Quotations from the Qur'an (often repeated), including Surah al-Baqarah (II), verse 255 (The Throne Verse, Ayat al-Kursi); Surah al-Nur (XXIV), verse 35; Surah Yasin (XXXVI), verse 58; Surah al-Shura (XLII), verse 19; Surah al-Fath (XLVIII); Surah al-Kafirun (CIX); Surah al-Ikhlas (CXII); Surah al-Nas (CXIV).
Prayers and invocations to God; including the Shahada;
Talismanic numbers or letters, some described, one as: 'seal of love, obedience, brotherhood'.
A large Sun disc, in the centre of which is the Qur'an, Surah al-Baqarah (II), verse 255 (The Throne Verse, Ayat al-Kursi), its rays are made up with the repetition of the Basmallah surrounded by twelve magic roundels. There are also two roundels with the name of the Caliph 'Uthman ibn 'Affan, one mentioning his collection of the text of the Qur'an.
This is a very unusual and finely executed Qur'an jama. The basic layout relates to other jamas of the fifteenth and sixteenth centuries, with a large number of panels and roundels containing Qur'anic quotations, pious phrases, prayers and talismanic numbers, but here their arrangement is unusually varied and inventive, and the palette is distinct from the more common use of orange and blue that features on most Indian jamas (for a typical example of the latter palette see sale in these rooms, 5 October 2010, lot 42). The most notable feature on the present example is the presence of images of the Two Holy Mosques of Mecca and Medina .This is exceptional - indeed it may be unique on jamas - and presumably adds an even higher level of protection to the wearer. The positioning of the two images is also pertinent, placed as they are on the chest, over the heart (al-sadr). Another remarkable feature is the presence of two gilded and finely illuminated panels on the shoulder, which extend around the circular band round the neck. Again, these panels may be unique in the context of Qur'an jamas and, along with the images of Mecca and Medina, indicate that this jama was made for a high-ranking official or perhaps a prince. Its place of origin is hinted at by the specific design of the illuminated shoulder panels, which can be linked to Deccani work of the sixteenth century. Thus it is plausible that this talismanic garment was made for a prince of the Qubt-Shahis of Golconda or the Adil Shahis of Bijapur, dynasties both noted for the exquisite quality of their paintings, calligraphy and illumination.
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