Abstract:
This analytical research is based on the study of illumination in Qur’ān manuscripts
located in different libraries of Punjab, Pakistan. The focus of this doctoral thesis was
analysis and identification of indigenous styles of illumination as found in Qur’ān
manuscripts produced in the Subcontinent. The research was carried out through the
study of Qur’ān manuscripts produced during a time span of five hundred years i.e.
from 9 th /15 th to 13 th /19 th centuries. The tradition of embellishing the text of Qur’ān
goes back to the 1 st /7 th century when early Qur’ānic texts were decorated with simple
geometric designs. With the passage of time the initial simple shapes evolved into
highly complex designs used on the front pages and around the text boxes of Qur’ān
manuscripts. Like other art forms, the art of Qur’ān illumination reflects the regional
artistic trends where Muslims established their rule. This research however focuses on
the styles of illumination which are different from the well documented Persian,
Ottoman, Far Eastern or Mamluk styles. The research shows in detail the elements and
principles of Qur’ān illumination along with the techniques used for design
development. The study is also an attempt to unveil some distinct styles of illumination
which flourished in the Subcontinent. The results revealed several indigenous styles of
illumination like Indo-Persian, Mughal, Kashmiri, Bihāri and folk illumination designs.
The analysis was conducted through non destructive methods and the results are
presented taxonomically. These vernacular styles of illumination are identified through
the analysis of individual motifs, colour application and the compositional order. This
research also identified some distinct illumination trends which were adopted by the
illuminators of Subcontinent in 13 th /19 th century indicating to the continuation of the
practice of embellishing the Qur’ān manuscripts even after the advent of printing
technology in this region.
