Page 58 - The Age of Sultan Suleyman the Magnificent
P. 58

16.  Stamped and  gilded leather binding from  a Koran transcribed  by Argun
     Kamili in  1306/1307 and  bound  mid-sixteenth century  (Istanbul, Topkapi
     Sarayí Müzesi, E.H. 222)



     is  observed  on  the  covers  of a  Persian  interpretation  of  the  and  polygons  evolve;  these  units are  painted  in  gold,  green,
     Koran,  the  Tefsir-i  Mevahib-i  Aliye.^  The  exterior  (15), covered  and  dark  and  light  blue and  overlaid with  brown  leather
     with  light-brown  leather,  has  an  overall design  with  rumi  rumis  and  hatayis. The wide  border  with  a dark blue  ground
     and  hatayi  scrolls executed  in  relief and  enclosed  by  a  border  has  filigree  leather  floral  scrolls and  cloud  bands,  the latter
     filled  with  raised  floral  motifs. The  background  of  the  field  is  painted  gold.
     stamped  with  gold;  the  rumi  scroll  is reserved  in  the  natural  Saz  scrolls  characteristic  of classical  Ottoman  bookbindings
     tone  of the  leather,  whereas  the  hatayi  scroll is rendered  in  appear  on  a  copy  of the  Koran  transcribed  by Argun Kamili
     silver  with  touches  of off-white  pigment  applied  to  the  blos-  in  1306/1307  and  refurbished in  Süleyman's  court  around
     soms.  Gold  is also  used  as  background  of  the  border  with  •  1550. The  calligraphier,  a  famous  student  of Yakut  known for
     some  of the  floral  motifs rendered  in  reserve.  The gold-  his muhakkak  and  sülüs  scripts, was  born  to Turkish and
     stamped  ground  reveals  an  effect  not  unlike  ring matting  Arab  parents  in  eastern  Iraq and  lived in  Baghdad  until his
     found  in metalwork,  due  to  the  texture  of the  leather. The  death  in  1343.  The  text  of his Koran  was  cut  out  and  pasted
     combination  of these two  types  of scrolls dates  back  to  the  onto  new  sheets;  illuminations were  added  to the  serlevha,
     bookbindings  and  other  works  of art  made  in Timurid Herat.  chapter  headings, and  the  field  surrounding  the  text;  then  the
       The  interior  of the  binding  is also  Herat-inspired,  with  in-  work  was rebound.
     tersecting  filigree  medallions  that have  contrasting  grounds.  The exterior  of the  bookbinding  (16),  covered  with  dark
     In  the  center  is an  eight-lobed  medallion  from which  circles  brown  leather,  has  a  central  medallion  with  axial  pendants,

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