Ancient Artifact Review 103 : Antique Samanid Era Khurasan Islamic Inscribed Glazed Plate ( 10th Century)

This is a large bowl originated from Samanid period (10th-11th Century) possibly Khurasan. This deep bowl with straight flaring wall was covered with a white slip and then glazed with a transparent colorless glaze. This white slip provided the base for the calligraphic works.
The calligraphy was executed in a black pigment derived probably from Manganese as it looks purplish when examined closely.
The decoration on this bowl is purely epigraphic using Kufi like Arabic script around the rim, simple yet quite illegible.
The Samanids ruled large parts of Eastern Iran, Afghanistan & Central Asia from 819-1005 CE. The Samanids were the first native dynasty to rule Iran after the Arab conquests in the 7th century.
In dating this bowl, I am using guidelines outlined by Volov in her article, Plaited Kufic on Samanid Epigraphic Pottery. She classified the development of the epigraphy on Samanid pottery in 3 stages. The third stage according to her the pottery decoration is purely epigraphic, almost illegible and has a "Swan's Neck Curve" feature on the inscription, dating this feature to early 11th Century.
It is very challenging to read the calligraphy on this pot, I welcome any feedback from viewers on this.
However the most typical phrases on Samanid pottery is Say : Al Jud Min Akhlaq Ahl Al Janna,  “Generosity is the disposition of the dwellers of Paradise. Good fortune.”

The tradition of decorating pottery with epigraphy is very interesting.
The art of writing on pottery was mentioned in a 10th century manuscript of Muhammad Al Washsha from Baghdad titled Kitab Al Zarf Wal Zurafa ( The Book of Elegance and Elegant People). He wrote about the list of literary epigraphy inscribed on personal items such as cups, bowls, plates, etc. Hence by the time this manuscript was written, the tradition of inscribing epigraph was already prevalent during the time of Abbasid period.
When the Samanids in power in 10th century, it seemed they tried imitate Abbasids one except with their own style.
In my previous entry, I have also written about similar tradition of decorating epigraph on Malay & Chinese pottery. See below link for further readings :
Malay Plate 01
Malay Plate 02
Qing Talismanic Plate
Qing Blue & White Plate
Blue & White Plate
Swatow Plate


Reference :
Volov in her article, Plaited Kufic on Samanid Epigraphic Pottery.Ars Orientalis 6 (1966): 107-34.
The Arts of Islam, pg 52,53

Ancient Artifact Review 101 : Antique Qing Era Islamic Talismanic Taweez Porcelain Plate ( 18th Century)

This is a museum piece of a small plate from Qing Dynasty. It is made in China for Persian market.
The plate is decorated with red foliage around the centre alternating with Arabic calligraphy squibbles. In the centre there is a square box consists of 16 cells filled with Arabic numerals. This square is also known as a magic square or Waqf or "Buduh".
This plate most likely produced for talismanic purpose or Taweez. I do not know exactly what the magic square in this plate represent for but it can be for any reasons such as finding love, opening gate of blessing, curing diseases, etc.
This BUDUH tradition is believed in existence prior to Islam most likely originated from China. From a Chinese literature dated circa 650BCE,  there was a record of identifying 3x3 grid pattern from a turtle shell hence formulating the mystical means to control the water from the river.
This magic square were known to Islamic scholars as early as 7th century due to the contact with the East. Throughout the time, the magic square has evolved and developed to serve for numerous mystical purposes.The magic square started from grid of 4x4, 6x6 & 7x7 and by 19th Century, 100x100 grid is created.

The arabic numerals in the cells look so ambiquous. The look like number ٥  (5) and ١ ١ (11).  The sum on any row or colum will give the same amount which is 32.

The Arabic squibbles around the plate were barely readable however I could see few places with the word الله  ( The God Allah), and few phrases I can almost red it as  لا اله الا الله  ( There is no God except Allah).
Comparing with similar plate displayed in the Islamic Museum Malaysia, those Arabic phrases on the outer rings are verses from Surah II ( The Cow) verse 255-257 followed by testimony of faith and prayers.
There are also 4 distinct Arabic phrases around the magic square. I have to compare it with some plates from the internet to figure out what they are.

لا السيف الا الزالفقر    There is no sword except Zulfikar
لا الفتاح الا علي    There is no conqueror except Ali

When the name of Ali is mentioned, it became clear that this talisman plate is used by the Shiite, either for export to Iran or for Chinese Muslims.

It is important to note that the use of Talisman ( Taweez) is a mystical science or occult and against the teaching of Islam and the mainstream Islamic scholars.

The plate is 100mm diameter.


Check below my other plate
Qing Blue & White Plate
Blue & White Plate
Swatow Plate


Reference :

Mightier than the Sword, Islamic Arts Museum Malaysia, page 196

Book review 16 : Hat Ve Tezhip Sanatı ( The Art of Calligraphy & Illumination) - T.C. Kultur Ve Turizm Bakanligi

Book Info :

Title : Hat Ve Tezhip Sanatı  ( The Art of Calligraphy & Illumination)
Editor : Ali Riza Ozcan
Publisher : T.C. Kultur Ve Turizm Bakanligi
Printer : YAPIM
Pages : 537 pages
ISBN : 978-975-17-3470-9

Review :

This is a thick book measuring 12" x 10" x 1.75" as well as one of the most important books for those who wants to dig further the art history of calligraphy and illumination. This book is written entirely in Turkish language and compiled of more than 30 articles and research papers written by Turkish experts. The book is divided into 2 parts. The first part details on the history of Arabic calligraphy and its evolution especially in hte Ottoman world. The second part of this book covers extensively on the art of illumination. . Almost 70% of the content filled with beautiful colorful pictures of calligraphy & illumination works of Ottoman calligraphers. Useful book for my reference. I purchased this book in Istanbul in 2010 for TL150.

Ancient Manuscript Review 163 : Antique Arabic Calligraphy / Khat ( 1309 AH = 1891 CE)

This is an Arabic Calligraphy panel written on a colored paper. Dated 1309 AH ( 1891 CE) originated from Turkey.

Manuscript Specs

Item : An Arabic Calligraphy
Content : Quranic verse
Dim : 250 x 120 mm
Date : 1309 AH
Copyist : anonymous
Origin : Istanbul
Calligraphy: Thuluth
Design : Orange laid paper
Purchased Price :USD

Ancient Artifact Review 44 : Antique Ceremonial / Calligraphic Batik / Kain Arab / Ikat Kepala ( late 19th Century- early 20th Century)

 This is a very rare "Batik Bertulis" / " Kain Arab" or Calligraphic Batik. It is a square batik cloth made of cotton dyed in blue with Arabic inscriptions. The calligraphy almost illegible most likely painted by illiterate makers or served talismanic purposes.
However I assume the writing on the background is similar to some other kain which I have seen in the catalog. The inscriptions are :

الله يرزقها وهوا السمع العليم ما يفتح الله للنا من رحمة فلا مما لها وما يمسك فلا بعده وهو العزيز الحكيم

So the scribbles could be imitating this inscriptions.

Interesting to note this cloth has 4 Ottoman tughras around a central flower like pattern. Michael Rogers, a curator for Khalili Collection identified the tughras as the signs of the Ottoman Sultan, Abdul Hamid II ( 1876-1918) only in the reversed side.
This piece was used predominantly as men's head cloth or "ikat kepala". Another usage might be as ceremonial hanging or wrapper for a Quran.
In a similar Calligraphic batik depicted in The Message & The Monsoon Catalog, page 113, this batik were most often worn by Muslim Southeast Asian men as head cloths and possibly as ceremonial uses. The Quranic verses and prayers on the cloth are believed to have properties that would protect the wearer from sickness or injury.

This particular batik was acquired from Penang however not necessarily was produced there. Most likely it was brought in from Java island.

There is a very similar batik  from National Museum Malaysia dyed in blue which was made in Cerebon ( West Java) circa 1900s. According to Mohd Taib Osman in his book Islamic Civilization in the Malay World, after the establishment of Islamic rule in Cerebon from 16th Century onward, the testimony of faith has been expressed into batik making. Batik in the form of long shawl, head cloth and ceremonial hangings were decorated with Quranic inscriptions.

In the book of Crescent Moon : Islamic Art & Civilization in Southeast Asia, the history of the production of this cloth is discussed in lengthy by Robyn Maxwell. Though the production of  textile with Islamic calligraphy started prior to 19th century, the calligraphy design on batik produced in Java between late 19th to early 20th century was at peak due to the accessibility of commercially woven cotton cloth.

Ceremonial or Calligraphic batik is very rare to find. In an auction at Christie's, 3 similar batiks were sold at USD3358 under sale number 5682 dating them from late 19th century to early 20th century. Below is the link

Batik at auction

Below is the Tughra of Sultan Abdul Hamid II. I tried to match it with the Tughras on the cloth, though they have some resemblances they do not quite match confirming Michael Rogers remark i.e in reversed form.

The diplomatic relationship between Indonesia ( Aceh particularly) and Ottoman Empire started since 16th Century with the first Acehnese envoy sent by Sultan Alaudin Riayat Syah (1539–1571CE) confirming vassal status to Ottoman and requesting military support from Sultan Suleiman The Magnificient against the threatening Portugese. The last request for military support was beseeched in 1897 CE by Sultan Muhammad Daud Syah ( the 35th and the last Aceh Sultan) to Sultan Abdul Hamid II against the Dutch. Hence as a vassal state, we can expect so much Ottoman influences in Acehnese culture. This explains the Tughra in this batik bersurat.

There is also similar cloth displayed in Islamic Arts Museum Malaysia which dated to late 19th Century-early 20th Century.

See my other similar cloth on :
Red Calligraphy Batek


Dim : 100mm x 900mm
Date : late 19th - early 20th Century
Material :hand drawn batik
Origin :  Malay Archipelago
Price : RM pr


Ref :
The Message & The Monsoon Catalog, page 113
Islamic Civilization in the Malay World, Mohd Taib Osman, pg 316
Ottoman-Aceh Relations according to the Turkish Source, Ismail Hakki Goksoy
Crescent Moon : Islamic Art & Civilization in Southeast Asia, pg 214

Book Review 13 :The Rise of Islamic Calligraphy ( Alain George)

Book Info :

Title : The Rise of Islamic Calligraphy
Author : Alain George
Publisher : N/A Lebanon
Printer : Saudi Arabian Printing Company Ltd.
Pages : 236 pages
ISBN : 978-0-86356-673-8

Review:

This is one of the best reference books on the history of Arabic calligraphy. Dr Alain George has successfully presented the genesis of the Arabic calligraphy in a very organized, concise and clear way. Early Arabic scripts prior to Islam from various mediums were analyzed and Dr Alain george has created a smooth connection from that era to our present matured Arabic calligraphy.
I appreciate Dr George effort in putting so many illustrations in his book as it definitely helps me to visualize and understand the subject better.
This is a very well researched book and I recommend this book to everyone who is interested in the developement of Arabic calligraphy.

Ancient Artifact Review 21 : Antique Ottoman Talismanic Shirt / Jama / Tilsimli Gomlek ( 19-20th CE)

This is a Talismanic shirt acquired from Turkey estimated from 19-20th century. Entire shirt was written in Quranic prayers in different style and calligraphy. Beautifully decorated. A piece of spiritual art.
Length from top to bottom = 65cm
Length from sleeve to sleeve = 80cm

Here's an excerpt from the web about Talismanic Item

"A talisman is any object that is imbued with protective powers, and all cultures have manifestations of such objects. In the world of Islam, they bear Qur’anic inscriptions, astrological signs, and religious narratives. Many Muslims believe that an object that is inscribed with the word God (Allah) will protect the person who reads, touches, or sees it and that the word of God has the power to ward off evil. The surface of a talismanic object can be covered with prayers, signs, numbers, and decorative motifs, and the object is carried in a pocket, or rolled and placed in an amulet case; some talismans are worn as clothing.

Talismans that contain inscriptions with the names of prophets and religious heroes have the power to protect an individual from hardship and danger by acting as a conduit between the two.

The most efficacious talismans are those that are inscribed with prayers that evoke the name of God and the Prophet Muhammad and his companions. The ninety-nine names of God, verses from the Qur’an, and sayings of the Prophet Muhammad (hadith), for example, are appropriated and regenerated into texts that are meant to be good omens. Talismans that contain inscriptions with the names of prophets and religious figures have the power to protect an individual from hardship and danger by acting as conduits between these holy figures and anyone carrying the talisman. This is also true of devotional manuals by religious leaders (shaikhs) with passages stating that whoever reads them will be protected from demons and supernatural beings (jinn)  The written story about a prophet can be protective as well, with pictorial representations of that prophet and of the omens associated with him.
Talismans not only shield but guide their wearers; they are objects that reflect occult practices. Amulet cases (15.95.137), mirrors (1978.348.2), boxes,weapons, talismanic shirts or banners are capable of shielding a person or group of people from the forces of evil. When a person is confronted with an ethical dilemma, all he needs to do is consult the Qur’an or one of these objects for guidance." ( http://islamic-arts.org/2011/amulets-and-talismans-from-the-islamic-world)

Ancient Manuscript Review 120 : Antique Hijazi Quran on vellum / parchment ( 8th Century CE)

This is Quranic verses written in Hijazi script on a brownish vellum. Acquired from an acquaintance in Paris. The vellum originally belonged to a Professor of Islamic Art. I couldn't verify the exact date of this vellum however based on the script ( Hijazi), I would estimate it around 8th -9th century CE.
This leaf contains Surah Al Araaf ( chapter 7) from verse 22 till verse 25.

Similar leaf is on display in London Central Mosque Gallery. The leaf is believed from the same source containing the same chapter but from verse 19 till 22. The website is as below :
ExhibitionIslamUK
Quran Leaf

From my research, I discovered that a similar leaf was sold in Ebay in 2007 for USD1000. See below for the link
Hijazi vellum on Ebay 

See my other Hijazi Quranic parchment on this link

 Hijazi Quranic Parchment

Codicology

Title Page : Nil

Content    : Quranic Verses. Chapter 7 ( Surah Al Araf) verse 22-25

Date         : 8th Century CE

Copyist    : Anonymous

Patron      : Nil

Origin      : Middle East

Place acquired : Paris

Illuminations : Nil

Calligraphy : Hijazi

Number of lines :5 lines per page

Inks          : Black

Punctuation: 6 black dots

Frame       :  Nil

History of Manuscript : Originally belonged to a Professor of Islamic Art in Paris. His family sold some of these vellum to a friend. I acquired this vellum from him in 2013.

Number of folios : 1 f

Support of writing : Brownish vellum

Gatherings : N/A

Catchwords :Nil

Dimensions : 18.0 cm x 14.0 cm

Binding   : Nil

Estimated Market Price :

Purchased Price : USD

Remarks : The vellum is a bit glossy as if a protective layer has been applied to the surface. The ink is black but some places where the ink faded leaving red stains The vellum is a bit hard & thick.

Ancient Manuscript Review 115 : Antique Hijazi / Kufic Quran on Vellum - 9th CE

This is a single folio of Quran written in late Hijazi script on vellum. I purchased this vellum from a reputable auction house in USA. COA that comes with this vellum describing it as Arabic Hijazi Quran Vellum c. 8th-9th Century CE.
There was an auction from Sotheby's selling some follios with quite similar scripts which were described as late Hijazi script. The item as in below link :
Sotheyby's Late Hijazi Quran

However Prof Deroche described this script as B-II i.e " Early Abbasid Scripts". In reference to " Islamic Codicology", this script is datable to 9th Century CE.
Regardless various terminologies used by expert to describe this script, one thing for sure this script is a transition from the earliest Arabic script i.e Hijazi script to a more constructed Kufic script.

From Christie's website, similar leaves were sold on Sale 5331, Lot 136. I believe this leaf came from the same Mushaf. See the link :

Christie's Sale 5331, Lot 136

Codicology

Title Page : Nil

Content    : Quranic Verses from Surah Israa 92-110

Date         : 9th CE

Copyist    : Anonymous

Patron      : Nil

Origin      : Near East

Place acquired : USA

Illuminations : Nil

Calligraphy :Kufic ( Early Abbasid )

Number of lines :18 lines per page

Inks          : Main text in black

Punctuation: Diacritical marks in black.

Frame       :  Nil

History of Manuscript : Bought from Artemission.

Number of folios : 1 f

Support of writing : light brownish vellum

Gatherings : N/A

Catchwords :Nil

Dimensions : 18.5 cm x 13.0 cm

Binding   : Nil

Estimated Market Price :

Purchased Price : USD

Remarks : 

Book Review 07 : Arabic Calligraphy in Manuscripts - translated by Abu Ameenah Bilal Philips

Book Info :

Title : Arabic Calligraphy in Manuscripts
Author : King Faizal Centre for Research & Islamic Studies
Publisher : King Faizal Centre for Research & Islamic Studies
Printer : Saudi Arabian Printing Company Ltd.
Pages : 267 pages
ISBN : N/A

Review:

This is a simple yet an excellent resource for Arabic manuscripts collector as well as calligraphy lovers. I saw this book during my visit in Istanbul and lucky had purchased it. It costed me about 50 Lira.
This book was published for the Arabic Calligraphy exhibiton event taken place in Saudi Arabia in 1987.
This is a helpful resource for me in identifying type of calligraphy. For example this book explains how to tell whether the Nastaliq script is written in Persia or India. Almost every page has a picture of sample manuscript with details of the calligraphy.Indexes on last few pages are also very useful detailing all the names of the authors and also the calligraphers which the manuscripts are referred to in the book. Lastly but not the least, I love the picture at the back cover illustrating a tree with different types of calligraphies. Awesome!!

Below is the comment excerpt from Smitskamp Oriental Antiquarium- Netherlands about this book :

"Important exhibition catalogue, with special emphasis on the various styles of Arabic calligraphy. A special chapter, "The art of Arabic calligraphy and its types", by Fauzî Sâlim "Afîfî is added on pp. 23-60.Displayed on the exhibition were manuscripts from Saudi public and private collections, i.a. from the King Faisal Center, the Dâr al-iftâ", the Imâm Muhammad Ibn Sa"ûd Islamic University, and from the collection of the Farfûr family. Most of these manuscripts have not previously been described in printed publications.The responsibility for the selection of the items, and the description of the manuscripts, lay with the Dutch scholars Q. al-Samarrai and P. Sj. van Koningsveld, with the assistance of A. al-Mashyûkhî. At the end, a select bibliography on Arabic script and calligraphy has been added.This is the English version of the catalogue, which appeared in 1986 in Arabic under the title "al-Khatt al-"arabî min khilâl al-makhtûtât"

Book Review 06 : Turkish Calligraphy - materials, tools & forms by M. Sinasi Acar

Book Info :

Title : Turkish Calligraphy - materials, tools & forms
Author : M Sinasi Acar
Publisher : Antik AS Kultur Yakinlari
Printer : Promat AS Istanbul
Pages : 305 pages
ISBN : 975-7843-03-2

Review:

This is so far in my opinion the best book in illustrating the tools required to be a calligrapher also used by Ottoman calligraphers. Countelss of colorful pictures showing the equipment & calligraphy.it explains in details how Ottoman calligraphers produced Hilye, Ferman, etc. Again the part that interest me is a details explanation in preparing the calligraphy for Quran mushaf. The book was printed in Bilingual - English & Turkish. I purchased this book in Istanbul in 2007 for USD90.

Book review 05 : The Art of Calligraphy in the Islamic Heritage - M Ugur Derman/Nihad M Cetin

Book Info :

Title : The Art of Calligraphy in the Islamic Heritage
Author : M Ugur Derman & Nihad M. Cetin
Publisher : IRCICA
Printer : Yildiz Matbaacilik Istanbul
Pages : 282 pages
ISBN : 92-9063-074-4

Review :

This is a giant book measuring 17" x 12" x 1" as well as one of the most important books for calligraphy lover & collector. This book explains in brief about the development of calligraphy techniques during Ottoman period. Almost 80% of the content filled with beautiful & colorful pictures of calligraphy works of Ottoman calligraphers. However I am more intersted with the pictures of Ottoman Quranic pages. Useful for my reference. I purchased this book in Istanbul in 2007 for USD195.

Book Review 04 : Splendours of Quran Calligraphy & Illumination by Martin Lings

Book Info :

Title : Splendours of Quran Calligraphy & Illumination
Author : Martin Lings
Publisher : Thesaurus Islamicus Foundation 2005
Printer : Yon Art Printing Korea
Pages : 365 pages

Review :

This is one of the best books describing the art & calligraphy of antique Quran. It explains the history of the calligraphy evolution in brief. However the ebst part of this book is the plates of selected beautiful antique Quran pages in color. This is an excellent book especially for Quran collector as a reference.
Dr Martin Lings is a famous English Muslim writer. See below excerpt from Wikipedia about him.
Martin Lings (also known as Abu Bakr Siraj Ad-Din) (January 24, 1909 – May 12, 2005) was an English Muslim writer and scholar, a student and follower of Frithjof Schuon[1], and Shakespearean scholar. He is best known as the author of a very popular and positively reviewed biography, Muhammad: His Life Based on the Earliest Sources, first published in 1983 and still in print.
Lings was born in Burnage, Manchester in 1909 to a Protestant family. The young Lings gained an introduction to travelling at a young age, spending significant time in the United States due to his father's employment. Lings attended Clifton College and went on to Magdalen College, Oxford, where he gained a BA in English Language and Literature. At Magdalen, he was a student and then a close friend of C. S. Lewis. After graduating from Oxford Lings went to Vytautas Magnus University, in Lithuania, where he taught Anglo-Saxon and Middle English.

For Lings himself, however, the most important event whilst at Oxford was his discovery of the writings of the René Guénon, a French metaphysician and Muslim convert, and those of Frithjof Schuon, a German spiritual authority, metaphysician and Perennialist. In 1938, Lings went to Basle to make Schuon's acquaintance and he remained Frithjof Schuon's disciple and expositor for the rest of his life.[citation needed]

In 1939, Lings went to Cairo, Egypt, in order to visit a friend who was an assistant of René Guénon. Not long after arriving in Cairo, his friend died and Lings began studying Arabic. Cairo became his home for over a decade; he became an English language teacher at the University of Cairo and produced Shakespeare plays annually. Lings married Lesley Smalley in 1944 and lived with her in a village near the pyramids. Despite having settled comfortably in Egypt, Lings was forced to leave in 1952 after anti-British disturbances.[citation needed]

Upon returning to the United Kingdom he continued his education, earning a BA in Arabic and a PhD from the School of Oriental and African Studies (University of London). His doctoral thesis became a well-received book on Algerian Sufi Ahmad al-Alawi (see Sufi studies). After completing his doctorate, Lings worked at the British Museum and later British Library, overseeing eastern manuscripts and other textual works, rising to the position of Keeper of Oriental Printed Books and Manuscripts 1970-73. He was also a frequent contributor to the journal, Studies in Comparative Religion.

A writer throughout this period, Lings' output increased in the last quarter of his life. While his thesis work on Ahmad al-Alawi had been well regarded, his most famous work was a biography of Muhammad, written in 1983, which earned him acclaim in the Muslim world and prizes from the governments of Pakistan and Egypt. His work was hailed as the "best biography of the prophet in English" at the National Seerat Conference in Islamabad.[2] He also continued travelling extensively, although he made his home in Kent. He died in 2005.

In addition to his writings on Sufism, Lings was a Shakespeare scholar. His contribution to Shakespeare scholarship was to point out the deeper esoteric meanings found in Shakespeare's plays, and the spirituality of Shakespeare himself. More recent editions of Lings's books on Shakespeare include a foreword by Charles, Prince of Wales.[citation needed] Just before his death he gave an interview on this topic, which was posthumously made into the film Shakespeare's Spirituality: A Perspective. An Interview With Dr. Martin Lings[3].

Calligraphy Work 01 : Thuluth - Dhad & Tho

Last week I attended my first Thuluth Calligraphy class. It was so exciting and inspiring. The teacher was so helpful and energetic. Though I have attended an Arabic Calligraphy class before ( Naskh - in Istanbul), Thuluth style is always considered the most difficult calligraphy to learn. This is my first lesson outcome. Not just the neatness and the smoothness matter, the proportion is the most important.

Calligraphy Tree

This is a very good illustration on the Arabic calligraphy.