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The impressive Hazrati Imam Complex, also known as Khast Imam, is one of the most important religious sites in Tashkent. Its monumental brick architecture, turquoise domes and richly decorated tilework form a striking contrast with the clear blue Central Asian sky. The large ribbed turquoise dome immediately catches the eye, while two smaller domes rise behind the complex. Decorative panels of blue and turquoise tiles surround the pointed arches and add colour to the warm tones of the brickwork. In front of the tall central entrance, a single visitor almost disappears against the scale of the architecture. The complex developed around the tomb of Abu Bakr Kaffal Shashi, a 10th-century Islamic scholar and one of Tashkent’s most revered historical figures. The complex is also home to the Muyi Muborak Madrasa, where the famous Uthman Qur’an is preserved. Dating from the 7th century, it is regarded as one of the oldest surviving Qur’an manuscripts in the world and is one of the most important treasures of Islamic heritage in Tashkent.
Hazrati Imam is an important spiritual centre of Tashkent, bringing together several mosques, madrasas and historic religious buildings. The complex also preserves the famous Uthman Qur’an, one of the oldest surviving Qur’an manuscripts in the world.
Het indrukwekkende Hazrati Imam-complex, ook bekend als Khast Imam, is een van de belangrijkste religieuze plekken van Tasjkent. De monumentale baksteenarchitectuur, turquoise koepels en rijk gedecoreerde tegelmotieven steken prachtig af tegen de heldere Centraal-Aziatische lucht. De grote geribbelde turquoise koepel trekt onmiddellijk de aandacht, terwijl daarachter nog twee kleinere koepels zichtbaar zijn. Rond de spitsbogen zorgen blauwe en turquoise tegeldecoraties voor kleur tussen de warme tinten van het baksteen. Voor de hoge centrale ingang staat een enkele bezoeker die bijna wegvalt tegen de enorme afmetingen van het gebouw. Het complex ontwikkelde zich rond het graf van Abu Bakr Kaffal Shashi, een islamitische geleerde uit de 10e eeuw en één van de meest vereerde historische figuren van Tasjkent. In het complex bevindt zich ook de Muyi Muborak-madrasa, waar de beroemde Uthman-Koran wordt bewaard. Dit 7e-eeuwse handschrift geldt als een van de oudste nog bestaande Korans ter wereld en behoort tot de belangrijkste islamitische erfgoedstukken van Tasjkent.
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At the Hazrati Imam Complex in Tashkent, Uzbekistan, this remarkable miniature Qur’an is displayed alongside other historic Islamic manuscripts. According to the museum information, this tiny Qur’an dates from the 19th century and contains the complete text of the Qur’an. Despite its extremely small size, the pages contain finely formed Arabic script, surrounded by delicate decorative borders. Producing books on such a miniature scale required extraordinary precision. Extremely fine writing instruments and carefully prepared ink allowed calligraphers to create letters only a fraction of the normal size. Although the text could be deciphered at very close range or with magnification, miniature Qur’ans were also treasured as portable objects of devotion and craftsmanship.
Only a few centimetres across, yet containing the complete Quran – an extraordinary example of the skill and patience of 19th-century craftsmen. This macro photograph reveals details that are barely visible to the naked eye.
Volgens de informatie van het museum dateert deze piepkleine Koran uit de 19e eeuw en bevat hij de volledige tekst van de Koran. Ondanks het extreem kleine formaat zijn op de pagina's fijn uitgevoerde Arabische letters en zelfs decoratieve kaders te zien. Het vervaardigen van zulke miniatuurboeken vereiste een enorme precisie. Met zeer fijne schrijfinstrumenten en zorgvuldig bereide inkt konden kalligrafen letters maken die slechts een fractie van hun normale formaat hadden. De tekst kon van zeer dichtbij of met vergroting worden ontcijferd, maar dergelijke miniatuur-Korans waren ook bijzondere draagbare religieuze voorwerpen en staaltjes van vakmanschap. Slechts enkele centimeters groot en toch met de volledige Koran – een bijzonder staaltje van het geduld en vakmanschap van 19e-eeuwse ambachtslieden. Deze macrofoto onthult details die met het blote oog nauwelijks te zien zijn.
photo rights reserved by Ben
Preserved at the Hazrati Imam Complex in Tashkent is the famous Uthman Quran, regarded as one of the oldest surviving Qur’an manuscripts in the world. Dating from the early centuries of Islam, the enormous manuscript is one of the great historical treasures of Uzbekistan. Seen here from close range, its age becomes almost tangible. The famous Uthman Quran in Tashkent was written on large sheets of animal skin (parchment). The thick stack of large, irregular pages, their worn and fragile edges and the bold black Arabic script reveal the extraordinary physical character of the manuscript. The Qur’an is kept behind thick protective glass under subdued lighting, making it difficult to see all its details clearly. Yet from this close perspective, the centuries of wear are perhaps even more impressive than the written page itself. The manuscript is traditionally associated with Caliph Uthman ibn Affan, the third caliph of Islam. Its exact dating and history remain subjects of scholarly discussion, which is why it is more accurately described as one of the world's oldest surviving Quran manuscripts rather than simply the oldest. In 2000, the historic Mushaf of Uthman was inscribed on UNESCO’s Memory of the World Register, recognizing its exceptional documentary and cultural significance.
The ancient Uthman Qur’an, dating from the early centuries of Islam and preserved at the Hazrati Imam Complex in Tashkent, Uzbekistan. More than a manuscript — centuries of history preserved between its fragile pages.
In het Hazrati Imam-complex in Tasjkent wordt de beroemde Uthman-Koran bewaard, die wordt beschouwd als één van de oudste nog bestaande Koranmanuscripten ter wereld. Het enorme handschrift dateert uit de vroege eeuwen van de islam en behoort tot de belangrijkste historische schatten van Oezbekistan. Van zo dichtbij wordt vooral de ouderdom van het manuscript bijna tastbaar. Het dikke pakket grote, onregelmatige bladen, de versleten en kwetsbare randen en het krachtige zwarte Arabische schrift laten het bijzondere fysieke karakter van het manuscript zien. De Koran is oorspronkelijk geschreven op grote bladen dierenhuid/perkament. De Koran wordt achter dik beschermend glas en bij gedempt licht bewaard, waardoor de details niet altijd gemakkelijk zichtbaar zijn. Juist vanuit deze lage hoek vallen de vele afzonderlijke bladen en hun eeuwenoude slijtage prachtig op. Het manuscript wordt traditioneel in verband gebracht met kalief Uthman ibn Affan, de derde kalief van de islam. Over de exacte datering en geschiedenis bestaat onder wetenschappers discussie. Daarom is het nauwkeuriger om te spreken van één van de oudste nog bestaande Koranmanuscripten ter wereld dan simpelweg van de oudste. In 2000 werd de historische Mushaf van Uthman opgenomen in UNESCO’s Memory of the World Register, als erkenning van de uitzonderlijke documentaire en culturele betekenis van het manuscript.
Old Schools, University of Cambridge. Part of an Islamic manuscript held by the University projected on to the building by light artist Ross Ashton as a part of the 800th Anniversary back in 2009.
This is an illuminated and illustrated Safavid copy of the History of Nigaristan (Iran), known as Kitāb-i Nigāristān or Tārīkh-i Nigāristān by Ahmad Ghaffārī (d. 975 AH / 1567-8 CE). The colophon indicates that it was completed on the 5 Shawwāl 976 AH / 1569 CE. The manuscript opens with a double-page illuminated frontispiece, and there are eight paintings illustrating the text in a style that has been associated with the school of painting at Shīrāz. The dark brown/black leather binding, which is contemporary with the manuscript, has a large central panel with oval and pendants. The border is comprised of cartouches alternating with roundels. All are gold-brushed and decorated with floral and cloud motifs.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Islam first reached Nigeria as early as the 9th century through Muslim traders and expeditions, and eventually led to the widespread adoption of Islamic faith and tradition. This is an example of a Northern Nigerian illuminated manuscript written in Arabic script, including vividly coloured abstract geometric decorations.
Islamic culture places a high value on words, particularly the words of the Qur'an, with calligraphy being a premier Islamic art form. The favoured red and yellow pigments encountered in Nigerian Qur'anic decorations came from coloured minerals, such as ochres-iron oxides red, yellow and sometimes purple brown-which would have been ground and sieved to convert them into pigments.
The full LUNA record for this item is here: images.is.ed.ac.uk/luna/servlet/detail/UoEgal~5~5~76715~1...
© The University of Edinburgh Library
This is an illuminated and illustrated Safavid copy of the History of Nigaristan (Iran), known as Kitāb-i Nigāristān or Tārīkh-i Nigāristān by Ahmad Ghaffārī (d. 975 AH / 1567-8 CE). The colophon indicates that it was completed on the 5 Shawwāl 976 AH / 1569 CE. The manuscript opens with a double-page illuminated frontispiece, and there are eight paintings illustrating the text in a style that has been associated with the school of painting at Shīrāz. The dark brown/black leather binding, which is contemporary with the manuscript, has a large central panel with oval and pendants. The border is comprised of cartouches alternating with roundels. All are gold-brushed and decorated with floral and cloud motifs.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This is an illuminated and illustrated Safavid copy of the History of Nigaristan (Iran), known as Kitāb-i Nigāristān or Tārīkh-i Nigāristān by Ahmad Ghaffārī (d. 975 AH / 1567-8 CE). The colophon indicates that it was completed on the 5 Shawwāl 976 AH / 1569 CE. The manuscript opens with a double-page illuminated frontispiece, and there are eight paintings illustrating the text in a style that has been associated with the school of painting at Shīrāz. The dark brown/black leather binding, which is contemporary with the manuscript, has a large central panel with oval and pendants. The border is comprised of cartouches alternating with roundels. All are gold-brushed and decorated with floral and cloud motifs.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This is an illuminated and illustrated Safavid copy of the History of Nigaristan (Iran), known as Kitāb-i Nigāristān or Tārīkh-i Nigāristān by Ahmad Ghaffārī (d. 975 AH / 1567-8 CE). The colophon indicates that it was completed on the 5 Shawwāl 976 AH / 1569 CE. The manuscript opens with a double-page illuminated frontispiece, and there are eight paintings illustrating the text in a style that has been associated with the school of painting at Shīrāz. The dark brown/black leather binding, which is contemporary with the manuscript, has a large central panel with oval and pendants. The border is comprised of cartouches alternating with roundels. All are gold-brushed and decorated with floral and cloud motifs.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
الصفحة الأولى من (فصول الإحكام لأصول الأحكام) في الفقه الحنفي وتبدأ بالفصل الأول مباشرة دون تقديم. والمخطوط من تأليف العمادي، زين الدين عبد الرحيم بن أبي بكر بن علي بن عبد الجليل الفرغاني السمرقندي المرغيناني (المتوفى نحو سنة 670هـ)، وهي مكتوبة بخط نستعليق ونسخت سنة 851هـ في حياة المؤلف، على هوامشها تعليقات بخط مختلف، وعلى صفحة العنوان فوائد، ويليها فائدة منقولة من صاحب "الهداية" تقع في أربع ورقات وهي مجلدة بالكرتون المزخرف
The first page in “Fuṣūl al-Aḥkām Li-Uṣūl al-Aḥkām”, that deals with the “Ḥanafī” doctrine. beginning with Chapter – One; Straight, without Introduction. This book by “Zaīn al-Dīn ‘Abd al-Riḥīm Ibn Abī Bakr Ibn ‘Alī Ibn ‘Abd al-Jalīl al-Farghānī al-Samarqandī al-Mirghīnānī” who died 670 H, it was transcribed in 851 H (using Nasta‘līq script) during the life of the author, however, beer comments copied in a different script. The title page features a number of benefits, and it is followed by four sheets of text on a benefit; borrowed from the author of the book of “al-Hidāyah”.
The binding is in decorated carton material.
صفحة العنوان من كتاب (شرح الألفية في النحو لابن مالك) للمكودي، وفي الصفحة كُتب (وقف لله تعالى) بخط الثلث، ونص الوقف نفسه كُتب بخط النسخ، كما يظهر ختم أحمد باشا الجزار مكتوب بالخط الفارسي. المخطوط مكتوب بالمدادين الأسود والأحمر، فنصّ الألفية مكتوب باللون الأحمر، والشرح باللون الأسود. كتبت في صفر سنة 873هـ. وبأخر النسخة جدول سنة شمسية
The title page of the book, recording following in Thuluth script: “Waqf, for the sake of Allah; the most Supreme.” The Waqf” declaration itself is in Naskh script. The same page shows also the seal of “Aḥmad Pasha al-Jazzār”; with particulars written in Farsi script. This book was transcribed using both black and red inks; the latter for the (original) text and the former for the exposition, it was transcribed in “Ṣafar” in the year 873 H. The last page of the manuscript, features a table of Solar Calendar.
ظهر الورقة 94 من مخطوط كليلة ودمنة، وفيها صورة الملك جالسا وحوله البرهامنيون يحدثهم ويحدثونه
The back of sheet number 94 of the manuscript Kalila and Dimna, showing the king surrounded by the Brahmas; engaged in conversation.
ينسب إلي الفيلسوف الهندي بيدبا، وقد ترجمه من الفارسية إلي العربية عبد الله بن المقفع (المتوفي 142هـ) في خلافة أبي جعفر المنصور
هذه النسخة كانت محفوظة بالمسجد الأحمدي بطنطا تحت رقم 1065. النص داخل إطار، وبه عدد كبير من التصاوير الملونة والمذهبة لنباتات وحيوانات تعبر عما يحكيه من قصص
A book attributed to an ancient Indian Philosopher called Baīdabā. The book was translated from Persian into Arabic, during the reign of “Abū Ja‘far al- Manṣūr”, by “ ‘Abd Allah Ibn al-Muqafa‘” who died in the year 142 H. This copy of the work was kept at “al-Aḥmadī” mosque in Ṭanṭa under number 1065. The text was placed inside a frame and it incorporates a great number of pictures in color and in gold, of plants and animals; illustrating the projected tales.
نسخة يرجع تاريخ تأليفها إلي سنة 895 هـ وتاريخ نسخها إلي سنة 1114 هـ، وهي بخط محمد حمادة المرسي. والكتاب يضم حشد كبير من المرويات (أحاديث نبوية وأشعار). وبه بيان مفصل باحتفالات الولاة والخلفاء بفيضان النيل، وذكر للفياضانات التي كانت تهدد سكان مصر، ومن تولى أمر المقياس من أهل الذمة ومن المسلمين، وبيان الأزهار والفواكهة والخضروات الموجودة في الروضة. ومن ثم فهو موسوعة أدبية وتاريخية
وفي هذه الصفحة رسم توضيحي لنهر النيل من منابعه (من جبال القمر) وحتى مصبه في البحر المتوسط عبر فرعي دمياط ورشيد
A copy, transcribed by “Muḥammad Ḥamādah al-Mursī” and dated 1114H; of a book that was written in 895 H. The book contains a great number of quotations (including poems, as well as Aḥadīth);
The page showing the river Nile; from its source (in the Moon mountains); to its estuary (into the Mediterranean), through its Rashīd and Dumyāt Branches.
Muṣḥaf Sharīf transcribed by Mr. Muṣṭafá Waṣfi who was taught by Gintimkanān Muṣṭafá al- Ḥilmī Ḥakkāk Zādah 1270H:In this copy of al- Muṣḥaf al- Sharīf the text of the opening Ayat of Sūrat al-Baqarah (Sura 2) is surrounded by gilded colorful decorations. The Ayat breaks- are also decorated, and there are decorations between the lines. The name and the total number of Ayat (verses) are contained inside two gilded colorful rectangles at the top and at the bottom of the page.
مصحف شريف كتبه السيد مصطفى وصفي، من تلاميذ جنتمكان مصطفى الحلمي حكاك زاده سنة 1270 هـ : أول صورة البقرة محاطا بزخارف ملونة ومذهبة. وإلي جانب زخرفة فواصل الآيات، تتخلل السطور أيضا زخارف. وقد ذكر اسم الصورة وعدد آياتها في المستطيلين الموجودين في أعلى الصفحة وأسفلها
Photographed in the Islamic Art Museum in Kuala Lumpur, Malaysia. A stunningly beautiful building filled with priceless treasures of Islamic art.
نسخة مخطوطة سنة 1277 هـ
في الصفحة الأولى من هذه الورقة تمرين الطلاب في علمي الهندسة والحساب، يواصل المؤلف تعريف أصناف المدور: الأسطواني والمخروطي والكروي، ويعرف الخير بأنه جسم منته بسطح منحن جميع نقطه على بعد واحد من نقطة الوسط المسماة مركزها، والعمل في مساحتها أن تأخذ أربعة أمثال سطح دائرة كبرى من الكرة، فما تحصل فهو السطح المنحني، يضرب في سدس قطرها، فما اجتمع فهو مساحتها الجسمية
Transcribed in 1277 AH.
In the first folio of the book entitled Disciples’ Training in Geometry and Arithmetic, the author continues his definitions of shapes, i.e., cylinder, cone, and circle. The latter is defined as a shape with a curved surface; all its points are equidistant from its center. The length of a cycloid is four times the diameter of a big circle. The total area is calculated as the curved area multiplied by one sixth of its diameter.
**Title:** *As-Salawat al-‘Aliyah — The Garland of Blessed Invocations*
This sacred compilation, *As-Salawat al-‘Aliyah*, is a rare collection of invocations and salutations upon the Noble Prophet ﷺ. The text was preserved from an ancient handwritten manuscript believed to have been under the study of the great scholar Shaykh ‘Abdul Haqq al-Muhaddith al-Dehlawi nearly four centuries ago. The work gathers a radiant bouquet of Salawat and Salam — each invoking divine love and reverence for the Messenger of Allah ﷺ.
Published in 2023, this edition seeks to revive a timeless spiritual tradition, connecting hearts to the luminous presence of the Beloved Prophet ﷺ through the fragrance of sacred remembrance.
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**عنوان:** *الصلوات العالیتہ — گلدستۂ درود و سلام*
یہ عظیم مجموعہ *الصلوات العالیتہ* درود و سلام کے نادر کلمات پر مشتمل ہے، جو ایک قدیم کلمی نسخے سے حاصل کیا گیا۔ روایت ہے کہ یہ نسخہ تقریباً چار صدیاں قبل حضرت شیخ عبدالحق محدّث دہلویؒ کے زیر مطالعہ رہا۔ اس میں درود و سلام کے ایسے روحانی نُسخے جمع کیے گئے ہیں جو حضور نبی کریم ﷺ کی محبت اور تعظیم کو دلوں میں تازہ کرتے ہیں۔
یہ ایڈیشن 2023ء میں شائع ہوا تاکہ اہلِ دل کو اس سنتِ مبارکہ سے پھر جوڑا جا سکے، جو رسولِ اکرم ﷺ کی بارگاہِ اقدس سے قربت اور محبت کا ذریعہ بنتی ہے۔
archive.org/details/69-salawat-al-aalia
**Tags:** #Salawat #ProphetMuhammad ﷺ #AbdulHaqqDehlawi #IslamicManuscript #Blessings #DaroodSharif #AsSalawatAlAliyah