... Ml 'Cordoba Oranadaf (Aniuba Biskra :/ .Damascus &am... more ... Ml 'Cordoba Oranadaf (Aniuba Biskra :/ .Damascus 'Baqh '7J "Jerusalem Karba Naj THE ISLAMIC WORLD 15OO18OO ... It may be more difficult to perceive that such works as the blue-and-white ceramic charger [295], the inlaid brass basin made for al-Nasir Muhammad [129 ...
FARR-e FIROUZ: Festschrift for Firouz Bagherzadeh, 2019
Uses of the phrase from Qur'an 2:137 Fasayakfikahum allah as a talisman from earliest Islamic tim... more Uses of the phrase from Qur'an 2:137 Fasayakfikahum allah as a talisman from earliest Islamic times to medieval iran
A particularly vexing problem in Islamic art is the date of manufacture of the group of silks oft... more A particularly vexing problem in Islamic art is the date of manufacture of the group of silks often identified with the medieval site of Rayy in northern Iran and the patronage of the Buyid and Seljuq dynasties. After their appearance in the 1920s and 1930s, many of these so-called "Buyid silk" textiles were acquired by major museums and private collectors, notably the Cleveland Museum of Art and the Abegg-Stiftung in Riggisberg, near Berne, Switzerland. They have been the subject of many important exhibitions, pub- lications, and symposia and have been examined according to many art-historical and scientific criteria. In February 1989 the Cleveland Museum requested a report on the inscriptions on the entire corpus of textiles. That report noted inconsistencies between the inscribed texts and the purported date of the textiles, and the Museuim consequently decided to send samples of many of them for carbon-14 testing by accelerator mass spectrometry. The carbon-i 4 testing revealed that the textiles could be assigned to four chronological groups ranging from the medieval to the modern period. The present article sums up the project in five parts: 1) a history of the problem, 2) a report on the epigraphy, 3) a report on the carbon-14 dating, 4) a discussion of conclusions and implications for further work, and 5) an appendix that catalogues the seventeen carbon- dated pieces, each including a photograph, tech- nical analysis, and epigraphical documentation.
An icon in the eld of Iranian studies, Iraj Afshar was renowned for his discovery and publicatio... more An icon in the eld of Iranian studies, Iraj Afshar was renowned for his discovery and publication of numerous editions of Persian texts, found in diverse collections around the world. is short article is intended to continue his pioneering research in manuscripts studies by drawing attention to another relatively unknown collection of Qurɔān manuscripts and related calligraphies in Boston’s Museum of Fine Arts (MFA). e Museum holds more than y items from Qurɔān manuscripts ranging from individual folios of early Ku c copies, datable to the 2nd/8th or 3rd/9th century (e.g., 20.890 and 20.891), to a loose-leaf copy made in West Africa in the 13th/19th century on European watermarked paper and complete with leather satchel (15.132a-b). Some of the individual leaves come from the most famous Qurɔān manuscripts known, such as a folio from the so-called Blue Qurɔān (33.686) and two bifolios (19.779.1- z2) from the earliest surviving Qurɔān manuscript in a round book hand copied before Šacbān 292/June 905 when one Aḥmad ibn Abu’l-Qāsim al-Xayqānī added a note in Persian saying he had corrected it. In addition to these single folios, the MFA also holds two sections (ajzāɔ; sing. juzɔ) from two 30-volume Qurɔān manuscripts. Two sections belong to the copy transcribed at Marāqa by cAbdu’llāh ibn Aḥmad ibn Faḍlu’llāh ibn cAbdu’l-Ḥamīd al-Qāḍī al-Qazwīnī between Šawwāl 738 and Šawwāl 739 (April 1338 - April 1339). e others, previously unpublished, belong to the manuscript made for the library (Xizāna) of the Zangid prince Quṭb al-Dīn Abu’l-Muẓa ar Muḥammad ibn Zangī ibn Mawdūd ibn Zangī ibn Āqsonqor, ruler of Sinjār, Xābūr, and Naṣībīn in the Jazīra from 1198 to 1219. e Qurɔānic calligraphies in the MFA are thus of the highest quality. ey illustrate the range of materials that were available in the Middle East in the early 14th/20th century to the discerning eye (and pocketbook), and they show what treasures remain to be discovered in other collections.
... Ml 'Cordoba Oranadaf (Aniuba Biskra :/ .Damascus &am... more ... Ml 'Cordoba Oranadaf (Aniuba Biskra :/ .Damascus 'Baqh '7J "Jerusalem Karba Naj THE ISLAMIC WORLD 15OO18OO ... It may be more difficult to perceive that such works as the blue-and-white ceramic charger [295], the inlaid brass basin made for al-Nasir Muhammad [129 ...
FARR-e FIROUZ: Festschrift for Firouz Bagherzadeh, 2019
Uses of the phrase from Qur'an 2:137 Fasayakfikahum allah as a talisman from earliest Islamic tim... more Uses of the phrase from Qur'an 2:137 Fasayakfikahum allah as a talisman from earliest Islamic times to medieval iran
A particularly vexing problem in Islamic art is the date of manufacture of the group of silks oft... more A particularly vexing problem in Islamic art is the date of manufacture of the group of silks often identified with the medieval site of Rayy in northern Iran and the patronage of the Buyid and Seljuq dynasties. After their appearance in the 1920s and 1930s, many of these so-called "Buyid silk" textiles were acquired by major museums and private collectors, notably the Cleveland Museum of Art and the Abegg-Stiftung in Riggisberg, near Berne, Switzerland. They have been the subject of many important exhibitions, pub- lications, and symposia and have been examined according to many art-historical and scientific criteria. In February 1989 the Cleveland Museum requested a report on the inscriptions on the entire corpus of textiles. That report noted inconsistencies between the inscribed texts and the purported date of the textiles, and the Museuim consequently decided to send samples of many of them for carbon-14 testing by accelerator mass spectrometry. The carbon-i 4 testing revealed that the textiles could be assigned to four chronological groups ranging from the medieval to the modern period. The present article sums up the project in five parts: 1) a history of the problem, 2) a report on the epigraphy, 3) a report on the carbon-14 dating, 4) a discussion of conclusions and implications for further work, and 5) an appendix that catalogues the seventeen carbon- dated pieces, each including a photograph, tech- nical analysis, and epigraphical documentation.
An icon in the eld of Iranian studies, Iraj Afshar was renowned for his discovery and publicatio... more An icon in the eld of Iranian studies, Iraj Afshar was renowned for his discovery and publication of numerous editions of Persian texts, found in diverse collections around the world. is short article is intended to continue his pioneering research in manuscripts studies by drawing attention to another relatively unknown collection of Qurɔān manuscripts and related calligraphies in Boston’s Museum of Fine Arts (MFA). e Museum holds more than y items from Qurɔān manuscripts ranging from individual folios of early Ku c copies, datable to the 2nd/8th or 3rd/9th century (e.g., 20.890 and 20.891), to a loose-leaf copy made in West Africa in the 13th/19th century on European watermarked paper and complete with leather satchel (15.132a-b). Some of the individual leaves come from the most famous Qurɔān manuscripts known, such as a folio from the so-called Blue Qurɔān (33.686) and two bifolios (19.779.1- z2) from the earliest surviving Qurɔān manuscript in a round book hand copied before Šacbān 292/June 905 when one Aḥmad ibn Abu’l-Qāsim al-Xayqānī added a note in Persian saying he had corrected it. In addition to these single folios, the MFA also holds two sections (ajzāɔ; sing. juzɔ) from two 30-volume Qurɔān manuscripts. Two sections belong to the copy transcribed at Marāqa by cAbdu’llāh ibn Aḥmad ibn Faḍlu’llāh ibn cAbdu’l-Ḥamīd al-Qāḍī al-Qazwīnī between Šawwāl 738 and Šawwāl 739 (April 1338 - April 1339). e others, previously unpublished, belong to the manuscript made for the library (Xizāna) of the Zangid prince Quṭb al-Dīn Abu’l-Muẓa ar Muḥammad ibn Zangī ibn Mawdūd ibn Zangī ibn Āqsonqor, ruler of Sinjār, Xābūr, and Naṣībīn in the Jazīra from 1198 to 1219. e Qurɔānic calligraphies in the MFA are thus of the highest quality. ey illustrate the range of materials that were available in the Middle East in the early 14th/20th century to the discerning eye (and pocketbook), and they show what treasures remain to be discovered in other collections.
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Papers by Sheila Blair
lications, and symposia and have been examined according to many art-historical and scientific criteria. In February 1989 the Cleveland Museum requested a report on the inscriptions on the entire corpus of textiles. That report noted inconsistencies between the inscribed texts and the purported date of the textiles, and the Museuim
consequently decided to send samples of many of them for carbon-14 testing by accelerator mass spectrometry. The carbon-i 4 testing revealed that the textiles could be assigned to four chronological groups ranging from the medieval to the modern period. The present article sums up the project in five parts: 1) a history of the problem, 2) a report on the epigraphy, 3) a report on the carbon-14 dating, 4) a discussion of conclusions and implications for further work, and 5) an appendix that catalogues the seventeen carbon- dated pieces, each including a photograph, tech- nical analysis, and epigraphical documentation.
lications, and symposia and have been examined according to many art-historical and scientific criteria. In February 1989 the Cleveland Museum requested a report on the inscriptions on the entire corpus of textiles. That report noted inconsistencies between the inscribed texts and the purported date of the textiles, and the Museuim
consequently decided to send samples of many of them for carbon-14 testing by accelerator mass spectrometry. The carbon-i 4 testing revealed that the textiles could be assigned to four chronological groups ranging from the medieval to the modern period. The present article sums up the project in five parts: 1) a history of the problem, 2) a report on the epigraphy, 3) a report on the carbon-14 dating, 4) a discussion of conclusions and implications for further work, and 5) an appendix that catalogues the seventeen carbon- dated pieces, each including a photograph, tech- nical analysis, and epigraphical documentation.