oi.uchicago.edu News & Notes MEMBERS’ MAGAZINE ISSUE 242 | SUMMER 2019 oi.uchicago.edu IN THIS ISSUE THE ORIENTAL 4 SCRIPT AS ART | ART AS SCRIPT Tasha Vorderstrasse INSTITUTE 6 MISSING PAGES: TWO MANUSCRIPTS OF THE SAMARITAN TORAH IN THE OI 1155 East 58th Street Joseph Cross Chicago, IL, 60637 16 A TRILINGUAL INSCRIPTION OF XERXES I WEBSITE Tasha Vorderstrasse oi.uchicago.edu 18 PRINTING GOD’S WORDS WITH THE DEVIL’S FACSIMILE INFERNAL MACHINE: THE HIEROGLYPHIC 773.702.9853 PRINTING FONT Foy Scalf & Anne Flannery MEMBERSHIP INFORMATION 773.702.9513 25 PROGRAMS & EVENTS [email protected] 30 CENTENNIAL SPECIAL LECTURES & FILMS MUSEUM INFORMATION 773.702.9520 32 CENTENNIAL TOUR OF TURKEY & GREECE SUQ GIFT AND BOOK SHOP 34 VOLUNTEER SPOTLIGHT 773.702.9510 ADMINISTRATIVE OFFICE 773.702.9514 [email protected] MUSEUM GALLERY HOURS Mon: Closed Sun–Tue, Thu–Sat: 10am–5pm Wed: 10am–8pm CREDITS Editors: Matt Welton, Charissa Johnson, Rebecca Cain, Steve Townshend & Tasha Vorderstrasse Designers: Rebecca Cain, Matt Welton & Charissa Johnson ON THE COVER: A12066. Folio from a Mamluk Qurʾan given as waqf by Sultan Faraj ibn Barquq (1399– 1412 CE). News & Notes is a quarterly publication of the Oriental Institute, printed exclusively as one of the privileges of membership. oi.uchicago.edu FROM THE DIRECTOR’S STUDY This issue of News & Notes takes as its theme the primary vehicle of visible lan- guage in the ancient world: the manu- script. In the lead article, Joseph Cross Tcomprehensively describes the historical, cultur- al, and textual contexts of two manuscripts dat- ing to the Middle Ages of the Samaritan Torah (respectively from Leviticus and Genesis)—the same Samaritans that are known from the New Testament parable of the good Samaritan (Luke 10:25–29) and who live on today in a small com- munity in the West Bank. The fragments provide a window into the fascinating differences that exist be- tween the Samaritan and Masoretic versions of the Torah in terms not only of script and layout, but also occasionally of content. The Genesis manuscript is particularly notable in that it represents one of the earliest attested trilingual codices, with Aramaic and Arabic translations of the Hebrew text, and fills an important gap in the Samaritan Torah. Tasha Vorderstrasse considers a trilingual inscription of a different kind, namely, the “daiva” inscription of Xerxes I (486–465 BCE), which records the king’s conquests in the three languages that were regularly used to pro- mote the royal ideology of the Achaemenid empire—Elamite, Old Persian, and Babylonian. The magnificent Babylonian version of the inscription is on display in our Robert and Deborah Aliber Persian Gallery, which will also display for the first time this fall, among its many treasures from Persepolis, a relief of a lion and bull in combat that had been on loan to Museum of Fine Arts, Boston, since the time of its excavation in the 1930s. Writing and art are often tightly interwoven, without distinct boundaries between the two—Egyptian hieroglyphs, for instance, come immediately to mind. Indeed, writing as a form of art may go so far that it conveys no linguistic information but only the notion of writing—pseudo-writing. In her second contribution to this volume, Tasha Vorderstrasse describes Qur’an pages from the Mamluk period (1260–1517) in the OI’s collection which, while certainly meant to be read, and easily so with the full indication of vowels and pausal marks, nevertheless exemplifies the close union between art and writing in the Islamic calligraphic tradition. This issue is nicely rounded out by Foy Scalf’s fascinating contribution on an important piece of the OI’s history—the hieroglyphic font that was purchased by Breasted in 1928 and was widely used in the OI’s Egyptolog- ical publications until the 1970s, when the advent of modern printing tech- nologies rendered it obsolete; the font had been in long-term storage since that time but has now been put on public display in the Research Archives. CHRISTOPHER WOODS Director oi.uchicago.edu / SUMMER 2019 | 3 oi.uchicago.edu 4 | NEWS & NOTES ISSUE 242 / oi.uchicago.edu oi.uchicago.edu SCRIPT AS ART | ART AS SCRIPT by Tasha Vorderstrasse he Mamluk period (1260–1517) Qur’an pages illustrated on the cover and opposite page demonstrate the aesthetic qualities of Islamic calligraphy. The page is not simply transmitting the written word of God, but also transforming those words into art. Even if one cannot read what is written on these pages, one can still appreciate the beautiful writing. Each part T of the illustration was carefully designed to assist in the proper reading of the Qur’an, from the illuminated title page of A12066 (on the front cover of this issue), which marks this part (or juz’) of the Qur’an starting on the following page, to the simpler decoration of A12029B (upper left, opposite page). One can see that the script is fully pointed and voweled, meaning that it would be easier to vocalize. Further, eight-petaled gold rosettes with four blue dots marks the end of each verse, signaling where an individ- ual reading the text would be signaled to pause. It is evident from these cues that such books were meant to be heard. Indeed, these manuscripts were part of royal donations (known as a waqf, or charitable endowment) to institutions. There were often requirements that the Qur’an should be read aloud, and thus these manuscripts were not just beautiful art objects but also had a practical use. The Mamluks produced many Qur’ans, and these survive in large numbers. The illumination and calligraphy of these manuscripts are typical of Mamluk Qur’ans, and such details can be found in both Christian and Jewish manuscripts. The resemblances between the manuscripts of different faiths are often striking and include not only ornamentation but also the choice of script used to write them. British Library Ms. Add. 11856 is a Four Gospels manuscript that was illuminated in Palestine in 1336 and written in Arabic language and script. The decoration of the manuscript, like other Chris- tian manuscripts produced in this period, closely resembles the Qur’anic manuscripts. The influence of Islamic ornament and Arabic script can also be clearly seen in Jewish manuscripts. The Sana’a Pentateuch, for example, in the British Library (Ms. Or. 2348), was probably created in Yemen by Benaiah ben Saadia ben Zekhariah ben Marga for Abraham ben Yosef-Israili in 1469. The manuscript is primarily written in Hebrew using the Hebrew alphabet, but the colophon is written in Arabic using Arabic script, providing a date according to the Muslim calendar and the name of the commissioner in Arabic. Other manuscripts are in Hebrew using Arabic script, such as British Library Ms. Or. 2540 (opposite), which is a book of Exodus that was written in Palestine or Egypt in the tenth century. The Arabic script is again voweled, fully pointed, and also accented. The different colors provide a visual marker to the reader and emphasize how it should be pronounced. There are also fillers that indicate the beginnings of chapters, ends of verses, and so on, once again providing clues to the reader of the text. The manuscript is from the Jewish Karaite community, which did not follow rabbinic tradition and often transcribed the Hebrew Bible into Arabic. An example in the Oriental Institute collection is A12062, which is also a Karaite manuscript that is a commentary on the book of Daniel written in Hebrew using Arabic characters with Arabic commentary. The Oriental Institute collection contains fifteen Qur’an manuscripts made from paper, twelve of which are Mamluk from Egypt. These Qur’ans were first studied by Oriental Institute scholar (and first female faculty member) Nabia Abbott (1897–1981) in her book The Rise of North Arabic Script and its Ḳur’ānic Development with a Full Description of the Ḳur’ān Manuscripts in the Oriental In- stitute. This ambitious work was prompted by her studies of the Qur’ans in the Oriental Institute collection. Since the manuscripts in the Oriental Institute come from different time periods and places, she realized that in order to understand them it was necessary to investigate how the Arabic script developed. She assembled various textual sources that discussed how Arabic calligraphy started and how it developed in its early stages. This was an important step in understanding Islamic calligraphy but, as has been pointed out by Alain George in his 2010 book The Rise of Islamic Calligraphy, it had the disadvantage of being based largely on texts that had been written centuries after the events that they discussed. Nevertheless, Abbott’s work tried to determine how the calligraphers understood what they were writing. This is a question that we ask when we look at the different manuscripts here and the choices they made in script and language, as well as how the artists decorated the manuscripts. All of this points to styles, languages, and scripts cutting across cultural boundaries and being used by members of different religious communities. UPPER LEFT A12029B. Folio from a Mamluk Qur’an given as a waqf to the mosque of Sultan al-Mu’ayyad Shaykh (reigned 1412–21). UPPER RIGHT Four Gospels in Arabic. British Library Add. Ms. 11856, fol. 157r. BOTOM LEFT The Sana’a Pentateuch. British Library Ms. Or. 2348, fol. 154v. BOTTOM RIGHT Karaite Book of Exodus: Fragments from Exodus. British Library Ms. Or. 2540, fol. 4r. oi.uchicago.edu / SUMMER 2019 | 5 oi.uchicago.edu MISSING PAGES TWO MANUSCRIPTS OF THE SAMARITAN TORAH IN THE ORIENTAL INSTITUTE by Joseph Cross 6 | NEWS & NOTES ISSUE 242 / oi.uchicago.edu oi.uchicago.edu WHO ARE THE SAMARITANS? Today, in a village named Kiryat Luza in the foothills of Mount Gerizim, just outside the town of Nablus in the West Bank, there lives a community of over eight hundred people whose sacred scripture is the Torah of Moses, but who are not Jewish.