An illuminated Qur'an bifolium in gold Kufic script on blue vellum, Andalusia, North Africa or Near East, 9th-10th century

text: Qur'an, surah al-shuraa (XLII), middle of verse 10 to end of verse 23

Arabic manuscript on blue-dyed vellum, 15 lines to the page in Kufic in gold, single verses separated by silver florets, once decorated with coloured dots, khams marked by a silver ha' outlined in reddish-brown, 'ashr marked by illuminated marginal medallions

30.5 by 80.1cm.

O. Hoare, The Unity of Islamic Art: An Exhibition to Inaugurate the Islamic Art Gallery of the King Faisal Center for Research and Islamic Studies, Riyadh, Saudi Arabia, 1405 AH/1985 AD Riyadh, 1985, pp.24-25, no.5.

The so-called ‘Blue Qur’an’ has generated considerable scholarly debate as to its origins and patronage, but it is, nonetheless, universally agreed to be a startlingly luxurious example of early Islamic manuscript production. The contrast between the gold letters and blue parchment is striking and the material opulence of the manuscript indicates that the patron must have been a ruler of enormous wealth and ambition.

Early Qur’ans written on dyed parchment are rare. A handful of examples written on yellow or orange-dyed vellum by saffron are known, but the manuscript from which this bifolium comes is the only example known to be written on vellum dyed indigo. Various theories as to the choice of colour have been put forward. It has been suggested that the manuscript was commissioned by Abbasid Caliph al-Ma’mun for the tomb of his father, where the dark blue colour reflects a period of mourning. Others suggest that the choice was symbolic, intended to deliver a bold socio-political message to neighbouring empires, rivalling the most luxurious manuscripts of the Byzantine empire which were dyed blue or purple.