Three Pens, One Masterpiece
A unique story about how an Ottoman calligrapher wrote the entire Qur’an by hand, with using just 3 different pens from start to finish.
Hasan Rıza Efendi, an eminent Ottoman calligrapher, left an indelible mark on the world of Islamic art with a remarkable accomplishment: writing the entire Quran using only three distinct Java pens. This unparalleled feat demonstrates his profound mastery and highlights the sheer talent required to undertake such a monumental task.
Hasan Rıza Efendi, a prominent Ottoman calligrapher known for his Quranic manuscripts, was born in 1849 in Üsküdar. His initial education in calligraphy began during his early years, showing an interest in calligraphy. He received his training from the famous calligrapher Mehmed Şefik Bey.
Hasan Rıza Efendi gained renown for his Naskh script due to the excellence not only in the aesthetics of the letters but also in the readability and precise placement of movements.
Particularly from 1878 to 1912, considered the most productive phase of his artistic career, he became well-known for significant works like the eight-volume Sahih-i Bukhari, commissioned by the Sultan. In his manuscripts, the beauty and readability of the letters, combined with meticulous details in the writing, set him apart. This era marked Hasan Rıza Efendi’s pinnacle in Naskh’s script, showcasing the highest achievement level in his art.
Commissioned by the Sultan himself
After the Crown Prince Reşad Efendi became sultan in 1909, He wanted to commission a Qur’an to be recited in the tomb of himself, right next to the Reşadiye School by his name, built in the famous Eyüpsultan District. Sultan Mehmed V commissioned the mushaf to Hasan Rıza (1849–1920), the leading name in mushaf writing of the period, with illumination by Bahaddin Bey and Hilmi Efendi.
Speaking of the tomb of Mehmed V, Photographs depicting the building showcase a unique burial site outside the city walls, distinguishing it from other sultan tombs. Notably, this tomb holds the distinction of being the final resting place constructed for a Sultan. His fondness for the sound of children’s voices is evident, as he directed the construction of a primary school adjacent to the tomb, as specified in his will — identified as Reşadiye Primary School on the left of the tomb.
Writing the Qur’an
The Mushaf in question consists of 357 pages, each containing 13 lines. It is not an interleaved Mushaf. The Quranic text is written on beige-coloured paper in the Naskh script, and the surah headings are written in the riqa’ (different from ruq’ah) script on a gold background with overglaze ink. Completed in 1330/1911, this Mushaf features slightly thicker Naskh compared to his other Mushafs, but it excels in consistency, fluidity, and diacritic markings.
The Qur’an was created in collaboration with the illuminators Müzehhip Bahaeddin Efendi (d.1939) and later continued by Müzehhip Hilmi Efendi, who took over due to Bahaeddin Efendi’s temporary challenges. After Hilmi Efendi’s passing, Bahaeddin Efendi completed the illumination of the Mushaf.
Two circular octagonal medallions, known as zahriye, are left blank at the beginning of the Mushaf for calligraphic decoration. The Qur’an exhibits a classical and rich illumination style, with the title page adorned with plant motifs on gold and navy backgrounds. The ornate jewel-like stops, roses, and surah headings are embellished with various colors and patterns.
The Pens
The Java pens and the side note above are in the Topkapı Palace Museum Library collection. The pens are displayed alongside a beautiful note he wrote about it, in Naskh script, showcasing the artistry of Hasan Rıza and the cultural significance of the piece. On the note, Hasan Rıza states:
The piety of the Caliph of the Muslim is the sultan’s son of the sultan’s son, the Sultan Reşad Khan,
In accordance with the will of His Excellency, it is specific to the Mushaf-i Sharif, the compilation of which was completed between the year one thousand three hundred and twenty-nine and the year one thousand three hundred and thirty.
These are the pens, one of which was prepared for writing, one for diacritical marks, and the other for stops, and which succeeded in completing the writing in single cut without any malfunction.
written by Al-Haj as-sayyid Hasan Riza
In his meticulous process, Hasan Rıza allocated each pen for a specific purpose, showcasing his strategic approach to this extraordinary endeavour. One pen delicately crafted the letters, emphasizing the aesthetic beauty of the divine text. Another pen, dedicated to diacritical marks, ensured the utmost clarity and legibility of the script. The third pen attended to stop & continue symbols known as Sajawand, the name given to the signs placed during recitation to indicate the places where stopping is necessary or inappropriate in terms of meaning.
The grandiosity of this artistic achievement becomes even more awe-inspiring when considering the vastness of the Quranic text. Hasan Rıza’s ability to navigate through the extensive scripture, utilizing only three pens speaks volumes about his unrivalled skill, precision, and dedication to the art of calligraphy.
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Originally published at https://notesonpaper.substack.com.
