The Noble Mushaf of Ala | Exquisite Facsimile Edition

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The Noble Mushaf of Ala: A Masterpiece of Safavid Calligraphy | Exquisite Facsimile Edition

An Introduction to a Timeless Treasure: The Intersection of Art and Revelation

In the heart of Iran’s history, during the magnificent Safavid era-a time when art was not merely a tool for beauty but a form of worship and a manifestation of faith-treasures were created that will forever shine in the annals of Islamic culture and civilization. In the royal workshops of Tabriz and Qazvin, where art-loving Safavid kings were great patrons of artists, the divine revelation was given life in a robe of gold, lapis lazuli, and ink, entrusted to hands whose pens recited praises. The Noble Mushaf of Ala, presented before you today, is not just a book; it is a relic from that golden age, a cultural antiquity, and the pinnacle of Islamic book art that holds the faith, taste, and genius of a nation in trust. This masterpiece was created by the fingertips of an artist whom the history of Iranian calligraphy respectfully calls

“Qutb al-Khattatin”-the Axis of Calligraphers: Master Ala’uddin Tabrizi.

Ala’uddin Tabrizi: Architect of Words in the Golden Age of the Safavids

The Lineage and Life of a Master

Master Ala’uddin Muhammad ibn Shams al-Din Muhammad Hafez Tabrizi, also known as Mulla ‘Ala Bek, was born around 930 AH (c. 1524 CE) in Tabriz, the first capital of the Safavids. He grew up in a family familiar with the divine word; his father, Shams al-Din Muhammad, was a memorizer of the Quran, and this spiritual heritage was woven into the fabric of Ala’uddin’s being from childhood. He learned the art of calligraphy from the great master of the time,

Shams al-Din Muhammad Tabrizi, and showed such talent that his name soon shone among the leading artists. His artistic life, which spanned from approximately 957 to 1008 AH (c. 1550-1600 CE), coincided with the reigns of Shah Tahmasp I and Shah Abbas I, a period when art reached its zenith. Ala’uddin Tabrizi, who spent most of his life in Tabriz and a few years in the second Safavid capital, Qazvin, finally passed away around 1010 AH (c. 1601 CE), leaving behind an immortal legacy.

The Master of Masters: A Legacy of Influence

The greatness of Ala’uddin Tabrizi is not confined to his own works; his true value lies in the role he played as a teacher and mentor, nurturing a generation of calligraphy geniuses who each became a pillar in the history of Iranian art. He was the undisputed master of the six canonical scripts (al-Aqlam al-Sittah), especially Thuluth, Naskh, Muhaqqaq, Reyhan, and Riqa’. His students were the shining stars of the Safavid art scene:

• Alireza Abbasi Tabrizi: The great calligrapher of Shah Abbas’s court, whose unparalleled inscriptions in the Imam (Shah) Mosque of Isfahan and the inscriptions of the holy shrine of Imam Reza are among his masterpieces, learned his art in the school of Ala’uddin Tabrizi.
• Abdolbaghi Tabrizi: Another of his renowned students who, alongside his master Alireza Abbasi, played a role in the calligraphy of the Imam Mosque inscriptions in Isfahan.

The peak of Ala’uddin Tabrizi’s influence can be seen in the respect that Mirza Ahmad Neyrizi, the greatest master and founder of the “Iranian Naskh” style in the late Safavid period, held for him. Neyrizi, who himself revolutionized the Naskh script, spent years practicing from Ala’uddin Tabrizi’s scripts and considered him his reference and model. This direct connection establishes Ala’uddin Tabrizi as the source and founder of a style that would later become the signature of Iranian calligraphy in Quranic transcription.

The Mark of an Innovator: Redefining the Sacred Page

Ala’uddin Tabrizi’s genius was not limited to aesthetics; he was a designer and an engineer of words. One of his most astonishing and lesser-known achievements is the transcription of a Quran in 955 AH (c. 1548 CE) arranged in the “khatm bi ayah” style, meaning each page concludes with the end of a verse. This masterpiece, which, contrary to popular belief, was accomplished by this Iranian artist before Uthman Taha, demonstrates his unparalleled mastery of precise calculations, page layout, and the compression and expansion of words. This innovation, which required a mathematical genius alongside calligraphic skill, has cemented his name as a pioneer in the history of Mushaf design.

Anatomy of a Masterpiece: A Deep Dive into Mushaf No. 43 of the Malek Museum

The facsimile edition available to you is a precise, one-to-one recreation of one of Iran’s national treasures: the Noble Mushaf with registration number 43, housed in the Malek National Library and Museum in Tehran. This particular copy, recognized as one of the most exquisite artistic Qurans of the first degree in terms of calligraphy, illumination, and binding, is a perfect embodiment of Ala’uddin Tabrizi’s art.

The Dance of the Pen on the Page (Calligraphy)

Each page of this Mushaf is a magnificent stage for the symphony of scripts. Its 15-line layout is a combination of three main lines (top, middle, and bottom) written in the powerful and eye-catching Thuluth Jali script with golden ink, and twelve intermediate lines written in the delicate and legible Naskh (or, according to some, Reyhan) script with deep black ink. This combination creates a stunning visual rhythm that guides the eye across the page. In this work, Ala’uddin Tabrizi perfected the “Iranian Thuluth,” a style in which the structural firmness of the Thuluth script is blended with a unique Iranian

“Grace and charm,” creating a script that is both majestic and intimate.

The Manifestation of Light (Illumination and Book Art)

The art of illumination (tazhib) in this Mushaf is a celebration of light and color that embraces the divine word.

• A Gateway to the Realm of Meaning: The two opening pages of the Quran (sarlouh), dedicated to the holy surahs of Al-Fatiha and Al-Baqara, are entirely embellished and gilded, mesmerizing the viewer at first sight.
• Celestial Signs: The surah headings, the signs for juz’ and hizb divisions (in the form of shamsa and sharafa), and the prostration markers are decorated with a heavenly combination of gold, lapis lazuli, and cinnabar (vermilion), each shining like a jewel on the page.
• The Splendor of the Sacred Name: In one of the most spiritual and devotional features of this Mushaf, the divine name “Allah” is written throughout the book in pure gold; as if the artist intended to adorn the most sacred name with the most precious material, thus immortalizing his devotion.
• A Framework of Beauty: All pages are framed with precise rulings and gilded and colored borders. In the spaces between the Thuluth lines, delicate golden floral and vine motifs can be seen, evoking a paradisiacal atmosphere. The verse markers are indicated by small golden circles.

The Materials of an Immortal Work

The value of a masterpiece lies not only in its art but also in the authenticity of its materials. This Mushaf was written on high-quality, burnished Daulatabadi paper, which was among the best papers of that era. The binding itself is a separate work of art: a

gold-tooled stamped leather binding with a classic lajak-toranj (corner-and-medallion) design, created by pressing heated molds. The border of the cover features an inscription of Ayat al-Kursi. But the real surprise lies in the doublure (inner lining of the cover); a stunning panel of mo’arraq (inlaid leather) art with a combination of gold, lapis lazuli, verdigris (green), and orange, showcasing the pinnacle of the bookbinding art of the Safavid era.

Technical Specifications of the Noble Mushaf of Ala (Malek Museum, No. 43)

Feature	Specification
Calligrapher	Ala’uddin Muhammad Tabrizi (Mulla ‘Ala Bek)
Date of Scription	Ramadan 964 AH (c. 1557 CE)
Artistic Period	Safavid (Era of Shah Tahmasp I)
Dimensions	36 x 24.5 cm
Number of Folios	312 folios (624 pages)
Composition	15 lines per page
Scripts	Thuluth Jali (in gold), Naskh (in black ink)
Paper	Burnished Daulatabadi paper
Illumination	Fully illuminated, jeweled headpiece, gilded rulings, gilded divine name
Binding	Gold-tooled stamped leather, lajak-toranj design, mo’arraq doublure

 

The Facsimile Edition: Touching History with Today’s Technology

What is a “Facsimile”? A Bridge to the Original

You might wonder what distinguishes a “facsimile” or “replica” edition from a regular high-quality print. The answer lies in the purpose and production process. The word “Facsimile” comes from the Latin phrase fac simile, meaning “make similar”. A facsimile edition is not a reprint or a modern interpretation of a work; it is an

identical, scientific twin of the original manuscript. In producing such a work, the goal is for the final product to be so faithful to the original that, in the words of experts, the only discernible difference between the two is “the age of the original and the newness of the replica”.

The Unparalleled Quality of This Edition

To produce this Mushaf, the most advanced digital scanning and precision printing technologies have been employed to reproduce every subtlety of the original with absolute fidelity. This process, often carried out in specialized European workshops under the strict supervision of experts, captures all the details :

• Absolute Fidelity: From the creamy hue of the aged Daulatabadi paper to the variation in the master’s hand pressure in the thickness of the lines, from the three-dimensional relief of the gold leaf on the page to the ink spots and even the minor damages that time has left as a legacy on the original, giving it soul—all are recreated with microscopic accuracy.
• Archival Materials: This edition is printed on special acid-free paper with inks of very high color stability. This means that this facsimile is itself a museum-quality, heritage piece that will last for generations without fading or deteriorating.
• A Tactile Experience: Holding this Mushaf is a unique sensory experience. The weight of the paper, the texture of the handmade leather binding, and its precise sewing are designed to convey the feeling of holding the original 500-year-old manuscript.
• Owning the Unseen: The reality is that the original Mushaf of Ala is a national treasure, kept in the secure vault of a museum, and only a handful of scholars have the opportunity to see it up close. This facsimile edition provides an exceptional and exclusive opportunity for you to bring a twin of this masterpiece into your personal space and enjoy its beauty every day.

Why the Facsimile Mushaf of Ala Belongs in Your Life

An Investment in Culture and Spirituality

Acquiring this work is not an expense; it is an investment in cultural and spiritual capital. This Mushaf is a tangible link to the zenith of Persian-Islamic civilization and a reminder of a time when art and faith were intertwined. This edition is a family legacy; a treasure you can pass down to your children and grandchildren, a work whose cultural and spiritual value will only increase with time.

The Ultimate Symbol of Respect: A Gift Beyond Words

In a world where finding a worthy and appropriate gift for special individuals is difficult, this Mushaf is an unrivaled solution. If you are looking for a luxury Islamic gift or a cultural-religious gift that expresses the height of your respect, appreciation, and taste, you will find no better choice.

Imagine presenting this work as a gift to a great teacher and mentor, a senior executive upon retirement, a prominent cultural figure, or to commemorate a major life event like a wedding or the establishment of a cultural foundation. This gift sends a powerful message of the value and respect you hold for its recipient; a gift that will be etched in their mind and heart forever.

The Soul of a Space: Transforming Your Environment

Placing this Mushaf in your personal library, office, or main living area will have a profound impact on your environment. This work is not just a decorative object; it is a spiritual focal point that radiates the energy of history, art, and sanctity. Its presence lends depth, authenticity, and an indescribable tranquility to any space, inviting you daily to behold its beauty and contemplate its meaning.

An Invitation to Own a Masterpiece

Final Summary and Call to Action

The Noble Mushaf of Ala is the essence of Iranian calligraphic genius from the golden age of the Safavids. Its facsimile edition, produced with absolute fidelity to the original in the Malek Museum, is an unrepeatable opportunity for lovers of art, culture, and spirituality to own one of the greatest masterpieces in the history of Islamic book art. This work is a combination of rich history, unparalleled art, and unmatched production quality.

To bring a piece of this glorious history into your home and add this timeless legacy to your collection, act now.

• Immortalize Your Legacy: Add This Masterpiece to Your Collection.
• Order Today to Acquire This Unparalleled Treasure.

Quality and Presentation Guarantee

To further enhance the value of this work, each copy of the facsimile Mushaf of Ala is presented in an exquisite, custom-made box that is itself a display of art and respect. Additionally, this work is accompanied by a numbered certificate of authenticity, guaranteeing its production quality and limited-edition status. We guarantee the safety and security of your valuable investment and will deliver it to you anywhere in the world with secure packaging and shipping insurance.