WASHINGTON — “The Art of the Qur’an: Treasures From the Museum of Turkish and Islamic Arts,” at the Arthur M. Sackler Gallery here, is the first major United States display of handwritten copies of Islam’s holy text. It’s a glorious show, utterly, and like nothing I’ve ever seen, with more than 60 burnished and gilded books and folios, some as small as smartphones, others the size of carpets.
Flying carpets, I should say. This is art of a beauty that takes us straight to heaven. And it reminds us of how much we don’t know — but, given a chance like this, will love to learn — about a religion and a culture lived by, and treasured by, a quarter of the world’s population.
The manuscripts, most on first-time loan from a venerable museum in Istanbul, date from the seventh to 17th centuries, and come from various points: Afghanistan, Egypt, Iraq, Iran, Syria, Turkey. Some volumes are intact; others survive as only single pages, though so great is the Quran’s spiritual charisma that, traditionally, every scrap is deemed worthy of preserving. And the Sackler curators, Massumeh Farhad and Simon Rettig, give the material all the glamour it deserves, with a duskily lighted installation in which everything seems to glow and float, gravity-free.
The word Quran (or Koran) is derived from an Arabic verb for speaking from memory or reading aloud. And the book originated with the sound of a voice heard by a man named Muhammad ibn Abdullah near Mecca, the city in what is now Saudi Arabia. A trader by profession, he was in the habit of spending periods of reflection in a cave outside of town. On one visit, in A.D. 610, when he was 40, he heard a command, seemingly coming from nowhere, in Arabic:
Recite! In the name of thy Lord,
Who taught by the pen,
Taught man what he knew not.
FULL ARTICLE FROM THE NEW YORK TIMES