustrations --- Islamic illumination of books and manuscripts - Oman
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Islamic calligraphy --- Islamic calligraphy. --- Islamic illumination of books and manuscripts --- Islamic illumination of books and manuscripts. --- Manuscripts. --- Mūza Millī Īrān (Teheran, Iran) --- Qurʼan --- Qurʼan. --- Manuscripts --- Iran
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