In 1344, Sultan Abu Al-Hasan Ali bin Othman gifted a beautifully handwritten and ornamented Qur'an, known as the Moroccan Raba'a, to Al-Aqsa Mosque, making it one of five sacred copies he dedicated to holy Islamic sites. Today, only 24 of its original 30 volumes survive, showcasing exquisite Moroccan calligraphy and geometric artistry rooted in spiritual symbolism. Nearly seven centuries ago, Marinid Sultan Abu Al-Hasan Ali bin Othman gifted the Al-Aqsa Mosque a Qur'an manuscript he had copied with his own hands. Known as the Moroccan Raba'a, the manuscript is housed today in the Islamic Museum at Al-Aqsa. As a token of friendship and deep reverence for Al-Aqsa's sanctity, Sultan Abu Al-Hasan's Raba'a was one of five Qur'ans he meticulously transcribed, ornamented, and dedicated to Islam's holiest sites. The first was endowed to the city of Chellah. The second, also penned by the sultan, was offered to the Prophet's Mosque in Madinah. The third was donated to the Al-Haram Mosque in Makkah, and the fourth was gifted to Al-Aqsa Mosque in 1344, according to historical sources. Moroccan Raba'a. / Ph. Aljazeera The sultan began a fifth Raba'a for the Ibrahimi Mosque in Al-Khalil (Hebron) and his sons, Sultan Abu Al-Anan Faris and later Sultan Abu Faris Abdul Aziz I, are believed to have completed parts of it. A Manuscript That Withstood Time Of all five, only the Al-Aqsa Raba'a has withstood the test of time and theft. Carefully preserved, it is stored in a beautifully crafted wooden box and catalogued under number 0152, according to a study by Palestinian researchers focused on the manuscript's ornamentation. Originally made up of thirty volumes, the Moroccan Raba'a was written in traditional Maghrebi calligraphy, a style rooted in early Kufic script and known as Al-Qayrawani. Today, only 24 volumes survive. Five volumes, specifically numbers 5, 10, 16, 18, and 26, were lost around two centuries ago and were later replaced by copies handwritten in 1806 by Haj Mubarak bin Abdul Rahman Al-Mashwanshi Al-Maliki. His name appears in the endowment notes at the bottom of each replaced page. The final volume, number 30, which contained the shortest surahs, was stolen from the museum between 1931 and 1932. Ph. Aljazeera The entire manuscript was endowed as a waqf (religious trust) to Al-Aqsa, with an official deed preserved in Jerusalem's Sharia court archives. Each volume of the Raba'a concludes with a seven-line endowment text written in gilded Kufic script, enclosed in a decorative gold frame. This record states that fifteen Moroccan scholars, all Malikis and memorizers of the Qur'an, were appointed to recite from the Raba'a daily at sunrise inside the Dome of the Rock. At the end of each session, they would pray for the benefactor, his family, his successors, and all Muslims. Craftsmanship and Ornamentation Beyond its spiritual and historical importance, the Moroccan Raba'a is also a masterpiece of Moroccan craftsmanship. Each verse was inscribed using ink made from aromatic materials like saffron and musk, blended with carbon-based ink. Each volume opens with a Sir Lawha, an ornately designed frontispiece, typically square-shaped and measuring 11.5 cm by 11.5 cm. Researchers have identified four distinct geometric designs used throughout these frontispieces, all based on the square form. Ph. Aljazeera This recurring motif is no coincidence. According to scholars, the square holds deep symbolic meaning. It mirrors the architecture of Islam's holiest sites, such as the Kaaba and the Dome of the Rock, structures built on square or octagonal foundations, highlighting the connection between sacred geometry and the divine. The repetition of these forms across the manuscript reflects not only the religious significance of the Raba'a and its intended settings but also the influence of the natural world and the artistic traditions of Moroccan craftsmen.
