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The Qur'an
(قرآن)

Title	The Qur'an
Title Original	قرآن
Author	Habusorwaqfendowment.
Publication Date:	3rd - 4th centuries AH / 9th - 10th centuries AD
Publication Place	Fez (?). - National Library of the Kingdom of Morocco, Rabat
Subject	number; Brown ink.
Type	Other
Language	Undetermined
Digital	Yes
Manuscript	Yes
Physical Dimensions	الارتفاع: 42 سم؛ الطول: 36 سم
Library:	Museum With No Frontiers
Library Asset ID	GI.TI.GI.TII
Record ID	object;ISL;ma;Mus01_F;3;ar
Library Location	National Library of the Kingdom of Morocco, Rabat
Date	3rd - 4th centuries AH / 9th - 10th centuries AD
Notes	This Qur’an contains several volumes, of which the National Library only maintains two parts, of which we present pages 100 and 101 of the second part. The measurements of the two parts are close to square, and both were written on parchment, in Moroccan Kufic script, in brown ink. Although the writing is in the same style, it does not have the same appearance in both parts, which suggests that the work was completed by two copyists. The broad outline of the lines, the rounded corners of the letters, and the hollow curvatures show that the two lines date back to the same period and belong to the same Qur’an. In fact, as of the second half of the 3rd century AH/9th century AD, Kufi calligraphy begins to differentiate in the Islamic West from eastern calligraphy, developing towards a style, called Moroccan, that will reach its peak of perfection two centuries later. This style of writing, which still follows the old voting system of Abu al-Aswad, is devoid of dots for spelling letters, and is limited to drawing abbreviated vowel letters such as fatha and dhammah, which are indicated by two red dots above the line, and kasra by a red dot under the line, and doubling the letter with a shaddah, as is the case today, which resembles the Latin letter W in miniature. The rounded yellow and green dots indicate the hamza. There is no decoration in this Qur’an, especially with regard to the titles of the surahs. The only decorations in the form of small rosettes surrounded by alternating dots of blue and red indicate the separation between the verses, while decorations in the form of large, delicately decorated rosettes were used to divide the verses into groups of ten verses. This copy may resemble in terms of calligraphy the Zirid Qur’ans. Finally, the manuscript leaves contain a small, very regular hole within the upper margin of each leaf where the word Habous appears, which confirms that the Qur’an was presented as a religious gift to a holy place, likely located in the city of Fez.
Sample Text	Naima El Khatib-Boujibar "Qur'an" in Discover Islamic Art. Museum Without Borders, 2026. https://islamicart.museumwnf.org/database_item.php?id=object;ISL;ma;Mus01_F;3;ar
Bu sayfanın künyesi	Prepared by:Naima EL KHATIB-BOUJIBARArchéologue et historienne de l'art, titulaire d'une licence en lettres (française), N. Elkhatib-Boujibar a également étudié l'archéologie et l'histoire de l'art à l'Institut d'art et d'archéologie de Paris, l'art islamique et la muséologie à l'École du Louvre (Paris), et suivi des cours à l'Institut d'ethnographie de l'Université de Neuchâtel (Suisse). Elle a occupé plusieurs postes de responsabilité, parmi lesquels directrice des Musées et de l'Archéologie, inspectrice générale des Musées et de l'Archéologie, déléguée régionale du ministère de la Culture.Elle a dirigé un chantier de fouille durant 20 ans et enseigné à l'Institut national marocain des sciences de l'archéologie et du patrimoine (INSAP). Elle a organisé différentes expositions sur le patrimoine marocain, au Maroc comme à l'étranger, et animé des cycles de conférence, dont celui sur l'art islamique à la “Villa des Arts” à Casablanca.N. El Khatib-Boujibar a publié différents articles sur le patrimoine archéologique, artistique et architectural marocain, mais aussi sur d'autres sites islamiques et sur les arts mobiliers. Elle a également participé à la rédaction du catalogue Musée Sans FrontièresLe Maroc andalou, à la rencontre d'un art de vivre.
Seçili bibliyografya	Allouche, I. S. and al-Rajrari, A.,Fahras al-makhtoutat al-arabiya al mahfouda fi'al khisana ai-amma bi Ribat al-Fath(inventory of Arabic manuscripts kept at the General Library of Rabat), 2 volumes (1921–53), Paris, 1958.Al-Rassy, J. et Varichon A.,De l'empire romain aux villes impériales: 6000 ans d'art au Maroc(catalogue), Paris, 1990.Benjelloun-Laroui, L.,Les bibliothèques du Maroc, Paris, 1990.Dandel, E.,Maroc: les trésors du royaume, catalogue, Paris, 1990.Andalusian Morocco: A Discovery in Living Art, pp.108–9.Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia, pp.182–3.

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The Qur'an

(قرآن)

Author Habusorwaqfendowment.

Publication Date 3rd - 4th centuries AH / 9th - 10th centuries AD

Publication Place Fez (?). - National Library of the Kingdom of Morocco, Rabat

Subject number; Brown ink.

Type Other

Language Undetermined

Digital Yes

Manuscript Yes

Physical Dimensions الارتفاع: 42 سم؛ الطول: 36 سم

Library Museum With No Frontiers

Library Asset ID GI.TI.GI.TII

Record ID object;ISL;ma;Mus01_F;3;ar

Library Location National Library of the Kingdom of Morocco, Rabat

Date 3rd - 4th centuries AH / 9th - 10th centuries AD

Notes This Qur’an contains several volumes, of which the National Library only maintains two parts, of which we present pages 100 and 101 of the second part. The measurements of the two parts are close to square, and both were written on parchment, in Moroccan Kufic script, in brown ink. Although the writing is in the same style, it does not have the same appearance in both parts, which suggests that the work was completed by two copyists. The broad outline of the lines, the rounded corners of the letters, and the hollow curvatures show that the two lines date back to the same period and belong to the same Qur’an. In fact, as of the second half of the 3rd century AH/9th century AD, Kufi calligraphy begins to differentiate in the Islamic West from eastern calligraphy, developing towards a style, called Moroccan, that will reach its peak of perfection two centuries later. This style of writing, which still follows the old voting system of Abu al-Aswad, is devoid of dots for spelling letters, and is limited to drawing abbreviated vowel letters such as fatha and dhammah, which are indicated by two red dots above the line, and kasra by a red dot under the line, and doubling the letter with a shaddah, as is the case today, which resembles the Latin letter W in miniature. The rounded yellow and green dots indicate the hamza. There is no decoration in this Qur’an, especially with regard to the titles of the surahs. The only decorations in the form of small rosettes surrounded by alternating dots of blue and red indicate the separation between the verses, while decorations in the form of large, delicately decorated rosettes were used to divide the verses into groups of ten verses. This copy may resemble in terms of calligraphy the Zirid Qur’ans. Finally, the manuscript leaves contain a small, very regular hole within the upper margin of each leaf where the word Habous appears, which confirms that the Qur’an was presented as a religious gift to a holy place, likely located in the city of Fez.

Sample Text Naima El Khatib-Boujibar "Qur'an" in Discover Islamic Art. Museum Without Borders, 2026. https://islamicart.museumwnf.org/database_item.php?id=object;ISL;ma;Mus01_F;3;ar

Bu sayfanın künyesi Prepared by:Naima EL KHATIB-BOUJIBARArchéologue et historienne de l'art, titulaire d'une licence en lettres (française), N. Elkhatib-Boujibar a également étudié l'archéologie et l'histoire de l'art à l'Institut d'art et d'archéologie de Paris, l'art islamique et la muséologie à l'École du Louvre (Paris), et suivi des cours à l'Institut d'ethnographie de l'Université de Neuchâtel (Suisse). Elle a occupé plusieurs postes de responsabilité, parmi lesquels directrice des Musées et de l'Archéologie, inspectrice générale des Musées et de l'Archéologie, déléguée régionale du ministère de la Culture.Elle a dirigé un chantier de fouille durant 20 ans et enseigné à l'Institut national marocain des sciences de l'archéologie et du patrimoine (INSAP). Elle a organisé différentes expositions sur le patrimoine marocain, au Maroc comme à l'étranger, et animé des cycles de conférence, dont celui sur l'art islamique à la “Villa des Arts” à Casablanca.N. El Khatib-Boujibar a publié différents articles sur le patrimoine archéologique, artistique et architectural marocain, mais aussi sur d'autres sites islamiques et sur les arts mobiliers. Elle a également participé à la rédaction du catalogue Musée Sans FrontièresLe Maroc andalou, à la rencontre d'un art de vivre.

Seçili bibliyografya Allouche, I. S. and al-Rajrari, A.,Fahras al-makhtoutat al-arabiya al mahfouda fi'al khisana ai-amma bi Ribat al-Fath(inventory of Arabic manuscripts kept at the General Library of Rabat), 2 volumes (1921–53), Paris, 1958.Al-Rassy, J. et Varichon A.,De l'empire romain aux villes impériales: 6000 ans d'art au Maroc(catalogue), Paris, 1990.Benjelloun-Laroui, L.,Les bibliothèques du Maroc, Paris, 1990.Dandel, E.,Maroc: les trésors du royaume, catalogue, Paris, 1990.Andalusian Morocco: A Discovery in Living Art, pp.108–9.Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia, pp.182–3.