![]() As with other Qur’an manuscripts, these examples are rarely signed, and many (supposedly intended for the local market) are crudely executed. ![]() Although Qur’ans in this style were made before the midseventeenth century, their production increased significantly in the late eighteenth and early nineteenth centuries. The text contains Persian interlinear translations in red nasta‘liq. It is written in fine naskhi script, which is consistent in quality and evenness throughout the manuscript. The Qur’an has eight lavishly illuminated double pages inserted at the beginning of eight Suras: al-Fatiha, al-Ma’ida, Yunus, Isra’, al-Shu‘ara, Qaf, al-Falaq, and al-Nas. Produced in the late eighteenth or early nineteenth century, it has the typical Kashmiri-style gold and blue illumination within a broad frame overlaid by protruding lobed archlike interlacings (the hasp motif) that extend into the margins of the page. This manuscript is an outstanding example of a Qur'an from Kashmir. Their distinctive style and artistic ingenuity inspired artists elsewhere in the subcontinent and in Iran. ![]() Kashmiri artists of this period were actively producing fine Qur’ans, illustrated manuscripts, textiles, and a wide array of decorative objects for a variety of patrons and for the commercial market, including export to other regions of the subcontinent and beyond. Following the annexation of the province in 1586, talented Kashmiri artists emigrated to the Mughal court then, in the eighteenth century, the conquest of Kashmir by the Durrani Afghans appears to have spurred a major revival of the arts. Qur'an Manuscript In the eighteenth century, Kashmir, a predominantly Muslim province in northern India, reemerged as a major art center in the Indian subcontinent after a period of decline. ![]()
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