The Mushaf of Shafi – Mohammad Shafi Ardestani

Description

The Mushaf of Shafi – A Masterpiece of Calligraphy and Illumination from the Qajar Era by Ashraf-ol-Kottab, Mohammad Shafi Ardestani

From the heart of the Qajar dynasty, Heritedge proudly presents the Mushaf of Shafi—a breathtaking recreation of one of the most significant Quranic manuscripts of the 19th century. This masterpiece was penned by the legendary calligrapher Mohammad Shafi Ardestani, revered as “Ashraf-ol-Kottab” (The Noblest of Scribes), whose skill in the Naskh script was considered second to none in his era.

Section 1: Introduction: The Confluence of Art and Spirituality in Iran’s Scribal Heritage

An Overture to the Art of Quranic Calligraphy

In the rich and magnificent civilization of Persian-Islamic culture, the art of calligraphy has always held a status far beyond mere craft or skill. This art, especially in the realm of transcribing the divine word, is regarded as a form of worship and the ultimate expression of taste and spirituality. In the solitude of their work, calligraphers, with pen and ink, not only create visual beauty but also immortalize their devotion and faith with every stroke. Within this tradition, the transcription of the Holy Quran represents a summit whose conquest requires a combination of technical mastery, inner purity, and a profound understanding of the sanctity of the words. The history of Iranian art has witnessed the emergence of great masters who dedicated their lives to this sacred task, creating masterpieces that now adorn the world’s greatest treasuries.

Introducing Mohammad Shafi Ardestani

In the final years of the Qajar era, a period of profound cultural and artistic transformation, one of the last brilliant stars in the galaxy of classical Iranian calligraphy emerged: Haj Mulla Mohammad Shafi Ardestani (1253-1333 AH). Rightfully titled “Ashraf-ol-Kottab” (The Noblest of Scribes), he was not only a masterful scribe but also a comprehensive artist, a capable man of letters, and a pious mystic who brought the rich legacy of his predecessors, especially in the Naskh script, to its zenith. Ardestani symbolized the continuity of authentic artistic traditions in an era when Iran was on the cusp of modernity. His works, particularly the noble Qurans he transcribed, are eloquent documents of this intersection of tradition and innovation.

Report Overview: From Manuscript to Magnificent Recreation

This report is a comprehensive journey into the world of Mohammad Shafi Ardestani’s art and spirituality. We will first become acquainted with the life, personality, and diverse artistic dimensions of “Ashraf-ol-Kottab.” Next, we will conduct a detailed and meticulous analysis of one of his most outstanding masterpieces, the “Mushaf of Shafi,” transcribed in 1315 AH and now housed in the treasury of the Malek National Library and Museum. Finally, we will examine the facsimile reproduction of this work, created by the Ezaam Art Institute using the finest printing technologies in Germany, as a modern cultural phenomenon. This facsimile edition offers an exceptional opportunity for enthusiasts, collectors, and researchers to experience the splendor of this unique treasure up close and to own a part of this timeless heritage.

Section 2: Ashraf-ol-Kottab, Mohammad Shafi Ardestani: A Portrait of a Master

Artistic Lineage and Education in a Family of Artists

Haj Mulla Mohammad Shafi Ardestani was born in 1253 AH in the city of Ardestan, Fars, into a family where art and literature were deeply ingrained. His father, Mulla Ali-Askar Ardestani, was himself a learned mystic and a renowned calligrapher, making it natural for the first sparks of love for the art of calligraphy to be ignited in Mohammad Shafi under his father’s tutelage. This lineage provided an unparalleled environment for nurturing a talent destined to become one of the pinnacles of Iranian calligraphy history.

This familial context was not limited to a father-son relationship but points to a significant phenomenon in the artistic production structure of the Qajar period: the “artistic household” or family-based art workshops. Abundant evidence shows that the creation of works like the Mushaf of Shafi was the product of close collaboration between the Ardestani family (specializing in calligraphy) and the Mozahheb-bashi family (specializing in illumination, translation inscription, and bookbinding) in Shiraz. This collaboration, which also led to the production of other magnificent works such as the Kulliyat of Saadi and the Divan of Hafez, showcases an advanced model of artistic production based on specialization, partnership, and the intergenerational transfer of skills. In an era when centralized court patronage of the Safavid style was declining, these urban and family-based artistic ecosystems ensured the preservation of quality and the continuity of authentic artistic styles. Therefore, the Mushaf of Shafi is not just the product of an individual’s genius but the outcome of a collective cultural and artistic process.

Personal Conduct and Artistic Personality

Biographers and contemporaries have praised Mohammad Shafi Ardestani for qualities such as good character, humility, and piety. He had a reclusive and self-sufficient personality, often spending his time away from the hustle and bustle of the era, dedicating himself to transcribing the Holy Quran, prayers, and pilgrimage texts. This spiritual conduct and detachment undoubtedly reflected in the purity of his script and the strength of his works. His art was one born of deep faith and prolonged discipline, which lent sanctity to his words and steadfastness to his pen.

Mastery of the Seven Scripts with a Focus on Naskh

Mohammad Shafi Ardestani was an undisputed master of the seven principal scripts of Islamic calligraphy: Naskh, Thuluth, Nasta’liq, Shekasteh, Ta’liq, and Riqa’. This comprehensive mastery gave him a broad perspective and a rare power in composition and page layout. This ability is clearly visible in the Mushaf under discussion, where he used the Naskh script for the main text of the verses, Riqa’ for the surah titles, and Nasta’liq for the Persian translation, creating a harmonious and visually stunning composition.

Despite his mastery in all scripts, his primary focus and unparalleled fame were in the Naskh script. Reputable sources have consistently placed him on par with and as a worthy successor to Mirza Ahmad Neyrizi, the greatest Naskh scribe of the Safavid period. Fursat-od-Dowleh Shirazi, a great scholar and art connoisseur of that era, wrote with conviction: “By God, after the late Mirza Ahmad Neyrizi, no one has written the said script to the level of the aforementioned.” Such praise indicates his lofty position in the history of this art. However, a more precise stylistic analysis reveals that Ardestani was not a mere imitator. In a subtle comparison, it is noted that his script has “less flirtation, charm, and softness” compared to the followers of the Neyrizi school. This key distinction reveals a conscious artistic choice. Neyrizi’s script, influenced by the subtleties of Nasta’liq, has more softness and flexibility. Ardestani’s script, while fully faithful to classical principles, tends towards greater firmness, solidity, and clarity. This characteristic aligns with the prevailing spirit of the “Literary Return” (Bazgasht-e Adabi) movement of that era, which sought to revive the strength and authenticity of ancient styles. Thus, Ardestani was not an imitator but a great interpreter; he respected Neyrizi’s legacy but presented it with an independent expression suited to his own time.

A Versatile Artist: Poet and Painter

The artistic dimensions of Mohammad Shafi Ardestani’s personality were not limited to calligraphy. He was a capable poet who wrote under the pen names “Asar” or “Ashraf,” leaving behind elegant verses, especially in praise and elegy of the Ahl al-Bayt (the Prophet’s household). Furthermore, he was also skilled in the art of painting and portraiture. This artistic versatility indicates a cultural depth and richness of character found in few artists and helps us better understand the worldview of the creator of this noble Mushaf.

Section 3: Anatomy of a Masterpiece: The Mushaf of Shafi (Malek Museum Manuscript, 1315 AH)

Provenance and History: A Document from the Qajar Court

The Mushaf under discussion is one of the most exquisite and important surviving manuscripts from the late Qajar period, with a rich history and provenance. This work was completed in the year 1315 AH by the skilled hand of Mohammad Shafi Ardestani. The transcription of this masterpiece was commissioned by Mirza Hossein Khan Saheb Divan, a statesman of the period, for the health and long life of Mozaffar ad-Din Shah Qajar, and was presented to his court.

The historical significance of this manuscript is amplified by a note written in Mozaffar ad-Din Shah’s own hand on the back of the final page. In this note, the Shah gifts this “Glorious Word” to his powerful prime minister, Mirza Ali Asghar Khan Amin al-Sultan (Atabak-e Azam), in recognition of his services and devotion. This cycle of gifting at the highest levels of power shows that this Mushaf was more than a religious or artistic object; it was a “political object” and a tool in courtly relations and diplomacy. Its commission symbolized loyalty, and its presentation by the Shah signified royal favor and was a means of consolidating political alliances. This Mushaf is a tangible document of the mechanisms of patronage and power relations in the final years of Qajar rule. Ultimately, this valuable treasure was donated to the Malek National Library and Museum by Lady Ezzat-Malek Soudavar, the learned daughter of Haj Hossein Agha Malek, the museum’s founder, to remain forever in this safe home.

The Art of Scription: The Zenith of Naskh and Nasta’liq

The calligraphy of this Mushaf is a showcase of the pinnacle of Iranian calligraphic art. The main text of the Quran is written in Ardestani’s firm, legible, and incredibly beautiful Naskh script. Each letter and word is placed with exemplary precision, adhering to all aesthetic principles and proportions. Alongside it, the Persian translation of the verses is inscribed between the lines in a delicate Nasta’liq Khafi (miniature Nasta’liq) script with cinnabar (red) ink by Ali-Naqi Shirazi of the artistic Mozahheb-bashi family. The contrast between the solidity of the Naskh script and the delicacy of the Nasta’liq, as well as the color contrast between the black and red inks, creates a visually stunning yet perfectly harmonious composition. A prominent feature of this work’s calligraphy is its precise page layout, where each page begins with the start of a verse and ends with the conclusion of another, an achievement that demonstrates the scribe’s complete mastery of the text and his meticulous planning before transcription.

The Apex of Qajar Illumination and Book Arts

The illumination of this Mushaf is a brilliant and complete example of the book art of the Qajar period, specifically of the Shiraz school. This style, sometimes referred to as the “Bazgasht” (Return) style, respectfully looks back to the glory of Safavid-era art and blends it with new elements, color schemes, and aesthetic sensibilities.

The two opening pages of the Quran, featuring Surah Al-Fatiha and the beginning verses of Surah Al-Baqara, are adorned with two magnificent and elaborate illuminated and jeweled headpieces (Sarlouh) that captivate any viewer. The names of the surahs are written in Riqa’ script with pure gold. Gold leaf is applied between all lines of the main text, and all pages feature precise rulings and decorative borders with Eslimi (arabesque) and Khatai (floral) motifs. The lavish use of gold, lapis lazuli, and cinnabar gives this work a royal and spiritual splendor befitting the divine word and the royal court. This masterpiece of illumination is the product of the artistic workshop of the Mozahheb-bashi family of Shiraz, under the supervision of Mirza Yusuf and with the artistry of his sons, especially Mahmud and Ali-Naqi, who played an unparalleled role in the book arts of that period.

Table 1: Technical and Artistic Specifications of the Mushaf of Shafi (Original Malek Museum Manuscript)

To provide a comprehensive and precise overview of this masterpiece, its technical and artistic specifications, based on information from various sources, are compiled in the table below.

Feature	Specification
Title	Mushaf of Shafi (also known as the Ardestani Quran)
Main Scribe	Mohammad Shafi ibn Ali-Askar Ardestani (titled Ashraf-ol-Kottab)
Translation Scribe	Ali-Naqi Shirazi (son of Mirza Yusuf Mozahheb-bashi)
Illuminator	Workshop of the Mozahheb-bashi family (likely Mahmud Mozahheb-bashi)
Date of Scription	1315 AH
Current Location	Malek National Library and Museum, Tehran
Dimensions	43.6×26.8 cm (Sultani folio)
Number of Pages	482 pages
Lines per Page	12, 14, or 15 lines per page (sources vary)
Main Script	Excellent vocalized Naskh
Translation Script	Nasta’liq Khafi (miniature script) in cinnabar red
Paper	Thick, burnished, buff-colored paper (likely from Qajar paper mills)
Illumination	Jeweled and illuminated headpieces, gold interlinear ruling, ruled and decorated margins with Eslimi and Khatai motifs
Binding	Double-sided stamped and inlaid leather or lacquered boards with floral and bird motifs

Section 4: The Facsimile Reproduction: A Rebirth for a Treasure

The Narrative of a Major Cultural Project

In the year 1389 SH (2010 CE), a new chapter was written in the history of this noble Mushaf. Through the noble efforts and profound cultural understanding of Seyyed Mohammad Sadegh Kharazi and his institution, “Ezaam Art,” and with the valuable cooperation of the Malek National Library and Museum, the project to meticulously reproduce this masterpiece began. This initiative is an outstanding example of the private sector’s role alongside public cultural institutions in reviving, preserving, and widely promoting Iran’s written and artistic heritage. The project’s goal was not merely a reprint but an effort to extend the splendor and beauty of this unique work beyond the museum walls, making it accessible to a broader audience of enthusiasts, researchers, and collectors.

Technology in Service of Authenticity

The foundation of this reproduction is the “facsimile” or photographic printing technology. Unlike letterpress printing, where the text is re-typed and re-paginated, the facsimile method involves scanning and photographing the manuscript pages with the highest possible quality and then reproducing them exactly, with all their details. These details include the texture and color of the paper, stains from the passage of time, the brilliance of the gold, the subtleties of the pen strokes, and even the smallest corrections made by the scribe. This method ensures the highest level of fidelity to the original, allowing the viewer to have an experience very close to encountering the historical artifact itself. To guarantee the highest technical quality, this massive project was carried out at one of the world’s most reputable printing houses, the Rasch company in Germany—a choice that demonstrates the publisher’s commitment to delivering a product worthy of the stature of this artistic masterpiece.

Outstanding Features of the Facsimile Edition

The reproduced edition of the Mushaf of Shafi is, in itself, a valuable artistic and cultural work with several outstanding features:

• Unparalleled Fidelity to the Original: The print quality is so high that many experts believe it is difficult for the unaided eye to distinguish it from the original. All artistic subtleties, including the vibrant colors of the illumination and the power of the script, are beautifully conveyed.
• Tangible and Luxurious Quality: The finest materials have been used for this edition. Heavy, high-quality glossy paper, a leather-bound hardcover, and an exquisite protective case combine to offer the audience a luxurious and sensory experience close to holding a historical artifact.
• Added Research Value: This collection is not merely a visual reproduction. The publisher has wisely included a set of analytical and research notes and articles by prominent experts such as Seyyed Mohammad Sadegh Kharazi, Majid Fadaeian, and others. These articles explore the various artistic, historical, and codicological dimensions of the work, doubling its research and cultural value for the serious audience.

Table 2: Comparative Analysis of the Original and Facsimile Editions of the Mushaf of Shafi

This table helps to better understand the different values and functions of the original manuscript and its reproduced edition, serving as a useful guide for various audiences, from researchers to collectors.

Criterion	Original Manuscript (Malek Museum)	Facsimile Edition (Ezaam Art Print)
Nature	Unique and singular work of art, a primary historical document	High-quality, precise reproduction of the original in a limited edition
Value	Inestimable historical, artistic, and material value	High artistic and cultural value, material value as a collectible and deluxe item
Accessibility	Extremely limited, only for specialized researchers with specific permits	Accessible to the general public, collectors, libraries, and cultural centers
Use	Specialized codicological research, museum display as national heritage	Study, artistic ownership, prestigious and diplomatic gift, artistic and stylistic research
Tactile Experience	Direct experience of the texture, weight, and age of the work (for a very few authorized individuals)	Precise simulation of the visual and tactile sense using the best modern materials
Supplementary Information	Contains historical documents on the manuscript itself (like Mozaffar ad-Din Shah’s handwriting)	Includes analytical and research articles that help in a deeper, contextualized understanding of the work

 

Section 5: Why the Mushaf of Shafi is an Unparalleled Choice

An Artistic Treasure for Your Home and Library

The Mushaf of Shafi, whether in its original form or its reproduced edition, is more than a religious book; it is a “miniature museum” and an epitome of the finest book arts of the Qajar period. The triple confluence of the firm Naskh script of Ardestani, the fluid and delicate Nasta’liq script of Ali-Naqi Shirazi, and the royal and elaborate illumination of the Mozahheb-bashi workshop, transforms it into a complete and harmonious work of art. Placing such a work in a personal library, office, or living space not only demonstrates respect for the Quran but also lends that space unparalleled prestige and deep cultural richness.

A Prestigious and Enduring Gift

The historical background of this Mushaf as a gift exchanged between the Shah and his prime minister at the highest levels of the Qajar court gives its facsimile edition a special status and prestige as a cultural and diplomatic gift. In today’s world, where finding authentic, meaningful, and beautiful gifts is difficult, this work is an unparalleled choice for honoring prominent scientific, cultural, and political figures, senior corporate executives, and high-ranking foreign guests. Gifting such a work is a symbol of the utmost respect and an expression of the richness of Iranian culture and art.

An Investment in Cultural Heritage

Exquisite facsimile editions of artistic masterpieces produced in limited runs are themselves valuable cultural commodities whose material and spiritual value increases over time. Due to their production quality and the historical importance of their subject, these works quickly find a special place among collectors and enthusiasts. Acquiring the Mushaf of Shafi is not just a purchase but a wise investment in a lasting and unrepeatable part of Iran’s artistic and spiritual identity.

Availability and Acquisition

The reproduced edition of this noble Mushaf is available through its publisher, the Ezaam Art Institute, as well as reputable and specialized stores offering deluxe books across the country. Searching specialized online markets can also be a way to find this precious work.

Section 6: Final Words: An Invitation to Behold Timeless Beauty

Final Summary

Mohammad Shafi Ardestani, as one of the last great peaks of classical Iranian calligraphy, created in his noble Mushaf a work that is not only the pinnacle of his personal art but also the essence of the art of an era and the product of the collaboration of the artistic elite of a culture-loving city, Shiraz. This Mushaf is a document from a time when the art of bookmaking, despite all social and political upheavals, continued to thrive with vigor, creating works of world-class caliber. The solidity of its Naskh script, the delicacy of its Nasta’liq translation, and the splendor of its illumination, alongside its eventful historical journey, make this work a multifaceted treasure.

A Call to Appreciation

This report has been an attempt to delineate the various dimensions of this masterpiece. However, no description can replace a direct encounter with the work itself. The facsimile edition of the Mushaf of Shafi provides this exceptional opportunity to bring a part of this splendor, glory, and spirituality into our modern lives and to facilitate the transmission of this great heritage to future generations. This work is more than a book; it is an invitation to behold timeless beauty, to understand the depth of a culture and art that has so artistically and lovingly adorned the divine word, and to appreciate the efforts of those who created it in the past and revived it for us today.