Art in an Early Global World at WAM: A WAM/College of the Holy Cross CollaborationMain MenuAmanda Luyster17d39c1ecea88fb7ff282fe74a410b89478b8327Created by the Worcester Art Museum and the College of the Holy Cross, with the Worcester Public Schools AP Art History class of 2024. Financial support provided by the Medieval Academy of America and "Scholarship in Action" at Holy Cross.
Folio from the "Blue Qur'an"
12024-03-28T13:30:51-07:00Richard Lent3e723f35a685aebf07b8b602f188f085f3fa0c8f448013Folio from the "Blue Qur'an," made in Tunisia, possibly Qairawan, c. 850-975 CE, Metropolitan Museum of Art 2004.88.plain2024-08-18T09:38:44-07:00Zoe Zimmer726b0bce27fe407b566d2fd9122871e9e9ddcf50
The first context is the standardization of the text of the Qur'an. Under the third Caliph, Uthman ibn Affan (r. 644–656), there was an effort to compile and standardize the Qur'anic text to prevent variations in recitation and ensure consistency across the rapidly expanding Islamic empire. This effort likely continued into the 800s as the Islamic empire grew, producing more manuscripts to meet the needs of the Muslim community. The second context is cultural and religious significance: The Qur'an holds the utmost importance in Islam, serving as the literal word of God as revealed to the Prophet Muhammad. Producing manuscripts of the Qur'an was not only a religious duty but also a way to preserve and disseminate Islamic teachings. As Islam became the dominant religion in new regions, there was a greater demand for manuscripts of the Qur'an for use in religious education and practice.
The blue Qur'an here, made at a similar date to the WAM's Qur'an and also in North Africa, shows the honor given to the text through beautiful color and gold.
Yonglong (Ethan) Ren, Class of 2026, College of the Holy Cross
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