The Mushaf of Iran: A Museum in a Book

Description

The Mushaf of Iran: A Museum in a Book | A Comprehensive Analysis of a Millennium of Quranic Calligraphy and Art in Iran

Introduction: Unveiling a Masterpiece

The Mushaf of Iran is more than a book; it is a concept, a “museum in codex form” that guides the reader on a curated and artistic journey through a thousand years of Iranian art and spirituality, all in service of the divine word. This work is, in essence, a testament to a millennium of devotion by Iranian artists to the Holy Quran. The structure of this collection is unparalleled and unique: a complete Quran assembled through the intelligent selection and arrangement of 182 distinguished manuscript copies, spanning from the 4th to the 14th century AH (10th to 20th century CE). In this Mushaf, the sequence of surahs and verses forms a complete Quran, yet each page or section belongs to a distinct historical period and a separate artistic masterpiece, created by numerous calligraphers, illuminators, and painters.

This monumental project is the result of a 25-year scholarly and research endeavor by the late Dr. Seyyed Mohammad Bagher Najafi Shoushtari, who, as the researcher and compiler, brought this treasure to life with a profound and comprehensive vision. The “Mushaf of Iran” is not only spiritually valuable but also stands as a significant historical-artistic collection and a vital reference for studies in Iranian art and Islamic culture.

This report offers a comprehensive analysis of this work. The first chapter delves into its history and the process of its compilation and publication, focusing on the compiler and the project’s patrons. The second chapter examines the artistic and codicological features of the Mushaf, including its calligraphy, illumination, and material quality. The third chapter provides a content analysis and compares its place among other masterpieces of the Islamic world. Finally, the fourth chapter assesses its cultural resonance and lasting legacy as a document of identity and a research resource.

Chapter 1: The Genesis of a Masterpiece: History and Compilation Process

1-1. The Compiler: The Scholarly and Spiritual Vision of Dr. Seyyed Mohammad Bagher Najafi Shoushtari

The spiritual and scholarly foundation of the “Mushaf of Iran” is the multifaceted personality and profound vision of its compiler, Dr. Seyyed Mohammad Bagher Najafi Shoushtari (1946-2002). A review of his life and academic path reveals that this project was the culmination of a lifetime of research and cultural dedication.

Biography and Academic Path: Born in Khorramshahr, Dr. Najafi pursued education in diverse fields such as economics, accounting, philosophy, wisdom, mysticism, history, and Persian literature. He studied under great masters like Allameh Mohammad-Taqi Ja’fari, Jalaluddin Homayi, and Professor Mahmoud Hessabi. This multidisciplinary background gave him a comprehensive, interdisciplinary perspective evident in all his works, especially the “Mushaf of Iran.” After studying at Al-Azhar University in Egypt and returning to Iran, he worked for a time at the Research Institute for Communication Sciences and National Development.

Motivation and Objectives: Dr. Najafi’s primary motivation was the revival and introduction of Iran’s authentic cultural identity. He himself stated that upon returning to Iran, he concluded he must “open the window of these borrowed structures to the garden of Iranian culture”. This key phrase expresses his deep concern for rediscovering and presenting Iran’s cultural treasures to the world. The compilation of the “Mushaf of Iran” was the practical manifestation of this concern—an effort to display the continuity, richness, and dynamism of Iranian-Islamic art over a millennium, which reached its zenith in connection with the most sacred text of Muslims, the Holy Quran.

The 25-Year Compilation Process: Realizing this idea required a grueling 25-year research process. This process involved examining hundreds of Quranic manuscripts in public libraries and private collections across the country. This was not merely a collection but a meticulous codicological study to select the best and most representative artistic examples from each historical period. The main challenge was the intelligent arrangement of these selected pieces in the order of surahs and verses to ultimately form a complete and coherent Quran—a Quran where each page tells a part of the history of Iranian art.

1-2. Patronage and Publication: A Transnational Cultural Collaboration

Transforming an ambitious research idea into a world-class cultural product required strategic support and multilateral cooperation. In this context, the role of Seyyed Mohammad Sadegh Kharazi and the printing of this work in Germany were turning points in the realization of the “Mushaf of Iran.”

The Role of Seyyed Mohammad Sadegh Kharazi and the Ezaam Institute of Art: The support and investment of Seyyed Mohammad Sadegh Kharazi, a diplomat and cultural figure, and the cultural institutions under his management, played a key role in bringing this project to fruition. This support, facilitated by Mohammad Sadegh Kharazi, moved the project from the research phase to production and global distribution, providing the necessary resources for printing a work of such technical and artistic complexity.

Printing in Germany: Manuska Publishing: To ensure the highest quality and fidelity to the original manuscripts, the printing of this work was entrusted in 2003 to “Manuska” publishing house in Cologne, Germany. This choice was a strategic decision that reflected the project’s cultural ambition to present a product of the highest global standards. This transnational collaboration, with its intellectual and spiritual capital being Iranian and its technical and production capital German, placed the “Mushaf of Iran” among the world’s finest art books. The final physical specifications of the work include two gold-stamped hardcover volumes totaling 1600 pages, printed on full-color, gilded glossy paper. Additionally, a third volume was published as a supplement and guide in three languages—Persian, Arabic, and English—containing detailed codicological information (including the calligrapher’s name, date of writing, location of the original manuscript, and artistic features) for each page of the Mushaf. This supplementary volume functions as a museum catalog, emphasizing the research and documentary aspect of the work.

Table 1: Key Figures in the Realization of the Mushaf of Iran

Name (Individual/Institution)	Primary Role	Key Contributions to the Project
Dr. Seyyed Mohammad Bagher Najafi Shoushtari	Compiler and Researcher	Conducted a 25-year research project, examined hundreds of manuscripts, selected the finest pieces, and developed the conceptual and content structure of the Mushaf as both a complete Quran and a historical-artistic narrative.
Seyyed Mohammad Sadegh Kharazi	Patron and Facilitator	Provided financial and moral support for the project, facilitated administrative and international processes, and created the conditions for a world-class publication.
Manuska Publishing, Cologne, Germany	Publisher and Printer	Executed the technical printing with the highest possible quality (glossy, full-color, gilded), producing a deluxe work that technically rivals the original manuscripts.
Nashr-e Shahr Institute	Distributor in Iran	Responsible for the domestic distribution and sale of the Mushaf copies in Iran after printing in Germany.

1-3. Historical Context: The Tradition of Quranic Calligraphy and Illumination in Iran

To fully appreciate the significance of the “Mushaf of Iran,” it must be placed within the rich context of Quranic calligraphy history in Iran. From the earliest centuries after the advent of Islam, Iranians not only adopted the Islamic alphabet but also played an unparalleled role in its evolution. The Kufic script, initially the primary script for Quranic calligraphy, evolved in the hands of Iranian artists into a distinct style known as “Iranian Kufic” or “Eastern Kufic,” which featured softer curves and connections compared to other examples. Simultaneously, the Naskh script was used for daily affairs and book writing, gradually becoming the main script for transcribing the Quran. Over the centuries, Iranian masters excelled in the six canonical scripts (Thuluth, Naskh, Muhaqqaq, Reyhan, Tawqi’, and Riqa’), and also invented unique styles like Ta’liq, Nasta’liq, and Shekasteh Nasta’liq, which are imbued with the Iranian aesthetic spirit. This thousand-year heritage in calligraphy, illumination, and bookbinding provided the fertile ground from which the “Mushaf of Iran” selected its brilliant examples and presented them in a single collection.

Chapter 2: The Canvas of Revelation: Artistic and Codicological Analysis

The “Mushaf of Iran” is an art exhibition that unfolds the thousand-year evolution of the art of book illumination before the viewer’s eyes. The intelligent and historical arrangement of the pages is a powerful visual argument that proves the dynamism and centrality of the Iranian school in Islamic art. This arrangement is not merely an organizational choice but a curatorial act that takes the viewer on an educational journey from the 4th to the 14th century AH. The journey from the austerity of the Kufic script in Surah Al-Fatiha to the delicacy of the Naskh script in the final surahs is a visual narrative of evolution and innovation, not a static display of scattered works.

2-1. A Thousand Years of the Pen: The Evolution of Sacred Scripts

This collection is a wondrous journey through the history of Islamic-Iranian calligraphy. The journey begins with the strength and majesty of the Iranian Kufic script from the early centuries, examples of which are used in the opening pages of the Mushaf, such as Surah Al-Fatiha from a thousand-year-old Quran. This script, with its distinctive features, demonstrates the contribution of Iranians to the evolution of the first script for Quranic calligraphy.

As one turns the pages of the Mushaf, one gradually witnesses the emergence and evolution of more fluid and precise scripts like Naskh, Thuluth, and Reyhan. This collection, in particular, beautifully illustrates the development of the “Iranian Naskh style.” This style, influenced by the Nasta’liq script, features more “roundness” and softness than the Ottoman Naskh, blending readability with a uniquely Iranian aesthetic. In the pages of this Mushaf, one can observe the influence of great masters such as Alā al-Dīn Tabrīzī and his worthy student, Mirza Ahmad Neyrizi, who is recognized as the founder of the Iranian Naskh style and whose method served as a model for Iranian Naskh calligraphers for centuries.

2-2. The Art of Illumination (Tazhib): A Journey in Light and Color

The illumination in the “Mushaf of Iran” is a story in itself, narrating the history of Iranian art through color and pattern. Each historical period displays its unique style and approach to adorning the divine word:

• Seljuk and Ilkhanid Periods (5th to 8th centuries AH): During this era, illumination is characterized by powerful geometric motifs, bold and heavy arabesques (Eslimi), and the use of turquoise and lapis lazuli colors. The structures are symmetrical and dignified, conveying a sense of strength and grandeur.
• Herat School (Timurid Period, 9th century AH): This period represents the pinnacle of delicacy, complexity, and splendor in the art of illumination. The artistic workshops of Herat, especially under the patronage of princes like Baysunghur Mirza, created works with highly elaborate illuminations, masterful use of gold and lapis lazuli, and a diverse color palette, as exemplified in manuscripts like the Baysunghur Shahnameh.
• Safavid Period (10th to 12th centuries AH): The art of illumination reached maturity and balance in this era. Arabesques (Eslimi) and floral motifs (Khatai) become more fluid and dynamic, and the compositions are vibrant and magnificent. The use of brilliant and varied colors alongside gold is the main characteristic of this period.
• Qajar Period (13th and 14th centuries AH): In this period, also known as the “Bazgasht” (Return) era, the art of illumination witnessed the fusion of traditional Iranian motifs with European naturalistic elements. The appearance of natural flowers (known as Gol-e Farang) alongside Eslimi and Khatai, and the use of new color palettes, reflect Iran’s new cultural interactions with the West.

Table 2: Artistic and Codicological Timeline of Selected Samples from the Mushaf of Iran

Hijri Century	Artistic Period	Dominant Script	Key Features of Illumination
4th-5th	Buyid / Ghaznavid	Iranian Kufic	Structural austerity, simple geometric patterns, limited use of gold and color.
6th-7th	Seljuk	Eastern Kufic, Early Naskh	Solid and heavy arabesques, inscriptional surah headings, turquoise and lapis lazuli colors.
8th	Ilkhanid	Muhaqqaq, Reyhan, Thuluth	Elaborate illuminations, complex motifs, Chinese art influence in some elements.
9th	Timurid (Herat School)	Naskh, Thuluth, Nasta’liq	Peak of delicacy and complexity, masterful use of lapis lazuli and gold, very fine floral (Khatai) motifs.
10th-12th	Safavid	Iranian Naskh, Thuluth	Brilliant colors, fluid and dynamic arabesques and florals, magnificent and balanced compositions.
13th-14th	Qajar (Bazgasht Style)	Iranian Naskh	Fusion of traditional motifs with European flowers (Gol-e Farang), new color palettes (pink, purple), elaborate borders.

 

2-3. The Manuscript as a Material Object: Codicological Features

The “Mushaf of Iran” is also a material treasure. In it, one can observe the evolution of the physical aspects of the book: from various types of handmade paper like Khanbaligh paper, Daulatabadi, and Termeh to European papers imported in later periods. The composition of inks and natural and mineral pigments also has its own characteristics in each era. The art of bookbinding also followed an evolutionary path, from simple leather bindings with stamped motifs to exquisite lacquered and stamped (Sokht) bindings in the Safavid and Qajar periods, which are considered independent works of art.

A noteworthy feature of this Mushaf is the preservation and reproduction of book-making traditions that are now obsolete. For example, the marking of khams (خ) at the end of every five verses and ‘ashr (ع) at the end of every ten verses, common in ancient manuscripts, has been meticulously reproduced in the “Mushaf of Iran” to preserve the historical authenticity of the pages. This attention to detail doubles the research value of the work.

Chapter 3: Content and Comparative Analysis

3-1. The Curated Text: A Unified Revelation

One of the greatest technical and content-related challenges in compiling the “Mushaf of Iran” was creating a smooth and unified text from 182 completely different sources. The compiler had to select pages that were not only artistically outstanding but also harmonious in terms of the number of lines, font size, and layout with the preceding and succeeding pages, which were taken from other manuscripts. This required extraordinary precision and scholarly rigor.

To make this historical work practical and facilitate recitation and reference, an intelligent and modern intervention was also made. Since page and verse numbering was not common in ancient manuscripts, the name of the surah and verse numbers have been clearly inserted between the different sections to prevent the reader from getting lost in the text. This solution bridges the gap between historical authenticity and modern usability.

3-2. Comparative Framework: The Place of the Mushaf of Iran Among Masterpieces of the Islamic World

The “Mushaf of Iran” holds a unique place alongside other masterpieces of Quranic calligraphy in the Islamic world, such as the Baysunghur Quran or the works of masters like Yaqut al-Musta’simi. While those works represent the pinnacle of a particular artist’s or workshop’s art at a specific point in time, the “Mushaf of Iran” is a composite and museological work. Its value lies not in stylistic unity but in its purposeful diversity and historical narrative. By showcasing the evolutionary path of the art of book illumination in a great civilization, this Mushaf proves, in a documented and visual manner, the contribution of the Iranian school to the overall richness of Islamic art. This collection demonstrates that Iranian art has served the Quran continuously, creatively, and dynamically over a millennium.

Chapter 4: Cultural Resonance and Lasting Legacy

4-1. A Document of Iranian-Islamic Identity

The “Mushaf of Iran” is more than an art collection; it is a powerful cultural document that testifies to the deep, creative, and continuous bond between Iranian civilization and the Holy Quran and Islamic culture. By displaying a thousand years of the art of Quranic calligraphy, this work sends a message to the world that the Iranian-Islamic identity is a deep-rooted, dynamic, and art-loving one. This collection is a successful effort to canonize and display a distinct and influential aesthetic tradition in the Islamic world, and it illustrates Iran’s claim to a rich and independent artistic heritage in the best possible way.

4-2. Impact on Research and Contemporary Art

Importance as a Research Source: This collection is an unparalleled reference and a primary source for researchers, art historians, illuminators, calligraphers, and cultural scholars. In fact, the “Mushaf of Iran” is a complete classroom on the history of Iranian book art, gathering outstanding examples from each period and providing an unprecedented opportunity for comparative study and analysis of evolutionary trends.

The Phenomenon of Facsimile Printing: The printing of this work in the facsimile (photographic print) method has played a vital role in making these rare and fragile treasures accessible for global study. The original manuscripts of these Qurans are kept in the vaults of museums and libraries, and access to them is impossible for the public and even many researchers. Facsimile printing, with a quality indistinguishable from the original, allows scholars worldwide to study the artistic details of these works.

At the same time, this project skillfully leverages the dual identity of facsimile printing. On one hand, by providing access to rare works, it helps democratize knowledge. On the other hand, by declaring that this collection “will never be reprinted” , it creates an artificial scarcity, turning the printed edition itself into a luxurious and valuable collector’s item. This strategy elevates the facsimile from a mere copy to a new art object that becomes part of the cultural heritage landscape, showcasing the modern intersection of preservation technology, academic publishing, and the creation of exclusive cultural products.

4-3. Reception and Enduring Value

Since its publication, the “Mushaf of Iran” has been met with widespread acclaim in academic and artistic circles. Its presence at international book fairs, including the prestigious Frankfurt Book Fair, attests to its global standing. The work was quickly recognized as an unrepeatable cultural collection and a highly valuable collector’s item, attracting the attention of collectors and connoisseurs of fine arts, and soon became a rarity. This reception was a confirmation of the success of the project’s initial vision: to create a lasting and influential work on a national and international level.

Conclusion: The Confluence of Faith, Art, and Research

The “Mushaf of Iran” is a unique cultural project and a milestone in the history of publishing and research on Islamic art in Iran. This work, the result of 25 years of tireless research by Dr. Seyyed Mohammad Bagher Najafi Shoushtari and strategic cultural patronage, succeeded in presenting a thousand-year narrative of Iranian artistic genius in the calligraphy and ornamentation of the divine word to the world in the form of a complete and unified Quran.

By intelligently arranging 182 manuscript copies, this collection narrates the history of the evolution of calligraphy, illumination, and book art from the 4th to the 14th century AH as a continuous visual story. The “Mushaf of Iran” is not only a powerful document of identity that showcases the deep connection between Iranian culture and Islam, but also, as an unparalleled research resource, has opened new doors for contemporary scholars and artists. The deluxe facsimile printing of this work in Germany, while ensuring the highest technical quality, has turned it into a luxurious and rare cultural commodity that has found a special place in both academic circles and among collectors. Ultimately, the “Mushaf of Iran” is a magnificent monument to the confluence of deep faith, the pinnacle of artistic creativity, and a lifetime of scholarly research, which will endure forever as one of the most exquisite printed treasures of the Islamic world.