Estelle Whelan, 'Writing the Word of God: Some Early Qur'

Total Page:16

File Type:pdf, Size:1020Kb

Estelle Whelan, 'Writing the Word of God: Some Early Qur' WRITING THE WORD OF GOD: SOME EARLYQUR'AN MANUSCRIPTS AND THEIR MILIEUX, PART I BYESTELLE WHELAN One is left wondering how anyone dares to date a MS. from the cursive scripts of the calligraphers.4 In 1911 Bernhard writing alone. Moritz commented, rather confusingly, "it is impossi- S. -A. Tritton1 ble to avoid the conclusion that the difference between the two types was chiefly due to the nature of the WESrERN SCHOLARSCOMING TO GRIPSWiTH ARABIC MANU- material written on, though at the same time there scripts for the first time after years of striving to master existed a tendency to create a separate monumental the language from printed texts often find the experi- script."5Nabia Abbott attempted to identify some of the ence disheartening. Not only are they cast adrift among early Qur'anic scripts from brief textual descriptions. the idiosyncrasies of individual handwriting, their firm For example, a single phrase in the fourth-/tenth- grasp of grammar sabotaged by scribal ignorance or century Fihrist of Ibn al-Nadlim led to her identifying carelessness and their confidence shaken by violations Uijaz1 script by three rather general traits, none of of the orthographic rules (connection of supposedly them exclusive to it.6 She then defined Kfific by the unconnected letters, for example), but they are also absence of this combinationof traits and went on to unlikely to have received from either their teachers or propose two subcategories-one angular, one round- their books much guidance in how to deal with their ed. Without denying the value ofAbbott's work, it must perplexity. still be admitted that her findings, at least those related After such an initiation, the opportunity to work with to Kulficscript, are too theoretical to be of much help early QuPan manuscripts of the type commonly called in the study of existing early Quran manuscripts. "Klafic"seems to promise refreshment. Here are bold, More recently French scholars in particular have clean letter forms, neatly laid out in spacious lines, revived an inductive approach, based on close exami- uncluttered by ornamentation, and hardly affected by nation of large collections of early Quran manuscripts.8 scribal quirks. Even the vocalizations are of a pattern so The method involves recording minute variations in unfamiliar that they need not distract attention for the letter forms, subsequently grouping manuscripts more than a moment or two. It comes as a shock, then, according to perceived similarities in these letter forms, to discover that at first these folios can hardly be read and finally arranging the groups in a sequence imply- at all, even that a careful search is required to find, on ing chronological development.9 Carefully construct- any given page, recognizable words to help identify the ed as they are, however, such detailed classifications correct Qur'anic passage. Pondering this situation leads have notyet provided a viable framework for analysis of to some unexpected conclusions. QurPns from the earliest period. A primary difficulty in Study by Western scholars of early Arabic script is identifying the main lines of development is the sheer nearly as old as Orientalism itself.2Generations of schol- quantity of surviving material, most of it inadequately ars have struggled to determine conclusively whether published; the vast number of variations in detail even or not it originated in ancient Nabatean or Syriac within single manuscripts tends to blur the picture still writing and to identify specific calligraphic and monu- further. mental types from inadequate and even garbled de- It has long been accepted that, forwriting the Quran, scriptions in earlyArabic texts. Although some progress "Kuific"script was superseded by "broken Kfific"in the has been made, it must be admitted that these issues course of the fourth/tenth century. The prevailing remain shrouded in darkness. Perhaps most frustrat- chronological frameworkfor "KXfic"Queans themselves, ing of all, however, have been the slight results achieved however, is based not on paleography but on organiza- by paleographers who have tried to date the fragmen- tion of ornament; manuscripts lacking ornamental tary earliest Quran manuscripts by comparing individ- divisions between siirahs have been considered the ual letter forms with those found in the handful of earliest, followed by those with purely ornamental inscriptions that survive from the first and second hijrz divisions at the ends of sisrahsand only later by those centuries, on one hand, and a number of early papyri with ornamental headings containing the written titles of no monumental significance on the other.3 of the sirahs.10 Since the formulation of this rather Without recapitulating the entire history of these crude schema earlier in this century scholars have efforts, it is worth noting some of the highlights here. striven to place individual manuscripts in relation to it, The first important distinction recognized was that but they have been largely unsuccessful in refining the between the angular scripts called "Kflfic"and the model itself. The resulting frustration has sometimes 114 ESTELLEWHELAN led to what seem counsels of despair: "There is no connected letters are relatively uniform within a given scientifically defensible position other than to suspend manuscript, much more so than some letter forms and ... alljudgement until there have been made, with the the connecting lines themselves. These spaces thus most minute observations of detail, regroupings by provide a kind of skeleton, which is fleshed out by the families, which comparisons and careful indexing will letter clusters. Several other characteristics of the writ- perhaps enable us to apportion chronologically and ing underscore the importance of this skeleton. geographically."1l First, the letters and connecting lines were written Nevertheless, the author proposes to try another with fairly broad and uniform strokes except for tiny tack, applying classical art-historical methods to the hairline diagonals at the beginning of dasl/dhal,initial paleography of some early Quran manuscripts as a and medial ka/ and initial and isolated 'ayn/ghayn. modest first step toward a more thorough revision of Second, there was considerable flexibility in drawing the framework for study of such monuments. It is the connecting lines and the letter bodies that lent curious that, over many decades, such methods have themselves to horizontal extension (dal/dhal, sad/4ad, not been systematically applied to QurPanicscript but *tFa/, kZff.'3Although this flexibility was not unlimit- only to ornament. After a brief general analysis of the ed, it was sufficient to permit really broad variations script generally labeled "Kufic,"two small but distinct within a single manuscript and even on a single page, groups of QuPan manuscripts, selected from the much sometimes within a single line (e.g., Figs. 8, 11, 15, and larger body of surviving material, will be analyzed in 22). detail; they have been chosen because their paleo- Third, flexibility was greater in the direction of ex- graphic and codicological differences offer a kind of pansion than in that of contraction. Occasionally, the test of the validity of the prevailing chronological expandable letters might be contracted to quite small model. It is hoped that such close analysis of a circum- proportions, particularly at the ends of lines (e.g., Figs. scribed selection of material will provide signposts for 18, 1. 3; and 20,1. 12), but this solution seems to have further, and more productive, exploration of the en- been considered undesirable, for it occurs relatively tire corpus. In a subsequent study the ornament of seldom in the finer manuscripts. On the other hand, these same manuscripts will be considered, in an effort the dimensions of other letters-particularly looped both to confirm the distinctions observed here and to letters like flu, q&f mzm,h7, t179marbiitah, waw-were help localize the production of the two groups. rarely altered, even at the ends of lines, possibly be- cause the uniform width of the stroke allowed little scope for contraction beyond eliminating the lines Characteristicsof Early Qur'an Script connecting such letters, which resulted in their tangen- tial alignment. Occasionally, when the scribe intended To return for a moment to those hapless scholars to make two letters tangential, he inadvertently left a struggling to read their first "Kuific"Quranmanuscripts, narrow channel between them; then a tiny hairline it is worth trying to isolate the source of their difficulty. stroke was inserted to connect the two letters at their It can hardly be the letter forms, for they are sharply closest points (e.g., Figs. 10,1. 1; 12,1. 5; and 19,1. 17). drawn and unambiguous; the similarity between dal/ This solution was usually so subtly executed that the dhWJand k4f may at first cause some confusion (e.g., reader scans the lines without noticing that a potential- Figs. 2,11. 2, 3,5; and 20,1. 8), but otherwise the letters ly disturbing gap has been closed in this way. are more distinct than in some printed texts. Assuming Fourth, words (never connected letter groups) were that these scholars know the Quran well enough, why freely divided between lines, without respect for natu- is it so difficult to pick out familiar words and phrases? ral breaks in sense or pronunciation, in contrast, for The answer is obvious yet seldom taken into account example, to syllabic division in English.14 One corollary in discussions of "Klafic"script. The typical early Quean is that uneven side margins, particularly on the left, are is not written in words and phrases: It is written in quite common, though occasionally, when a line fell groups of connected letters separated by spaces.12To too far short of the ideal margin, a little marker was compound the difficulty, isolated letters are treated as inserted to lengthen it.'5 groups in this sense and are preceded and followed by What has been defined so far should be understood spaces of the same width.
Recommended publications
  • The Qur'anic Manuscripts
    The Qur'anic Manuscripts Introduction 1. The Qur'anic Script & Palaeography On The Origins Of The Kufic Script 1. Introduction 2. The Origins Of The Kufic Script 3. Martin Lings & Yasin Safadi On The Kufic Script 4. Kufic Qur'anic Manuscripts From First & Second Centuries Of Hijra 5. Kufic Inscriptions From 1st Century Of Hijra 6. Dated Manuscripts & Dating Of The Manuscripts: The Difference 7. Conclusions 8. References & Notes The Dotting Of A Script And The Dating Of An Era: The Strange Neglect Of PERF 558 Radiocarbon (Carbon-14) Dating And The Qur'anic Manuscripts 1. Introduction 2. Principles And Practice 3. Carbon-14 Dating Of Qur'anic Manuscripts 4. Conclusions 5. References & Notes From Alphonse Mingana To Christoph Luxenberg: Arabic Script & The Alleged Syriac Origins Of The Qur'an 1. Introduction 2. Origins Of The Arabic Script 3. Diacritical & Vowel Marks In Arabic From Syriac? 4. The Cover Story 5. Now The Evidence! 6. Syriac In The Early Islamic Centuries 7. Conclusions 8. Acknowledgements 9. References & Notes Dated Texts Containing The Qur’an From 1-100 AH / 622-719 CE 1. Introduction 2. List Of Dated Qur’anic Texts From 1-100 AH / 622-719 CE 3. Codification Of The Qur’an - Early Or Late? 4. Conclusions 5. References 2. Examples Of The Qur'anic Manuscripts THE ‘UTHMANIC MANUSCRIPTS 1. The Tashkent Manuscript 2. The Al-Hussein Mosque Manuscript FIRST CENTURY HIJRA 1. Surah al-‘Imran. Verses number : End Of Verse 45 To 54 And Part Of 55. 2. A Qur'anic Manuscript From 1st Century Hijra: Part Of Surah al-Sajda And Surah al-Ahzab 3.
    [Show full text]
  • 9789004165403.Pdf
    The Arabic Manuscript Tradition Supplement Handbook of Oriental Studies Section 1, The Near and Middle East Editors H. Altenmüller B. Hrouda B.A. Levine R.S. O’Fahey K.R. Veenhof C.H.M. Versteegh VOLUME 95 The Arabic Manuscript Tradition A Glossary of Technical Terms and Bibliography – Supplement By Adam Gacek LEIDEN • BOSTON 2008 This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Gacek, Adam. The Arabic manuscript tradition : a glossary of technical terms and bibliography : supplement / by Adam Gacek. p. cm. — (Handbook of Oriental studies. Section 1, the Near and Middle East) Includes bibliographical references and index. ISBN 978-90-04-16540-3 (hardback : alk. paper) 1. Manuscripts, Arabic—History—Bibliography. 2. Codicology—Dictionaries. 3. Arabic language—Dictionaries—English. 4. Paleography, Arabic—Bibliography. I. Title. II. Series. Z6605.A6G33 2001 Suppl. 011'.31—dc22 2008005700 ISSN 0169–9423 ISBN 978 90 04 16540 3 Copyright 2008 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. PRINTED IN THE NETHERLANDS CONTENTS Transliteration table .......................................................................
    [Show full text]
  • The Jewish Discovery of Islam
    The Jewish Discovery of Islam The Jewish Discovery of Islam S tudies in H onor of B er nar d Lewis edited by Martin Kramer The Moshe Dayan Center for Middle Eastern and African Studies Tel Aviv University T el A v iv First published in 1999 in Israel by The Moshe Dayan Cotter for Middle Eastern and African Studies Tel Aviv University Tel Aviv 69978, Israel [email protected] www.dayan.org Copyright O 1999 by Tel Aviv University ISBN 965-224-040-0 (hardback) ISBN 965-224-038-9 (paperback) All rights reserved. No part of this publication may be reproduced in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Publication of this book has been made possible by a grant from the Lucius N. Littauer Foundation. Cover illustration: The Great Synagogue (const. 1854-59), Dohány Street, Budapest, Hungary, photograph by the late Gábor Hegyi, 1982. Beth Hatefiitsoth, Tel Aviv, courtesy of the Hegyi family. Cover design: Ruth Beth-Or Production: Elena Lesnick Printed in Israel on acid-free paper by A.R.T. Offset Services Ltd., Tel Aviv Contents Preface vii Introduction, Martin Kramer 1 1. Pedigree Remembered, Reconstructed, Invented: Benjamin Disraeli between East and West, Minna Rozen 49 2. ‘Jew’ and Jesuit at the Origins of Arabism: William Gifford Palgrave, Benjamin Braude 77 3. Arminius Vámbéry: Identities in Conflict, Jacob M. Landau 95 4. Abraham Geiger: A Nineteenth-Century Jewish Reformer on the Origins of Islam, Jacob Lassner 103 5. Ignaz Goldziher on Ernest Renan: From Orientalist Philology to the Study of Islam, Lawrence I.
    [Show full text]
  • PRINT CULTURE and LEFT-WING RADICALISM in LAHORE, PAKISTAN, C.1947-1971
    PRINT CULTURE AND LEFT-WING RADICALISM IN LAHORE, PAKISTAN, c.1947-1971 Irfan Waheed Usmani (M.Phil, History, University of Punjab, Lahore) A THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY SOUTH ASIAN STUDIES PROGRAMME NATIONAL UNIVERSITY OF SINGAPORE 2016 DECLARATION I hereby declare that this thesis is my original work and it has been written by me in its entirety. I have duly acknowledged all the sources of information which have been used in the thesis. This thesis has also not been submitted for any degree in any university previously. _________________________________ Irfan Waheed Usmani 21 August 2015 ii ACKNOWLEDGEMENT First I would like to thank God Almighty for enabling me to pursue my higher education and enabling me to finish this project. At the very outset I would like to express deepest gratitude and thanks to my supervisor, Dr. Gyanesh Kudaisya, who provided constant support and guidance to this doctoral project. His depth of knowledge on history and related concepts guided me in appropriate direction. His interventions were both timely and meaningful, contributing towards my own understanding of interrelated issues and the subject on one hand, and on the other hand, injecting my doctoral journey with immense vigour and spirit. Without his valuable guidance, support, understanding approach, wisdom and encouragement this thesis would not have been possible. His role as a guide has brought real improvements in my approach as researcher and I cannot measure his contributions in words. I must acknowledge that I owe all the responsibility of gaps and mistakes in my work. I am thankful to his wife Prof.
    [Show full text]
  • Creating Standards
    Creating Standards Unauthenticated Download Date | 6/17/19 6:48 PM Studies in Manuscript Cultures Edited by Michael Friedrich Harunaga Isaacson Jörg B. Quenzer Volume 16 Unauthenticated Download Date | 6/17/19 6:48 PM Creating Standards Interactions with Arabic Script in 12 Manuscript Cultures Edited by Dmitry Bondarev Alessandro Gori Lameen Souag Unauthenticated Download Date | 6/17/19 6:48 PM ISBN 978-3-11-063498-3 e-ISBN (PDF) 978-3-11-063906-3 e-ISBN (EPUB) 978-3-11-063508-9 ISSN 2365-9696 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2019935659 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Dmitry Bondarev, Alessandro Gori, Lameen Souag, published by Walter de Gruyter GmbH, Berlin/Boston Printing and binding: CPI books GmbH, Leck www.degruyter.com Unauthenticated Download Date | 6/17/19 6:48 PM Contents The Editors Preface VII Transliteration of Arabic and some Arabic-based Script Graphemes used in this Volume (including Persian and Malay) IX Dmitry Bondarev Introduction: Orthographic Polyphony in Arabic Script 1 Paola Orsatti Persian Language in Arabic Script: The Formation of the Orthographic Standard and the Different Graphic Traditions of Iran in the First Centuries of
    [Show full text]
  • Leila's Alphabet Journey Text Book 2019 -Reduced
    Leila’ s Alphabet Journey A Practical Guide to the Persian Alphabet By Parastoo Danaee Beginner Level !1 Contents To The Students 4 Introduction | Facts about Persian Language 6 Unit 1 | Persian Alphabet 14 Letter Forms 15 Persian Vowel Forms 17 Practice 1 18 Unit 2 | Basic Features of the Persian Alphabet 20 Practice 2 22 Unit 3 | Letter Forms 23 Non-Connecting Letter Forms 23 Letter Forms 24 Persian Vowel Forms 26 Practice 3 27 Unit 4| Features of the Persian Vowels 29 Short Vowels 29 Long Vowels 30 Diphthongs 30 Practice 4 31 Unit 5| Persian Letters Alef, Be, Pe, Te, Se 32 Practice 5 34 Unit 6| Persian Letters Dâl, Zâl, Re, Ze, Zhe 36 Practice 6 38 Unit 7| Persian Letters Jim, Che, He, Khe 40 Practice 7 42 Unit 8| Persian Letters Sin, Shin, Sât, Zât, Tâ, Zâ 44 Practice 8 46 Unit 9 | Persian Letters ‘Ain, Ghain, Fe, Gh"f 48 Practice 9 50 Unit 10| Persian Letters K"f, Gh"f, L"m,Mim 52 !2 Practice 10 54 Unit 11| Persian Letters Nun, V"v, He, Ye 56 Practice 11 58 Unit 12 | Short Vowels 60 Practice 12 61 Unit 13 | Long Vowels 63 Practice 13 64 Unit 14 | Additional Signs 66 Practice 14 67 !3 To The Students Welcome to Persian! Leila’s Alphabet Journey represents the first in a series of textbooks aimed at teaching Persian to foreign students and is followed by Leila Goes to Iran . Leila, the leading character is a generation 1.5 young lady who grow up in Los Angeles in a home in which Persian language is spoken.
    [Show full text]
  • Sini Calligraphy: the Preservation of Chinese Muslims' Cultural
    SINI CALLIGRAPHY: THE PRESERVATION OF CHINESE MUSLIMS’ CULTURAL HERITAGE A THESIS SUBMITTED TO THE GRADUATE DIVISION AT THE UNIVERSITY OF HAWAI’I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ART HISTORY MAY 2012 By Hala Ghoname Thesis committee: Kate A. Lingley, Chair Paul Lavy James D. Frankel 1 Contents: I. Introduction----------------------------------------------------------------------------------3 II. Chapter 1: History and Origins of Sini Calligraphy - The Story of Arabic and Chinese Writing------------------------------------------10 - Islam in China-------------------------------------------------------------------------24 - Chinese Arabic Calligraphy (Sini Calligraphy)-----------------------------------29 III. Chapter 2: The Status of Sini Calligraphy in the Present Day. - Definition of Sini Script in the Modern Day--------------------------------------41 - Function and Style--------------------------------------------------------------------42 - Development of Style and Relations with Islamic Countries-------------------47 - Change of Tools and Practice--------------------------------------------------------51 - Case Study; The Calligraphy of Haji Noor Deen Mi Guangjiang--------------54 - Haji Abdul Hakim---------------------------------------------------------------------60 - Sini Calligraphy Outside of China--------------------------------------------------62 IV. Chapter 3: Challenges facing the preservation of Sini Calligraphy. - Sinicization and the use of Arabic language---------------------------------------67
    [Show full text]
  • The Judeo-Arabic Heritage
    The Judea-Arabic Heritage 41 Chapter 3 tice my speaking skills, and my wife was clearly delighted to show off her Ashkenazi American husband who could speak their native tongue. A short while later, after the woman departed, I noticed that my wife had tears in her eyes. When I asked her why, she told me that she suddenly The Judeo-Arabic Heritage remembered how years earlier, when she was a schoolgirl, that if she saw that same woman from a distance, she would walk blocks out of her way to avoid her. This was to avoid embarrassment from having to speak Norman A. Stillman Moroccan Arabic in public because of the strong prejudice against Jews from Muslim countries (so-called mizrahim, or Oriental Jews) and espe­ cially Moroccan Jews. In the 1950S and early 1960s, it was not at all chic to speak Arabic of any kind in Israel-and certainly not to be Moroccan. The great irony in these two personal anecdotes is that, amongst all the Introductory Reflections many Jewish Diaspora languages of post-Talmudic times (Yiddish, Ladino, Shuadit (Iudeo-Provencal), Judeo-Persian, Iudeo-Greek, Iudeo-French, Nearly forty years ago, I brought my fiancee, who had been born in Iudeo-Tat, Iudeo-Berber, and still others less well known), [udeo-Arabic Morocco and raised in Israel, home to meet my family. I shall never forget held a place of special distinction. It had the longest recorded history after the moment when she met my grandmother. My grandmother, whose Hebrew and Aramaic (from the ninth century to the present)." It had the English, even after fifty years in the United States, was still heavily widest geographical diffusion, extending across three continents during accented, asked my fiancee, "Does your family speak Jewish?" Not under­ the Middle Ages.
    [Show full text]
  • Security Council Distr
    UNITED NATIONS S Security Council Distr. GENERAL 8122709 17 June 1991 ORIGINAL: ENOLISH LETTER DATED 14 JUNE 1991 FROM THE PERMANENT REPRESENTATIVE OF KUWAIT TO THE UNITED NATIONS ADDRESSED TO THE PRESIDENT OF THE SECURITY COUNCIL Further to my letter of 14 March 1991, I should like to forward a list of antiquities and work8 of art which were seiaed by Iraq from the reridence of Mr. Jaeim Al-Humaidhi, a Kuwaiti art collector. I should appreciate it if you would arrange for this letter to be circulated as a document of the Security Council. (w) Mohammad A. ARULHASAN Ambassador Permanent Represeatative 91-19980 3063a (E) / . -2- Annex The following is a list of antiquities and works of art looted from Jasim Al-Humaidhi’s house during the occupation period. It is compiled from memory and some of the remaining inventories are therefore not complete. Items marked (a) are illustrated in the Louisiana catalogue (Denmark), for items marked (b) photographs can be provided from various sources, the remaining items may have photographs, but can only be obtained after sorting out the rubble from the house. CONTENTS I Islamic metalwork2 60 items, 5 pages Non-Islamic works Of art: 21 items, 2 pages Islamic glass, wood, etc. : 23 items, 2 pages Islamic ceramics 8 56 items, 5 pages Manuscripts t about 50 items, 3 pages Textiles: about 70 items, 2 pages Early printing in Arabic8 44 items, 2 pages / . -3- ISLAMIC METALWORK (MT.) 1. (a) Nine sided candlestick inlaid with Niello 13th Century Mesop. 2. Same as above, but smaller 3.
    [Show full text]
  • Arabic Alphabet 1 Arabic Alphabet
    Arabic alphabet 1 Arabic alphabet Arabic abjad Type Abjad Languages Arabic Time period 400 to the present Parent systems Proto-Sinaitic • Phoenician • Aramaic • Syriac • Nabataean • Arabic abjad Child systems N'Ko alphabet ISO 15924 Arab, 160 Direction Right-to-left Unicode alias Arabic Unicode range [1] U+0600 to U+06FF [2] U+0750 to U+077F [3] U+08A0 to U+08FF [4] U+FB50 to U+FDFF [5] U+FE70 to U+FEFF [6] U+1EE00 to U+1EEFF the Arabic alphabet of the Arabic script ﻍ ﻉ ﻅ ﻁ ﺽ ﺹ ﺵ ﺱ ﺯ ﺭ ﺫ ﺩ ﺥ ﺡ ﺝ ﺙ ﺕ ﺏ ﺍ ﻱ ﻭ ﻩ ﻥ ﻡ ﻝ ﻙ ﻕ ﻑ • history • diacritics • hamza • numerals • numeration abjadiyyah ‘arabiyyah) or Arabic abjad is the Arabic script as it is’ ﺃَﺑْﺠَﺪِﻳَّﺔ ﻋَﺮَﺑِﻴَّﺔ :The Arabic alphabet (Arabic codified for writing the Arabic language. It is written from right to left, in a cursive style, and includes 28 letters. Because letters usually[7] stand for consonants, it is classified as an abjad. Arabic alphabet 2 Consonants The basic Arabic alphabet contains 28 letters. Adaptations of the Arabic script for other languages added and removed some letters, such as Persian, Ottoman, Sindhi, Urdu, Malay, Pashto, and Arabi Malayalam have additional letters, shown below. There are no distinct upper and lower case letter forms. Many letters look similar but are distinguished from one another by dots (’i‘jām) above or below their central part, called rasm. These dots are an integral part of a letter, since they distinguish between letters that represent different sounds.
    [Show full text]
  • Bamana Texts in Arabic Characters: Some Leaves from Mali
    Tal Tamari Bamana Texts in Arabic Characters: Some Leaves from Mali Abstract: This study analyses five Bamana-language texts composed in the ear- lier twentieth century by Amadou Jomworo Bary, a Fulbe scholar from the Masina (Mali), that were hand copied in 1972 by the Fulbe scholar and researcher Al- mamy Maliki Yattara. The writing system, which uses modified Arabic characters to note phonemes specific to Bamana, is compared to other West African adapta- tions of Arabic script. The article also examines the doctrinal positions developed and world view implicit in the texts, which concern water rites in San (Mali), Is- lamic belief and practice, and healing. Attention is drawn as to how knowledge of local cultural contexts can contribute to a better understanding of these manu- scripts. 1 Introduction In 1994, I published a study of five short texts (totalling five and a half pages), written in Arabic characters in the Bamana language. These texts had been cop- ied by Almamy Maliki Yattara, a Muslim scholar then employed by the Institut des Sciences Humaines in Bamako, from originals held by a friend of his, Abou- bacar (commonly known as Bory) Bary, in 1972 in San (Mali). Research conducted in the intervening twenty years has confirmed the analysis of the writing system, and has led to few changes in the transliteration (Arabic to Latin characters), transcription (reconstitution of the Bamana discourse) and translations of these texts. On the other hand, personal fieldwork undertaken in the interval, as well as general progress in the understanding of West African writing practices, makes it possible to place these texts in much sharper historical and cultural per- spective.
    [Show full text]
  • Appropriate Museology – Appropriate Language Essays on Translation and Communication in the Museum Edited by Gundula Avenarius, Aisha Deemas, Susan Kamel
    ° ° ° ° ° ° علم متاحف مناسب يساوي لغة مناسبة – علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي – لغة مناسبة –علم متاحف Museology مناسب يساوي لغة مناسبة Appropriate–علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –Language علم متاحف مناسب يساويAppropriate لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغةand Communication مناسبة –علم متاحفon Translation مناسب Essaysيساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي Museum لغة in theمناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف by مناسب Editedيساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي Avenariusلغة Gundulaمناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم Deemas متاحف Aishaمناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف Kamelمناسب Susanيساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم متاحف مناسب يساوي لغة مناسبة –علم Appropriate Museology – Appropriate Language Essays on Translation and Communication in the Museum Edited by Gundula Avenarius, Aisha Deemas, Susan Kamel This publication grew out of the international conference Appropriate Museology – Appropriate Language.
    [Show full text]