Yazı nev'i: 'Mukakkak' / Hattat: Mehmed Suud Mevlevi 1882 Kuruçeşme/ 1948 İstanbul.

Bid Live on Lot 93 in the Islamic Art & Manuscripts Auction from Roseberys London.

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View auction details, art exhibitions and online catalogues; bid, buy and collect contemporary, impressionist or modern art, old masters, jewellery, wine, watches, prints, rugs and books at sotheby's auction house

View auction details, art exhibitions and online catalogues; bid, buy and collect contemporary, impressionist or modern art, old masters, jewellery, wine, watches, prints, rugs and books at sotheby's auction house

View auction details, art exhibitions and online catalogues; bid, buy and collect contemporary, impressionist or modern art, old masters, jewellery, wine, watches, prints, rugs and books at sotheby's auction house

View auction details, art exhibitions and online catalogues; bid, buy and collect contemporary, impressionist or modern art, old masters, jewellery, wine, watches, prints, rugs and books at sotheby's auction house

“The very foundation of Islam is literacy - to read & seek knowledge. The first word of the Qur’an revealed to Prophet Muhammad (PBUH) was “Iqra” which means Read. To celebrate International Literacy Day, here are 24 beautiful Qur’anic manuscripts in museums across the world…”

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Khalili Collections | Islamic Art | This page contains examples of six scripts. In the top panel is the basmalah written in thulth...

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text: five words from surah al-hujurat (XLIX), v.6Arabic manuscript on polished cream paper, 1 line in bold muhaqqaq

Arabic manuscript on paper, laid down on wood, written in white and gold naskh and muhaqqaq, the outer borders with panels containing verses in Ottoman Turkish

Arabic manuscript on paper, 499 leaves plus 2 fly-leaves, 13 lines to the page, the first, middle and last written in gold or blue muhaqqaq, the

''Basmalah'' six most used scripts, Their names from top to bottom: Naskh, Thuluth, Muhaqqaq, Rayhan, Tawqi' and Riqa'. // Besmele-i Şerif, altı çeşit yazı; ''Aklam-ı Sitte'': yukarıdan aşağıya: Nesih, Sülüs, Muhakkak, Reyhani, Tevkî, Ve Rik'aa

Ink on Paper 26.8 by 18cm. Arabic manuscript on paper, 33 leaves, 7 lines to the page, written in Muhaqqaq script in black ink, verses separated by segmented gold roundels, opening illuminated headpiece with scrolling foliate decoration in colours and gold, heading in Thuluth script, contemporary morocco binding with central medallion with knotted motifs

Detached folio from a dispersed copy of the Qur’an; recto: Sura al-Nazi’at (Those who drag forth) 79:7-39, one column,12 lines of text; verso: Sura al-Nazi’at (Those who drag forth) 79:40-46, Sura Abasa (He frowned), 80:1-19, verso begins with “waw amma man”, one columne,10 lines; Arabic in black and gold muhaqqaq script with white heading in ...

vellum 37 by 26cm. Illuminated Arabic manuscript on paper, 35 leaves, folio 1a illuminated with a full-page panel containing three wide and three narrow horizontal registers of scrolling foliate motifs (probably the left half of an original double page frontispiece), opening double page of text (ff.1b-2a) with three lines per page of large, bold muhaqqaq script in gold with interstices of letters infilled with black,

Each of the twelve signs of the zodiac in Abu Macshar’s Kitab al-mawalid (Book of Nativities) are illustrated inside a circle, almost as if they were seen through a telescope pointing at the respective constellation in the night sky. The dark blue sky invariably includes wispy white clouds and is dotted with gold stars. The circle with the sign of the zodiac dominates the center of each composition and is set within a square illuminated in gold and often other colors, each composition richly decorated with typical Ottoman patterns of scrolling motifs, arabesques, flowers, leaves, pendants, medallions and ribbons. Each square has a different decoration, although similar compositions are recurrent. The central square is topped by a rectangular cartouche bearing the title of the illustration written in gold muhaqqaq cursive script that invariably begins with the words “taksim-i derecat-i burc-i...” (“the image of the sign of the zodiac …”) followed by the name of the sign. At the bottom of the entire composition is another rectangular cartouche divided into three equal arched spaces, each including one of the planets associated to the first, second and third decade of the sign illustrated aboveAries is illustrated as a white ram seen in profile. One of its hind legs rests on the frame of the circle whereas its forelegs are both raised as if galloping, a posture that must be derived from the most common astronomical representation of the constellation of the Ram. Aries is depicted here as a domesticated animal with a cloth and a saddle on its back, stirrups, thin harnesses and reins and a collar with a bell hanging around its neck.The planetary lord of Aries is Mars, a warrior-like, mustachioed figure that invariably holds a sword in his right hand and often, as here, a severed head in his left. Mars’s military paraphernalia are limited here to his sword, sheath and a tall helmet that is probably derived from the headgear worn by the Ottoman janissaries. The rest of his clothing is plain: a long-sleeved undershirt, a richly embroidered shirt with short sleeves, baggy trousers, a large cloth belt and boots.The secondary planets associated with the three decades are, from right to left: Mars again, sitting cross-legged holding a mace on his knees and wearing a pointed hat and a long red tunic; the Sun, a man seated facing forward with his head surrounded by the bright rays of the sun; and Venus, a female figure sitting cross-legged and playing the cud or lute.Stefano CarboniThe Metropolitan Museum of ArtCuratorial Assistant in Islamic Art (Fragment of the Book of Felicity commentary volume)