古蘭經架、鑲嵌收納盒、袖珍古蘭經
Qur’an manuscript stand (Rahla), Inlay box, Thumbnail Qur’an
20世紀，敘利亞，木、螺鈿、動物骨片；20世紀，敘利亞，木、珍珠母貝；20世紀，埃及，人造皮革封皮、印刷紙張
20th century, Syria, Wood, Mother of pearl, Animal bones; 20th century, Syria, Wood, Mother of pearl; 20th century, Egypt, Artificial leather binding, Printed paper
文字在伊斯蘭世界中的重要性
The Written Word in Islam
穆斯林相信，古蘭經是真主的話語，上面的每一字一句，是以阿拉伯語傳遞，絕無偏斜地記載了真主給人類的指引。在世界各地的穆斯林社群裡，都共享著一種語言上的共通連結，它源自穆斯林想要用古蘭經的本來形式——阿拉伯語誦讀古蘭經的意願和渴望。
古蘭經在穆斯林社會中具有貴重至極的地位，古蘭經的抄寫、裝飾、裝訂成冊、保存、誦讀，都在歷史上形成了極其詳備的規章和傳統。其中抄寫古蘭經的書法被穆斯林認為是最高級的藝術形式。
本期的展覽中，我們選擇了四件藏品，都和文字在穆斯林心中的重要性有關，其中尺寸最大的古蘭經架（rahla, Qur'an bookstand）就是穆斯林在閱讀和擺放古蘭經的重要器物，在清真寺和馬德拉沙（伊斯蘭學校）中，古蘭經架都是必備的物品。
Muslims believe that the Qur'an contains the literal words of God, which were spoken in Arabic. Their written form is considered the purest expression of God's intent. Muslims throughout the world share a linguistic bond based on the desire to read the Qur'an in its original language.
Because of the exalted position of the Qur'an in Muslim societies, historically special attention was paid to the production, illumination, decoration, display, and recitation of Qur'an. Due to its association with the written word of God, calligraphy is considered by Muslims to be the highest art form. Luxuriously embellished Qur'an manuscripts are often placed on specially designed bookstands (rahla) and prominently featured in mosques and religious schools (madrasas).
一座位於布哈拉的馬德拉沙（伊斯蘭學校）
A Madrasa (Islamic school) in Bukhara
存放古蘭經用的盒子和書架
Boxes and stands for Qur’an manuscript
地中海東部地區的鑲嵌工藝
Inlay Technics from the Eastern Mediterranean Region
和文物開窗上一檔的伊朗Khatam kari鑲嵌工藝不同，在本次展覽中的古蘭經架和小型鑲嵌木盒體現了地中海東部地區，主要是敘利亞和埃及一帶的技術和審美取向，和伊朗的鑲嵌工藝重要的一個不同之處是，埃及、敘利亞一帶的鑲嵌工藝更多地使用了螺鈿，以珍珠母貝作為裝飾材料之一，幾何圖形的式樣更大、形狀變化更多。類似的幾何紋樣也會出現在地中海東部地區的建築物上。
這種鑲嵌工藝的製作過程是先讓木材乾燥，以確保木材不會彎曲或破裂。 在伊斯蘭世界的木製品裡，核桃木和柚木是兩種極為重要的木材，被譽為堅固、厚重、耐用的木材。在一些清真寺的木構件和貴重家具上，常常可以見到核桃木的身影。此外，核桃木不是一種容易變形的木材，所有特色結合在一起，使核桃木被視為完美的加工材料。一旦木材達到了適宜的乾燥度，工匠就會將木材切割成所需的形狀和尺寸。 然後在木頭上雕刻出螺鈿的凹槽。 鑲嵌螺鈿的形狀和風格取決於七種不同的敘利亞一帶的鑲嵌風格。在我們的兩件展示品中，都是經典的幾何馬賽克的設計。
Unlike the Iranian Khatam-kari inlays showcased in the previous month, the Qur’an stand and the small inlaid wooden box here reflect the technical and aesthetic orientations of the eastern Mediterranean region, mainly Syria and Egypt. Different from the Iranian counterpart, the eastern Mediterranean inlays have mother-of-pearl as a frequent decorative material in the inlays. In Egyptian and Syrian inlay works, the geometric patterns were larger and with more shapes. Similar mosaics can also be seen on the architectures in the eastern Mediterranean region.
The damascening process involves drying the wood to ensure that it does not bend or break. Walnut wood and teak are two extremely important wood materials in the Islamic world's woodwork, and are known to be strong, heavy, and durable. Walnut wood is often found in the wooden structures of mosques and in expensive furniture in this region. In addition, walnut is not a wood that easily deforms, all these characters make walnut the perfect material to work with. Once the wood has reached the proper level of dryness, the craftsman cuts the wood into the desired shape and size. The grooves for the mother-of-pearl are then carved into the wood. The shape and style of the inlaid mother-of-pearl depends on the seven different styles of inlay found in the Greater Syrian region. In both of our displayed artifacts, the design is a classic geometric pattern.
建築上的類似幾何紋樣（大馬士革阿茲姆宮殿）
Similar geometric patterns on the architectures (Azem Palace, Damascus)
袖珍古蘭經
Thumbnail Qur’an
只有拇指大小的袖珍古蘭經是伊斯蘭世界的一種物質文化。穆斯林相信，語言形式的古蘭經具有守護、療癒的力量，因此穆斯林十分重視唸誦古蘭經的行為，並以此作為一種崇拜真主的形式。這種古蘭經的經文具有保護效力的觀念由此進一步被發展，表現在人類的物質文化行為中，就成了製作便於隨身攜帶的袖珍古蘭經以求保護和心情安定的做法。在歷史上，袖珍古蘭經常常被放置在項鍊等物品中隨身攜帶。在軍隊中，袖珍古蘭經有時會被放置在軍旗桿內部，也會被士兵隨身攜帶在身上。這都是人們在危險的戰爭中祈求保護和勝利的自然表現。本次展覽中的兩件當代的印刷製作的袖珍古蘭經就是在這樣的文化背景中製作而成的。歷史上的伊朗、土耳其和印度都製作了許多精美的袖珍古蘭經，並有許多珍品存世，今天世界上的很多博物館都在收藏和展示這類作品。
在歷史上，因為古蘭經在穆斯林的心目中極為高貴和神聖，因此穆斯林傾向延用傳統的書法，精工巧作，精益求精地製作古蘭經抄本。直到十九世紀，印刷的古蘭經才在穆斯林社會裡被接受。在這之前，袖珍古蘭經也完全是以手抄的做法完成的。書寫古蘭經的書法家在不足手掌尺寸的微小尺寸上，可以完成114章經文，實在令人歎為觀止。另外值得注意的是，在存世的袖珍古蘭經抄本中，經常有不標註母音符號的情形，這是抄寫古蘭經的學問和規矩中的例外。從此可以明顯地看到，製作如此袖珍的古蘭經抄本，並非是為了滿足閱讀的目的，而是對保護力的渴望。
The production of thumbnail-sized Qur’an can be seen as a form of material culture from the Islamic world. Since Muslims believe that the Qur’an in its verbal form has protective and healing powers, therefore Muslims attach great importance to the act of reciting the Qur’an as a form of worship of God. This notion of the protective power of the Qur’anic verses was further developed and manifested in human materialistic cultural behaviors, seen in the production of thumbnail Qur’an that can be carried around, as a mean to get protection and produce emotional stability. Historically, thumbnail Qur’ans are often carried in items such as necklaces. They can be also placed inside the military standards and carried by soldiers. This can be understood as a natural human behavior especially when men found themselves in dangerous situations like in battle fields. It is in this cultural context that the two contemporary printed thumbnail Qur’an in this exhibition were produced. Historically, Iran, Turkey and India produced many beautiful thumbnail Qur’an manuscripts, and many these valued items have survived and are today can be seen in many museums around the world.
In the past, Muslims refused the idea of printing Qur’an. Because the Qur'an was considered so sacred, the Muslims tended to use the traditional way to produce Qur’an manuscripts with beautiful calligraphy, exquisite craftsmanship, and excellence in handling. It was not until the nineteenth century that printed copies of the Qur’an were accepted in the Muslim community. Like the normal sized Qur’an manuscripts, prior to the nineteenth century, the thumbnail Qur'an was copied entirely by hand as well. It is amazing to note that the calligrapher who wrote these tiny Qur’an manuscripts could complete 114 chapters of the holy scripture on a tiny size less than the size of the palm of the hand. It is also worth noting that in the surviving copies of these thumbnail Qur’ans, there are often cases where the verses are not with vowels, which is a significant exception to the rule of transcribing the Qur’an. It is clear from this, that the production of such small sized Qur’ans was not for the purpose of reading, but rather a desire for protection.
十七世紀的袖珍古蘭經，土耳其一帶，尺寸3.2 x 3.2公分，紐約大都會博物館收藏
Portable Qur’an, Turkey, 3.2 x 3.2 cm, MET, New York
Source:
MET, Public Domain
