The Istanbul Mushaf: Showcasing 15 centuries of Quranic calligraphy

Eight years, 66 artists, 200,000 sheets of acid-free paper from five countries, the whites from 800,000 organic eggs — that’s one measure of the colossal project that Huseyin Kutlu, the master of Islamic calligraphy — had undertaken, after being commissioned by Turkish President Recep Tayyip Erdogan.

The finished work is expected to leave a lasting mark on the world of Quranic art.

The project, known as the "Istanbul Mushaf", was a monumental endeavour that involved painstaking work by Kutlu and his team of artists. It is not merely a transcription of the Holy Quran, but a comprehensive exploration of Islamic history and geography, in which the artists sought to revive the ancient tradition of Quranic art that once flourished over 15 centuries of Islamic civilisation.

“In the history of Islam, Muslim Heads of State gave their most valuable attention to the Mushaf (written copy of the Quran), commissioning projects that would bear their imprint long after they were gone. My team has shown that same quality of love, excitement and respect on the Mushaf we have produced. No one has had the chance to see it in its entirety till now. We decided to display it in a Mushaf from the Prophet’s time to the present. Through field research and extensive studies, we have identified 10 main periods in terms of the history of Mushaf art for the purpose,” says Huseyin Kutlu.

Each of the 10 volumes of the Istanbul Mushaf is a stand-alone work of art, meticulously crafted to reflect the artistry and culture of its respective era. From the early days of the Rashidun Caliphate to the modern age, the Istanbul Mushaf is evidence of the rich history and cultural heritage of the Islamic world.

“The first volume starts from the time of our Prophet. It covers the Umayyad, Abbasid, Ghaznavi, Great Seljuk, Ayyubid and Anatolian Seljuk periods. Since there was not much evolution in this period, we represented all of this in one volume. The second volume is Mamluk, the third, Andalusian. The fourth volume covers the Ilkhanid-Jalayir period, part five the Turkmen, part six the Timurid period, part seven Mughal, part eight, Safavid, part nine from the foundation of the Ottoman Empire till Suleiman the Magnificent, and the tenth volume, from Suleiman the Magnificent to the present day... We took into consideration the technique of page layouts and designs of each period, of the many types of text used, what types of decorations and bindings were in use, and what colours were being used during these periods. We have accessed all the Mushafs in the world's libraries and examined them. We set out with a team of 66 people, studying the style of each period.” adds Kutlu.

The project was not without its challenges. Kutlu and his team faced numerous obstacles, from sourcing the finest materials to mastering the intricate techniques of traditional calligraphy. But the dedication and passion for their craft drove them forward, and in the end, they produced a work of unparalleled beauty and significance.

One of the most remarkable aspects of this project is the use of materials. To produce the manuscript's 200,000 sheets of paper, the team utilised the whites of a staggering 800,000 organic eggs. This choice not only reflects the traditional methods used in Islamic calligraphy, but also highlights the team's commitment to authenticity and excellence.

“Countries in the world such as Japan, India, Germany, Italy and Spain produce handmade acid-free paper. We brought these papers. Of course, we applied some processes on these papers here. I tried these papers and I liked some of them. But another issue was the lifespan of these sheets. There is an Atomic Energy Centre in Kahramankazan. There we put them to the wear test. Some saw it through 100 years, others didn’t. Of course, I was horrified by this situation, I did not expect such a thing. So what were we going to do? There are two separate Mushafs of Yaqut al Mustasimi from the Abbasid period in the Suleymaniye Library and Topkapi Palace. They are shiny, there is nothing on them. So this has something to do with the manufacture of the paper. We also have some familiarity with how paper is made. We decided to go on an adventure and make paper ourselves. We did it with God's help. On the other hand, since dyes are a mixture of chemicals, we made our own colour using pigments, soil and root dyes. We put these to the test. They stayed good to last 500 years,” says Kutlu.

Additionally, the team designed a specialised papermaking machine to ensure that each sheet met their exacting standards. This attention to detail and innovation is indicative of the dedication and passion that went into the creation of the Istanbul Mushaf.

Every detail of the manuscript was carefully considered, from its outer covers to its inks. The covers, inner covers, endpapers and the title pages of each volume were designed in various styles, showcasing the diverse artistic traditions in Islamic history. Even the inks used in the manuscript were created from natural materials, highlighting the team's commitment to authenticity and tradition.

The Istanbul Mushaf is not just a transcription of the Holy Quran; it is a living tribute to the art and culture of the Islamic civilisation. Each page is a masterpiece, a testament to the skill and dedication of its creators. With the project finally complete, it will stand as a beacon of inspiration for future generations of artists and calligraphers, a reminder of the enduring legacy of Islamic art and culture.