When chapter headings were later introduced, the wording stated the name of the chapter, the number of verses and whether the particular chapter was revealed in Mecca or Medina. Likewise, chapter headings were also added later in a different script and colour from the rest of the text. A later development in the verse numbering of this Qur’an was the addition of red circles surrounded by red dots to mark the end of every ten verses. In the earliest fragments, such as the Ma’il, the end of each verse is indicated by six small dashes in two stacks of three. In early Qur’ans the method for numbering verses was not fully developed either. In the Ma’il Qur’an, like in other ancient fragments, there are no textual indicators to differentiate between letters of a similar shape or indicate vowel sounds. The script can also be recognised by the distinctive traits of some of its letters, in particular alif and ya’ (the first and last letters of the Arabic alphabet). The word ma’il means ‘sloping’ and refers to the script’s pronounced slant to the right. It is an almost complete codex, and is the largest fragment of consecutive text of the Qur’an that we have. One of the oldest surviving Qur’ans is the so-called Ma’il Qur’an, which dates from the 8th century and comes from the Hijaz region of the Arabian Peninsula. The Ma’il Qur’an is one of the very earliest Qur’ans in the world (photo: British Library). For, in copying the Qur’an, calligraphers have made use of a wide range of styles, reflecting stages in the development of Arabic writing. To a great extent, the history of Qur’an manuscripts is the history of Arabic script. The importance of these fragments cannot be overestimated as they provide the only available evidence for the early development of the written recording of the Qur’an text. The earliest Qur’an manuscripts were produced in the mid-to-late 7th century CE (1st century Hijrah), although it is difficult to be precise about their date due to the fact that ancient copies from this period have not survived intact and exist only in fragments. What was calligraphy like in the oldest Qur’ans? This apprenticeship included training in trimming reeds for the pen (quills were not used as in Western Europe) and in the preparation of inks including, among other ingredients, carbon, iron-gall and gum-arabic.
#CHINESE ARABIC CALLIGRAPHER PROFESSIONAL#
The calligrapher belonged to a professional class in order to gain membership to this class, the scribe needed to obtain a diploma ( ijazah), after several years of working under a master calligrapher. The calligrapher would be responsible for planning the page for the text, organising the space of the page and the use of the ruling frame ( mistarah) which enabled him to write in straight lines.
#CHINESE ARABIC CALLIGRAPHER MANUALS#
Our knowledge of the working practices of calligraphy and illumination comes from medieval handbooks and manuals for scribes who, in their capacity as court officials, were also responsible for drawing up documents. What do we know about the calligrapher’s role? Devotion to the book is exemplified by the way Qur’an manuscripts have been devoutly and assiduously copied throughout the centuries, exhibiting diverse styles of calligraphy and illumination, which often reflect their place of origin and date of production. In Islam, the text of the Qur’an is considered sacrosanct and infallible, and as such the physical form of the book is treated with reverence. It also explores geographic variations in scripts alongside developments in Arabic grammar, changing mediums and Qur’an formats. This article outlines the development of qur’anic calligraphy, from some of the earliest existing Qur’ans. 6 Can the script help us understand the text?Īrabic calligraphy is a form of reverence for the Qur’an.5 Are there regional differences in Qur’anic calligraphy?.4 Are different scripts used for different purposes?.2 What was calligraphy like in the oldest Qur’ans?.1 What do we know about the calligrapher’s role?.
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