8. The Codex at Topkapu Sarayi Collection

Two more codices exist in Turkey which are attributed to ‘Ali (A). Both of them are kept at al-‘Amanah Library (which is presently a part of the Topkapu Sarayi library). The first codex bears the al-‘Aminah library number (no. 2). Its microfilm, numbered 18, is kept at Ma’had al-Makhtutat al-‘Arabiyyah, Cairo. The second codex bears the number 29 and its microfilm, numbered 14, is kept at Ma’had al Makhtutat al ‘Arabiyyah, Cairo. ^{45 46}

It is appropriate here to consider the following points.

1. The handwriting of the codices attributed to ‘Ali (A) shows mastery, harmony and elegance, while in the first half of the first century Arabic writing (the Kufic script) had not yet developed that finesse and harmony and was consequently not very elegant. Therefore, how, is it possible to ascribe these codices to ‘Ali (A) whose martyrdom occurred in the year 40/660?
2. Considering that ‘Ali (A) had many engagements, is it possible that he might have written several copies of the Qur’an?
3. According to the traditions, ‘Ali’s (A) codex was compiled in a chronological order and mentioned the context of the revelation of various verses, while these codices follow the customary order.

However the above-mentioned doubts concerning the authenticity of the attribution of the above codices can be answered as follows:

There is no doubt that ‘Ali (A) compiled the Qur’an in the chronological order, ⁴⁷ but it is not unlikely that he might have subsequently written it in the customary order.

As to the numerous preoccupations of ‘Ali (A), there is no doubt that after the demise of the Holy Prophet (S) he was one of the central figures of Madinah and an authority on issues confronting the Muslims, especially judicial issues. But since he did not directly intervene in these affairs and did not participate personally in the wars, it is not improbable that during that period in times of leisure he may have applied himself to copying the Qur’an, especially when we consider that at that time there were few copies of the Qur’an and any addition to those available was conducive to its preservation. In such a situation it was a duty for anyone having this ability to apply himself to this task.

As to the beauty and harmony of the, script of these codices, which create an impression of un-likeliness of their belonging to the era of the beginnings of the Kufic script, it can be explained by the fact that ‘Ali (A) was one of the masters of calligraphy in his time. ‘Ali (A) is reported to have taught calligraphy to his secretary ‘Ubayd Allah ibn Abi Rafi. ⁴⁸ It is reported that an accomplished scribe was writing the Qur’an, ‘Ali (A) admired his writing as he examined it, though he disapproved of his use of diminutive writing for the Qur’an.

In Ibn al-Nadim’s al-Fihrist there is a reference to Khalid ibn Abi al-Hayyaj, a companion of ‘Ali (A), as one of master calligraphists of the Qur’an. ⁵⁰ Khalid was employed after ‘Ali’s martyrdom by the chamberlain of Walid ibn ‘Abd al-Malik for making copies of the scripture and for writing poems and traditions for him. It was he who wrote the inscription in gold of the qiblah of the Prophet’s Mosque, which runs from Surat al-Shams to the end of the Qur’an. ⁵¹ Despite all this, the authenticity of the attribution of each these codices to ‘Ali (A) is a matter that requires a separate study.