A Timurid Mushaf on Chinese Wax Paper

This 15th-century Timurid-era Quran is one of the only four Qurans which exist today on Chinese wax paper. The relationship between the Timurids & the Mings is interesting, but is a story for another time.

The roots of gilding date back to Ancient Egypt. Historical references of gilding of gold on copper appeared in China by the 4th century BC and in Tibet in the 7th century AD. Various techniques and applications also emerged in South America.

Ancient Chinese wax paper, for which the exact nature is still not fully known, was popular for its beauty. The velvety texture of the paper, along which the intense and extensive shades of colour, blue, pink, lavender, yellow & green make the paper extremely beautiful.

The orientation of the paper does not always follow the direction of the text. Likely an intentional decision, it is plausible that the underlying thought process behind it was to emphasize the holy words of the Quran as the most important feature of the manuscript.

What is also visible here is the Chinese influence on the illustrations, not only the illustrative style but also the architecture. The building has all the features common to Chinese architecture of the time: the layout, roof slopes, and ridges.

Coloured paper originated in Central Asia. When Muslims conquered parts of Turkestan in 751, they learned how to make paper from the Turkic people there the Chinese way. The word “kağıt” used for paper in Turkish is similar to the Uyghur language, “qaghat” or “kaghaz” (Urdu).

The best quality paper used to be produced in Samarkand and was preferred by calligraphers because of its thickness, bold color, and durability. A thinner and cheaper version of paper used to be produced in Damascus and was common in daily use.

This manuscript was commissioned by Shah Rukh, the Crown Prince of the Timurids. The technical aspects of calligraphy, painting, and bookbinding are important facets of Islamic art. Moreover, the medallions, pendants, and corner pieces are uniquely Persianate.

Persian manuscripts also had a distinct mirror style, where half the binding was stamped, after which the mould was reversed, thereby forming a mirror image of the design in the other half. As for the text. The calligraphers used Thuluth for the headings and Naskh for the body.

The pendants are either floral patterns or calligraphic. There are also gildings with Persian symbols, such as pomegranates. The calligraphy within the pendants has a Maghribi feel to it, a style of calligraphy popular in the Iberian Peninsula.