A large and impressive illuminated Qur'an, Persia, Safavid, 16th century; with Mughal illumination, early 18th century

This magnificent Qur’an is extensively illuminated throughout and each page is decorated with margins almost identical to those of the renowned Windsor Padshahnama (Royal Collection Trust, London, inv. no.RCIN 1005025). The margins were commissioned in the early eighteenth century under Farrukh-Siyar (r.1713-19). So close are they in execution and composition, that these manuscripts were undoubtedly illuminated in the same workshop, suggesting that this already impressive Safavid Qur’an, with illumination comparable to Qur'ans copied by Ruzbihan, was the subject of a royal Mughal renovation.

In the present manuscript, the composition of the frontispiece is drawn in a framework that has become synonymous with high quality work produced in Safavid Shiraz. The arrangement of the panel with a waisted cartouche set within an interlaced frame forming cartouches of various colours is seen in three Qur’ans signed by the calligrapher Ruzbihan (Khalili collection, inv. no.QUR111; Astan-i Quds Library, Mashhad, inv. no.316; Christie’s, London, 27 April 2017, lot 96). Further examples of this layout of similarly high quality to the present manuscript are a Khamsa manuscript and two Qur’ans in the Chester Beatty Library (inv. nos.Per 195, Is 1525, and Is 1534, Wright 2018, p.162, figs.173-5).

The illumination in the frontispiece of this manuscript is related to a Qur’an in the Khalili collection (inv. no.MS.1558). In both the Khalili manuscript and the present lot, the outer border are decorated with a comparably drawn series of cloud bands. The outer border is similarly arranged in the Qur'an signed by Ruzbihan, also in the Khalili collection, mentioned above (inv. no.QUR111). The colouration is different here, with the dividing lapis drop-panels between each cloud band flanked by gold and black split palmettes, but the layout is extremely close. In both examples, the cloud bands are reprised in symmetrical formations in the main panels of the frontispiece, though in different compositions.

Antony Welch suggested that the Khalili manuscript may have been made for Shah Tahmasp, and a note thought to be in the hand of Shah Jahan (r.1628-57) on f.1a, and seal impressions of court officials recording inspections and changes of librarian on f.203b indicate that it was once in the collection of the Mughal emperor (James 1992, p.172, no.43). Another figure is named within the manuscript, a certain Muhammad Khan, who could be the same Muhammad Khan in the service of Aurangzeb’s daughter, Zaynat al-Nisa Begum (James, op. cit., p.172). The similarity in quality and composition between the Khalili manuscript and the present lot underscore that this Qur’an is at its core of a quality recognised and appreciated by the Mughal royals.

The lavish margins so masterfully applied to each page of the manuscript confirm this. They are illuminated with a distinct but unusual trellis of flowers, punctuated by cartouches enclosing four mirrored flowerheads. To our knowledge, the only other manuscript featuring margins of this design is the renowned Windsor Padshahnama (Royal Collection, inv. no.RCIN 1005025). Saqib Baburi (2012) has suggested that those margins date from the reign of Farrukh-Siyar (r.1713-19), a figure who considered himself a second Shah Jahan. The Padshahnama also bears later seal impressions of Asaf al-Daula, ruler of Awadh (r.1775-97).

The composition of the margins here and the Windsor Padshahnama are identical, save for the roundels in the upper and lower borders which are elongated here but drawn as perfect circles in the Padshahnama, simply owing to the difference in page format. The trellis-work has depth and the illuminator has created planes to the design, despite working in one shade of gold. This is particularly clear in the floriated clasp that joins each frame together. In both manuscripts, the four tulip heads between each frame vary slightly across the pages, sometimes drawn closed, sometimes blooming with delicate fronds reaching out as if with the change of season.

The illumination is undoubtedly the product of the same workshop. Given that it was most likely a Mughal emperor who commissioned the margins of the Padshahnama, the Mughal renovation of this already magnificent Safavid Qur’an, would have surely been patronised by a senior member of the court, possibly even another royal commission by Farrukh Siyar himself.

Beside the outstanding illuminated margins, the utmost care has been taken at each stage of both the original production and Mughal renovation of this manuscript. Each marginal khams and ‘ashr note has been cut out and re-inserted within the margins, and ruled in gold, and every line of text has been placed within a gold scrolling cloud. This pain-staking approach reveals a clear respect for the Safavid work and would have certainly been a project of considerable expense. For a manuscript of comparably lavish marginal illumination of a different design, see a half Qur’an, sold at Christie’s, London, 8 April 2008, lot 275, thought to be a royal commission.

It is unsurprising that this Qur’an was treasured in Mughal courts. The Mughal emperors were bibliophiles and revered excellent examples of Persian manuscript production. Besides from the Khalili manuscript mentioned above, evidence of this includes a manuscript in nasta’liq by Mir ‘Ali bearing imperial library notes in the hands of Jahangir and Shah Jahan (Sotheby’s, London, 24 April 2024, lot 36) along with the British Library Khamsa (inv. no.Or. 6810), among many others. 

This manuscript must be considered a treasured work, owned by a Mughal noble who understood and respected high quality Safavid manuscripts, and whose celebration of the Safavid arts of the book are manifested in these beautiful early eighteenth century margins.