The Qur'ânic Manuscripts in Museums, Institutes, Libraries & Collections

The Museums, Institutes & Collections described below contain Qur'ânic manuscripts from 1st century of Hijra onwards. The readers are advised to go through the cited publications to obtain more information about the nature of the Qur'ânic manuscripts.
Maktabat al-Jâmic al-Kabîr (Maktabat al-Awqâf), The Great Mosque, Sancâ', Yemen.
The Great Mosque of Sancâ', established in 6th year of Hijra when the Prophet(P) entrusted one of his companions to build a mosque. It is considered to be the first mosque in Yemen and among the oldest in Islamic world. The mosque was extended and enlarged by Islamic rulers from time to time. The manuscript collection (ca. 7,000) of the Great Mosque is housed in three libraries in the mosque complex. The first to be established was Al-Maktaba al-Sharqîya which was completed during the reign of al-Imâm Yahyâ Hamîd al-Dîn (1904-1948).
The second to be established was Al-Maktaba al-Gharbîya which houses the manuscripts and books of Al-Hay'a al-cÂmma li-l-Âthâr wa Dûr al-Kutub. Both these libraries are located in the southern side of the msoque. The Maktabat al-Awqâf, the main modern library, is housed on the second floor in the new three-story building of the Great Mosque of Sancâ'. It contains some of the rarest Islamic manuscripts in the world, including rare manuscripts of the Qur'ân. Subjects include theology, jurisprudence, Qur'ânic sciences, tafsîr, terminology of hadîth, sîrah, sciences of the Arabic langauge, lexicography, literature, poetry, history, politics, philosophy, logic, astronomy, mathematics, medicine and agriculture. Among the manuscripts in the collection is a copy of the Qur'ân reputed to be in the handwriting of Al-Imâm cAlî Ibn Abî Tâlib, Zayd Ibn Thâbit and Salmân al-Fârsî, in two parts, each of 150 pages, in large unpointed Kûfic script.
In 1385 H/1965 CE heavy rains fell on Sancâ'. The Great Mosque was affected and the ceiling in the north west corner was damaged. During the survey, the workers discovered a large vault full of parchment and paper manuscripts of both the Qur'ân and non-Qur'ânic material. The dig at the Great Mosque in Sancâ', Yemen, had found a large number of manuscripts of the Qur'ân dating from first century of Hijra.
The UNESCO, an arm of the United Nations, had compiled a CD containing some of the dated Sancâ' manuscripts as a part of "Memory of the World" programme. In this CD there are more than 40 Qur'ânic manuscripts which are dated from 1st century of Hijra (in both Hijâzî and Kûfic scripts), one of them belonging to early 1st century. More than 45 manuscripts have been dated from the period 1st / 2nd century of Hijra. A few examples of the manuscripts from 1st, 1st/2nd, 2nd and 2nd/3rd centuries of Hijra can be seen at this website.
A few more examples of the 1st and 1st / 2nd century Qur'ânic manuscripts from Sancâ' can be found in the book Masâhif Sancâ'. This book is a catalogue of an exhibition at the Kuwait National Museum, with articles by Hussa Sabah Salîm al-Sabah, G. R. Puin, M. Jenkins, U. Dreibholz in both Arabic and English. World Survey Of Islamic Manuscripts covers the catalogue of manuscripts at the Great Mosque published in various books.
1. Memory Of The World: Sancâ' Manuscripts, CD-ROM Presentation, UNESCO.
2. Masâhif Sancâ', 1985, Dâr al-Athâr al-Islâmiyyah, Kuwait.
3. Geoffrey Roper (ed.), World Survey Of Islamic Manuscripts, 1992, Volume III, Al-Furqân Islamic Heritage Foundation, London, p.p. 664-667.
Dâr al-Kutub al-Misrîyya (Egyptian National Library), Cairo, Egypt.
The manuscript collection in Dâr al-Kutub is regarded as one of the largest and most important in the world. The total number of manuscripts in this library are 50,755 out of which 47,065 are in Arabic, 996 in Persian and 2,150 in Turkish. It contains priceless and rare manuscripts from the Islamic heritage, especially from the first four centuries of hijra, as well as extremely rare illustrated manuscripts unmatched anywhere else in the world. There is a high proportion of manuscripts copied in the early centuries of Islam. It holds two of the earliest dated Qur'ânic manuscripts dating from dating 102 AH / 720 CE and 107 AH / 725 CE.
Dâr al-Kutub has 50,755 manuscripts from which 47,065 are in Arabic, 996 in Persian and 2150 in Turkish. The manuscripts cover nearly all subjects. A complete reference of catalogue of the manuscripts can be seen in:
1. Geoffrey Roper (ed.), World Survey Of Islamic Manuscripts, 1992, Volume I, Al-Furqân Islamic Heritage Foundation, London, p.p. 212-218.
2. B. Moritz, Arabic Palaeography: A Collection Of Arabic Texts From The First Century Of The Hidjra Till The Year 1000, 1905, Cairo, See Pl. 31-34 and Pl. 1-12 for 102 AH / 720 CE and 107 AH / 725 CE, respectively.
3. Thomas W. Arnold & Adolf Grohmann, The Islamic Book: A Contribution To Its Art And History From The VII-XVIII Century, 1929, The Pegasus Press, p. 22.
Âstân Quds Razavî Library, Mashhad, Iran.
This library has one of the oldest (established in 861 AH/1457 CE) collection of Islamic manuscripts in the Muslim world and the most important in Iran.It has about 29,000 manuscripts in Arabic, Persian and Turkish. Of the 29,000 manuscripts it possess, 11,000 are manuscripts of the Qur'ân, thus making it the largest Qur'ânic manuscript collection in the world. It is also important in that it contains a large number of magnificent, old and illuminated Qur'ânic manuscripts, including several old Kûfic Qur'ânic manuscripts written on deer skin, other with marvellous illuminations from 3rd century Hijra (9th century CE) onwards, and some written by famous calligraphers. The manuscripts are catalogued in various publication as can be seen in the reference below:
1. Geoffrey Roper (ed.), World Survey Of Islamic Manuscripts, 1992, Volume I, Al-Furqân Islamic Heritage Foundation, London, pp. 481-486.
Islamic Museum, Jerusalem, Palestine.
This museum was established in 1923 by the Islamic Legal Council in Palestine. The manuscript collection of the Islamic Museum consists entirely of masâhif of the Qur'ân, numbering 644, donated over centuries to Al-Aqsâ Mosque and the Dome of the Rock. Some were presented by rulers and private individuals, and others have been donated by such Palestinian cities as Hebron and Nablus.
The Qur'ânic manuscripts vary in type, age and size. Many are rabcât (i.e., they were copied in thirty fascicles and stored in a chest, or rabca). The oldest is Kûfic, from the end of the second century after hijra, while the most recent is a copy from the thirteenth century after hijra. Sizes range from 16 x 11.5 cm. to the massive second volume of the Qur'ân of the Mamlûk Sultân Qâ't Bây (r. 872-901/1468-1496), which measures 110 x 90 cm. and is 15 cm. thick. The majority of the Qur'ânic manuscripts are splendidly illuminated and decorated , the exceptions being for the most part the copies of the late Ottoman period.
One of the most important manuscript in this collection is the Kûfic copy of the second half of the Qur'ân, the transcription of which is attributed to Al-Hasan b. Al-Husayn b. cAlî b. Abî Tâlib. The pages in this manuscript are beautifully illuminated, with each sûrah heading bearing its own distinct style of decoration; the covers are also decorated on both sides, but are of the Mamlûk period.
The museum also hold an important collection of 883 documents (855 Arabic; 28 persian) from the the 8th/14th century. The complete reference of catalogue of the manuscripts in this museum can be seen in:
1. Geoffrey Roper (ed.), World Survey Of Islamic Manuscripts, 1993, Volume II, Al-Furqân Islamic Heritage Foundation, London, p.p. 579-581.
Beit al-Qur'ân, Manama, Bahrain.
The Beit al-Qur'ân collection of Qur'ânic manuscripts is one of the most comprehensive of its type in the world. This great collection includes magnificent calligraphic works from as early as the first century Hijra (7th / 8th CE) to the present day, from all regions of the Islamic world, from China to Andalusian Spain. Manuscripts from 1st and 1st/2nd century of Hijra are available at this website. It is a privately-owned collection. More information about Beit al-Qur'ân and other museums in Bahrain is also available.
The Nasser David Khalili Collection Of Islamic Art, London, United Kingdom.
The Nasser David Khalili Collection Of Islamic Art contains the largest and most comprehensive range of Qur'ânic material in private hands. It is managed by the Nour Foundation. The entire history of Qur'ân production from the seventh to the twentieth century is covered, and includes items from centers as far apart as India and Spain. A team of distinguished academics is cataloguing the entire collection, which is to encompass a series of twenty-six volumes. The Qur'ânic manuscripts in this collection are described and illustrated in four lavish volumes. They are written in various scripts and are dated from late 1st century of Hijra onwards. The Nour Foundation in collaboration with Oxford University Press has published the collection. The references are:
1. François Déroche, The Abbasid Tradition: Qur'âns Of The 8th To The 10th Centuries AD, The Nasser D. Khalili Collection of Islamic Art Vol. I, 1992, Oxford University Press, 192 pp.
2. David James, The Master Scribes: Qur'âns of the 10th to 14th Centuries, The Nasser D. Khalili Collection of Islamic Art Vol. II, 1992, Oxford University Press, 240 pp.
The second of four volumes cataloguing the Qur'âns, this book includes a Qur'ân that retains its original illumination by the greatest calligrapher of the Middle Ages, Yaqût al-Musta'simi. Other masterpieces include a Qur'ân written in gold from twelfth-century Iraq; the only twelfth-century Qur'ân from Valencia; and a manuscript that is possibly the earliest Qur'ân to survive from India.
3. David James, After Timur: Qur'âns of the 15th and 16th Centuries, The Nasser D. Khalili Collection of Islamic Art Vol. III, 1992, Oxford University Press, 256 pp.
The third of four volumes cataloguing the Qur'âns in the Khalili Collection, this book includes fifteenth century Qur'ans in Iran, Egypt, Syria, Constantinople, and India as well as sixteenth century Qur'âns in Iran and India.
4. Manijeh Bayani, Anna Contadini & Tim Stanley, The Decorated Word: Qur'âns of the 17th to 19th Centuries, The Nasser D. Khalili Collection of Islamic Art Vol. IV, 1999, Oxford University Press, 334 pp.
This two-part volume is the last of four dedicated to the Qur'âns in the Khalili Collection, and covers the period 1700-1900 and items from Islamic Africa, Ottoman Turkey, Iran, India and the Far East.
5. Nabil F. Safwat, The Art of the Pen Calligraphy of the 14th to 20th Centuries, The Nasser D. Khalili Collection of Islamic Art Vol. V, 1999, Oxford University Press, 248 pp.
The Nasser D. Khalili Collection holds examples of Islamic calligraphy that span six centuries and demonstrate the continuity of this central art form into the modern era. The holdings - nearly 300 in total - include exceptional items that feature the work of many of the most famous master calligraphers, including Seyh Hamdullah and Hafiz Osman.
Bibliothèque Nationale, Paris, France.
Successor to the old Bibliothèque Royale, the Bibliothèque Nationale has assembled collections of Islamic manuscripts formed over the centuries and regularly augmented by purchases and gifts; these collections rank among the most important in Europe and cover nearly all subjects (total ca. 12,000). Especially noteworthy are some Qurânic manuscripts of the first centuries after Hijra. These are kept in the Départment des Manuscrits, Division des Manuscrits Orientaux.
Photographs of some undated Qurânic manuscripts written in Hijâzî script at Bibliothèque Nationale can be seen in ref. 2. For catalogues of collection at Bibliothèque Nationale, please see ref. 1.
1. Geoffrey Roper (ed.), World Survey Of Islamic Manuscripts, 1992, Volume I, Al-Furqân Islamic Heritage Foundation, London, pp. 212-218.
2. François Déroche, Catalogue des Manuscrits Arabes (Les Manuscrits Du Coran), 1983, Volume I, Bibliothèque Nationale, Paris.
The Oriental Institute Museum, University of Chicago, Chicago, United States of America.
The Oriental Institute Museum holds a decent collection of Qur'ânic manuscripts dated from second half of the first century of Hijra (classified as 1st/2nd) onwards. The manuscripts are written in Makkan, Kûfic and Maghribî scripts suggesting their origin from wide geographical locations in the Islamic world. The relevent reference to look for is the following:
1. Nabia Abbott, The Rise Of The North Arabic Script And Its Kur'ânic Development, With A Full Description Of The Kur'ân Manuscripts In The Oriental Institute, 1939, University of Chicago Press.
This much-acclaimed work of Nabia Abbott has become a sort of standard text book for the students in the western world who are interested in the origins and history of Islamic calligraphy. The book begins with the origins of Arabic script and its development after the advent of Islam. The manuscripts from The Oriental Institute Museum serve as good examples to study various scripts.
The Chester Beatty Library, Dublin, Ireland.
The Islamic Collection in The Chester Beatty Library contains almost four thousand Arabic, Persian and Turkish manuscripts including many superb copies of the Qur'ân. The Islamic Collection is one of the finest in existence and is internationally renowned for the overall high quality and scope of its material. The Library houses examples of the earliest Islamic manuscripts, dated to the ninth and tenth centuries CE, through to those produced in the early years of the twentieth century.
The Islamic Collection consists of several sub-collections. Of these, the Qur'ân Collection, comprising some 250 manuscripts, is of special importance and is rivalled only by that of the Topkapi Sarayi in Istanbul, Turkey. Manuscripts of note are a Qur'ân of 972, the earliest dated Qur'ân copied on paper, and another copied some nine centuries later for the Ottoman Sultan cAbdulmecid, the binding and illuminations of which are exceptionally exquisite. However, the real gem of the collection - and indeed one of the most treasured objects of the entire Library - is the splendid Qur'ân copied by the famed calligrapher Ibn al-Bawwâb in Baghdad in the year 1001.
The published manuscripts are in the following books:
1. A. J. Arberry, The Koran Illuminated: A Handlist Of The Korans In The Chester Beatty Library, 1967, Hodges Figgis & Co Ltd., Dublin.
2. David James, Qur'âns And Bindings From The Chester Beatty Library: A Facsimile Exhibition, 1980, World of Islam Festival Trust, London.
3. A. J. Arberry, The Chester Beatty Library: A Handlist Of The Arabic Manuscripts, 1955, Vols. 1-8, Emery Walker (Ireland) Ltd., St. Margaret's Donnybrook, Dublin.
The Institute Of Oriental Studies, Russian Academy of Sciences, St. Petersburg, Russia.
Among eighty-five thousand manuscripts in 65 living and dead Oriental languages, which are preserved in the St. Petersburg branch of The Institute Of Oriental Studies (formerly the Asiatic Museum founded in 1818), Russian Academy of Sciences, there are many rare or unique religious, historical, and scientific works awaiting their publication. The Institute Of Oriental Studies has recently started a project that deals with compiling the manuscripts in the electronic format. The project, which is similar to UNESCO's "Memory of the World" programme, is called: Asiatic Museum. Treasures from St.Petersburg Academic Collection of Oriental Manuscripts (CD-ROM Series).
This institute houses one of the oldest Qur'ânic manuscripts dated to the first half of the 8th century CE and has been published in the Issue 4: One Of The Most Important Qur'anic MSS In The World. It has 81 large parchment folios in Hijâzî (i.e., Makkan or Madinan) script contain about 40% of the text of the Qur'ân (full texts of 22 sûrahs and fragments of another 22). The manuscript reflects changes in the orthography and "lay-out" of the sacred text. Such changes were added to the text in red ink, probably a century after the date of copying. Simultaneously, the simple gaps which were left between the preceding sûrah and the beginning of the following sûrah were filled with coloured ornaments (very interesting compositions of triangles, arcs, intertwined or intersecting lines, sometimes evocative of nomadic jewelry) with sûrah titles and information about the number of ayât. The MSS was displayed at the exhibition "Pages of Perfection" (Paris - New York - Lugano - Salzburg) in 1995-1996. Exhibited at the Musée du Petit Palais, Paris, at the Villa Favorita at Lugano, Switzerland and at the New York Metropolitan Museum of Art. The relevent publication is:
1. Efim A. Rezvan, Issue 4: One Of The Most Important Qur'anic MSS In The World, THESA Company, St. Petersburg, Russia.
The Topkapi Palace Library
When the Topkapi Palace, the home of the Ottoman Sultans and the administrative center of the Ottoman Empire for four hundred years, was turned into a museum in 1924, the manuscripts, found in many pavilions and rooms, were gathered together to form the New Library. Today, the Islamic manuscripts preserved in this new library have been sorted out into categories of Arabic, Farsi and Turkish. A complete catalogue was compiled and published by F.E. Karatay in 1960. The first of the Arabic catalogues contains Korans and works of Koranic commentary. These Korans and Commentaries, which have been gathered from the various pavilions, buildings and rooms of the Palace and are classified by the name of the location where they were found, number more than two thousand.
The collection of Korans, the richest to be found anywhere in the world, comprises texts of the Koran inscribed during the 7th - 19th centuries in Arabia, œran, India, Maghrib (North Africa) and the lands dominated by the Seljuks and Ottomans. Almost all have been prepared by famous calligraphers, gilded by master gilders, and bound by the most capable bookbinders of the times. The 1600 or more Korans found in the first volume of the Arabic catalogue are preserved in the Palace Library as rare books. Among these are seven believed to be inscribed by Khaliph Osman (RA), nine accredited to Khaliph Ali (RA), two ascribed to Hasan and Hussein (RA) as well as many translations. There are twenty-one Turkish translations, thirty-nine Farsi translations, twenty-one Chagatay translations and one Uygur translation.
The first Korans were written on parchment in the 7th - 8th centuries in a monumental type of script called kufic. This script, whose name is derived from Kufa, an early Islamic center, is a style of Arabic script closest to pictorial design. Kufic script, most characterised with its horizontal and vertical lines, showed regional peculiarities in the 9th century. The kufic script of Iran differed from the kufic of the regions of Baghdad and North Africa. The script used in Baghdad and North Africa was more dynamic and of slighter dimension.
The first Korans written in kufic script, besides the one believed to have been recited by khaliph Osman (RA) at the moment of his death (H.S.32), are the Korans written in vertical form (M.3 M.74, for example). In addition to those written on parchment, there are those of the 9th -11th centuries inscribed on thick dark paper with sepia ink using delicate kufic lines (E.H.20, R.19, YY.752, for example).
Also in the Palace collection are Korans prepared in North African cities such as Ceuta and Marrakech between the 12th and 16th centuries. These are written on parchment on thick dark paper in Maghribi kufic with gilded frontispiece, illuminated surah headings, surah titles, marginal rosettes and sajdah marks (R.27, R.33, R.21, R.41, etc.)
Kufic script was used in copying the text of the Koran until the middle of the tenth century. Examples of eastern Iranian kufic continued to be seen until the twelfth century. From the eleventh century onwards, a more rounded type of script was used in the writing of the Koranic text. The main type of script characterising this new tendency was naskhi, a style completely opposite in appearance to kufic. This script began to be characterised in the first ten years of the tenth century when a calligrapher named Ibn al-Muqla used the length of the letter alif as a proportional guide At the beginning of the eleventh century another calligrapher named Ibn al-Bawwab created a freer naskhi. After Ibn al-Bawwab, Yakut al-Mustasimi, a Turk from Amasya living in the Abbasid Baghdad of the thirteenth century, specified the rules for six different scripts in the art of calligraphy. The scribes trained by Yakut spread his style in Koranic script to all Islamic countries. The scripts he used in the main text were naskhi, muhaqqaq, rayhani. In the surah titles and other additions tawqi, riga, thuluth and kufic were used.
In the second half of the thirteenth century Korans written in rayhani script begin to appear. All these resemble naskhi of Yakut al-Mustasimi (d.1298) Although both small and large styles of rayhani were used in Iranian Korans until the late fourteenth century, this style was rare in the Mameluke Korans. Besides naskhi and rayhani scripts, the more majestic thuluth and muhaqqaq scripts were the styles to gain more popularity and appear more frequently in the Korans that have come down to us from the twelfth century. Examples where muhaqqaq script is used in combination with rayhani appear in Iran at the end of that century. Although the technique was used in both Iran and Turkey, it was not preferred by the Arabic speaking countries.
At the beginning of the fourteenth century the only script to be used in copying the Koranic text in the Islamic world was muhaqqaq. In the Egypt of the Mamelukes, however, this type of script made its appearance only in the second half of the same century.
Gilders were as important as calligraphers in Koranic manuscripts. Throughout the 19th - 14th centuries the gilders decorating the Korans of the Abbasid, Fatimi, Eyyubi, Muvahhid, Mameluke, Seljuk and Illhanic periods created colourful gilt arrangements using a variety of motifs. The large Korans of the Mameluke and Ilhanic periods, with their impressive gilt compositions, made the Koran the most magnificent work of art in the Islamic world.
The tradition of gilt designs in Koranic inscription appears to have been established in the eleventh century. The most common tradition of gilt design in the Korans of the 11th -14th centuries was the complete decoration of a designated square or rectangular area on the first page of the text. The gilding of the border around the text of the first two surahs (Al-Fatiha and Al-Bakara) appeared in the fourteenth century.
The Koran of the eleventh century written by Abul Kas²m Ali b.Abdullah b.al-hussein al-Baghdadi, vizier to the Seljuk sultan Turul Bey (H.S.89), and preserved in the Palace Library today, is an important example of the period's Koranic gilding with its frontispiece, illuminated surah heading, surah titles and marks in the gilt style of the Seljuks. The works of the 13th century master of the naskhi style, Yakut al-Mustasimi, are just as valuable (a typical example is E.H.74). It has been discovered that the Korans and Koranic sections written by Yakut al-Mustasimi and the 14th century naskhi masters Abdullah Sayrafi and Argun Kamili were restored and carefully gilded in the time of the Ottoman Sultan Suleiman in the 16th century. The "Al-An'am" surah in thuluth and rayhani script of Argun Kamili of Baghdad (R.69), the gilt Koran in rayhani script of Muhammed b.Sayfeddin al-Nakkash are distinguishable for their rich and colourful design.
The 15th section of the Koran written on thick paper in gold muhaqqaq script (E.H. 232) in Mosul during the era of the Illhanic ruler Sultan Olcaytu is another important development in Korinic calligraphy. In the fourteenth century the Illhanic and Mameluke ateliers were the most productive in the Islamic world. The most distinctive examples of Mameluke Korans were prepared in 1256-1399. While bight colored gilt Ilhanic Korans were being produced at the beginning of the fourteenth century, the transition to colourful design in the Egypt of the Mamelukes and in Syria came later towards the middle of the same century. The Mameluke Korans preserved in the Palace Library are part of this development. In the same way, the Timuri Koran (H.S.4) written at the end of the 15th century by Muhammed b. Sultanshah al-Haravi of Heart and the Turkmen Koran (H.S.55) written in the fifteenth century at Tabriz are significant for an understanding of how Koranic design developed a rich and colourful set of motifs.
Some valuable Korans in the Palace Library were inscribed under the Safevids in Iran in the 16th century (M.10, H.S.25, K.28, E.H.153, E.H.162, Y.Y.896, M.4, for example). They are important for their design and gilding as an example of the development of the Safevid Koranic style and the elaborateness of motif. Particularly Koran numbered H.S.25, with its pages of dynamic taliq script, is a magnificent work of the famous calligrapher Shah Mahmud Nishapuri.
Undoubtedly the best examples reflecting the development of gilding and calligraphy in the Ottoman Korans are preserved in the Palace Library. The fundamentals of Ottoman Koranic script were set down in the Korans produced in naskhi by the famous calligrapher Sheikh Hamdullah at the end of the 15th century and the beginning of the 16th century. Koranic gilding developed in those years as well. The Sheikh Korans (Y.Y.913, E.H.71, E.H.72, A.5, for ewample) in the Palace Library are all matchless examples of the gilding style of the period.
The Koran written in naskhi script by Abdullah b. Ilias and gilded by Bayram b. Dervish (E.H.58), the Koran written in a combination of naskhi-thuluth script by Ahmet Karahisari and gilded in the style of the gilder Karamemi (Y.Y.999) are both important works reflecting the stages of Ottoman Koranic writing in the sixteenth century. The large Koran attributed to Ahmed Karahisari (H.S.5) is a magnificent manuscript incorporating rich motifs of gilt. This work, a major masterpiece of Ottoman book design, is one of the most valuable manuscripts in the Palace Library.
Some selected Korans produced by the well-known Ottoman calligraphers of later centuries are precious additions to the Library's unique collection. The calligraphers and artists of the nine-tenth and early twentieth centuries experimented with different script styles such as thluth and taliq and preferred to produce decorative wall inscriptions. The Ottoman art of hand-copying Koranic text eventually adopted a rococo style and then exhibited neoclassic gilding patterns. The Library Collections is abundant with examples of these as well.
This magnificent assembly of work was accumulated through the individual collections of the Ottoman Sultans for hundreds of years. The multitude of samples of kufic and maghribi kufic script, the works of the well-known Islamic calligraphers Yakut, Abdullah Sayrafi and Argun Kamili, the exquisite Safevid Korans together form a precious legacy.