In my recent scholarly visit to Dubai, I came across an interesting ‘Kufic’ Quran fragment, probably from the 4th or 5th-century A.H. The fragment is consisted of seven folios and is kept today at Jumaa al-Majid Centre for Culture and Heritage.
There is almost no information regarding the origins or the history of ownership of this 7-folia Quran, except a small note that appears in the electronic catalogue, stating it was donated to the Emirati institution by an Iraqi professor.
Although the fragment is incomplete and relatively late, it still shares some exciting features in terms of mechanical errors made by the scribe while transcribing the Quranic texts, and the technique he used to correct these errors.
The current article aims at giving a brief description of the manuscript in hand and show a couple of illustrated examples of scribal errors and how they were corrected.
Description of the manuscript
7 consecutive Quranic leaves, written in dark brown ink on a landscaped parchment, 25 lines to the page. Red dots are used to indicate the vowels, and no diacritical points. Verses are not separated by circular dots or dashes, and the 10th-verse marker takes the shape of two crossed lines. Surah headings are added in red ink. The fragment has parts of surahs Ghāfir (Q40), Fuṣṣilat (Q41), al-Shūrā (Q42), al-Zukhruf (Q43), al-Dukhān (Q44), al-Jāthiyah (Q45), al-Aḥqāf (Q46), Muḥammad (Q47), al-Fatḥ (Q48), and al-Ḥujurāt (Q49). Traces of moisture, cuts, lacuna, and modern restoration were detected.
There are some formulas and phrases written on the top of some pages, such as “In the name of God, the Most Gracious, the Most Merciful” and “May Allah’s peace be upon the messenger Muhammad”, and marginal writings to identify the juz’ and hizb.
Scribal errors and corrections
I counted several cases in the remaining leaves where the scribe, accidentally, committed mechanical errors and then corrected them either by crossing out the extra word/phrase using red ink or by writing the omitted word/phrase in the body text or margins. In all cases, he always indicates it by drawing a correction mark that looks like an arrow pointing towards the place of error/correction in the parchment.
Here are some examples:
In Q41:22, the scribe omitted ولا أبصاركم ولا جلودكم and then added it in the margin in brown ink.
In Q42:16, the scribe omitted بعد and then added it in red ink over the line.
In Q43:69, the scribe repeated وكانوا مسلمين twice (dittography) then crossed it out lightly using red ink. The extra phrase is still legible as if he highlighted it.
This final error is striking. In Q41:24, the scribe wrote يحق الله الحق بكلمته instead of يحق الحق بكلمته (called contamination). He then crossed out the extra الله with red ink. Clearly, the scribe confused this verse ending with a similar verse in Q10:82 where it says ويحق الله الحق بكلمته ولو كره الكافرون. This example implies that the scribe was not merely copying from a written exemplar, but orality, too, played a role in the transcribing process of the Quranic text.
‘Serendipity’ is a word coined by the English author and politician Horace Walpole in the mid-18th century. In a letter sent to his friend Sir Horace Mann in 1757, Walpole expressed his admiration of a Persian fairy tale about the adventures of The Three Princes of Serendip who “were always making discoveries, by accidents and sagacity, of things they were not in quest of.” Thus, gradually, the word had become known in the Western literature to indicate the role coincidence plays in the discovery of unexpected things, or as modern dictionaries put it: “the faculty or phenomenon of finding valuable or agreeable things not sought for.”
I learned about this word lately when interviewed Alba Fedeli–a Research Fellow at the University of Birmingham–to discuss digital philology and Quranic manuscripts. When I asked her: “How your interest in Quranic manuscripts came about?” she stated that, despite her enthusiasm for manuscripts since childhood, serendipity remained an influential factor in finding what would be her new career. It was the late Italian Arabist Sergio Noja Noseda (1931-2008) who inspired her to study early Quranic manuscripts and involved her in his projects without prior planning from her side. Furthermore, young Noseda was fascinated too by the Giorgio Levi Della Vida’s (1886-1967) Frammenti coranici in carattere cufico [i.e. Quranic Fragments in Kufic Characters] (1947), of which he would spend long hours navigating through its pages that extensively describes a number of ‘Kufic’ Quran fragments kept at Biblioteca Apostolica Vaticana.
The present article aims at introducing the reader to the life and works of an Italian scholar who specialized in Islamic law, Arabic language and literature, Islamic civilization, and above all was one the most prominent contributors to Quran manuscript studies in the late 20th century, as evident from his Sources de la transmission manuscrite du texte coranique series.
Sergio Noja Noseda (1931-2008): His Live and Works
Sergio Noja Noseda was born in Pola, Italy on 7 July 1931. After completing his university studies, he enrolled in the Biblioteca Ambrosiana in Milan. In 1964, he published, in collaboration with Giovanni Galbiati (1888-1966), an Arabic legal manuscript accompanied by Italian translation, entitled Aḥkām al-ʻAtīqah wa hya qawānīn lil-Naṣārī min al-ʻArab: Precetti e canoni giuridico morali per Arabi cristiani. And later on, he published an unknown copy of an apocryphal Arabic gospel attributed to Thomas.
In 1967, Noja was appointed lecturer at the University of Turin, where he taught Islamic law for a decade. At the time, he published an Italian translation of parts from Ṣaḥīḥ al-Bukhārī: Detti e fatti del Profeta dell‟Islam, raccolti da al-Buhari (Turin, 1983); a catalogue of oriental manuscripts kept at Turin University National Library: Fihris al-Makhṭūṭāt al-ʻArabīyah wa-al-Turkīyah wa-al-Fārisīyah fī al-Maktabah al-Waṭanīyah (Turin, 1974); and a catalogue for the Arabic manuscripts in the Royal Library: Catalogue of Arabic Manuscripts in the Royal Library of Turin (Rome, 1984).
Despite being passionate for Oriental manuscripts, Noseda focused his attention on the history of Arabs and Islamic civilization. To this purpose, he published a modern biography of Prophet Muḥammad in Italian, which was distinguished by the employment of pre-Islamic Arabic poetry and the representation of extant archaeological excavation from Arabian Peninsula before Islam. Therefore, It was admired widely inside and outside Italy. The biography was succeeded by the publication of four titles in a series dedicated to the ‘History of Muslim communities’ which comprehensively covers a wide range of historical periods from Arabs before Islam to the withdrawal of Russian military troops from Afghanistan in 1988.
The series included the following titles:
1. ‘Muhammad the Prophet of Islam’ (1990).
2. ‘The Expansion of Islam: From the Death of the Prophet to the Mongols (632-1258)’ (1993).
3. ‘The Age of Islamic Inertia: From the Fall of Baghdad to the Fall of Napoleon in Egypt’ (1994).
4. ‘Modern Islam: From Napoleon’s Invasion of Egypt to the Withdrawal of the Red Army from Afghanistan’ (1995).
In 1976–based on a recommendation from Francesco Gabrieli (1904-1996)–Noseda was assigned professor of Arabic language and literature at the Università Cattolica del Sacro Cuore in Milan. And in 1991, he was elected member of the Lombardo Academy of Sciences and Literature, following a nomination from Cardinal Martini (1927-2012) for Noseda to fill the position of Trustee of the Biblioteca Ambrosiana.
In 1998, he was awarded the Order of Merit of the Italian Republic–the highest granted award in the fields of arts, literature, and economics in Italy. In the same year, he founded the Ferni Noja Noseda Studi Arabo Islamici (Lesa) with the aim of publishing and distributing classical Arabic literature and Islamic studies publications in Italy. Moreover, the foundation was known for its efforts in reproducing the earliest extant witnesses of the Quranic text (i.e. fragments, codices, papyri) as facsimile editions. Therefore, the foundation launched the Amari Project; which will be discussed in details in the next section.
The Amari Project (1998-2001)
Among the goals of the Ferni Noja Noseda Studi Arabo Islamici was to publish the most valuable and oldest Quranic manuscripts in today’s libraries as full-scale replicas. Hence, the Amari Project was launched in the late 20th century in remembrance of Michele Amari (1806-1889). Amari, who was a fugitive from the Bourbons in Naples, found refuge in France. As Orientalist and Sicily historian, he was interested in studying Arabic language and collecting every historical or geographical reference to the island of Sicily that could be found in the Arabic manuscripts acquired by the Royal Library (now Bibliothèque nationale de France) in Paris. The library, in turn, sponsored and assigned him with the task of classifying the manuscripts of the Arabic department.
The manuscripts Amari worked on included a substantial number of ancient Qurans as part of the Jean-Louis Asselin de Cherville’s (1772-1822) collection. Many of these Quranic manuscripts–purchased by then Royal library in 1833–were acquired from the Mosque of ‘Amr in Al-Fusṭāṭ during Napoleon’s campaign to Egypt.
The Amari Project–in honorary of Michele Amari–was officially inaugurated in 1998. In collaboration with François Déroche, Noseda published the first volume of the Sources de la transmission manuscrite du texte coranique [i.e. Sources of the handwritten transmission of the Quranic text] series, entitled: Les manuscrits de style hịǧāzī. 1, Le manuscrit arabe 328 (a) de la Bibliothèque nationale de France. Written in the so-called Māʼil script (i.e. cursive), this Qur’anic manuscript is considered one of the oldest Qurans in the world today. The edition has reproduced the first 56 folios; that is BnF Arabe 328a. However, in 2009, Déroche was able to identify more dispersed folios at the National Library of Russia (Marcel 18; 18 folios) Which–based on codicological and paleograhical criterias–found resemble to the same manuscript in Paris, raising the number of folios to 98, which represent about 45% of the Quranic text. Other corresponding folios, though minimal in quantity, were located too at the Biblioteca Apostolica Vaticana (Vat.Ar.1605; 1 folio), and The Nasser D. Khalili Collection of Islamic Art, London (KFQ 60; 1 folio). The new Latin designation, which brings all the scattered folios together, has become known as Codex Parsino-Petropolitanus.
in 2001, Noseda and Déroche published the first part of the second volume of the series, entitled Les manuscrits de style ḥiǧāzī. 2, tome 1, Le manuscrit Or. 2165 (f.1 a 61) de la British Library. The manuscript, Or. 2165, is the British Library’s oldest Quran in Māʼil style, and dated to the 7th or 8th century CE. In full, it has 121 folios, but the facsimile edition included the first 61 folios only. The rest of the 60 folios were scheduled for a future publication, but have never been released since. On the provenance of Or. 2165, Noseda tells us that historical information about this Quranic fragment is almost ‘non-existent.’ However, there is a note that appears in the flyleaf at the end of the manuscript, reading: «Br of the Rev. Greville J. Chester 29 April 1879». In fact, Greville John Chester (1830-1892) was a clergyman and manuscripts collector, who was interested in natural history, archaeology, and Egyptology. He would travel almost every winter outside the country, where Egypt is his favourite destination. Based on this observation, it is likely that he acquired this manuscript from Egypt, and then presented it to the British Library who made the purchase in 1879. As in the case of Codex Parsino-Petropolitanus, other scattered folios of the same manuscript, Or. 2165, were located at the Bibliothèque nationale de France, Paris (BnF Arabe 328e; 6 folios), and Dār al-Āthār al-Islāmīyah, Kuwait (LNS 19 CA; bi-folium). Therefore, the number of folios extended to 128. Furthermore, Ms. Or. 2165 and its affiliated folios, represent about two-thirds of the Quranic text.
The Amari Project aims to:
1. enable scholars and researchers to access the most valuable and oldest witnesses of the Quranic text (i.e. fragments, codices, papyri) from world’s libraries by reproducing them in full-scale replicas; which would make the comparison with other Quranic manuscripts possible.
2. Attach a CD-ROM with each volume containing the actual transcription of the Quranic text as presented in manuscripts, in computerized Naskhi script; that would facilitate the electronic comparison between the modern printed Qurans and the early Quranic manuscripts.
Among the other objectives of Amari Project was the compilation and reprinting of articles–now hard to find or out of print–written by leading philologists and manuscript experts. The first and second volumes had already included essays by Gotthelf Bergsträsser, Otto Pretzl, Antoine Isaac Silvestre de Sacy, and Michael Amari. Their writings represent the core of this type of scholarship in the West From the nineteenth century until the first half of the twentieth century.
Unexpected Death and Resumption of the Project
On 31 January 2008, professor emeritus Noja Noseda died in a sudden traffic accident in the city of Lesa. He was very active then. On the one hand, he and his team, who travelled to Yemen on numerous occasions, obtained a license from the Yemeni officials to photograph and publish three early Quranic fragments from the trove of Ṣanʿāʾ. These fragments would have been published as part of Sources series.
On the other hand, the third volume of Amari Project, which was a combination of early Quranic fragments from various libraries, was ready to be printed. Moreover, He even completed the second part of volume two, which would have included the folios (62-121) of the British Library’s oldest Quran–Or. 2165.
With the death of Noseda, the Amari Project, as well as the works of the Ferni Noja Noseda Studi Arabo Islamici, were suspended. As for the status of the project after his death, his pupil, Dr. Alba Fedeli, told me that the work has been transferred to the German-French team, represented by the Corpus Coranicum project in Berlin. Moreover, in 2011, Brill announced a new series entitled “Documenta Coranica” (i.e. Quranic documents); edited by François Déroche, Michael Marx, Angelika Neuwirth, and Christian Robin. The new German-French series will publish the most valuable and oldest Quranic witnesses (i.e. fragments, codices, papyri) in the form of replica, accompanied by essential comments and marginalia. The first volumes, currently being prepared, include the early Quranic fragments from the trove of Ṣanʿāʾ, and a complete edition of the British Library’s oldest Quran–Ms. Or. 2165.
In commemoration of his memory, his friend Efim Rezvan produced a short film titled “From Russia with Love: In Memory of Professor Sergio Noja Noseda”. Noseda, says Rezvan, was proud of his successful attempts to establish academic ties between Arab Muslim scholars and their Western counterparts to study the traditions of early Qur’anic manuscripts. To this purpose, the International Center for Research and Cataloging of Ancient Arabic Manuscripts was established and two scientific sessions were held in Cairo in 2006 and 2007.
There is no doubt that the growing field of Quranic manuscript studies has lost a fine scholar and a prominent contributor. After decades of stagnation, Noseda was able to revive the studies conducted on early Quranic manuscripts and fragments. Without Amari Project, it would not have been possible to observe the presence of Quranic manuscripts in the academic works that dealt with the Quran, its compilation, and textual transmission.
*This is the English modified edition of an article I previously published in Arabic on April 30, 2017, entitled ‘al-Mustaʻrib al-Īṭālī Sergio Noseda Muḥaqqiq al-Maṣāḥif al-Ḥijāzīyah’ [link]. For citations and references, see the Arabic article for now [A.S.]
After the discovery of a missing folio from Ṣan‘ā’ Palimpsest at the Louvre Abu Dhabi last week, it seems I was lucky enough to find more interesting stuff in this respect. As you remember, the Palimpsest has now 81 folios, preserved mainly at Dar al-Makhṭūṭāt and the Eastern Library in Yemen, in addition to 4 folios, which were stolen and sold at European auction houses like Christie’s, Sotheby’s, and Bonham’s starting in 1992 through 2008. One of these 4 folios was sold at Christie’s on April 8, 2008. This auction was unprecedented, as the Quranic leaf broke the world auction record for any Islamic manuscript by fetching the sum of £2,484,500. In their Fine Books’ Annual Report on the Top Auction Sales of 2008, Ian McKay and P. Scott Brown observes the following:
“High prices have been paid in the past for illustrated and highly decorative Eastern manuscripts—for groups or even individual leaves from the great Persian epic, the Shahnama, and for purely calligraphic manuscripts of the Qur’an,”
“In very recent times, however, there has been a marked increase in prices for very early, often single leaf specimens of Islamic calligraphy.”
If you have purchased a single Quranic leaf for 3 million US dollars–that is 20 times its original price–do you really want people to know your real identity? Of course not. Moreover, auction houses withheld names. They refer to buyers as either ‘anonymous’, or ‘private’ collectors. In this regard, I speculate this folio went to a Turkish private collector. This blogpost will try to figure this out after highlighting a few introductory points.
The Lost Folios
Ṣan‘ā’ Palimpsest and other fragments, mostly Quranic, were discovered at the false ceiling of the Great Mosque in Ṣan‘ā’ in 1972. It was Qāḍī Ismā’īl ibn al-Akwa’ (d.2008), then the president of the Yemeni Antiquities Authority, who arranged to store the newly-discovered fragments, which filled 20 potato sacks, at the National Museum. But, as he saw the number of parchments was decreasing, he decided to move it back to the Western Library (al-Maktabah al-Gharbīyah), and lastly to Dar al-Makhṭūṭāt where it remains since. Evidently, some official workers were stealing the loose leaves and selling it to foreign antique dealers. In Yemen, such prohibited activities are common. Moreover, as the manuscripts were unbound, it was easier for someone in charge to take off the leaves without anyone noticing them. After all, if you don’t watch closely and count the leaves yourself, you will never know what has been missing. This explains, partially, how some folios of the Palimpsest went missing, consequently finding its way through European auction houses in the 1990s through 2008.
Fortunately, in the winter of 1996, German art historian Hans-Caspar Graf von Bothmer had microfilmed more than 35,000 images of the manuscripts discovered in 1972. This suggests that if any Quranic folio went missing after 1996, it would likely to be found in the microfilm of Von Bothmer. But who can access this microfilm? A very limited people indeed. As I heard from David Hollenberg, director of The Yemeni Manuscript Digitization Initiative, the Germans had made an agreement with the Yemenis, that they won’t release the photographs to the public. “They did not want the microfilm having the effect of diminishing the importance of visiting and doing research of the original,” said Hollenberg. The purpose behind making this microfilm was “merely a safeguard in case anything happened to the original,” he said.
Christie’s 2008 folio
The folio was identified to be part of Ṣan‘ā’ Palimpsest in 2008. It’s thought to be from the mid-7th century CE, with a possible linkage to Medina. Written in Hijazi script, the folio has parts of al-Nisāʼ[4:171-176] and al-Māʼida [5:1-10]. It measures 36.3 x 28cm, with 28-30 lines to the page. Verses are separated by clusters of short sepia dashes, one medallion of red, green, and sepia. There are wear around the edges and some minor areas of holing. On April 8, 2008, the folio was sold to a ‘private’ collector for £2,484,500. Similarly, another folio of the Palimpsest, which has parts of al-Baqarah, was sold by Christie’s on May 1, 2001, for £163,250.
A Possible Turkish Owner
Back to the original question of this post: How do I possibly know the Christie’s 2008 folio was acquired by a Turkish private collector? I have found a photograph on Pinterest, which bears the verso side of Christie’s 2008 folio. The user who uploaded the photograph is Turkish. He added the following description to it: “We own this Islamic Quran page. We think it is very early on vellum.” When you navigate through his pins on Pinterest, you will realize he owes special interest to Islamic calligraphy. Although you can’t know precisely the date of the photograph, his ‘Kufic’ pin itself was updated last year. My scenario would be that the Christie’s 2008 folio was acquired by a Turkish private collector, whom he likely uploaded on Pinterest with the aim of boasting. We may never know his identity, but I have a feeling that the Quranic folio would appear in a collection or catalogue in Turkey within the forthcoming years.