![]() ![]() Moreover, this decision pulls the attention of a person in the center, creating a contrast between the paper and the writing. The color of the text is plain black which allows a reader to concentrate on the phrase itself. ![]() This text is written in one of the main calligraphic scripts of the Arabic language, with intricate details that show the level of the calligrapher’s craftsmanship. In Arabic, the script can be translated as “Ahmad ibn Suhrawardi al-Bakri praises God and prays for His messenger Muhammad, his family, and his companions and salutes” (The Met, 2017). The inscription in the center is divided into three lines of text. ![]() However, the two parts join perfectly in their stylization. These components can be described separately as each of them was produced by a different person. As one can see, the folio consists of two distinct parts – the central inscription and the surrounding illustration (“Folio,” 2017). Interestingly, the names of the calligrapher, Ahmad ibn al-Suhrawardi al-Bakri, and the illuminator, Muhammad ibn Aibak ibn ‘Abdallah, are also available to the public. Moreover, the place of production is also known as this work is attributed to Baghdad, Iraq. This date of the folio’s creation shows that it was produced in the Ilkhanid period. The artwork mentioned above is a folio from a large Qu’ran manuscript, created approximately in the year of 1307 or 1308 (The Met, 2017). Finally, the conclusion summarizes the points made in the previous chapters and presents the significance of this work to the spheres of contemporary art and art history. Furthermore, the third part of the essay analyzes the mentioned work and aims to define its importance in the time of its creation and find a particular meaning of the work as well. The details of the artwork and architecture produced during this period are also described in this chapter. The second part investigates the history of the Ilkhanid period, during which the folio was created. The first section of this essay describes the contents of the folio, including such aspects as the inscription and its meaning, the main details of the pattern that surrounds the text and the overall appearance of the work. The following paper presents and analyzes the folio page from a Qur’an manuscript with calligraphic work by Ahmad ibn al-Suhrawardi al-Bakri and illustrational craft of Muhammad ibn Aibak ibn ‘Abdallah, otherwise called the illuminator. ![]()
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