Demand for manuscripts from the Islamic west on the rise

Pablo Picasso once said that “the purpose of art is washing the dust of daily life off our souls.” Art collectors around the world partake in this soul-searching endeavor and Islamic art is emerging as a growing asset class. With some pieces more than 1,000 years old and ranging from the Maghreb to Mughal India and beyond, Islamic art has been highly valued for its craftsmanship, intricacy and elegance. Islamic art is by no means monolithic — from architecture to ceramics to Arabesque, the range of its offering is remarkable.

Of these, calligraphy has historically been the most appreciated and sought-after form of creative expression, especially due to its association with the Qur’an. Combining the Arabic script with local traditions, Islamic calligraphy beautifully merges spirituality and aesthetics. It almost takes the form of divine expression representing the sacred nature of the written word in Islam.

Manuscripts of the Islamic west — the Maghreb — are increasingly sought-after due to their unique calligraphic style and often their origination from Europe. Given the long history of Muslim Spain, Portugal and Sicily, these Arabic works represent Europe’s Islamic past. Maghrebi calligraphy is also known for its distinctive features, including rounded letter forms with pointed tips and the slight rightward tilt of the letters, making it visually different from other Arabic calligraphy traditions. It is most commonly used in religious and legal texts, as well as poetry.

In fact, Maghrebi calligraphy is an interesting form of decorative expression that narrates interchanges between Andalusia and North Africa, as styles and knowledge transferred in both directions during the medieval period. It evolved from the Kairouani Kufi style and its clarity and elegance made it a popular choice for transcribing the Qur’an under the Almohad dynasty. This style blends rigid, angular strokes inherited from Kufic with fluid, circular movements, creating a distinctive balance between structure and elegance.

Combining the Arabic script with local traditions, Islamic calligraphy beautifully merges spirituality and aesthetics. 

Zaid M. Belbagi

In the golden era of Al-Andalus from the eighth century to the 15th century, Andalusian artists refined the art of manuscript production, introducing sophisticated calligraphy and decorative techniques. This artistic tradition flourished in Morocco due to its deep historical ties with Islamic Spain. The Moors facilitated a dynamic exchange of knowledge, art and architecture between Spain and the Maghreb. With the advent of the Spanish Reconquista, Morocco became a refuge for Andalusian calligraphers who brought with them a rich artistic and intellectual heritage and made Moroccan cities like Fez, Tetouan and Rabat centers of Andalusian culture. Their influence is visible in both Morocco’s architectural marvels and treasured manuscript collections.

Auctions provide a crucial platform for the preservation of these cultural treasures, ensuring that they remain in the hands of appreciators and indeed in creating advocacy around the importance of these works. The art market, particularly in London, is witnessing a growing demand for manuscripts of the Islamic west. The success of Christie’s and Sotheby’s, in particular, in bringing art collectors and investors together has played a critical role in keeping conversations on Islamic art alive. The price of rare manuscripts — such as the best calligraphy of the Islamic west — has soared given the paucity of such invaluable artifacts and the ever-growing demand for them.

Last year, Christie’s sold a section of a 14th-century Merinid Moroccan copy of the Qur’an for £630,000 ($813,000), breaking a record for a Maghrebi work. A relic of Sultan Abu Inan Faris’ era, it represented a watershed moment for the genre. In 2023, Plakas sold a single page of a ninth-century North African copy of the Qur’an for £75,000. These are record-breaking sales that indicate the demand for Islamic manuscripts. The premium that art collectors put on manuscripts reflects the rarity of these artifacts.

The price of rare manuscripts has soared given the paucity of such invaluable artifacts and the ever-growing demand for them. 

Zaid M. Belbagi

Last week, the Moroccan Embassy in London joined with Sotheby’s to showcase 900-year-old works from the Belbagi collection. Benedict Carter, the head of Islamic and Indian art at the auction house, noted: “This is a growing but undervalued corner of the Islamic art market, which will see much more interest in the coming years due to the age and rarity of some of these works.”

The list of notable sales of Islamic manuscripts continues. Among them is a rare seventh-century Qur’anic manuscript, believed to have been written just two decades after the death of Prophet Muhammad. This manuscript was put on sale for €1 million ($1.08 million) at the European Fine Art Fair in the Netherlands in March 2024. Another remarkable sale occurred in June 2020, when a 15th-century Persian Qur’an manuscript fetched £7 million at Christie’s. The manuscript is a unique piece, likely created at the court of a Timurid prince in present-day Iran or Afghanistan.

Though London and the West in general are hubs for art collectors, the demand for Islamic art is growing well beyond. The ongoing Islamic Arts Biennale in Jeddah has been hailed as a milestone in the appreciation of Islamic art in the Middle East. Not only has it brought together international art collectors, but it has also encouraged audiences to question the very nature and scope of Islamic art.

Manuscripts are invaluable time capsules providing a snapshot of the early periods of Islam and the diverse local traditions that make up Islamic culture. These timeless works of art have weaved together history, identity and art. The Islamic west has historically been a vibrant cultural hub and the elegance of its culture is reflected in Maghrebi calligraphy. As the demand for Islamic art grows, the manuscripts of the Maghreb, which have often been placed at the periphery of the Islamic world, will become increasingly invaluable for art collectors globally.

• Zaid M. Belbagi is a political commentator and an adviser to private clients between London and the Gulf Cooperation Council. X: @Moulay_Zaid