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Calligraphic page from an album, Walters Art Museum W.672, fol. 2b

An album (muraqqaʿ) of calligraphy in the form of an accordion book put together by an anonymous collector, probably in the 12th century AH/ 18th CE. It consists of leaves bearing fragmentary passages from the Qur’an (Sūrat al-baqarah, 2:65-68 and Sūrat al-nisāʾ, 4:103-106), some sayings of the Prophet Muhammad, and two sheets of pen exercises (ḳaralama). Folio 5a bears the name of the celebrated Ottoman calligrapher Şeyh Hamdullah (Ḥamd Allāh al-Amāsī, d. 926 AH /1520 CE). This page is attributed to Şeyh Hamdullah (d. circa 1520), the most celebrated calligrapher in 16th-century Ottoman Turkey. He was particularly known for his mastery of the “Six Pens,” which refer to a series of rounded scripts developed in 13th-century Iraq. The Six Pens were often employed for religious texts. These folios are inscribed with passages from Hadith literature (accounts of what the Prophet Muhammad did or said) and are written in naskh and thuluth, two of the Six Pens. Naskh, the smaller hand, is used for the text on the lower portion, and thuluth for the top lines. An album (muraqqaʿ) of calligraphy in the form of an accordion book put together by an anonymous collector, probably in the 12th century AH/ 18th CE. It consists of leaves bearing fragmentary passages from the Qur’an (Sūrat al-baqarah, 2:65-68 and Sūrat al-nisāʾ, 4:103-106), some sayings of the Prophet Muhammad, and two sheets of pen exercises (ḳaralama). Folio 5a bears the name of the celebrated Ottoman calligrapher Şeyh Hamdullah (Ḥamd Allāh al-Amāsī, d. 926 AH /1520 CE). This page is attributed to Şeyh Hamdullah (d. circa 1520), the most celebrated calligrapher in 16th-century Ottoman Turkey. He was particularly known for his mastery of the “Six Pens,” which refer to a series of rounded scripts developed in 13th-century Iraq. The Six Pens were often employed for religious texts. These folios are inscribed with passages from Hadith literature (accounts of what the Prophet Muhammad did or said) and are written in naskh and thuluth, two of the Six Pens. Naskh, the smaller hand, is used for the text on the lower portion, and thuluth for the top lines.

Question 81 from the Koran Islamic calligraphy At Takwir, 26 article, the design of the gym for Muslim holidays

Question 81 from the Koran Islamic calligraphy At Takwir, 26 article, the design of the gym for Muslim holidays

Calligraphy from the Koran, Surah AL-Zumar 39, 22

Calligraphy from the Koran, Surah AL-Zumar 39, 22

Koran, holly book of Muslims

Koran, holly book of Muslims

Calligraphic page from an album, Walters Art Museum W.672, fol. 4b

An album (muraqqaʿ) of calligraphy in the form of an accordion book put together by an anonymous collector, probably in the 12th century AH/ 18th CE. It consists of leaves bearing fragmentary passages from the Qur’an (Sūrat al-baqarah, 2:65-68 and Sūrat al-nisāʾ, 4:103-106), some sayings of the Prophet Muhammad, and two sheets of pen exercises (ḳaralama). Folio 5a bears the name of the celebrated Ottoman calligrapher Şeyh Hamdullah (Ḥamd Allāh al-Amāsī, d. 926 AH /1520 CE). This calligraphic page with verses from Sūrat al-baqarah, 2:65-68, is framed by an outer border of beautiful marbled paper. It belongs to an album of Ottoman calligraphy associated with Şeyh Hamdullah (d. 926 AH / 1520 CE) that was probably compiled in the 12th century AH/ 18th CE. An album (muraqqaʿ) of calligraphy in the form of an accordion book put together by an anonymous collector, probably in the 12th century AH/ 18th CE. It consists of leaves bearing fragmentary passages from the Qur’an (Sūrat al-baqarah, 2:65-68 and Sūrat al-nisāʾ, 4:103-106), some sayings of the Prophet Muhammad, and two sheets of pen exercises (ḳaralama). Folio 5a bears the name of the celebrated Ottoman calligrapher Şeyh Hamdullah (Ḥamd Allāh al-Amāsī, d. 926 AH /1520 CE). This calligraphic page with verses from Sūrat al-baqarah, 2:65-68, is framed by an outer border of beautiful marbled paper. It belongs to an album of Ottoman calligraphy associated with Şeyh Hamdullah (d. 926 AH / 1520 CE) that was probably compiled in the 12th century AH/ 18th CE.

The Holy Koran

Asian Muslim woman studying Koran or Quran

Asian Muslim woman studying Koran or Quran

Muslim woman praying with Koran

Muslim woman praying with Koran

Binding, Walters Art Museum W.672, Upper board outside

An album (muraqqaʿ) of calligraphy in the form of an accordion book put together by an anonymous collector, probably in the 12th century AH/ 18th CE. It consists of leaves bearing fragmentary passages from the Qur’an (Sūrat al-baqarah, 2:65-68 and Sūrat al-nisāʾ, 4:103-106), some sayings of the Prophet Muhammad, and two sheets of pen exercises (ḳaralama). Folio 5a bears the name of the celebrated Ottoman calligrapher Şeyh Hamdullah (Ḥamd Allāh al-Amāsī, d. 926 AH /1520 CE). This calligraphic page with verses from Sūrat al-baqarah, 2:65-68, is framed by an outer border of beautiful marbled paper. It belongs to an album of Ottoman calligraphy associated with Şeyh Hamdullah (d. 926 AH / 1520 CE) that was probably compiled in the 12th century AH/ 18th CE. Probably dates to the twelfth century AH / eighteenth CE; sheepskin-covered boards; central oval medallion; pendants and cornerpieces; gold-painted border; central panel filled with chamois leather. An album (muraqqaʿ) of calligraphy in the form of an accordion book put together by an anonymous collector, probably in the 12th century AH/ 18th CE. It consists of leaves bearing fragmentary passages from the Qur’an (Sūrat al-baqarah, 2:65-68 and Sūrat al-nisāʾ, 4:103-106), some sayings of the Prophet Muhammad, and two sheets of pen exercises (ḳaralama). Folio 5a bears the name of the celebrated Ottoman calligrapher Şeyh Hamdullah (Ḥamd Allāh al-Amāsī, d. 926 AH /1520 CE). This calligraphic page with verses from Sūrat al-baqarah, 2:65-68, is framed by an outer border of beautiful marbled paper. It belongs to an album of Ottoman calligraphy associated with Şeyh Hamdullah (d. 926 AH / 1520 CE) that was probably compiled in the 12th century AH/ 18th CE. Probably dates to the twelfth century AH / eighteenth CE; sheepskin-covered boards; central oval medallion; pendants and cornerpieces; gold-painted border; central panel filled with chamois leather

Calligraphic page from an album, Walters Art Museum W.672, fol. 1b

An album (muraqqaʿ) of calligraphy in the form of an accordion book put together by an anonymous collector, probably in the 12th century AH/ 18th CE. It consists of leaves bearing fragmentary passages from the Qur’an (Sūrat al-baqarah, 2:65-68 and Sūrat al-nisāʾ, 4:103-106), some sayings of the Prophet Muhammad, and two sheets of pen exercises (ḳaralama). Folio 5a bears the name of the celebrated Ottoman calligrapher Şeyh Hamdullah (Ḥamd Allāh al-Amāsī, d. 926 AH /1520 CE). This calligraphic page with verses from Sūrat al-baqarah, 2:65-68, is framed by an outer border of beautiful marbled paper. It belongs to an album of Ottoman calligraphy associated with Şeyh Hamdullah (d. 926 AH / 1520 CE) that was probably compiled in the 12th century AH/ 18th CE. An album (muraqqaʿ) of calligraphy in the form of an accordion book put together by an anonymous collector, probably in the 12th century AH/ 18th CE. It consists of leaves bearing fragmentary passages from the Qur’an (Sūrat al-baqarah, 2:65-68 and Sūrat al-nisāʾ, 4:103-106), some sayings of the Prophet Muhammad, and two sheets of pen exercises (ḳaralama). Folio 5a bears the name of the celebrated Ottoman calligrapher Şeyh Hamdullah (Ḥamd Allāh al-Amāsī, d. 926 AH /1520 CE). This calligraphic page with verses from Sūrat al-baqarah, 2:65-68, is framed by an outer border of beautiful marbled paper. It belongs to an album of Ottoman calligraphy associated with Şeyh Hamdullah (d. 926 AH / 1520 CE) that was probably compiled in the 12th century AH/ 18th CE.

Arab muslim woman with koran holy book wearing hijab

Arab muslim woman with koran holy book wearing hijab

Muslim man reading Koran at home

Muslim man reading Koran at home

Islamic calligraphic verses from the Koran Al Fatih 1: for the design of Muslim holidays means

Islamic calligraphic verses from the Koran Al Fatih 1: for the design of Muslim holidays means

Illuminated Manuscript Walters Art Museum Ms. W.554, fol. 36a

This horizontal-format manuscript on parchment is a collection of illuminated fragments of the Qur'an, dating to the late third century AH / ninth CE and possibly to the fifth century AH / eleventh CE. The earlier text is written in an Early Abbasid (Kufic) script, and the later text is in a hand influenced by the New Abbasid (broken cursive) style. Both are in dark brown ink and vocalized with red dots. The codex opens with an illuminated frontispiece (fol. 1a) of geometric design and closes with a similarly decorated finispiece (fol. 77b). Illuminated forms include chapter headings in gold ink with polychrome palmettes extending into the margin, tashdīds highlighted in gold ink, and verse markers for individual verses and groups of five and ten verses. The blind-tooled black goatskin binding, which is attributable to Egypt, is an important example of early Islamic bookbinding. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=31211. This horizontal-format manuscript on parchment is a collection of illuminated fragments of the Qur'an, dating to the late third century AH / ninth CE and possibly to the fifth century AH / eleventh CE. The earlier text is written in an Early Abbasid (Kufic) script, and the later text is in a hand influenced by the New Abbasid (broken cursive) style. Both are in dark brown ink and vocalized with red dots. The codex opens with an illuminated frontispiece (fol. 1a) of geometric design and closes with a similarly decorated finispiece (fol. 77b). Illuminated forms include chapter headings in gold ink with polychrome palmettes extending into the margin, tashdīds highlighted in gold ink, and verse markers for individual verses and groups of five and ten verses. The blind-tooled black goatskin binding, which is attributable to Egypt, is an important example of early Islamic bookbinding. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=31211

Beautiful muslim woman wearing hijab and holding a holy book Koran.

Beautiful muslim woman wearing hijab and holding a holy book Koran.

Rahl - traditional support under the Koran.

Rahl - traditional support under the Koran.

Calligraphic page from an album, Walters Art Museum W.672, fol.3a

An album (muraqqaʿ) of calligraphy in the form of an accordion book put together by an anonymous collector, probably in the 12th century AH/ 18th CE. It consists of leaves bearing fragmentary passages from the Qur’an (Sūrat al-baqarah, 2:65-68 and Sūrat al-nisāʾ, 4:103-106), some sayings of the Prophet Muhammad, and two sheets of pen exercises (ḳaralama). Folio 5a bears the name of the celebrated Ottoman calligrapher Şeyh Hamdullah (Ḥamd Allāh al-Amāsī, d. 926 AH /1520 CE). An album (muraqqaʿ) of calligraphy in the form of an accordion book put together by an anonymous collector, probably in the 12th century AH/ 18th CE. It consists of leaves bearing fragmentary passages from the Qur’an (Sūrat al-baqarah, 2:65-68 and Sūrat al-nisāʾ, 4:103-106), some sayings of the Prophet Muhammad, and two sheets of pen exercises (ḳaralama). Folio 5a bears the name of the celebrated Ottoman calligrapher Şeyh Hamdullah (Ḥamd Allāh al-Amāsī, d. 926 AH /1520 CE).

Muslims reading braille koran Quran

Muslims reading braille koran Quran

Illuminated Manuscript Koran, Walters Art Museum Ms. W.553, fol.5a

This horizontal-format manuscript on parchment is an illuminated fragment of the Qur'an, containing portions of chapters 4 (Sūrat al-nisāʾ), 6 (Sūrat al-anʿām), 7 (Sūrat al-aʿrāf), and 10 (Sūrat Yūnus). The fragment probably dates to the third century AH / ninth CE. The text is written in an Early Abbasid (Kufic) script in dark brown ink and vocalized with red and green dots. Verse markers in the shape of a stylized letter hā' and rosettes indicate groups of five and ten verses. The text is framed by later red, blue, and gold framing lines and a polychrome and gold floral border. The black blind-tooled leather binding with central lobed, pointed oval and pendants is attributable to the thirteenth century AH / nineteenth CE. See this manuscript page by page at the Walters Museum Website: art.thewalters.org/viewwoa.aspx?id=3124. This horizontal-format manuscript on parchment is an illuminated fragment of the Qur'an, containing portions of chapters 4 (Sūrat al-nisāʾ), 6 (Sūrat al-anʿām), 7 (Sūrat al-aʿrāf), and 10 (Sūrat Yūnus). The fragment probably dates to the third century AH / ninth CE. The text is written in an Early Abbasid (Kufic) script in dark brown ink and vocalized with red and green dots. Verse markers in the shape of a stylized letter hā' and rosettes indicate groups of five and ten verses. The text is framed by later red, blue, and gold framing lines and a polychrome and gold floral border. The black blind-tooled leather binding with central lobed, pointed oval and pendants is attributable to the thirteenth century AH / nineteenth CE. See this manuscript page by page at the Walters Museum Website: art.thewalters.org/viewwoa.aspx?id=3124

Muslims reading braille koran Quran

Muslims reading braille koran Quran

The holy book of the Koran on the stand with calligraphy stylish

The holy book of the Koran on the stand with calligraphy stylish

Reading Koran

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