拍品专文
The sparse use of the written word leaves more space for illumination around the al-fatihah text which almost blends into the spiralling background. Furthermore, a monumental effect is created by the alternating gold and blue bold muhaqqaq on the first, intermediate and last lines on the folios, combining well with the fineness of the four lines of naskh per panel and intricate foliage. The blue vocalizations on the central muhaqqaq panels are particularly striking. A similar layout is seen in different 16th century Safavid Qur’ans in the Khalili Collection (David James, After Timur: Qur’ans of the 15th and 16th centuries, Oxford, 1992, cats.35-6, 46). Similarly to ours, the latter manuscript (QUR231) in particular uses gold for the central panels and blue for top and bottom panels and only uses muhaqqaq instead of thuluth for the central panel.
A Safavid Qur’an sold in these Rooms, 24 April 2015, lot. 272 shares the a similar layout with ours. For other impressive Safavid Qur’ans sold in these rooms, see 30 October 2025, lot 38, 41, 79; 1 May 2025, lot 45; 27 April 2023, 26; 25 June 2020, lot 47.
A Safavid Qur’an sold in these Rooms, 24 April 2015, lot. 272 shares the a similar layout with ours. For other impressive Safavid Qur’ans sold in these rooms, see 30 October 2025, lot 38, 41, 79; 1 May 2025, lot 45; 27 April 2023, 26; 25 June 2020, lot 47.
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