Keith Small - Qur'an Manuscripts: Thoughts on How the Text was Preserved and Passed on.

please join me welcome warmly Reverend the turkeys small for giving a speech on forum manuscripts thoughts on how the text was preserved and passed on thank you very very much for that warm welcome and it's an honor for me to be here with you and thank you also for bearing with the slight delay in starting I I said off in plenty of time but fortunately on the way there was a tragedy there's a fatality on the west coast line between Preston and Lancaster and the reason I mention it is it when they mentioned this over the the tenderloin that it was a fatality there was a hush and we had to do the bus replacement service there was a lot of disruption there wasn't a single word of complaint and I was standing in line I made a rough estimate of 500 people ahead of me waiting for coaches and just to think I think it's it's a bit of a symbol of how interconnected we are in our world is that here the lives of more than 500 people could be so affected by one stranger to them mm-hmm and the gravity of the situation put everyone well in mind of what's truly so I'm glad to be able to make it here this close to six o'clock and I'm just really grateful that we can speak on months on manuscripts that seek to display and express our aspirations for the highest things here in this life but especially in the next so I'd like to start just so the question I have to get the right to a clicker here there we go why do all old manuscripts matter I have on my wrist here the watch that I was given by my father now my father passed away 12 years ago and this watch is just a physical connection I can still have with my father I think manuscripts give us this kind of connection with the founders of our faiths early quran manuscripts for instance are the earliest substantial historical artifacts for Islam in existence besides these there are some coins there are a few business and administrative papyri from the mid to late six hundredths and a few cryptic rockins rock inscriptions in the desert that is why these manuscripts matter by the way that's the British library's oldest Quran dates to around war before 700 C and if you'll forgive me I'd like to use general dating system tonight instead of also betting the history dating system for convenience for the audience that will be watching on the camera but also it makes it a bit easier for some of the academic descriptions so please forgive me in that and permit that these manuscripts give the strongest historical link to Muhammad as well it's meant to the beginnings of Islam they provide a window into the minds of scribes see in these early centuries their skill their devotion their beliefs their creativity their love for beauty which together taken all together produced incredible works of religious art manuscripts give both Christians and Muslims this contact more immediate contact with the founders of our faith our faiths and and they express our most cherished beliefs and aspirations for this life and the next now in this talk I'd like to give a brief overview of the qur'an's manuscript tradition for how the Quran was preserved how it was passed on and used through the centuries and along the way I'll make some occasional side references to the Christian tradition where it will give some kind of side light on the fir'aun's tradition overall there are two things that manuscripts can tell us first of all how the text itself has been passed on through the centuries now this means looking at how down to the level of the individual letters how these consonants and vowels of the Arabic text were written throughout time things like spelling and the systems of symbols for reporting vowels for recording other readers aids the Quran was to be recited also they tell us how manuscripts reflect the ideas of the era in which they were written these can be theological they can be political they can be social ideas and these come out in the artistic features of the manuscripts like decorations like their script styles like their forms as an actual book I'm going to leave these two areas together as we go along as I go chronologically through the manuscript tradition I'm going to focus most of our time on the earlier part of the manuscript tradition the first three centuries the artistic features you'll see increase over time and it's these first few centuries that that lay the basis for the later flowering of the artwork of garance through the centuries this just second part of the talk is the qur'an's transmission and ideas that shape it as a book now overall manuscripts the study of these manuscripts is confirming is expanding on and is also challenging what Islamic historical sources tell us about the transmission of the qur'an's texts they challenge some particular issues but in the same they confirm the raw outlines of what we find in the hadith about the collection of the Quran don't mention a few of these as we go I'd like to start just at the very outset during Muhammad's life time and immediately after his death a couple of decades when his companions are especially prominent now for this period there are no remaining manuscripts or written remains from within Muhammad's life time for the decades immediately after his death there are no originals of the written text remaining and this is the same for most religious traditions the historical sources also refer to a degree of flexibility in how the text was gathered and decided for instance there were different collections of the Quran gathered by different companions of Muhammad and in these it is said that there were some differences of content different service service in different orders service of different lengths different wording of verses within those service these kinds of things then the history tells us that in just 20 years after Muhammad's death the Calif Othman sponsored a project to establish one person of the from these various versions and from any other sources written ones or from people that had verses memorized that that could be well authenticated his committee established one text they had copies made of that text and sent out and then he had the more original manuscripts and materials from which his committee worked he had those destroyed and the tradition in Bukhari says he ordered that they be burnt now this is a manuscript I came across in Cambridge's collection and from everything I could tell was an accident for how it came to have a burned edge but when we're dealing with these ancient manuscripts you also have what historians call accidents of history you know fires and libraries there was a terrible one end library in Damascus in the 1890s that destroyed the many priceless manuscripts so uh so what these manuscripts we have are treasures that survived these kinds of things now in this period around with plot his reign was into six fifties and then through to the reign of Abdulmalik he was from about 692 705 in that era the second half of his six hundreds we have the very oldest Quran manuscript in existence and it's this one found in summit Yemen in the early 1970s in the 1970s there was an enormous hoard of manuscript pages more than 14,000 individual pages by one count that were discovered in a previously hidden space between the inner and the outer domes of the Grand Mosque it's not given now a German team was called in to help conserve and catalog these manuscripts with a Yemeni team and amongst all these pages they found about eighty eight zero pages of this manuscript and sixty of the pages are a very special kind of manuscript they're called a peloton cyst and let me just show you a pal assist it comes from a Latin word meaning washed it was an early form of recycling you take a piece of expensive parchment and instead of destroying it you would wash off the ink they were all water-based inks and you would rewrite the manuscript on top of it there are lots of these in the Christian tradition in the Jewish tradition with the New Testament at least fifty fifty-five pollicis are known but they're very very rare in the Quranic manuscript edition I know I'm only three and this is one of them and this manuscript has two levels of text basically what happened was these these things from this early time had a little bit of acid in them and so even when they wrote it the first time if the ink sat on there for any amount of time and then was washed off though the parchment may look clean you would actually be damaged just a little bit and over a over time those damaged areas with age differently and within a few hundred years you have this light brown ghost text reappear and that's what we have here and and you can see these with the naked eye in this particular manuscript sometimes you have to ultraviolet or infrared light to help highlight the difference now this this find in in Yemen was a manuscript finding every bit as much on the level of the Dead Sea Scrolls the naka Malik Otis's that were found both those finds in the 1940s an enormous ly important manuscript find and they are still these names conserved they are catalogued but they're still being evaluated and gradually being made available to scholars for study okay this manuscript this particular one has two levels of text the original lower level was very possibly written before the time of a flaw strange it was possibly written in the six 40s the carbon dating of the manuscript works with that beauty descript style works with that view other features can work with that view and for some reason it was washed off within a generation within twenty thirty years forty maybe and rewritten with what you now see as the dark text the black text and so basically the scholars who are working on this manuscript right now they they work with an American to take ballpark figures of the six 40s to six 50s for the other text six 70s six eighties 90s for the upper text and it's fascinating that one of the later records of this tradition of with fonts calling in manuscripts establishing one text and having these others destroyed not only this later tradition says not only did he say they could be they should be burned he said they could be washed so we may have right here an example of a manuscript that went through that very process now as I mentioned it's being examined in detail by many scholars right now it's being produced for publications by a team of scholars in France and Germany and it's going hopefully going to be coming out within about a year published by Brill academic publishers very reputable publisher but also if you want to learn more about it in the meantime just put sonic penile system Google and a lot will come up and a lot of the early research on it is already online it's not a complete manuscript it's not the complete Quran and parts with both upper and lower texts are only about 60 out of 80 pages of the text and not all of those 60 pages can the under text be read you can see it's there but you can't quite make out a lot of words okay from what is already known the lower Tech's confirms this picture of variability and flexibility during the period before us one that there are different words different phrases even a missing verse to you know art look back and even a very different order of Souris for the different syrup changes that are in the manuscript they're only about four but it's a very different order from any encounter before also the variations don't match the records of what's asserted to have been in any of the known companion collections like those of hitman Massoud Bobby Cobb or the Imam Ali there are variations of the same types of variants said to have been in these versions and occasionally one or two will match but the pattern of variations does not match what is recorded for these other versions and so one scholar has said this is very possibly the part of a collection of an unnamed companion just one of the other companions not one of the ones named in the tradition just for an example on one single page that one scholar examined they found 30 33 0 differences from what is considered the normal text now and when they matched these against records of known textual variants in the secondary literature they found two magic what is a certainty given the suits one matched the budget tops version the 27 didn't match any known collection so okay so that that's the lower script also the upper script which replaces the lower one and and from all the studies done on it it appears that that rather than just an economic decision to recycle expensive person it looks like the first text was consciously washed and then replaced with a different text and the upper text is very close to what is considered the standard form of text now so we may have just in this one manuscript a window right into this very crucial period of the qur'an's history within 20 years of Muhammad's death okay and then there are other early manuscripts and these state from the late six hundreds in the early 700 s of our era so the Common Era they are written in the normal Arabic script for this era called hijazi script a very simple flowing handwriting this is the same kind of handwriting that was used in the administrative papyri it's the same kind you'll find on papyri business receipts as well it was the normal everyday Arabic script of that time it had not yet developed into a formal script although there are features that set this out as a formal text but the script itself had not yet developed that way okay this script style was used throughout the you Mayan era and into the early Abbasid era and they contain the same basic script as the upper text of the pen assist that is well I'm sorry not only the same script stop but also the same base of text and here are pictures of a few of these kind of manuscripts this one is the British library's oldest Quran I'm getting to work on this one to help prepare it for publication in a photographic facsimile as part of this Brill series they're bringing out a series of some of the most important early gourami new scripts this is the old described manuscript from Paris from their collection and this one dates to probably the third third to fourth quarters of the 600's so probably between 666 90 in there this one's a little later this is probably early 7 hundreds and it's kept amidst and this one is even later still this the hijazi script after the Abbasid era started around 750 this script style went out of fashion and this one's probably from the second half of the 700s as it was going out of fashion there are some features of khufu script creeping into even this okay with these you'll find the same pretty much the basic continent continental script you'll find today in Acheron you'll find some differences with long vowels of polyfit yahoooo sometimes they're used interchangeably their values had not been settled yet for using drugs you'll also find other occasional minor differences of spelling a verse numbering and occasionally very occasionally a different word you're there also note that there are no short vowels notated in these you won't have down Nicastro these short vowels notated in them there wasn't a way to notate them at this time it was before those conventions had been invented also note also the letter comes up you'll not find that because letter homes it was started to come into manuscripts in the eight hundreds so also just one further feature is a little bit technical but most of you well aware that in Arabic certain consonants are distinguished by a doctor or two dots like vodka well these have some of those consonants distinguished and the same basic system is usually there but you won't have all of the consonants so pointed that could or should be so there can be ambiguity as to how detection should be read precisely and and this level of ambiguity is mentioned in the early commentaries though often like toggery gives various interpretations based on different ways of pointing some of the consonants so some of them can have a grammatical effect an effect on the meaning in the immediate context okay now these kind of features are strong indicators of a strong oral tradition that the writing was more an aid to what people already had memorized that you went to the text already knowing what it should say and the writing was just an aid to help your memory also though because of this issue with the lack of all of the continental knots the reading the writing could be recited in various ways often with different grammatical meanings and I mentioned the early commentaries and the picture that adds up from all of these things is that there was not one oral tradition strong enough to prevent the growth of different ways of reciting the Quran so there was a you could say a level of permitted flexibility in how the Quran was recited during this period during these early centuries also and this happens in the first century of Islam these early manuscripts testify to an early choice in Islamic art that was to continue strengthen and become the dominant trend to elevate calligraphy above all other art forms this trend seems to have been given Khalifa authority under abdul malik through his inscriptions in the Dome of the rock and they're a little difficult to see but they're in this band right here going from the right to the left they're in a form of the Hijazi script and they are portions of different Quran verses and by putting them here you know in this upper bar and then also with what he did with points he made an official decision for the Empire and the growing Empire to emphasize calligraphy for instance this is called in numismatics this is called up amongst reform coinage before this form of coin which came in about 695 all points had a person on they have a figure of a king of a god or a goddess an animal they had some kind of a living figure depicted Abu Moloch was the first one to produce coins that had only in calligraphy so this is an enormous decision and it was a conscious one asserting Islamic identity in the face of competitors producing other coinage with images on for instance the Byzantines and the Purser's from this time forward which was 695 around 700 well also in 700 of them all that made Arabic the official language of the Empire and the official language for the government bureaucracy so here from this time forward we find that the artistic development of Arabic scripts becomes central becomes crucial and it flowers into the most beautiful calligraphy I think in the world okay now just for a little look of the difference for centuries before this in Christianity manuscripts were illustrated now this one though is from about 1500 s from Mobile India they were illustrated from an early time with pictures of patriarchs prophets and other biblical figures and this was copying trends that had already existed in Roman Latin literature and some Greek literature that was illustrated with figures as well I'm also Christianity with its doctrine of Jesus Christ becoming the eternal Word of God made flesh has set a different trajectory that figural imagery is okay so in the Christian tradition you'll find it normative that figures are depicted did paintings in sculpture in manuscripts there have only been occasional times when Christians have said no we need to remove the figures from our heart it's been more normative than figures are in there are also just as a kind of a fascinating little thing Jesus is caught suffering Messiah is the defining doctrine of Christianity and it's found portrayed in one of the very earliest Christian manuscripts that exists now papyri from around 200 AD per CD and if you look on the fourth line down third letter in it's called a star around Christianity was an illegal religion and they didn't have a lot of artwork that they would display publicly and some scholars think that this was a cryptic way that they could include a reference to the crucifixion artistically in their early manuscripts scribes are very creative people okay in Islam the foundational doctrine of the eternal speech of Allah communicated in words to be recited has led to this incredible elevation of the arts of calligraphy and arts of the book that one finds it not only the Quran manuscript tradition but in the entire Islamic artistic tradition and this all started officially when the ruler of daemonic embarked on this program to elevate Arabic and to turn away to consciously turn away from the broader tradition of late Near Eastern antiquity which used human and animal figures and in doing this he was putting out a very powerful message defining Islam as a new faith in the new ideology and competition with these older religions and their artistic traditions that brings us this this period no just back to that point I made earlier about how the early script could be read in various ways in the early-to-mid Abbasid era okay starting in the mid eighth-century around 750 CD scribe stepped in and started to experiment with different ways to add symbols to help recite the text with more precision mainly through the application of systems of colored dots also by this time they have acid to take an original script from the Umayyad times the one prevalent in Kufa near baghdad and they developed it and made it their official script for qur'an's scholars call this Kubik script and it's found in many versions sharing sharing some very basic traits and this from 70/50 one became the main style of script for the next two centuries well into the nine hundreds okay now during the Abbasid era choices were made to make the Quran also as a book look different from the books of other religious traditions Late Antiquity for instance they changed the page file format from vertical to horizontal all the Christian books were vertical while Persian books were vertical and so this this also favored the development of khufu script as well and and here it is again a conscious assertion of a distinct identity also they produce currents of truly monumental proportions oops there it is there's one monumental Quran they developed this Kubik script which was observed for mainly for carved inscriptions but especially qur'an's they discouraged translations of the Quran and other languages and instead elevated its character in Arabic with great reference reverence and all of these things marked the growing promotion of these beliefs back from the time of up demonic that the Quran was a unique book on eternal book in some way and that written copy should some somehow Express this exalted character of almost word it was felt it should be the book above all other books even in how it looked as a book and so just let me go back to give you a couple other examples this is early ku fake script and it's very similar to the hijazi but it doesn't have a slant it does have some extended letters that's up there and you know it's it's a very serviceable script but it's not necessarily elegantly now there were elegant ones being produced very shortly and this one was a page found in the sauna finds and seems to have been part of a special presentation of Quran an incredible work of artistry and its interest in the the art of this band are on the side borrows from some Byzantine themes they may have even had some Byzantine artisans work on as hired help this is also this was a front decorated page and it has this architectural motif these are pillars and arches and some of these features are very similar to what one finds on the Grand Mosque in Damascus which also on its front it borrows many motifs from other late Near Eastern antiquity traditions now this shows some of the flexibility in the Umayyad era but then that was moved away from it the emphasis came to be on the script itself not on the decoration this if you've been to Istanbul in the Topkapi Museum there's a large drone on display and Turkish scholars have produced a beautiful photographic effects in the oven this is a page from that Quran also here they hear the color dot systems I mentioned if you look carefully there are little red dots over many of these letters and basically what those note are short vowels it's an attempt to bring more precision to the text to make clearer how it should be recited and over the next few centuries the complexity of these systems of colored dots increased dramatically there are four different colors on this particular page from the two centuries later you'll find red yellow blue and green just on this page you also had additional things coming in like verse ending adornments these little medallions mark the end of is see also you started to get decoration of around certain titles when the syrup title boxes came to be decorated very highly like this one and then also the use of gold for the actual ink now during this period many systems for oral recitation developed most tied to the was considered the Islamic form of continental text but also to others there's one record for instance in the eight hundreds of book called the fit respite a Baghdad bookseller named given nothing and he said that in his time there were written copy still in existence of Ali's version of the Quran vivid masseuse version of the Quran and abide in cops first now no manuscript has been found of those but he said he knew of in his time in the 800s that these were still in existence see various parts of diesel of the Abbasid Empire and one writer in the early 900s mentions that the Quran came to be recited in at least 55 0 different ways during this period and what this led scholars to do is to try and restrict that to the one stage they could determine as best they could where the most authentic and try and bring back a degree of unity now sometimes you'll find manuscripts that are corrected to match one of these recitation systems for instance this is in a manuscript in the bosnian library and if you see this olive written in involved it's a notation that this was a variant way way over signing that word and it happens to match a match a recitation that is in the secondary literature is assigned to Khurram reader named up kiss I you'll also find Corrections at times like for instance here where you have erased and rewritten text and this particular spot right here what was erased if you carefully measure the letters what the what described it was he erased a few words and rewrote new text but because he scraped the manuscript to erase that prior text the new ink did not adhere well and so it flaked off but you can still make out enough of the letters like here here all these little bits that you can tell when you were replaced it with is what we would consider to be standard text what was there originally a short in order to get the standard text in he had to squeeze it just a little bit and it the first tanks were shorter by one short word probably just two letters and lone-wolf in the traditions there is reference to a shorter reading by two letters by one short word at that very point in the text so you have scribes doing very careful work to try and adjust even manuscripts still existing with very greetings to what was considered to be the standard the official text okay sometimes they're pretty sloppy about it too this one it's almost as if he took a crayon unfortunately to the manuscript but this had the same that effect that the dark black that you see there reinforces the reading of the standard text and what can be discerned from underneath was slightly different okay this brings us into the 900s now in the 900s a number of factors were converging that I list here and this growth in the number of recitation systems you know if you think back to to the flaunts effort to make one text out of a number it was an effort to bring unity it seems that in the 900s a similar thing happened that that even with the thoughts continental text being taken as the main one there were efforts to try and rein in a variety of readings and one scholar was very influential this name was even Majok hid he wrote a book called the seven readings in which he said of all the ones that are out there right now here are the seven that have the best claim for going back close to Mohammed and those and other scholars his his opinions achieved a white consensus there were three other versions that other scholars thought were just as good and so there were ten slightly different ways to recite the Quran it came to be viewed as authoritative now it wasn't a ruler saying these are the ten it was more this was a consensus among a lot of scholars and Kurama Snider's but there was a little bit of an authoritative element in that one ruler did say it will be illegal now to recite Quran recitations that do not match the apply Russell constant mental text and that was in the 900 it's getting close to 1000 AD or CD now okay and these many of you know the technical word for it could not in his for you inhibit Mujahid's view sorry all authentic readings had to use the Islamic possible text they had to conform to what was then also the dominant religious beliefs of the time which were favoring this view of the eternal uncreated Quran if you know your theology the first few centuries of Islam there is this huge debate between the Matassa whites and Orthodox and one feature in their debate was is the Quran created or is it uncreated and the view that eventually prevailed was that it was unto created and so by the time emphasis by the time of edema jaw head and the seven and then those extra three have come to provide the textual foundation for the manuscript tradition ever since and you will not find except for it in these old manuscripts with these occasional features I've pointed out you won't find some of the other key rot that were in use before 900 okay also just the second point there there's an increased demand for personal qur'an's because of the increases in Arabic literacy it had been the dominant language of the Empire for two centuries by then and it was spoken throughout the entire region read throughout the region and literacy was stressed very much in Islamic cultures in this time so there was an increased demand for personal Quran and ways to speed up the production of grants were being explored and found this led to the introduction of paper for currents rather than just using more expensive to more difficult to prepare animal skins personal paper was much more economical and it also took inks very very well and it was very durable also especially by this time there were improvements to the Arabic script so that one single recitation could be recorded in all its precision and this is basically the system that's in use today it was applied to parents in the 900s and has continued and remained also this this whole attitude especially with the prevailing notion of the eternal uncreated Quran the Quran is a book took on even greater sanctity as somehow a divine object in and of itself and this is why blasphemy laws extend to even printed copies of the Quran this all extends back to this early era all of this resulted in a new format they actually went back to the vertical format it was easier to produce for small parents for pocket use for personal use new script styles were produced were developed which were easier to read new Spelling's were introduced which were more precise through the introduction of the short vowel marks and currents were made in more portable sizes on paper so just to show you some of this development in the by hudley in library they have a very early paper Quran some of the decoration was added a bit later but this is there are very very few paper qur'an's with gugak script and this is one of them there was a reservation in the 800th paper was had been introduced for other documents in I think the late seven hundreds it was being used widely in the eight hundreds but for Quran they had to be produced on parchment and gradually paper was introduced and so there's this one very very very early paper Quran in the Bosnians collection this is the oldest paper Quran in the British library's collection and dates to around 1000 CE this is also their earliest Quran that has complete pointing it has all the short vowels it has hamza and and it's also a beautiful elegant script that many scholars call Eastern CUFI it's a more compact script it's very easy on the eyes very easy to read and so also this is a rare quran manuscript in the khalili collection in london that has a scribe attempting in addition to the both nanak continental text he tried to report all ten of the different reading systems that came out of this era and just give you now here's a modern one this one's brand in Syria and it's you have the slight differences are all color-coded and you'll see down on the bottom you'll see five different colors there were five on the facing page and they're all very very carefully keyed to the text an incredible piece of scholarship and technical application okay so this brings us into this long era and now you have the text completely stable and in a very precise form and so from here on the artistic side of the text then just explodes into new forms for instance at the very beginning of this area of effect events and they kind of bridged this transition from the old to fit into the new forms and this is is one of the most famous this is from what's called the blueprint it's one of the most famous ancient Iran manuscripts and an incredible production the parchment was dyed blue and then all the letters were written in gold leaf this is very much prized by collectors in a few uh but every few years a page to us through the London antiquity markets and you can get a glimpse of it it was thought to have been done in Tunisia originally but then just coming into the mail book era and already you have just in that two centuries you have this huge development of artistic accomplishment precision you have North African currents pioneering this this very interesting beautiful script style and they also like using a lot of colors in the actual script in the torrid era you had warm it seemed that each new dynasty would dry and rival the old in in how they could do the art of the Quran on a higher more elegant more refined more complicated more beautiful one of my favorite areas for these crops is the socketed Persian era and the the bog lien has this is from a bog lean Quran it's just incredibly intricate and beautiful this is a later stuff of it this is one of my favorite artistic embellishments this is a in the front cover of the Quran I can't express to you just what a privilege it is to get to handle these then look at them right right up front incredibly beautiful they just take your breath away and then into the Qatar era I could also provide lots of examples of Ottoman currents Indian currents there's another independent tradition in Iraq of equal intricacy and beauty and then also I just want to put this in these are kind of one of my favorites miniature Quran so these started in about 1500s and these going to be worn as talismans or also just just symbols of a piety but the letters in these are humming at millimetre high that's the entire Quran and that's this watch of my dad's right next to it so it's you know won't be that big and it's about an inch thick about two and a half centimetres thick the entire front here's another one and this one even has tiny beautiful decorations just amazing craftsmanship amazing scribal skill to do this there are accounts of scraps going blind doing this kind of work and you can certainly understand it just to conclude and then open it up for questions all of this effort has resulted in perhaps the most beautiful books in history it has led to the dominance and the incredible development of calligraphy in Islamic art it's led to objects which express some of the highest aspirations of mankind to express beauty in this world as well as to capture something of the beauty of the next world as a Christian though I may disagree with the theology that's given birth to these books I am awed by their beauty and I respect the devotion the skill the artistry of the scribes who produced them and in its own way I'm compelled to say that this beauty speaks to the human soul across religious barriers and I think it leads people to contemplate that God is the ultimate source for all human ideas for all skill for all beauty and even these incredible examples are only a shadow of the beauty that can be found in him so thank you for allowing me to share these thoughts and pictures

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Published: Tue Nov 11 2014