ولی الله کاووسی

The tradition of endowing Quran manuscripts to mosques and holy shrines has been established since the early decades following the rise of Islam. In Iran, the Imam Reza shrine complex in Mashhad has consistently served as the primary center for receiving endowed Quran manuscripts. Since at least the beginning of the tenth century, numerous individuals have endowed thousands of exquisite manuscripts at this site. The motivations behind these donations can be classified along a spectrum that includes desires for spiritual rewards, the dissemination of knowledge and awareness, the preservation of personal and familial legacies, and the safeguarding of works from the ravages of time. Among these, the latter motivation has proven particularly valuable for the study of Islamic art history.During the Qajar period, which marks the transition from ancient to modern Iran, the Astan Quds Razavi underwent notable changes. The Shah himself assumed the role of custodian of the shrine, appointing his deputies from the capital. Additionally, government officials and aristocrats affiliated with the ruling class contributed their valuable Quran manuscripts, either as relics from their predecessors or commissioned by themselves, to Astan Quds Razavi.This article will first outline the definitions and concepts of endowment within the context of the Quran and Islamic tradition, followed by an overview of the motivations for such endowments. It will also provide a brief account of the management of endowments at the Razavi shrine during the Qajar period. Furthermore, it will examine the personal lives and social statuses of ten donors of Quran manuscripts from this era, elucidating the impact of their roles and motivations on preserving and enriching the Quran manuscript collection at Astan Quds Razavi.This inquiry aims to address the following questions:1. What is the historical background and significance of the Razavi shrine collection in preserving fine Quran manuscripts throughout history?2. How was the management system of Astan Quds Razavi structured during the Qajar period, and what changes were implemented compared to previous periods?3. What were the motivations behind the dedication of Quran manuscripts?4. Who were the donors of these Quran manuscripts during this period, what were their social positions, and what was their relationship with the shrine of Imam Reza?5. What processes were involved in the production and preservation of these Quran manuscripts, and what are their structural and aesthetic qualities? Additionally, which manuscripts can be identified as products of this period, and which are remnants from earlier periods?Ultimately, it becomes evident that the endowment of these works, regardless of the underlying motivations, has contributed to their preservation and facilitated their study within the context of art history.

The work of the craftsmen of the Islamic era, which are considered to be the original works of Islamic art today, have been mentioned in earlier sources from two different perspectives; One is concerned with their practical aspect in the life of the general public and the other with the prestige of their ornamental and luxurious aspect in the treasures of the rich people. These dual interpretations in the writings of some former authors of the Islamic world have become the basis for the classification of handicrafts into two essential and luxurious groups. The purpose of this article is to approach to the perception of the former peoples of the Islamic world of the craftswork by searching for these objects and their related crafts in historical texts. The result shows that the objects that are known today as works of crafts belong to the second group; But this artistic dignity does not come from today's point of view, but they have been respected by their original creators and owners beyond their practical aspects and have been appreciated and maintained in the place of exquisite masterpieces. On the other hand, everyday objects have their own status and have never been far from the focus of Islamic authors.

The field of historiography and study of Islamic art appeared about two centuries ago on the fringes of oriental studies of Western linguists, litterateurs, and historians. The New approaches to historiography and passion for getting acquainted with Islamic texts through translation and correction, facilitated understanding of the various aspects of Islamic civilization, including art. The setting up of Arabic language courses at European universities was another way of Westerners acquaintance with Islamic culture. Following these trends, the interest in Islamic art and architecture began to develop from the late eighteenth century onwards, receiving a great impetus from the first wave of European expansion. A little later, some groups of architects and draftsmen, enthusiast for visiting Islamic monuments, went to Spain, which had great monuments of Islamic architecture. The colonial occupation and political relations of Western authorities, specially Germany, France, and United Kingdom, in Islamic lands, from Morocco and North Africa to Anatoly, India, and Iran, brought travelers with architectural and designing skills to these area. Drawing and registering survived and destroyed buildings, collecting objects and items, as well as designing and categorizing them, were among common practices. The results of such efforts were a copious of designs and pictures from Islamic monuments, which introduced Islamic architecture to the Western people. Thus, until about the middle of the nineteenth century, travelling to Islamic lands and drawing monuments were the most important attempts of those who interested in the arena in the West, most of them either were architects or had interested in architecture. In another phase, trading of Islamic items between European clients and local brokers, led to be acquired a plenty of works of Islamic art and crafts by Western museums and collections. Meanwhile, the role of the agents of South Kensington Museum in London was more prominent. The buyers and collectors of Islamic items in this period considered the main source of artistic creativity in the Islamic world not Anatolia, Syria and Egypt, but Iran. The esteem for Persian Art that was developing among European collectors and art institutions resulted in a period of intensive acquisition in Iran. Several years of drought and famine in Iran exacerbated the situation. The first European collector to be active in Iran was the Frenchman Jules Richard, also known as Mirza Riza. Among the latter, the most prominent was Robert Murdoch Smith, who in 1873 offered his services to the South Kensington Museum. These, and other, activities enabled new area of Persian art to become known in Europe. As we have seen, the study of Islamic art as it emerged in the early twentieth century has clear political and cultural reasons. In this article, we read the story of the Westerners encounters with the legacy of Islamic art by revising the narratives of European scholars themselves. In the end, we will see that the arena today known by the name of Islamic art for all the art scholars in the world, product of these initial encounters.