Egyptian Journal of Archaeological and Restoration Studies

An international peer-reviewed journal published bi-annually

www.ejars.sohag-univ.edu.eg
Original article

AN UNPUBLISHED COPY OF THE HOLY QURAN DATED TO THE

13TH H./ 19TH G. CENTURY ARTISTIC ARCHAEOLOGICAL STUDY

Ahmed, Sh.

Islamic Archaeology dept., Faculty of Archaeology, Ain-shams Univ., Cairo, Egypt.

E-mail address: shaimaa.abdallah@arch.asu.edu.eg

Article info. EJARS – Vol. 12 (1) – June. 2022: 119-137

Article history: Abstract:
Received: 25-10-2021 The Holy Quran is a pillar of Islamic civilization. The copy of
Accepted: 5-3-2022 the Qur’an al-muṣḥaf al-sharīf is vital for studying Islamic arts,
Doi: 10.21608/ejars.2022.246582 in general, and Arabic scripts, in particular. The Museum of
Islamic Art in Cairo holds major collections of copies of the
Keywords: Quran as pieces of art. I chose one of those manuscripts dated
Quran 1268 AH./1851 AD., as the topic of study because of its impor-
Copy of the Holy Quran tance, complete form, various decorations, and calligrapher's
Islamic arts signature. These factors provide a comprehensive background
th th
Islamic civilization on the copies of the Holy Quran dated to the 13 H./19 G.
Arabic calligraphy century.

1. Introduction
The Holy Quran is the main source of comments in the margins. The study sheds
Islam and the major basis for Islamic light on the style of calligraphy, which
Jurisprudence sharīʿa [1]. The Quran man- varies from the Naskh and the dīwānī,
uscript(a) is one of the first devices artisans and its compatibility with the other copies
take care of to beautify and adorn with from the 13th H./19th G. covered by the
illuminating decoration and bindings. The present paper.
earliest attempt to collect the Quran's sheets
was in the reign of the Rāshidi Caliph Abu 3. Case Study
Bakr al-Sidīq. Caliph Uthman established
3.1. The descriptive study of the
a standard version, now known as the manuscript
Uthmanic Codex, which is generally con- Location: Museum of Islamic Art, Cairo
sidered the archetype of the Quran. This Date: 1268 AH/1815 AD
interest helped in the advancement of the Inventory No.18081
Quran's decoration [2] and methods of Measurements: L: 12.5 cm / W: 8.5 cm
gilding. Material: Paper
Period: Ottoman
2. Methodology Language: Arabic
In this paper, I shall follow both the des- Script: Naskh – Dīwānī
criptive and analytic methods to study Calligrapher: al-Sayyid Ḥasan al-ʿĀshiqī
and publish, for the first time, the 1268 Type of decoration: Floral - geometric
AH/1815 AD manuscript. The manuscript’s 3.2. Description
unique characteristics are highlighted, This manuscript is a paper copy of the
especially the style of gilding and the Quran consisting of one hundred and sixteen

111
folios. Each page comprises fifteen lines, llion is surrounded by floral motifs based
each with ten words, except for the pages on wavy foliated scrolls terminated by
containing the chapter (Surah) headings lanceolate leaves, some ending with a
that were made up of thirteen lines only. six-lobed rosette inside a small circle, fig.
The title of the chapter and the Basmalla (1-a). It is well known that oval lobbed
(In the name of Allah, the Entirely Merciful, medallions have adorned manuscript
the Especially Merciful) occupy a space covers since the 10th H./16th G. century.
of two lines. They are written in Naskh This medallion is surrounded by dense
floral motifs [7]. Two empty pages foll-
and diwānī in black, red, blue, green, and
owing the cover have five gilded frames
white inks. The gilding is in perfect con- on each page; the first and the second
dition. However, the calligrapher copied frames incorporate two simple gilded
the Quranic text in the middle of the lines void of decoration. The third frame
page, framing it within a gilded border. He comprises a wide band void of decoration.
used the margin spaces for noting down The fourth and fifth frames are two
any relevant comments related to the rec- gilded bars void of decoration, as well,
itation rules. The manuscript lacks page fig. (1-b).
numbers. a b

4. Analysis
Calligraphers and illuminators have proudly
taken an interest in the Quran manuscripts
as part of their worship of Allah, the
Almighty. Thus, they devoted great efforts
to decorating the manuscripts with floral Figure (1) Shows a. bookbinding, b. bookbinding –
and geometric motifs and used gold pig- the inner blank cover page
ments to add elegance to the manuscript. 4.2. Manuscript format
The 1268 AH/1815 AD manuscript adopted The format of this copy of the Quran con-
the perpendicular or vertical style(b) that sists of dense floral and geometrical motifs.
was popular in the pre-Islamic era and Manuscript formats have been decorated
continued to date [3]. The calligrapher since the 3rd H./9th G. century. The earliest
put the bases for "the virtuous ratio" into existing example of a standard Quran man-
consideration; a theory found in a copy of uscript is dated 287 AH./900 AD. kept in
Quran manuscripts in the late 5th A/11th the Chester Beatty Library in Dublin, [8].
G. century [4]. The paper highlights the The copy of the Quran covered in this study
following has an identical format to its first double-
4.1. Bookbinding(c) page Sirluḥ(e), fig. (2-a). Each page contains
The manuscript has a parchment cover a rectangle on the left surrounded by five
dyed black(d). Gilding manuscript covers half-knotted medallions bukhāriyāt; two
were popular in Egypt in the 13th H./19th at the top and lower ends and three on the
G. century [5]. The cover consists of right side. Two quarter medallions arbāʿ
seven frames inside one another. The bukhāriyāt are placed on the left side of the
third and the fifth frames are two wide page. These knotted medallions bukhāriyāt
bands decorated with floral motifs; the are adorned with dense foliates of floral
remaining frames are void of any decora- stems and branches, as well as lanceolate
tions. Such frames have decorated Quran leaves. Rosettes and heart-shaped leaves
covers since the 10th H./16th G. century are applied in gold on a blue background.
[6]. A round lobed medallion decorates the The whole pattern is surrounded by a
center having an oval with an octagonal zigzag frame with foliate stems, one of
star in the center. Radiating motifs emerge which terminates in a blue carnation. The
from the central device. The central meda- other ends in a stylized white leaf. The main

120
rectangular frame is surrounded from three text is inscribed in white ink on a gilded
sides by seven gilded frames made of background. Three gilded bars separate the
two gilded bars void of decoration, but three parts from the main rectangle and are
the fourth line has zigzag motifs. The left void of decoration, fig. (2-f). Noticeably,
side of the paper has eleven gilded frames the division of this rectangle resembles
void of decoration; the fourth has foliate another copy of the Quran manuscript
motifs made of quadrangular rosettes. This preserved in the Bavarian State Library of
taxonomy was popularly known in a copy Germany [9] dated 1268 AH./1851 AD. by
of the Quran manuscripts from the 11th- the famous calligrapher, Ḥasan al-ʿĀshiqī,
13th H./17th-19th G. century [5]. This style who had his own artistic style by writing
is found in a similar manuscript dated the heading of the Opening Chapter on the
1265 AH./1848 AD. preserved in the first page of the Quran Sirluḥ within an
Museum of Islamic Art in Cairo, fig. (2- oblong set inside a rectangle. According to
b) and another manuscript dated 1294 James [10], the Rococo and Baroque styles
AH/1877 AD preserved in the same mus- have occurred in Quran manuscripts since
eum, fig. (2-c) [6]. The manuscript covered the late 12th H./18th G. century. However,
in the paper is quite similar to another the decorative composition of the present
kept in the Bavarian State Library of manuscript doesn't follow either the Rococo
Germany [9] dated 1268 AH./1851 AD. or the Baroque style. Its main decorative
by the famous calligrapher Ḥasan al- pattern based on foliate designs was popular
ʿĀshiqī, fig. (2-d), who had a special art in Ottoman arts. The second page of the
school for designing Quranic formats insp- manuscript's main introductory Sirlūḥ com-
ired by the popular ornamentation patterns prises the name of the second chapter of
of the 13th H./19th G. century manuscripts. the Quran, Sūrat al-Baqarah (Sura II),
The main rectangular frame is divided in which occupies the oblong device above
the center into three sections; the biggest the rectangle. It is written as "The Baqarah
is in the middle with an oval lobed med- chapter-Revealed in Mecca". "Surat al-
allion with the Opening Sura of the Quran Baqarah wa hiya makkiyah". The inscrip-
al-Fātiḥa (Sura I). Gilded foliates, lanc- tion within the lower oblong reads "Two
eolate leaves, and trilobed leaves adorn hundred and eighty-four" "ma'atān wa
the four corners, all applied on a blue arbaʿa wa thamānūn". It is noteworthy
background. The oval-shaped medallion that the calligrapher gilded and decorated
was widely used on Ottoman Quran man- between the lines of verses in the first
uscripts at the end of the 13th H./19th G. double-page of the Quran sirlūḥ. He applied
century [6]. The medallion is flanked by an zigzag and wavy lines gilded and bordered
ornate border made of geometric interlaces. by black, particularly between verses res-
The upper and lower sections form a embling sea waves. Such a style started
rectangle, each with an oblong attached in the early 10th H./16th G. century in a
to a series of moldings mīmāt and sur- copy of the Quran manuscript dated 972
rounded by foliates of pentagonal rosettes, AH./1564 AD. preserved in the Palace of
emerging foliate stems, and lanceolate Prince Muḥammad Ali, al-Manial(f) . It later
leaves. The rectangle is framed by four spread to the copies of Quran manuscripts
gilded borders, three of which are void of of the 12-13th G./18-19th G. centuries [6].
decoration, and the fourth one is decorated The Museum of Islamic Art in Cairo has
with stylized red rosettes on a gilded another example showing the same style
background, fig. (2-e). It is noteworthy dated 1265 AH./1848 AD. [6]. The famous
that the upper oblong comprises the name calligrapher Ḥasan al-ʿĀshiqī used this
of the chapter sura, whereas the lower style in another manuscript dated 1268
includes the number of verses; seven. The AH./1851AD. [9].

121
 a b

c e f

Figure (2) Shows a. the manuscript format- sirlūḥ, b. first double pages of the manuscript format in a
copy of the Quran (1265AH/1848AD) - Museum of Islamic Art, inventory No.18067 (after,
S.al-Dusūqī, Fann al-tadhīb), c. first double pages of the manuscript format in a copy of the
Quran dated 1294 AH/1877 AD - Museum of Islamic Art, inventory No 18109, after S.al-
Dusūqī, Fann al-tadhīb, d. First double pages of the manuscript format in a copy of the Quran
preserved in the Bavarian State Library - Germany, (In. No. 2718 Arab) dated 1268 AH/1851
AD with the name of the calligrapher Ḥasan al-ʿĀshiqī (After, https://daten.digitalesammlun
gen.index.html?id=00014970&groesser=&fip=eayayztsxssdasxsxdsydeayaeayaeayafsdryzts&
no=11&seite=11), e. the decorative format on the first page of the Quran, f. the main rectangle
of the main text in the manuscript format.

4.3. The arrangement of verses

The Holy Quran was compiled after the present form, starting with the longest down
death of Prophet Muḥammad (PBUH) by to the shortest chapters [8]. The manuscript
the utmost effort Ijtihād of the Prophet's understudy follows this same arrangement
Companions Ṣaḥāba. Each Companion as today's copies of the Quran. The calligr-
was in charge of copying the codex in his apher wrote down the Quranic text inside
own way. ʿAli ibn Abi Ṭālib, for instance, three gilded frames; the central is the
independently began his volume with al widest. This system was followed in the
'Alaq Chapter (Sura XCVI), followed by manuscripts of the 11th-12th H./17th-18th G.
al-Muddathir Chapter (Sura LXXIV), and centuries [6]. The calligrapher used the
al-Muzzamil Chapter (Sura LXXIII) acco- margins to note down marks of the parts
rding to its revelation by the archangel and the groups aḥzāb of the Quran.
Gabriel on Prophet Muḥammad (PBUH). 4.4. Verses and chapter's dividing
In contrast, Ibn Masʿūd's copy started with panels
al-Baqarah (Sura II), then al-Nisā' (Sura The manuscript under examination contains
IV), followed by Āl-ʿImrān (Sura III), al- dividing panels between the verses and
Anʿām (Sura VI), al-Mā'idah (Sura V), chapters.
and Yūnus (Sura X). Ibn Kaʿb started his 4.4.1. Chapter's dividing panels
codex with al-Fātiḥa (Sura I), al-Baqarah The calligrapher adopted the same style
(Sura II), al-Nisā' (Sura IV), Āl-ʿImrān used in dividing verses. However, the
(Sura III), al-Anʿām (Sura VI), al-Áʿrāf panels between chapters were wider than
(Sura VII), then al-Mā'ida (Sura V) [11]. those dividing verses. He then decorated
The Quran's chapters were arranged in their the empty panels. Later, he designed a

122
decorative band enclosing the name of and ornaments, especially its distinctive
the chapter, whether revealed in Mecca decorative dividing panels between chapters.
Makkiya or Medina Madaniya, and the It is worth mentioning that the calligrapher
number of verses for each chapter was put sometimes added whether the chapter was
as well [8]. The style used in separating revealed in Mecca makkiya or Medina mad-
chapters and various foliate types of dec- aniya(g) as done with al- Baqarah Chapter
oration was used earlier in the copies of (Sura II) and al-'Alaq (Sura XCVI) revealed
Quran manuscripts from the Umayyad per- in Mecca makkiya. He also added that al-
iod [12]. This manuscript has a variety of Nisā' (Sura IV), al-Anfāl (Sura VIII), al-
panels dividing the chapters. A lobed oblong Aḥzāb (Sura XXXIII), Muḥammad (Sura
has the name of the chapter clearly written XLVII), al-Ḥujurāt (Sura XLIX), al-
in white ink on a gilded background, such Bayyina (Sura XCVIII), al-Zalzala (Sura
as the Opening chapter of the Quran al- XCIX), and al-Taghābun (Sura LXIV)
Fātiḥa (Sura I) and al- Baqarah Chapter Chapters were revealed in Medina Mada-
(Sura II) enclosing dense, stylized foliate niya. However, other chapters do not include
elements, fig. (3-a,b). This type of lobed their revelation status, such as al-ʿImrān
oblong occurred earlier as dividing panels (Sura III), al-Mā'ida (Sura V), al-Anʿām
in Ottoman manuscripts between the 10th- (Sura VI), al-Aʿrāf (Sura VII), al-Tawba
13th H./16th-19th G. centuries [6]. Another (Sura IX), Yūnus (Sura X), Hūd (Sura XI),
type of panel used in this manuscript is Yūsuf (Sura XII), al-Raʿd (Sura XIII),
rectangular with two pointed sides enclos- Ibrāhīm (Sura XIV), al-Ḥajr (Sura XV),
ing the name of the chapter and the number al-Naḥl (Sura XVI), al-Isrā' (Sura XVII),
of verses written in gold on a blue backg- al-Kahf (Sura XVIII), Mariyam (Sura
round. The rectangle also contains foliates XIX), Ṭaha (Sura XX), al-Anbiyā' (Sura
made of pentagonal rosettes, emerging fol- XXI), al-Ḥaj (Sura XXII), al-Mu'minūn
iate stems, and trilobed leaves. This pattern (Sura XXIII), al-Nūr (Sura XXIV), al-
was executed in the al-ʿImrān Chapter Furqān (Sura XXV), al-Shuʿarā' (Sura
(Sura III) and al-Ḍuḥa (Sura XCIII), fig. XXVI), al-Naml (Sura XXVII), al-Qaṣaṣ
(3-c,d). Such forms were used earlier in (Sura XVIII), al-ʿAnkabūt (Sura XVIX),
the manuscripts of the 11-13th G./17-19th G. al-Rūm (Sura XXX), Luqmām (Sura, XX
centuries. A third type was used for Yāsīn XI), al-Sajda (Sura XXXII), Saba' (Sura
Chapter (Sura XXXVI). It included the XXXIV), Fāṭir (Sura XXXV), Yāsīn (Sura
phrase "Surat Yāsīn wa hiya thalāth wa XXXVI), al-Ṣāfāt (Sura XXXVII), Ṣad
thamanūn" "Surat Yāsīn, which is eighty- (Sura XXXVIII), al-Zumur (Sura XXXIX),
three verses" written in gold ink on a blue Ghāfir (al-Mu'min) (Sura XL), Fuṣṣilat
background. Another rectangular panel was (Sura XLI), al-Shūra (Sura XLII), al-
added, enclosing a lobed medallion surro- Dukhān (Sura XLIV), al-Jāthiya (Sura
unded by a frame of moldings mīmāt. The XLV), al-Aḥqāf (Sura XLVI), al-Fatḥ (Sura
inner medallion is surrounded by foliates XLVIII), Qāf (Sura L), al-Dhāriyāt (Sura
having trilobed and lanceolate leaves in LI), al-Qamar (Sura LIV), Al-Raḥman (Sura
gold. The rectangle is surrounded by seven LV), al-Wāqiʿa (Sura LVI), al-Ḥadīd (Sura
gilded frames void of any decoration, except LVII), al-Mujādila (Sura LVIII), and al-
for the second frame decorated with small Ḥashr (Sura LIX). The calligrapher of the
trilobed leaves in red on a golden back- copy of the Quran manuscript understudy
ground. The sixth frame has zigzag motifs wrote down the number of each verse, as
in green, fig. (3-e,f). These dividing panels well displayed on the Ottoman copies of
could be compared to the 1268 AH./1851 the Quran manuscript [6]. Strangely enough,
AD. copy of the Quran manuscript [9] by the calligrapher wrongly referred al-
the calligrapher Ḥasan al-ʿĀšiqī, fig. (3-g). Baqara (Sura II) to Mecca, although it
The manuscript understudy is much more was revealed in Medina madaniya.
interesting because of its lavish decorations

123
 a b c

e g

Figure (3) Shows a. the chapter's dividing panels, b. the dividing panel of the fātiḥa (opening) of the copy of
the Quran, c. chapter's dividing panels, d. chapter's dividing panels (After, al-ʿīmrān, al-Ḍuḥa),
e. dividing panels in Yāsīn Chapter, f. dividing panel of Surat Yāsīn, g. dividing panels and
verse stops in the copy of the Quran preserved in the Bavarian State Library-Germany, dated
1268 AH./1851 AD. with the name of the calligrapher Ḥasan al-ʿĀshiqī. (After, https://daten.
digitale-sammlungen.de/0001/bsb00014970/ images/index.html?id=00014970&groesser=&fip=
eayayztsxssdasxsxdsydeayaeayaeayafsdryzts&no=11&seite=11)
4.4.2. Verse(h) stops
The decorative motifs used to separate AH./1368 AD. Its use continued in Ottoman
the verses are the oldest Quranic decorative Qurans of the 10th H./16th G. century. It is
ornaments [13]. The calligrapher began by typical of the 13th H./19th G. century copy
leaving a wider space between verses than of the Quran [6]. The calligrapher added
between each word [14]. The verse stops circles enclosing hexagonal rosettes, a motif
rapidly developed, reaching its peak under used in 10th-13th H./16th-19th G. copies of
the Ottomans [6]. This copy of the Quran the Quran. The calligrapher also evolved
provided almost fifteen decorative motifs, circles enclosing fan-shaped rosettes, multi-
eight of which were used as verse stops, lobed rosettes, and stylized foliates. Other
fig. (4-a,b). The calligrapher often used the decorative motifs include circles enclosing
interlaced decorative circles attached to six hexagonal stars ending with smaller circles.
smaller circles. These interlaced circles, as This motif was used as a verse stop in the
a decorative motif, could be traced to a 10th H./16th G. century and continued until
Mamluk copy of the Quran manuscript that the 13th H./19th G. century [6]. The callig-
belonged to al-Ashraf Shaʿbān dated 770 rapher employed hexagonal stars enclosing

124
two interlaced triangles and evolved the Abundant al-Wāfiya, the Sufficient al-
trilobed rosettes that widely spread in the Kāfiya, the Treasure al-Kanz, the Prayer
13th H./19th G. century copy of the Quran Chapter Surat al-Salah, the Praise Chapter
[6]. Other verse stops consist of circles with surat al-Hamad, and the Questioning Ch-
three, five, or six smaller spheres attached apter Surat al-Su'āl [15]. The manuscript
to their frame. Calligraphers have never understudy sometimes wrongly named Quran
repeated one form of verse stops but have chapters, such as Ġāfir Chapter (Sura XL)
constantly evolved them by adding new that was called "the Believer" al-Mu'min,
motifs, fig. (4-c). Unlike standard man- al-Insān (Sura LXXVI) that was given the
uscript formats, the verses of the copy of name "the Epoch" al-Dahr, and Takwīr
the Quran understudy aren't always Chapter (Sura LXXXI) that was known
followed by their numbers. Sometimes, by Kuwirat. Other examples include al-
Muṭafifīn (Sura LXXXIII), given the name
the calligrapher added verse stops in the
al-Mutafif, al-Sharḥ (Sura XCIV), called
wrong place, as in Yūnus Chapter (Sura X),
the Cheerfulness al-Inshirāḥ, al-Zalzala
verse 1 ﴾ِ‫اب اْل َح ِكيم‬ ُ ‫" ﴿ الر ِتْم َك آََي‬A Alif,
ِ ‫ات اْل ِك َت‬ (Sura XCIX) named "the Earthquake" al-
Lam, Ra. These are the verses of the wise Zilzāl, and al-Masad (Sura CXI) named
Book". The calligrapher added verse stops "Wood" al-ḥaṭab. This phenomenon was
after each letter: "Alif, Lam, Ra". Comparing because the calligrapher sometimes would
the verse stops with another famous man- exercise his own discretion when choosing
uscript by the same calligrapher, Ḥasan the chapter headings of the copy of the
al-ʿĀshiqī, dated 1268 AH./1851 AD. [9]. Quran or write down their names as revealed
a b
to the Prophet Muhammad (PBUH). Acco-
rding to al-Suyūṭī, Ġāfir Chapter (Sura XL)
was called Surat al-Ṭūl or the Believer
Chapter al-Mu’min because Allah says in
this chapter ﴾‫ال َر ُج ٌل ُم ْؤ ِم ٌن‬
َ ‫( ﴿ َوَق‬And a believer
from the Pharaoh's family who concealed
his faith said) (Sura XL/28) [15]. al-Insān
Chapter (Sura LXXVI) was given the name
"the Epoch Chapter". Other examples inc-
c
lude al-Muṭafifīn (Sura LXXXIII) (plural
of al-muṭafif), whereas al-Zalzala (Sura
XCIX) was named al-Zilzāl, meaning Ear-
thquake. al-Takwīr Chapter (Sura LXXXI)
used the term "rapping up (in darkness)"
kuwirat, while Sharḥ Chapter (Sura XCIV)
was called Cheerfulness al-Inshirāḥ [16].
Most scholars (ulamas) confirm that the
Figure (4) Shows a. verse stops b. verse stops, c. names of chapters were revealed to Prophet
different forms and shapes of verse stops Muḥammad (PBUH) with no chance for
4.5. Chapter headings Ijtihād. The archangel Gabriel taught and
There are one hundred and fourteen chapters explained the Quran to Prophet Muḥammad
in the copy of the Quran. Some chapters and clarified the arrangement of the chapters
were named after the beginning word or and their verses [16]. However, other sch-
after the content. Other chapters had several olars argue that the discretional names
names [8], such as al-Fātiḥa (Sura I) that given to Quran chapters and the efforts
was also called the Mother of the Quran of the Prophet's companions were based
Umm al-Qur'ān, the Opening of the Holy on their fame among the Ulama and the
Book Fātiḥat al-Kitāb, the Seven oft- scholars [16].
Repeated Verses al-Sabʿ al-Mathānī, the

125
4.6. Consequence or Intervention background enclosing a poly-lobed rosette
Arrangement "al-ta'qīb" in red, green, and gold. At other times,
The intervention arrangement mentioned carnations came out of a foliate stem in
here is a term that refers to a connection blue flanked by wavy lines in red, fig. (5-
between two matters according to their b). Occasionally, the calligrapher put a red,
linguistic usage [17]. This arrangement green, and gold hexagonal rosette encl-
was used in arranging the papers of any osing a hexagonal star while writing the
manuscript. For example, the calligrapher name of the group in white on a gilded
used to write down the first word of the background. A foliate stem at the upper and
left page on the right page below to the lower tips ends with a poly-lobed rosette
left, either slanting, perpendicular, or and carnations in blue. Wavy lines flank
horizontal, indicating the continuation of the foliate stems in red, fig. (5-c). In this
the text [18]. This type of arrangement pattern, the sign of the group takes the form
was known since the early 3rd H./9th G. of a hexagonal rosette with pentagonal
century and was found in many manuscripts rosettes in blue, red, green, and gold surr-
of that period [19]. The manuscript under- ounding the name of the group in white
study follows this arrangement of writing on a gilded background. A foliate stem
down the first word of the left page on ending in carnations at the top and bottom
the right page below to the left. This is flanked by wavy lines in red, fig. (5-d).
The sign for each group consists of stylized
arrangement is still in use. It was used by
rosettes in blue, red, green, and gold enc-
the calligrapher Ḥasan al-ʿĀshiqī in this
losing the word ḥizb in white on a gilded
manuscript and the manuscript dating 1268
ground. A group of stems ending in carn-
AH./1851AD. [9].
ations adorns the upper and lower tips,
4.7. The separations of the copy of flanked by wavy lines in red, fig. (5-e).
the Quran's divisions Another form for the group's markers is
Quran scholars were keen on calculating made of five pentagonal rosettes enclosing
the words and the letters of the Quran and the name of the group in white on a gilded
dividing it into parts ajzā' and the part into background. A branch of foliates at the
groups aḥzāb [20,21]. The calligrapher upper and lower ends is made of carnations
of this manuscript missed pointing out in blue flanked by wavy lines in red, fig.
the signs of the fifths akhmās and the (5-f). Sometimes, the group marker is
one-tenth al-ʿashr but divided the copy shown in the form of a twelve-sided star
of the Quran into thirteen parts ajzā' and enclosing the name of the group in white
each part into two parts aḥzāb [21]. He on a gilded background. A foliate branch
added special marks on the right and left at the top and bottom consists of a foliate
margins of the page as follows: stem ending in carnations in blue, all
4.7.1. Group markers (ʿalāmat al-aḥzāb) flanked by wavy lines in red, fig. (5-g).
This copy of the Quran held numerous The calligrapher distinguished the forms
signs and forms for each group ḥizab(i). of the half- group niṣf al-ḥizb markers by
There are seven forms on both the left adding two carnations at the top of the star
and right margins or the top and bottom and one carnation at the bottom, fig. (5-
of the page. One of them has a red, blue, h). Nevertheless, the calligrapher would
and green hexagonal star growing out of a have added three or two carnations and a
stem used as a base for carnations flanked poly-lobed rosette on the top of the star
by wavy lines in red. The calligrapher and only one rose at the bottom. The
wrote down the name of each group "ḥizb" callig-rapher also added the name of the
in white, fig. (5-a). Sometimes, the name of group inside the star and the number of
the ḥizab was written in white on a golden the part below it.

126
 4.8. Prostration of vecitation's marks
Scholars have determined the verses of pro-
stration Sajda in the Holy Quran but have
questioned their numbers. For example,
al-Qurṭubī stated, "fifteen prostrations; the
first in al-Aʿrāf Chapter and the last in
al-ʿAlaq Chapter, reporting that other sch-
olars believe that they are sixteen by adding
al-Hijr Chapter, while others believe they
are fourteen" [22]. The manuscript under-
study shows fourteen prostrations presented
Figure (5) Shows a-g. the decorative forms of the in five various forms and shapes. One of
group markers, h. the forms of the half-
these forms is a poly-lobed rosette with
part niṣf al-ḥizb.
emerging pentagonal rosettes in red,
4.7.2. The part's markers (ʿalāmāt al-juz') green, and gold. It encloses the word sajda
The parts also have special forms of markers in white on a gilded background. A
quite similar to those of the groups. They foliate stem emerges from the rosette at
are mostly limited to two main forms. The
the upper and lower ends with two carn-
first is a hexagonal rosette enclosing a
ations placed on top, and another below in
hexagonal star in red, green, and gold. It
holds the name of the part and its number blue, flanked by wavy scrolls in red, fig. (7-
in white over a gilded background. A foliate a). This form was used as the prostration
stem with a poly-lobed rosette emerges sajda of al-Naḥl (Sura XVI), al-Sajdah
from the main rosette carrying carnations (Sura XXXII), and al-ʿAlaq (Sura XCVI).
flanked by wavy lines in red. The second Sometimes, the calligrapher added a hex-
form is an octagonal star in gold, red, agonal rosette surrounding a red, green, and
blue, and green enclosing the name of the black hexagonal star enclosing the word
part and its number below it; all set on a sajda in white on a gilded background. A
gilded background. A foliate stem ending foliate stem emerges from its upper and
in a poly-lobed rosette emerges from the lower parts ending with a poly-lobed rosette
top and bottom of the star having carnations and two blue carnations at the upper and
in blue, flanked by wavy lines in red, fig. lower ends. A wavy scroll flanks the main
(6-a,b). It is worth mentioning that somet- stem in red, fig. (7-b). This form decorates
imes the calligrapher didn’t use marks for
the prostration sajda of al-Aʿrāf (Sura VII),
the division of parts and groups, following
the rule that the division of the Quran was Ṣaḍ (Sura XXXVIII), and al-Inshiqāq (Sura
discretional and was not revealed to Prophet LXXXIV) chapters. Another form of pro-
Muḥammad (PBUH). Thus, the beginning stration consists of twelve-sided rosettes
and the end of divisions differed from enclosing a hexagonal rosette in black,
one manuscript to another [4]. green, and red surrounding the word sajda
in white on a gilded background. A foliate
stem emerges from its upper and lower ends
with a poly-lobed rosette, two carnations
at the upper end, and another carnation
below in blue. Red wavy scrolls flank the
main foliate stem, fig. (7-c), such as the
sajda of Mariyam Chapter (Sura XIX). The
calligrapher's creativity is evident in his
representation form of prostration shown
in a red, green, and black stylized rosette
Figure (6) Shows a. the part's markers ʿalāmāt al- enclosing the word sajda in white on a
juz', b. the forms of the part's markers gilded background. A foliate stem emerges

127
from the upper and lower ends, filled with borders inside which is a dense foliated
motifs made of a series of blue carnations field repeated in the upper and the lower
at the upper end, and one blue carnation sections. This decorative pattern is made
in the lower part. The original stem is of a pomegranate rose surrounded by foliate
flanked by a series of red wavy scrolls, stems having lanceolate, cusped, and tril-
fig. (7-d), as represented in the sajda of obed stylized leaves, forming arabesques
al-Israā (Sura XVII) and al-Ḥaj (Sura in blue on a gilded background. Inside the
XXII) chapters. Another prostration form medallion on the right page, the calligra-
is a black, red, blue, and green octagonal pher added the heading of al-Nās Chapter
star enclosing the word sajda in white on (Sura CXIV). The medallion on the left
a gilded background. A stylized foliate page surrounds the name of the calligra-
stem emerges from both the upper and pher and the date of the manuscript and
lower ends, filled with foliates made of a reads:
poly-lobed rosette and carnations; two "Written by the poor and the humble,
above and one below in blue. The stem is known for his inefficiency and delinquency,
flanked by foliate red wavy scrolls, fig.
the master Ḥasan al-ʿAshiqī, one of the
(7-e), as shown in al-Furqān (Sura XXV)
students of the Quran expert ʿUthmān
and al-Najm (Sura LIII) chapters. This copy
of the Quran has fourteen prostrations of Shawqī, in the year 1268 AH ".
recitation, which, along with dropping off Apparently, the decorative composition
the second place of prostration in al-Haj of the two last folios of any copy of the
Chapter (Sura XXII) [23], indicate that it Quran always greatly resembles those in
abides by the Hanafi method of writing the opening pages, fig. (8-a,b). The deco-
fourteen prostrations of recitation. Since rative composition in one of the last pages
the majority of the Ottomans living in in the copy understudy resembles that
Anatolia adhered to the Hanafi doctrine, found in a copy of the Quran dated 1265
while most Egyptians were Shafiis [24], AH./1848 AD. in the Museum of Islamic
one could assume that the present man- Art in Cairo, fig. (8-c) [6]. Moreover, it
uscript was written in Turkey before being closely resembles another copy of the Quran
transferred to Egypt.
manuscript dated 1268 AH./1851 AD. [9]
by the same calligrapher, Ḥasan al-ʿĀshiqī,
fig. (8-d), who had his own artistic style
in decorating the last page of the copy of
the Quran inspired by the 13th AH./19th
AD. century copy of the Quran.
a b

Figure (7) Shows form of prostration of recitation

marks
4.9. The copy of the Quran's last
double-page
The copy of the Quran understudy is rec-
tangular, surrounded by three plain gilded
frames. The inner frame is the widest and
encloses a central medallion with fluted

128
c d designs made of stylized leaves emerge
from the last line of the prayer text, fig.
(9). It is well-known that copies of the
Quran since the 10th H./16th G. century
ended with a prayer supplement after com-
pleting reading the Quran and continued
into the 13th H./19th G. century [6]. It is
noteworthy that the calligrapher wrote
down the copy of the Quran verses and
prayer supplement in the same way by
dividing the supplement into phrases and
adding dividing panels of gilded and dec-
Figure (8) Shows a. the copy of the Quran's last orated markers resembling those of the
double-page, b. a decorative rectangle copy of the Quran. The whole supplement
in one of the last double-pages of the copy
of the Quran, c. the last double-page is written in black except for the word
of a copy of the Quran dated 1265 AH./ "O Allah" Allhum, distinguished in red.
1848 AD.-Museum of Islamic Art in However, this manuscript has no index
Cairo (After, S.al-Dusūqī,2002), d. of the chapter's names.
the last double-page of a copy of the
Quran preserved in the Bavarian State
Library – Germany, dated 1268 AH./1851
AD. by the calligrapher Ḥasan al-ʿĀshiqī.
(After, https://daten.digitalesammlungen.
de/0001/bsb00014970/images/index.h
tml?id=00014970&groesser=&fip=e
ayayztsxssdasxsxdsydeayaeayaeayafs
dryzts&no=11&seite=11)

4.10. Supplement (added after com-

pleting a copy of the Quran)
The copy of the Quran understudy ends
with a double-page supplement after reading
the Quran, written by the calligrapher in Figure (9) Shows the prayer supplement after com-
pleting the copy of the Quran
the same style as the main text. The first
page consists of a decorated rectangle sur- 4.11. Calligraphy
rounded by three gilded frames, the widest From an artistic point of view, Arabic
in the middle is plain. The rectangle is calligraphy has been known and appreci-
divided into two parts; the upper bears an ated for its diversity and great potential for
enclosed oblong with the phrase "prayer development. It has been linked to Islamic
recited upon completing the Quran" hadhā civilization in various fields, such as reli-
duʿā' khitm al-qur'ān gilded on a blue gion, art, architecture, education, and craf-
background. Heavily decorated foliates tsmanship, which in return have played an
are made of pentagonal rosettes, out of
important role in its advancement [25].
which emerge foliate stems with trilobed
The copy of the Quran manuscript unde-
and lanceolate leaves. The same style is
used on dividing panels between chapters. rstudy bears various types of cursive
The main rectangle is surrounded by a scripts, such as:
plain gilded border, and the rest of the 4.11.1. Naskh
page has thirteen lines from the prayer The Holy Quran was written down in
supplement. Two gilded borders separate Naskh, probably by the "scribes of the
the upper rectangle and the rest of the revelation" kuttāb al-wahīy, who wrote
page. The opposite page has the rest of the copy of the Quran in the presence of
the prayer written in fifteen lines. Floral Prophet Muḥammad (PBUH). Due to its

129
flexibility, the cursive script was used for dramatically round letters joined together
writing the copy of the Quran; the scribes like embracing arches [30]. It is known as
were rewriting the verses in a "hard script" the slender or delicate script. It was used
al- Ḫāṭ al- Gamd(j) as a following step [8]. for writing official correspondences of the
Ibn Muqla, the famous calligrapher of sultan. Ḥāfiẓ ʿUthmān, the calligrapher who
the 3rd H./9th G. century, was credited for lived in the 11th H./17th G. century [31]
setting the rules, proportions, and standar- and the master of the famous calligrapher
dizations of Arabic calligraphy [26]. The Ḥasan al-ʿAshiqī, was skilled in this script,
Cursive Naskh script has been used in that was also known as al-hamāyūnī,
writing the copies of the Quran since the meaning that it was sacred. It was also
4th H./10th G. century. Ottoman calligr- known as al-Ghuzlānī after the Egyptian
aphers proudly used Naskh in writing the calligrapher Ghuzlān, who lived in the
copies of the Quran and called it "The 14th H./20th G. century [29,31].
plain manuscript" al-naskh al-sāda", "ḫadm
4.12. Ink
al-Quran "The servant of the Quran" [27].
Ink is a liquid used for writing with a pen
Naskh they employed was distinct, precise,
[32]. Al-Ṣūlī states that "ink, al-mudad,
flexible [28], and named "The brilliant na-
skhī" al-naskh al-mūtālq [28]. The text literary means to provide something imdād".
of the copy of the Quran understudy was He continues, "it is called ḥibr or ink used
written in Naskh script. for inking" [33]. According to Ibn Manzūr,
"ink, i.e., mudād, is the material used for
4.11.2. Diwānī
The calligrapher used Dīwānī to write scripting and writing" [34]. al-Qalashandī
down the chapter headings and the suppl- refers to the ink as "mudād because it
ement added after reading the Quran. He prepares the pen for writing" [35] by pro-
also wrote his name in this script. Dīwānī viding it with the necessary material. The
was one of the secrets of the sultan's royal present manuscript displays a variety of
court, only known to its calligraphers. In colors. Sometimes, the calligrapher used
the very beginning, it was confined to ro- white ink on a gilded background to write
yal decrees and grants. Later, it was used the chapter headings, such as in al-Fatiḥa
in writing official documents dawāwīn. (Sura I), al-Baqarah (Sura II), and al-
Ibrahim ibn Manīf al-Turkī was the first Nisā' (Sura IV). At other times, he gilded
calligrapher to set the rules for this script the headings on a blue background, such
in 857 AH./1453 AD. in the reign of the as in al-ʿImrān (Sura III), to distinguish
Ottoman Sultan Muḥammad II. After that, between headings. He also used black (k)
the Ottomans played a vital role in its for writing down some verses on a white
development [29]. Its letters were a com- background. Red was applied to mark
bination of thuluth, Naskh, and rayḥānī vocalization marks on letters, especially
until the 10th H. /16th G. century. The Ott-
in the word "O Allah" allahum in the sup-
omans were keen to improve it starting
plement added at the end of the copy of
from the 11th H./17th G. century. Moreover,
the Quran. These same colors were used
the grand vizier Shahla Basha greatly
developed this script during the reign of to decorate the marks of the groups aḥzāb
Sultan Ahmad III (r. 1115-1143/1703- and parts, in addition to the use of the
1730) by mastering and beautifying it. green liquid. This manuscript displays a
The close juxtaposition of letters in a few additional words smaller and written
word characterizes the dīwānī script. Each in red. For example, the word "kufi" was
line slightly merges up to the upper line, added under the Basmallah and again
giving more secrecy to the official decrees next to the verse reading:
[28,30]. This script is distinguished by

130
 " ‫َن‬ ْ ‫َن أ َْو َحْيَنا ِإَلى َر ُج ٍل ِمْن ُه ْم أ‬
ْ ‫اس َع َجًبا أ‬ ِ ‫ان لِ َّمن‬ َ ‫﴿ أ ََك‬
gilded background was known in the Ott-
oman copy of the Quran in the 11th-13th
‫َن َل ُه ْم َقَد َم ِص ْد ٍق ِعْنَد‬ ِ َّ ‫أَْن ِذ ِر‬
َّ ‫َمُنها أ‬
َ ‫ين آ‬َ ‫اس َوَب ِّش ِر َّالذ‬َ ‫الن‬ H./17th-19th G. centuries [6].
ٌ ‫احٌر ُمِب‬ ِ ‫افرو َن ِإ َّن َه َذا َلس‬ ِ
﴾ ‫ين‬ َ ُ ‫ال اْل َك‬َ ‫َرّب ِِه ْم َق‬, 4.13. Notation and inflection (al-
"Have the people been amazed that We Iʿrāb wa al-iʿjām)
revealed [revelation] to a man from among Arabs added a variety of notation and
them, [saying], "Warn mankind and give inflection signs to the letters and words
good tidings to those who believe that they as grammatical tools in the copies of the
will have a [firm] precedence of honor with Quran. These signs were necessary to
their Lord"? [But] the disbelievers say, guarantee correct pronunciation, which
"Indeed, this is an obvious magician." made it necessary to add notation signs
(Quran, X/2). to the letters and the phrases of the Quran.
Another example reads "the Prophet stood 4.13.1. Inflection (al-iʿrāb)
up" waqaf al-nabbī below the word "peo- The signs of grammatical declension
ple" al-Nās. This finding indicates the wide used in this copy of the Quran were used
variety of colors used, which helped pro- for the first time by al-Khalīl ibn Aḥmad
duce a beautiful copy of the Quran. The al-Farāhidī (l), such as the long vowel (ā)
six colors used in this manuscript were al-fatḥa, short vowels (ī) al-kasrah and al-
black, white, red, gold, blue, and green. ḍamma, (ū) and vowellessness al-sukūn
Al-Qalashandī reports that gold pigments [39,40]. The copy of the Quran underst-
were made from gold particles mixed with udy displays a number of grammatical signs
water, gum Arabic solution, and lemon in black and sometimes in red. These
extract [35]. Some scholars believe that include the extension signs al-madd, pause
'Alī ibn Abī Ṭālib was the first Caliph to signs al-waqf, and link signs al-waṣl.
gild a copy of the Quran that was followed Sometimes, the calligrapher missed writing
by emirs and other people [36,37]. How- down inflection signs, such as at the beg-
ever, this opinion has not been proven yet, inning of the first verse in Yunis Chapter
and the copy of the Quran dated 283 AH./ (Sura X) (alef lam rā') ﴾‫(﴿الر‬Quran, X/1).
896 AD. is the oldest gilded manuscript
preserved in the Chester Beaty Library in 4.13.2. Notation (al-iʿjām)
Dublin [38]. After writing a copy of the This term means distinguishing similar
Quran, the calligrapher would usually leave letters by adding dots above them to avoid
some space between pages in order to confusion [41,42]. This manuscript incl-
apply the decoration needed for gilding udes a large number of notation signs in
[14]. It is worth mentioning that the gilded black.
parts in the early copies of the Quran were 4.14. Pause signs (ʿalāmāt al-waqf)
limited to the chapter headings, the place Pause signs in the Holy Quran are imp-
of revelation, and the number of verses. ortant and help the reader recite correctly;
Soon, this process developed to comprise by knowing when it is necessary to stop
the first and the last double/pages of the before continuing further. Early copies of
manuscript and the dividing panels between the Quran manuscripts did not have any
chapters and verses. Gilding was also pause signs [21,43]. The manuscript under-
used in the side margins by applying it to study includes pause signs represented
the prostration and group's marks. Later, by small letters above the words such as
it encompassed the whole copy of the mīm, lām alif, jīm, ṣād, and qāf, written in
Quran [28]. Writing the copy of the Quran red. Pause Signs were used in Ottoman
in black was employed in most Ottoman copies of the Quran to help the reciter read
copies of the Quran [6], while writing correctly. The mīm means that the reader
the names of the chapters in white on a is not allowed to pause and has to continue

131
reciting. The letter lām alif gives the reader one dated 1089 AH/1678 AD and another
the right to pause before continuing further. 1101 AH/1689 AD [6]. Ḥasan al-ʿĀshiqī
The letter jīm means that the reader is was a very talented calligrapher in writing
allowed to pause, but it is better to con- Naskh, just like his master Ḥafiẓ ʿUthmān.
tinue. The letter ṣād indicates that the Thus, he wrote this manuscript in Naskh.
reader is permitted to pause, but it is better Given that only the calligrapher's name
to carry on reciting. Additionally, the letter is stated, one wonders whether Ḥasan al-
qāf allows the reciter to either pause ʿAshiqī was also the illuminator of the
while reciting or to continue. However, it copy of the Quran? Was there another
is preferable to pause [6,21]. person in charge of gilding and decorating
4.15. Calligrapher the copy of the Quran, but the calligrapher
The name of the calligrapher is written at only added his own name? Most probably,
the end of the manuscript understudy. It Ḥasan al-ʿĀshiqī was the one in charge
is set within a lobbed medallion and reads, of producing the copy of the Quran, so
"Written by the poor and the humble, known he proudly signed his name at the end of
for his inefficiency and delinquency(m), the the manuscript after adding the word (It
master Ḥasan al-ʿAshiqī, one of the disc- was written by) katabhu. There might have
iples of the Quran expert ʿUthmān Shawqī, been an illuminator in charge of gilding
in the year 1268 AH". This phrase is in and decorating the manuscript, but his
black and divided by interlacing circles name was dropped.
enclosing red decorative designs. A trilobed a b
leaf ends the phrase, fig. (10-a). It is worth
mentioning that the name of the calligra-
pher was found in another manuscript [9]
dated the same year 1268 AH./1851 AD.
that repeats the same phrase "Written by
the poor, the humble, known for his inef-
ficiency and delinquency, the master Ḥasan
al-ʿAshiqī, one of the disciples of the Quran
expert ʿUthmān Shawqī, in the year 1268
AH, who deserves honor and superiority", Figure (10) Shows a. the name of the calligrapher
fig. (10-b). Hence, the calligrapher of the photographed, b. the name of the cal-
ligrapher of the copy of the Quran pre-
copy of the Quran understudy was a disc- served in the Bavarian State Library,
iple of the master Ḥāfiẓ 'Uthmān, one of Germany, 1268 AH/1851 AD made by
the pioneers of the Ottoman school of cal- Ḥasan al-ʿĀshiqī (After, https://daten.
ligraphy, who was born in 1052 AH/1642 digitale-sammlungen.de/0001/bsb000
14970/images/index.html?id=0001497
AD. Uthmān learned the Quran at a young
0&groesser=&fip=eayayztsxssdasxsxd
age, so he was called Ḥāfiz. He worked sydeayaeayaeayafsdryzts&no=11&seit
as a calligraphy teacher for the Ottoman e=11)
Sultan Muṣtafa II and Prince Aḥmad III
[28,30] and was talented in writing in 5. Results
Naskh and thuluth [31]. He died in 1110 The study covered the 1268 AH./1815
AH./1698 AD. [30]. Ḥasan wrote numerous AD. manuscript published for the first
manuscripts. It is said that he wrote about time. Its unique characteristics were cla-
twenty-five copies of the Quran, and his rified, especially the style of gilding and
writing style was known as "The brilliant" the comments in the margins. This study
al-mūtālq [28,30]. He also perfected Thu- had a wide variety of this copy of the Qu-
luth, Rayḥānī, and Dīwānī [28]. He copied ran's dividing panels and the numerous
numerous copies of the Quran, including decorative elements on each folio. It also

132
illustrated that the calligrapher distingue- number of its part below. The study verified
ished the signs used for half-groups niṣf the great similarity between signs of groups,
parts, and prostration of recitation. The calli-
al-ḥizb, groups aḥzab, and parts ajzā'. It grapher added the word ḥizb or juz', and its
demonstrated the number of prostrations number, or the word sajda, to distinguish betw-
of recitation. This paper shed some light een them. This paper also covered the multiple
choice of ink colors used, including black, red ,
on the calligrapher of this manuscript Ḥasan blue, green, and white, which bestowed an
al-ʿĀshiqī, who was the disciple of the aesthetic quality to the manuscript. The paper
famous Naskh master, Ḥāfiẓ ʿUthmān. showed the variety of names often given to a
copy of the Quran chapters, some of which
were unusual, indicating the calligrapher's choice
6. Discussion of the discretional titles or those revealed to
The study addressed a copy of the Quran Prophet Muḥammad (PBUH). Moreover, the
manuscript dated 1268 AH/1815 AD. It calligrapher followed the intervention system
illustrated its importance, various decorati- in the arrangement of the folios without having
to number each page. The study illustrated that
ons, and calligrapher's signature. It pointed the calligrapher neglected some signs of infl-
out the variation between the scripts, such ection, displaying the remarkable resemblance
as Naskh and Dīwānī. It demonstrated that between the first double-page and the last
the number of prostrations of recitation is double-page regarding their ornamental com-
position. The paper demonstrated that the nu-
compatible with the Ḥanafī doctrine ado- mber of prostrations of recitation is compatible
pted by the Ottoman Turks. Thus, this with the Ḥanafī doctrine adopted by the
copy of the Quran was probably written Ottoman Turks. Thus, this copy of the Quran
down in Turkey before being transferred was probably written down in Turkey before
being transferred to Egypt. The study pointed
to Egypt. This study also clarified the call- out the variation between the types of scripts ,
igrapher's concern in writing down the such as Naskh and Dīwānī, and the calligr-
prayer supplement in the same way as the apher's concern in writing down the prayer
main text of the copy of the Quran, using supplement in the same way as the main
text of the copy of the Quran using decorative
decorative stops to separate the prayer stops to separate the prayer phrases. The
phrases. All these factors give us a full paper emphasized the compatibility of this
background on the copy of the Quran manuscript with other copies of the Quran of
th th
manuscripts dated to the 13th H./19th G. the 13 H./19 G. century, regarding the first
double-page and the last double-page of the
century. copy of the Quran that included a supplement
added after reading the Quran. Pause signs
7. Conclusion were covered in detail, giving a clear idea of
th th
The present study tackles a copy of the Quran the copies of the Quran of the 13 H./19 G.
manuscript dated 1268 AH/1851 AD preserved century. This paper shed light on the calligr-
in the Museum of Islamic Art in Cairo. It con- apher of this manuscript Ḥasan al-ʿĀshiqī, who
cluded the wide variety of this copy of the was the student of the famous Naskh master
Quran's dividing panels and the numerous Ḥāfiẓ ʿUthmān. It showed that the calligrapher
decorative elements on each folio. The inve- Ḥasan al-ʿĀshiqī, whose name was added
stigation revealed the unusual location of afterword "It was written by" katabahu", sugge-
dividing panels in Yunus Chapter (Sura X) sting that another person might be in charge
and the various elements of their design in of its decorative composition and gilding, but
several chapters, such as in Yāsīn Chapter his name was neglected by the calligrapher.
(Sura XXXVI). The study also revealed the By comparing this manuscript with another
compatibility in arranging the chapters with one preserved in the Bavarian State Library
the present copy of the Quran. It pointed out of Germany, the present manuscript exhibits
that this copy of the Quran's division were a greater variety of decorative elements,
only confined to the parts ajzā' and groups especially in the chapter's headings, dividing
aḥzāb, commonly used in other copies of the panels, and group's marks.
Quran. This study clarified that the calligrap-
her distinguished between the signs used for Endnotes
half-groups niṣf al-ḥizb, groups aḥzab, and (a) Ibn Manẓūr stated that the copy of the
parts ajzā' by adding the number of carnations
and poly-lobed rosettes. Here, the word juz' Quran manuscript is the sheet to
or part was written inside a polygon and the write on, Plural sheets ṣaḥā'if or

133
 ṣuḥuf. Muṣḥaf is gathering all sheets A fire should be lit underneath the pot
between two covers, See [34]. to make the mixture change and melt.
(b) The vertical or perpendicular style of After that, the mixture is cooled, and
manuscripts recalls the style whose then the hydrated ferrous sulfate mixed
length is longer than its width. It was with Arabic gum (Acacia gum) is ready
popular in the arts of the book before to use. Some others used one or the
and after Islam. It was also known as third amount of water for mixing with
the French form. See [8]. the liquid", see [46].
(c) Bookbinding is the process of presse- (l) Al-Khalīl ibn Aḥmad ibn ʿAmr ibn
rving all the folios of a manuscript in Tamīm al-Farāhīdī al-Baṣrī, the gra-
order and covering them with a special mmarian and syntax scholar, perfectly
binding or cover to protect them, See mastered grammar. He wrote the book
[7]. al-ʿayn to adjust the language. He was
(d) Black dyes are extracted from sumac, the master of Sibwih, the linguist and
walnut, hazelnut, Indian cade, soot, Cae- grammar expert. He was the first who
salpinia, and the black Tannin. Black calculated the notation marks in one
dyes were popular in the Ottoman period, line of poetry. He also innovated the
See [28]. marking process of the phrase. He
(e) Sirluḥ is a compound Persian term; sir died in Baṣra in 175 AH./791 AD., see
means head or chief, and luḥ means [47].
page; therefore, put together, sirlūḥ (m) The formula "the poor and the humble,
meant the first double-page. It is widely known for his inefficiency and delinq-
used as an artistic term in the arts of uency" appeared in other Turkish copies
the book, See [6,44]. of the Qur’an, one of which is dated
(f) A copy of the Quran manuscript (Inv- 1137 AH/1724 AD., and the other is
entory No. 282), See [6]. dated 1165 AH./1751AD., see [48]
(g) The word Makkiya refers to the chapters
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