The world’s largest Qur’an was transcribed during the Timurid period

In recent years, Uzbekistan has been implementing significant projects aimed at reviving the rich scientific and spiritual heritage related to Islamic civilization. One such project is the comprehensive program titled “114 Qur’an Manuscripts”, which involves the study and public presentation of 114 rare Qur’an manuscripts that are historically and culturally connected to our country.

A particularly notable work within this project, recognized as a unique example in the history of Islamic art worldwide, is the monumental manuscript Qur’an created by Umar Aqta’ in the 14th–15th centuries by the order of Amir Temur. This is not merely calligraphy; it is a sublime union of art, faith, and human will.

Umar Aqta’ is a unique figure in the history of Islamic calligraphy. According to historical sources, he was physically disabled he lacked his right hand below the wrist but he transcribed the Qur’an with his left hand in the Muhaqqaq script, known for its formal and broad strokes. His lines are bold, his letters spacious, and their arrangement is based on mathematical precision, symmetry, and balance. This alone secured his place in history not only as an artist but also as an example of spiritual courage, faith, and perseverance. The pen in his hand became powerful enough to convey the word of God directly to people’s hearts.

According to accounts, Amir Temur desired a Qur’an to be created for his court that would leave people in silent awe when recited. Initially, Umar Aqta’ presented him with a mus’haf so small it could fit inside a ring. However, the Sahibqiron was not pleased and remarked, “It is not befitting to reduce the Qur’an, the word of God, to such a small size”.

After that, Umar Aqta’ began transcribing a Qur’an manuscript of an unprecedented size for that era. This task required not only spiritual dedication but also immense physical effort.

Each page of this Qur’an measures 1.25 by 2.25 meters, making it an exceptionally large-format mus’haf. Ordinary people could not carry such enormous pages they had to be transported into Temur’s court on special carts. For this reason, some researchers have referred to this mus’haf as the “elephantine Qur’an” due to its colossal size.

The manuscript was written in the Muhaqqaq script, known for its formal and easily readable style. It was decorated with black ink, gold, and blue colors. Although some artistic imperfections are visible on certain pages, they were intentionally left there to reflect the Islamic tradition that “Only Allah is perfect”.

Additionally, hidden symmetries and arithmetic proportions were maintained in the letters, the number of verses, and the spacing between the lines within the mus’haf. This approach turned the Qur’an into a work of art that was not only meant to be read but also to be “viewed”.

The complete manuscript has not survived, but several of its pages are preserved in museums and major collections around the world, including:

• Nasser D. Khalili Islamic Art Collection (London)
• Metropolitan Museum (New York)
• Freer Sackler Gallery (Washington)
• Aga Khan Museum (Toronto)

At an auction held by the prestigious Sotheby’s auction house, a single line from this rare Qur’an manuscript was put up for sale. Currently, a delegation from the Center of Islamic Civilization in our country is working on bringing it back to Uzbekistan.

Each fragment is uniquely crafted, decorated, and represents the highest standards of calligraphy. If these fragments could be reunited, it would be possible to restore one of the largest and most artistically perfect Qur’an manuscripts in the world. However, this is a complex and political process.

The monumental Qur’an transcribed by Umar Aqta’ has become a symbol not only of Islamic art but also of the spiritual elevation of humanity. This mus’haf is a book written by hand, yet it is read by the heart. In its letters lies inspiration, in its line’s symmetry, and in its pages the spiritual majesty of the word of God is embodied.

Surayyo Ravshanova

P/S: This article may be used with reference to the official website of the Center.