Mushaf
Nur Fatima is the tentative name given to one of the most outstanding
projects undertaken by the Yayasan Resto (Al-Baraka Foundation) in Malaysia. The project aims at publishing a copy of the Holy Qur’an (mushaf)
that is hand-written in Ottoman script by female calligraphers and
ornamented by female artists. The final decision regarding the name has not
yet been made, but it might be called The Qur’an of the Believing Women
or The Qur’an of the Mothers of the Believers.
The work on this project is carried out exclusively by female
calligraphers,
artists, hafidhzat (those who have memorized the Holy Qur’an),
revisers, and others. It revives a tradition upheld by believing women
throughout the history of Islamic civilization: historians have recorded
that during the eight hundred year Muslim rule of Al-Andalus (Spain), there were 20,000 female calligraphers and Qur’anic scribes (some of
whom did not complete the entire Qur’an). According to officials at the
Foundation, the mushaf project is the first of its kind in terms of
the institutionalization of the work, the completion of the ornamenting and
gilding of the Qur’an, and its impending distribution throughout the
Muslim world.
The
Inspiration behind the Ornamentation
According to the work plan, the drawings and the ornamentation for this
Qur’an are based on sources from all over the world, which differ from
those drawn upon in the first version of the Malaysian mushaf. For
the purpose of categorizing ornamentation styles, the world map was divided
into eight regions: the Arab world; Turkey, Pakistan
and
Iran
Sub-Saharan Africa; Middle Asia and Russia; South Asia
(mainly
India);Southeast Asia; the coasts of the
Pacific Ocean; and the two Americas.
In order to select drawings and designs that represent each region, the
Foundation embarked on a study of the general architecture and ornamentation
work of each of these regions. It also examined the plants and flowers that
are prevalent in each region and conducted a study to determine the herbs
used in the treatment of diseases that are endemic to each region. The
Foundation also undertook a comparative study of the herbs that are used in
the various regions to treat the same diseases.
The ornamental images on the frames of the mushaf pages differ from
those that appeared on the Malaysian mushaf, which was hand-written
and ornamented by male calligraphers and artists. The outer frame of
the pages is different from the rectangular frame used in the Malaysian mushaf
in that it has a wavy outline with various shapes on the upper and lower
sections of the page.
An Award for Excellence
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The ornamental images on the frames of the mushaf pages differ from those that appeared on the Malaysian mushaf |
Furthermore,
the sides of the pages contain hadiths and a brief explanation in English
and Malay of all the verses of the Qur’an that concern Muslim women. Thus,
this Qur’an does not contain a complete translation or interpretation of
the entire text of the Holy Qur’an but only an interpretation of certain
verses that deal with women.
The
former queen, Siti Aishah, took a keen interest in the mushaf project
until the death of her husband, the King, Sultan Salahuddin Abdul Aziz Shah,
in 2002 and the consequent induction of his successor. This project is
currently in its third year and is due to be completed in 2005. To convince
the relevant authorities of the seriousness of the work, the Foundation
printed and distributed Juz’ `Amma (the final part of the Qur’an) in
accordance with the above layout and design. And when the Foundation
participated in the 8th International Qur’an Exhibition in Tehran
on 3 May 2000
, Iranian President Muhammad Khatami awarded the highest accolade at the
exhibition to this project.
This project and the Malaysian mushaf, which was written and
ornamented by the Foundation’s artists, are only the beginnings of a
long-term plan to present Muslims the world over with masterpieces of
Islamic art.
The
Inspiration Behind the Frames
In an equally rewarding project, the Foundation has published another
version that includes a selection of chapters from the Qur’an with Malay
translation. This version starts with Surat Al-Fatihah and includes Surat Ya-Sin
and Surat As-Sajdah as well as Ayat Al-Kursi and Juz’ `Amma. Another
version will soon be produced with English translation and a brief summary
of the ahkam at-tajweed (recitation rules).
The
interesting aspect of this version is that the frame of each surah is
decorated in a unique pattern that conveys a special message to the reader
who is aware of its connotation. The design of the frame for Surat Al-Fatihah
draws on the coconut tree, which is as important to Southeast Asians as the
palm tree is to the Arabs. This signifies the importance of Surat Al-Fatihah
in the lives of Muslims and its tremendous healing properties.
The last juz’ (one thirtieth part) of the Holy Qur’an was
embellished with drawings inspired from the mangosteen plant which grows in
some Southeast Asian countries. The reasoning behind this is that those who
see the mangosteen fruit do not know the goodness it conceals. On the
inside, the fruit is sweet and pure. Similarly, those who study the Qur’an
will not only discover its pure, unmatched beauty but will also reap the
spiritual benefit thereof.
As
for Surat Ya-Sin, which most Southeast Asian Muslims read on Thursday
nights, its ornamentation was inspired by the tamarind plant, which is
effective in cooling the body temperature and soothing the nerves despite it
sour taste.
The
frame of Surat Sajdah is decorated with drawings inspired by the rice plant,
which grows in Malaysia, Indonesia, Thailand, and Vietnam
and is deeply rooted in the culture, poetry, and proverbs of these
countries. The rice plant was chosen because when the grain heads fill, they
tilt and seem to prostrate in submission to Allah’s Will throughout the
vast expanse of green and beautiful farms.
The frame for Ayat Al-Kursi is decorated with designs inspired by the lemon
tree. This is in reference to the healing and protective properties of Ayat
Al-Kursi, which is recited in the wake of every salah (ritual Prayer)
and in daily dhikr (remembrance of Allah).
What
is most interesting is the design used in decorating the frame of the khatam
du`aa’, which is read upon completing the recitation of the Qur’an.
The appetizers and spices that Southeast Asian countries export inspired
this frame. The reasoning behind this selection is that spices are as
essential to the Southeast Asian diet as salt is to the diet of Arabs and
other nations. According to those who chose this pattern, the du`aa’
(supplication) after completing the recitation of the Holy Qur’an or in
the wake of Prayers provide a distinct spiritual flavor.
Reviving
Islamic Art
The Foundation has displayed a range of samples, any one of which could
constitute the start of a separate project for producing Islamic art frames
that can be widely marketed. The samples are inscribed with the most
beautiful names of Allah Most High, Qur’anic verses, hadith, Malaysian
poems and proverbs. The samples also include an ornamented marriage
certificate similar to those used in Iran, as well as household furniture ornamented with inscriptions, which could
replace designs imported from outside the Muslim world.
Workers
in the Malaysian ornamenting industry who worked on the project have
realized the importance of establishing an Islamic art sector. These workers
would constitute the nucleus of this sector, which will hopefully be
established in the near future.
Malaysian
Prime Minister Dr. Mahathir Muhammad noted that the management of Yayasan
Restu had realized the importance of Islamic art as a Malaysian industry and
as a leading factor in the revival of Islamic culture, the spreading of
Islamic values and principles. He noted that art had preserved the memory of
the many Islamic civilizations established during the past 14 centuries and
which spread from Spain in the west to India and China in the east, leaving
indelible prints on Southeast Asia and Africa.
The First Arabic Calligraphy Diploma
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The Institute awards graduates with recognized certificates and diplomas |
In order to fulfil its objective of reviving the culture of Islamic art
among the younger generation, the Foundation established Restu Institue, an
Islamic art school. In August 2002, the first group of students graduated
with a diploma in Islamic ornamentation and Arabic and Malaysian
calligraphy. The Institute is considered the first in Malaysia to offer such
programs: courses offered by the Islamic Museum and the Islamic Center are
seasonal and do not equip students to become specialized professionals. The
Institute, which awards graduates with recognized certificates and diplomas
that can assist them in finding employment, intends to expand the Islamic
art curricula and introduce various specialties, including architecture.
Although Malaysia
is a small country, there are noted differences among its states in terms of
customs, traditions, art, and culture. For example, the art and culture of
states on the western coast, such as Johor and Penang, differ from those along the eastern coasts. These differences have
prompted some individuals from states like Penang, Johor, Selangor, and Perak to call for further training of local artists
who do calligraphy and ornamentation on projects undertaken by local
religious institutions. All Malaysian states endeavor to promote a culture
of Arabic and Malay calligraphy in a way that is compatible with their
distinct art, culture, and heritage.
The Malaysian mushaf project paved the way to the establishment of
the Islamic Art Gardens Complex. The government of Selangor, which is
adjacent to the nation’s capital, Kuala Lumpur, allocated a prime piece of land for the complex, and the construction,
which cost 30 million ringgit (8 million US dollars) was completed in 2002.
It is situated in a beautiful district populated mainly by Muslims. Across
the road from the complex stands the Shah Alam Mosque, one of the largest
mosques in Southeast Asia. The Foundation also intends to build an entertainment center for Muslim
families on a large piece of donated land close to Kuala Lumpur.
Each “garden” in the Islamic Art Gardens Complex will focus on one
aspect of Islamic art. However, the complex as a whole functions as an
international Islamic center that aims at supporting initiatives that work
towards the restoration of the unique role of Islamic art, promoting Islamic
art and culture, and reviving Islamic traditions such as endowments,
donations, and the propagation of the Word of Allah Most High.
The
Light of Invention
The project has faced various difficulties and challenges. One of these
challenges is that ornamentation and calligraphy require a great deal of
patience, an attribute that is lacking among many young people.
Zainul-Abideen Abdur-Rahman, the only worker that we met in the gilding
department, said that his colleagues’ patience had run out and that they
had all left.
The
Foundation also faced difficulties convincing the government and the public
of its ability to carry out its ambitious plans. For this reason, the
Foundation published a part of the mushaf as a sample of the
envisaged work.
Initially, the project did not stir much public interest or attract any
media attention. Those in charge of the project did not even approach any
government officials. However, after the publication of the first part, news
about the project spread quickly and the Prime Minister decided to visit the
Foundation. In the wake of his visit, many officials have visited the
Foundation and hundreds of visitors currently visit the Foundation every
weekend.
The filming of a television documentary entitled “The Light of
Invention” is currently underway. The documentary, which will consist of
30 half-hour episodes, will take viewers through the various stages of the mushaf
project leading up to the completed masterpiece. It will examine historical,
cultural, and social subjects that are relevant to the project. Eight years
after the mushaf project was launched, the official opening of the
complex will be a major turning point for the project.
*
The
Arabic original of this article appeared in islamonline.net (Arabic
Section) on
November 13, 2002
.
