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Sacred Arts of the Qur'an: Illumination: Illumination, the second Qur'anic art discussed in this study, has an aesthetic purpose. The message of the Qur'an aims at reaching and taking root in the minds and hearts of Muslims through two functions: communicative (calligraphy as a medium) and aesthetic (the use of both calligraphy and illumination).28 As the aesthetic function, especially that of illumination, is meant to support rather than compete with the communication function, illumination was universally kept in check when copying the Qur'an.29 Thus, we can interpret the slower development of illumination, when compared with calligraphy, at the early stages of script writing as follows: The general understanding was that illumination may not intrude upon or distract from the text. The visual motifs and elements used in illuminating the pages of the Qur'an appear in a variety of forms, patterns, and colors to signify organizational events and theological direction. Basic and modified palmettes and solar roundels mark the divisions between verses and sometimes denote prostrations-an occasional encounter that requires a prostration by the reader. Palmettes also appear in the margin as medallions with a root- or trunk-shaped base and a pointed end suggestive of infinity.30 Subtle decorative manipulations sometimes stretch out to cover the entire background of the body of the text, but with calculated deference to the written word. Capturing the power of geometry, an astounding variety of orchestrated designs dominated the fields of the more conspicuous parts of the Qur'an, such as the surah headings and the frontispieces. To augment the aesthetic effect, "ornamental" styles of calligraphy are integrated within the field. For example, in reference to manuscripts from the western Islamic world, "the suµrah headings . . . are nearly always written in an ornamental style of lettering developed from Western Kuµfic for the purpose of illumination only, different from the script of the text itself."31 In making patterns for illuminating any piece of the Qur'an, rectilinear geo-metry with its straight lines, and curvilinear geometry with its curved lines, were the two principal instruments used. While planning a patterning process, all illuminators exploited the useful geometric properties of the circle, for this form can accommodate the construction of any geometric shape with precision.32 For example, the circle can readily enclose a square and, if it encloses two squares at a 45 degree difference in orientation, an octagon shape or an eight-pointed star can be manipulated. Juxtaposing multiple planning circles in a concentric, intersecting, touching, or remote relationship, illuminators created versatile working patterns as a framework for implementing the intended design patterns. The design pattern itself usually consists of rectilinear component forms,33 although curvilinear component forms,34 or a combination of both also occur.35 Due to the nature of the patterning process, it was best suited for the full-page frontispiece illumination. However, it also triumphed in illuminating the smaller precincts of suµrah headings. Geometric patterning of a frontispiece, for example, prepared the field for another illuminatory agent: the arabesque. This artistic style drew heavily from vegetal motifs derived from such flora as leaves, vines, flowers, rosettes, and trees.36 Vegetal and geometric motifs have adorned Qur'anic pages since the early Umayyad era.37 The application of arabesque art to Qur'anic frontispieces resulted in designs of varied character and, when combined in horizontal and vertical geometric strip segments, create global frames bordering the entire page or smaller frames enclosing rectangular panels. The frames and panels manifest intense vegetal, geometric, and calligraphic treatment.38 Color is another intermediary that dominates Qur'anic arts. It is found throughout geometry, arabesque, and calligraphy and endows all of them with a qualitative vehemence when used by a skilled illuminator. A color scheme is often that of polychromy, where multiple colors ally to invigorate visual harmony. Still, in many cases one, and hardly more than one, color dominates the field.39 Among the many hues and tones, the light to medium golds and the medium to dark blues are very common. The development of geometry, arabesque, calligraphy, and polychromy on the surfaces of Qur'anic pages follow distinct design principles. To mention only a few, these include repetition, rhythm, symmetry, and balance, all of which work together to achieve "abstractiveness," a quality most akin to the transcendental or infinite attributes of the divine. As a form of Islamic art experienced through time that affords the viewer an opportunity to concentrate on details,4040 illuminated Qur'anic compositions further elevate the viewer's mind to reflect on the infinite. 
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