Karin Scheper: Neither weak nor simple: Adjusting our perception of Islamic manuscript structures

Most of us will have a general idea of what an Islamic manuscript looks like. The flat spine, the boards flush with the textblock edges and the chevron endbands, and probably most specifically the envelope shaped flap, all are features we have become familiar with and recognise as Islamic. However, when it comes to our understanding of the way these manuscripts are construed, it seems that some rather important misconceptions dominate and influence the way these objects are regarded, and consequently, treated. ‘Weak’ is a qualification often used when Islamic bindings are described, which would be true for both the sewing structure and board attachment. The solution, in terms of conservation treatments, therefore often seems to be adjustment and ‘improvement’ of the structure.

Close examination of a wide variety of Islamic manuscripts in the Leiden University Library (ULL) and experience from conservation treatments over the last few years have prompted me to reconsider the assumption that Islamic manuscript structures are weak. It seems to me this designation is very much a Western perception. Compared with what we know of Western book structures the Islamic book structure may appear inferior, but I will argue that this judgement is in fact a misjudgement, based on wrong conclusions. Our Western reference frame has also tempted us to think that the Islamic manuscript tradition is not very diverse in terms of construction. Again, a survey on the ULL collections contradicted this assumption. Indeed, over the centuries Islamic manuscripts have been manufactured in a variety of sewing techniques and board attachment methods. Their construction is neither weak nor simple. Intensive use and aging have of course often caused damage to the materials. Due to the different use of materials and diverging construction (in comparison with Western books) the nature and appearance of the damage may lead us to the wrong conclusions. A better understanding of the occurring structures and use of materials will help us to value and appreciate the Islamic book tradition properly. Just like Western manuscripts and printed works, these books are not just text carriers but information carriers in the broadest sense. The whole composite structure contains information that can shed light on the manuscript’s origin and its social and cultural context. When we overlook the many different ways in which these manuscripts can be made we misjudge the object as an artefact. As a consequence, the preservation of the authentic structure is at stake and with that, the potential to study these objects as the artefacts and informants that they are.

The time to present is too short to provide an overview of all differences and particularities encountered in my research project, therefore the paper will focus on the predominant manuscript structure and its main varieties. I will argue the strength and function of these structures and explain why seemingly small divergences can be important indicators for codicological reasons. Some other characteristics will also be presented, in order to sketch a picture that does credit to the high craftsmanship and creative talent of Islamic bookbinders throughout the region and centuries. Ultimately, it is hoped that conservators working with these objects reflect on their approach; when it is a Western one, it may need to be reconsidered.