Jnanapravaha | think critical. think art.

Upcoming Programmes

19
DEC Onwards
Criticism & Theory
Liberalism and its Indian Afterlife
Faisal Devji
04
JAN Onwards
Islamic Aesthetics
In the Triangle of Samarkand
Ilker Evrim Binbaş
07
JAN Onwards
Islamic Aesthetics
From International Timurid to Ottoman
Gülru Necipoğlu
10
JAN Onwards
Islamic Aesthetics
Architecture & Decor
Yves Porter
12
JAN Onwards
Islamic Aesthetics
After Timur: Calligraphy and the Arts
Simon Rettig
15
JAN
Islamic Aesthetics
The Global Muṣḥ af: Visual Identity,
Simon Rettig
31
JAN Onwards
Indian Aesthetics
Thief Who Stole My Heart:
Vidya Dehejia

   << Dec - 2018 >>

 
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Venue

Jnanapravaha
Queens Mansion, 3rd Floor, G. Talwatkar Marg, Fort, Mumbai - 400001. India.
E-mail: to.jnanapravaha@gmail.com, info@jp-india.org
Tel      : +91-22-2207 2974 / 2207 2975
Landmark: We are next to Cathedral Middle School, in the lane opposite J.B.Petit School.

 

 
 

The Global Muṣḥ af: Visual Identity, Trans-Regionalism, and Eclecticism in Manuscripts of the Qur’an after 1400

15 Jan '19 6:15 pm - 8:30 pm
 
 


Image: Opening folio from a Qur’an Egypt, Cairo, Mamluk period, ca. 1480–90 Ink, opaque watercolor, and gold on paper
Museum of Turkish and Islamic Arts, Istanbul, TIEM 533, fol. 1b

Codicological investigations have challenged the study of Qur’anic manuscripts (muṣḥaf, pl. maṣaḥif in Arabic) as works created in specific cultural contexts. This
methodological approach, however, has also opened new avenues of research and encouraged the understanding of the transcribed Holy Text as a whole and its role and position within a global, albeit complex, production and consumption system. Through both codicological examination and art historical mise en perspective, this lecture investigates the materiality of Qur’anic manuscripts in the fifteenth century. From the Mediterranean world to the Indian subcontinent, these volumes both emulated earlier models and developed new and original visual presentations. Innumerous copies were commissioned by members of the elite across the Islamic world. They were acquired and collected for the finest libraries and treasuries as well as exchanged as gifts and booty. Thus, they were in constant circulation, resulting in the emergence of a “global” aesthetic language for the Qur’an.

Registration: Rs 1000/-
This seminar is part of the annual Deccan Heritage Foundation Lecture Series. (Funds will be given for restoration projects)
This public seminar is also part of a course Islamic Aesthetics: 2019

 
 
 

Simon Rettig

Simon Rettig is Assistant Curator for Islamic Art at the Freer Gallery of Art and Arthur M. Sackler Gallery, the Smithsonian Institution’s Asian Art Museums in Washington, DC. He received in BA from the École du Louvre in Paris and his MA and Doctorate from Aix|Marseille University, France. Rettig curated the exhibitions Nasta‘liq: The Genius of Persian Calligraphy (2014), The art of the Qur’an: Treasures from the Museum of Turkish and Islamic Arts(2016) and The Prince and the Shah: Royal Portraits from Qajar Iran (2018). A specialist of the arts of the book of the Islamic world, he wrote several essays on calligraphy, including “Ja‘far Tabrizi, “Second Inventor” of the Nasta‘liq Script, and the Diez Albums” and “Shaping the Word of God: Visual Codifications of the Qur’an between 1000 and 1700”. Rettig also recently co-edited the Freer|Sackler catalogue A Collector’s Passion: Ezzat-Malek Soudavar and Persian Lacquer. He is currently preparing a monograph on the Freer Khusraw u Shirin manuscript and the proceedings of the conference The Word Illuminated: Form and Function of Qur’anic Manuscripts.

 
 
 

Partners

DHF Lecture Series
 
 
 

Registration Fees: Rs. 1000/-

 
 
 
 
 

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Jnanapravaha
Queens Mansion, 3rd Floor, G. Talwatkar Marg,
Fort, Mumbai - 400001. India.
Tel: +91-22-2207 2974 / 2207 2975.
Fax: +91-22-2207 2976.
Email: to.jnanapravaha@gmail.com,
info@jp-india.org

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