An Introduction to Rayhan Qur’an
The copy of the Qur’an presented here, with calligraphy in the rayhan style and illuminations by the contemporary Persian artist, Bahram Saleki, and so ably printed by Moballeghan Publishing in Tehran, is without doubt one of the finest editions of the Sacred Text from the point of view of both calligraphy and illumination to have been produced in recent times. First of all, it is written in the rayhan style which is one of the most flowing and at the same time majestic styles of calligraphy, combining in perfect harmony vertical and horizontal flow of the lines. But because of difficulties of writing it with ease, it became less used as times went on, being replaced to a large extent by the naskh and thuluth styles when it came to the writing of the Qur’an. Secondly, the present edition of the Sacred Text is adorned with illuminations of the highest quality in both form and color, reminiscent of the illuminations of the Timurid, Mamluk and Safavid periods. This is especially remarkable since, while the art of Qur'anic calligraphy has survived on a high level over centuries down to our own day, the art of illumination began to decline to a notable extent after the 10th/16th century. The Rayhan Qur'an produced here is quite remarkable for taking this art back to some of the heights of perfection which it enjoyed centuries ago. Qur'anic calligraphy is one of the primary and central sacred arts of Islam.

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It is remarkable that in this day and age, when so much of the sacred arts of various civilizations has decayed or become forgotten and when individualism, psychologism and even the cult of ugliness characterize so much of what is called art today, one should observe a work that is both contemporary and sacred art in its authentic sense.
One must congratulate both the calligrapher and the publisher of this remarkable work for having been given by God the succor to produce a book of such quality. May the reading of its lines and meditations upon its illuminations bring light to the eyes and hearts of those who are blessed to be able to gaze upon its pages with faith, devotion and discernments. And may this work remind those who have the necessary perspicacity to see that it is possible, even in this world of darkness where chaotic expressions of chaotic souls often parade as art, to create a real art whose function has always been to draw its beholders to the Abode of the Supreme Artisan and to create forms of beauty which reflect and lead to the source of all beauty, to God, one of whose names in Islam is the Beautiful (al-Jamil), to God who is both beautiful and loves beauty. wa'l- Llahu a‘lam