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Collections

Page from a Manuscript of the Qur'an (64:16-17; 64:18, 65:1)13th century

Not on view
Illuminated manuscript leaf with Arabic script in large rounded calligraphy, a rectangular panel with gold text on lapis blue ground, and gold foliate border decoration on aged parchment
Manuscript leaf with five lines of Arabic calligraphy in dark ink on aged parchment, written in a large Thuluth script with a small gilded roundel verse marker at lower left.
Title
Page from a Manuscript of the Qur'an (64:16-17; 64:18, 65:1)
Culture
Spanish
Place Made
Spain, probably Granada or Valencia
Date Made
13th century
Medium
Ink, colors, and gold on dyed paper
Dimensions
Image and sheet: 13 1/4 x 10 1/4 in. (33.63 x 26.04 cm)
Credit Line
Purchased with funds provided by the Joan Palevsky Bequest
Accession Number
M.2006.141
Classification
Manuscripts
Collecting Area
Art of the Middle East: Islamic
Curatorial Notes

From the early eighth century until 1492, Spain, known as Al-Andalus, was the western frontier of Islam. Among the various cultural innovations introduced to the Iberian Peninsula was papermaking in the tenth century. Both Muslim and Christian manuscripts on paper survive from the second half of the tenth century. By the eleventh century, paper mills were established throughout the Iberian Peninsula, most notably at the city of Shatiba (Játiva), in Valencia. Colored paper, produced in red, purple, and pink, as here, is associated with Granada under the Nasrid dynasty (12321492), while Shatiba was also known for its dyed paper. The use of dyed paper in various colors indicates the attention and cost lavished on a manuscript.

The manuscript from which LACMA’s folio came is known as the Pink Qur’an because of its distinctive tinted paper. The text is written in the maghribi script, named after the region of North Africa that roughly encompasses modern Morocco. This graceful cursive script, which descended from kufic, developed in the twelfth century in both Spain and North Africa, and its use is restricted to these regions. Here, the end of one sura (chapter) and the beginning of the next are marked by an illuminated cartouche. The folio also includes the Arabic word hubus, or “pious foundation,” which is pricked with a needle at the top right corner. The same designation appears on other pages from this twenty-volume set dispersed in various museum collections, as well as one partially complete volume in the Ben Yusuf Library, Marrakesh. These marks would have likely been added after the production of the manuscript, though it is unclear whether this was before or after its dispersal.

Many Qur’ans, along with other Arabic texts, were destroyed after the Christian Reconquest at the close of the fifteenth century. On that account, most such manuscripts are preserved in collections outside Spain. Interestingly, during this period, based on the surviving Spanish Qur’ans, rectangular parchment pages remained the more favored material for copying the holy text (see M.88.37 and M.2002.1.25).

2025

Selected Bibliography
  • Fraser, Marcus, and Will Kwiatkowski. Ink and Gold: Islamic Calligraphy. London: Paul Holberton, 2006.
  • Komaroff, Linda. Beauty and Identity: Islamic Art from the Los Angeles County Museum of Art. Los Angeles: Los Angeles County Museum of Art, 2016.