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kūfī (Typ D IV)
François Déroche schreibt zum Fragment KFQ 53 (Déroche, The Abbasid Tradition, London 1992, S. 92-3): "42 / Two folios / 9th century AD / 28.3 x 37.7 cm with 15 lines to the page / Material Parchment, dyed blue / Text area 18.9 x 29.3 cm / Script Style D.IV / Accession no. KFQ53 / Other fragments from the same Qur’an / A section is in the National Institute of Art and Archaeology in Tunis (Lings & Safadi 1976, no.11; Paris 1982, no. 350). At least 75 folios were kept in Kairouan in the 1950s (Shabbuh 1956, p. 345 and pl. 3; al-Buhli al-Niyal 1963, no.1). Scattered folios are in Boston, Museum of Fine Arts, MS.33.686; Cambridge, MA, Havard University Art Museums, MS.1967.23 (Welch 1979, no.4); Dublin, Chester Beatty Library, MS.1405 (Arberry 1967, no.4; James 1980, no.9); Geneva, collection of Prince Sadruddin Aga Khan (Welch & Welch 1982, pp. 20-22), and two private collections (Geneva 1984, no.1; Geneva 1985, no.3); London, private collection (see Bloom 1989, p.99); Paris, Institut du Monde Arabe; Riyadh, collection of Rifaat Shaykh al-Ard (Geneva 1988, no.4); Tunis, National Library, MS.Rutbi 197 (London 1976, no. 498). Others were sold at Sotheby’s, London, on 16 April 1984 (lot no. 147), 15 October 1984 (lot no. 220), 22 May 1986 (lot no. 243) and 20 November 1986 (lot no. 279), and at Sotheby’s, Geneva, on 25 June 1985 (lot no. 11). A folio owned by F.R. Martin was seen by Grohmann (1967, p. 111) / These folios came from a manuscript commonly known as the Blue Qur’an, which has been discussed in some detail by Jonathan M. Bloom (1986, pp. 59-64; 1989, pp. 95-9). / The first folio contains Sūrat al-baqarah (II), verses 120-27, and the second, Sūrat ālʿImrān (III), verse 55-64. The text is written in gold, with some diacritical strokes, also in gold. There is no vocalization. As in other manuscripts of the period, the use of diacriticals is not consistent: it seems pointless to punctuate nūn at the end of a word, for example, as its form makes it unmistakable. The circular devices that marked the end of every verse are now indecipherable, but they may have been types 3.1.1 or 3.1.2. A gold Kufic hāʾ indicates the end of every group of five verses, while the end of a group of ten verses is marked in the text by a letter which gives the number of verses in the abjad system and in the margin by a larger silver device. The abjad letter is no longer legible (verso of the second folio, line 12, after the end of III, 62), and the marginal device, perhaps an example of 3.C.I, is very faint. / Unlike most early Qur’an manuscripts, the Blue Qur’an still bears traces of ruling made with a dry point on every folio. Its presence may be connected with the extensive use of mashq. The calligrapher seems to have been very fond of starting a line with an isolated letter or a group of two; this is particularly noticeable on the verso of the first folio, where he succeeded in creating a ‘column’ of letters. / This manuscript was produced at great expense, as is evident from the use of chrysography and the dyeing of the parchment. Several other examples of dyed parchment are known, but yellow or saffron are the colours normally employed (see cat.II). Indeed, blue was such an unusual choice – and would have been as unusual for paper as for parchment – that F.R.Martin was led to suggest that the manuscript was commissioned by the caliph al-Ma’mun for the tomb of his father, Harun al-Rashid, in which case it would have been deposited in Mashhad (Arnold & Grohmann 1929, p.20; Grohmann 1967, p. III). Following Shabbuh (1956, no. I, and pl. 3), Bloom suggested that the Blue Qur’an had been part of the library of the Great Mosque of Kairouan, for the inventory of the library compiled in AH693 (AD1293) contains a description of a Qur’an written in gold on blue parchment, although with five lines to the page instead of fifteen. This does not settle the question of the manuscript’s provenance, but Bloom supports a Tunisian origin (1986, p.63; 1989, p.97).”
- Déroche, François: The Abbasid Tradition. Qurʾans of the 8th to the 10th centuries AD. Nour Foundation in association with Azimuth Editions and Oxford University Press, London 1992.
Michael Marx, Tobias J. Jocham
Manuscripta Coranica, hg. von der Berlin-Brandenburgischen Akademie der Wissenschaften durch Michael Marx unter Mitarbeit von Salome Beridze, Charlotte Bohm, Sabrina Cimiotti, Hadiya Gurtmann, Laura Hinrichsen, Annemarie Jehring, Tobias J. Jocham, Tolou Khademalsharieh, Nora Reifenstein, Jens Sauer und Sophie Schmid. Betaversion: Stand 2.3.2021
