Comparative Study of Mohaghagh Script in Baysonghor Mirza and Ahmed Karahisari’s Qurans

Mohaghagh script and its exemplary glory in the Quran transcription revolution has been written in various styles in the wide Islamic geography. Sometimes greatness and glory aspects of this script were increased because of kingdom supports of the Quran transcription and it affected the value and pen power and also transcription creativity in such Qurans. Baysonghor Mirza’s Quran in Timurid era and Ahmed Karahisari’s Quran in Ottoman era are two of those artworks which are Quranic masterpieces. Components taken from Mohaghagh script in Baysonghori Quran are spacing between the words, height of alefs and regulation of baseline based on line-transcription. Sharpness and cut of virtual ascension in Baysonghori’s Quran are excellent so the virtual ascension and the end of “morsal” letters and letters’ jagged are so sharp like sword. Karahisari’s style is a combination of Mohaghagh and large Tholoth and the amounf t of roundness is based on Tholoth and Naskh script, like to be soft. This subject has a connection to features of  pen cutting, kind of paper and ink. Making groups by ر and و  letters and connections of م and  و can be seen in both Qurans. Also using کاف نفیری  repeatedly makes a long distance between verses in both Qurans. The orders of dots and their compositions in both Qurans are various and are in square, rectangular, circle and diagonal triangle forms and sometimes they are transcribed by smaller and tinier pens.