CHAPTER - 3
ILMU TAJWID IL QUR’AN
ILMU
QIRA’ATIL QUR’AN
THE ART OF RECITATION OF THE QUR`AN
Memorisation and Oral Transmission
Memorisation of the
Qur`an was considered important from the time of the Prophet and it was
widely practised.
The very fact that
recital of Surah 'Fatiha' and other passages of the Qur`an is
obligatory during salat shows that memorisation of the Qur`an (partly
or wholly) and recitation is the basic requirement for Muslims.
Although the Qur`an was
revealed to the Prophet he loved to hear the Qur`an from others. This practice required correct
recitation. The Prophet deputed
selected believers as teachers to communities of new converts. Even before migration (after the first
pledge of 'Aqaba') the eminent Companion Mus'ab bin 'Umair was sent to
Medina. He was directed to read the
Qur`an to the newly converts and to give them instructions about Islam. Similarly the renowned Companion Mu'adh
bin Jabal was deputed to Yemen to instruct the newly converts there.
According to Suyuti more
than twenty well known persons had memorized the Qur`an, including Abu Bakr,
'Umar, 'Uthman, Ummul Muminin 'Ayesha, Ummul Muminin Hafsa, Ummul
Muminin Umme Salma, Abdullah ibn Mas'ud, Abu Huraira, 'Abdullah bin
'Abbas, and 'Abdullah bin 'Amar bin al'As.
There is ample evidence
to show that the entire Qur`an was committed to memory by some illustrious
Companions during the life time of the Prophet.
Tajwid
The act of reading the
Qur`an with accurate accent and other settled principles of recitation is
called tajwid. Literary meaning of the word tajwid is to beautify a thing. If the
Arabs happen to see anything beautifully made, for praising they call it
"Jawwad‑us‑shaii",
meaning thereby that this thing is beautifully made. Therefore 'tajwid' is an art of reciting the Qur’an in a beautiful tone
with due accuracy. In relation to the recitation of Qur`an, the art of 'tajwid' is a term applied to the
accurate pronunciation of words according to settled rules without any
changes whatsoever.
Tajwid is thus the knowledge of the recitation of the Qur`an. It ensures correct recitation of the
Qur`an.
Tilawat
'Tilawat' literally means reading.
This word is derived from 'tilawa' meaning to follow step by step. Tilawat
as a term is exclusively used for reading or for recitation of the
Qur`an. As the lips move in the
reading or for recitation of the Qur`anic words the mind has to ponder over
the meaning.
Question arises as to what is the exact nature of the 'slow,
measured rhythmic tone'.
In the case of other
branches of knowledge it is possible to preserve the basic principles in a
written form. It is obvious that in
case of recitation it is not possible to do so. In the absence of any instrument of sound recording it is
almost impossible to learn the intricacies and to preserve and pass them to
others.
In the case of recitation
of the Qur`an the Muslims performed an extraordinary feat. The Prophet himself taught the correct
recitation to the believers. Those who learnt correct recital got approval of
the Prophet.
They in turn taught
others after satisfying that the recital was of the same standard, as they
had learnt and gave their approval.
This practice of reciting the Qur`an and obtaining the approval from
the respective masters was a regular feature during the month of Ramadhan. There is an unbroken chain which continues
to the present time. Thus the correct way of recital is fully preserved.
Accurate pronunciation
has got its own importance in every language. In almost all languages,
standards for correct pronunciation have been fixed and any violation of the
standard pronunciation is considered as wrong. It is generally considered – which is quite reasonable also –
that the pronunciation of the people who speak the language (as their mother
tongue) should be accepted as the standard one.
But when any language
expands and spreads over other regions, differences in pronunciation are
bound to creep in and therefore, there would be lot of differences in
pronunciation of the people speaking the same language but belonging to
different regions. Under these
circumstances, the pronunciation of the people who speak the language as
their mother tongue will have to be recognised for the purpose of prescribing
standard pronunciation.
With regard to English
language, it is said that the pronunciation of a particular place in London
is accurate or the pronunciation of the people belonging to Oxford University
is the standard. Similarly, with regard to Urdu language it is said that the
pronunciation of the people living around Jama Masjid, Delhi is the
standard one, or for that matter people of Lucknow have a correct accent.
Therefore, for recitation
of the Qur`an, the accurate pronunciation of Arabic words as pronounced by
the Quraish tribe cannot be ignored.
With regard to the preservation of the Qur`an it was necessary to
preserve the letters and the words.
In the same way it was also quite essential to preserve the
pronunciation of the Qur`anic words.
With the slightest variation in the mode of pronunciation the meaning
can change. As it is already said,
special arrangements were made and precaution taken for the purpose of
protecting the letters and script of the Qur`an. The text was committed to writing under the personal
supervision of the Prophet. Side by side many believers also memorized the
Qur`anic messages as soon as they were revealed. Similarly, steps were taken for protection of the accurate
pronunciation. This is the speciality
of the Arabic language that slightest difference in pronunciation or accent
would change the meaning of the word altogether, therefore, special care had
to be taken for this purpose.
As far as the writing is
concerned although the letters do represent the sounds, they do so to a very
limited extent. The script, however
phonetic it may be, cannot fully and accurately represent the
pronunciation. It is therefore, a
matter of great importance to determine the correct and standard
pronunciation of every word and to set standard for that purpose.
However the limitations
of a script cannot be ignored. There
are certain words in every language which could be pronounced in two
different ways denoting altogether different meanings. Therefore, unless one listens to the
other, pronouncing a word with accurate pronunciation cannot be learnt.
Same is the case with
Arabic, too. When a long period of
fourteen hundred years has lapsed there could be substantial changes in
pronunciation also. Due to scientific
achievements, it is now possible to preserve accurate pronunciation with even
minute details of variations in the accent on records, tapes and
cassettes. But there was no such
facility available in the period when the Qur`an was revealed, it therefore
posed a very important problem as to how best the accurate pronunciation of
the Qur`anic text could be preserved and which of the pronunciation should be
preferred as accurate from among the different ones being used in different
regions.
Another difficulty is
related to the pause in the pronunciation. It has to be determined, at what
particular syllable a pause should be given to pronounce a word accurately to
denote the intended meaning. Because
if a pause is given at a wrong place the meaning of the word would not only
change but even in certain cases give opposite meanings.
Therefore, it is clearly
laid down as a principle to place a pause in pronunciation. Similarly, details relating to pause in
reading the Qur`an are also important. This will be referred to later on in
this study.
Recitation or ‘qirat’
is a full fledged discipline of protecting not only the Qur`an but the
accurate accent of the Qur`anic words also. When the Qur`anic ayaat
were revealed, Prophet Muhammad (S) used to commit them to his memory and
then he took special precaution to read them to certain companions and asked
them to remember the ayaat accurately. He used to check and cross‑check the ayaat by
reciting them himself and then Companions were asked to frequently repeat the
same. He established a special (House
of recitation) in the residence of Arqam Maqzumi near the Safa mountain which
was previously used by the holy Prophet for the purpose of propagation of
Islam secretly during the first three years of revelation i.e., 610 to 613
AD. The house was used for extensive
reading of the Qur`an. The rules of
correct recital were prescribed which in due course of time became a regular
science.
After migration, there
existed a group of persons called 'Ahle Suffa' who renunciated their
houses and spent rest of their lives on a platform in the Nabavi Mosque.
Prophet Muhammad (S) used to get the Qur`anic ayaat committed to their
memory and these persons in turn used to go into the streets of Medina and
get these ayaat memorised by others.
In this way, certain Companions who knew reading and writing used to
get it written under their supervision.
Same method was continued by the Companions even after the demise of
the Prophet Muhammad (S).
There is no doubt
whatsoever that during the last fourteen hundred years, after the demise of
the holy Prophet, the Companions and Companions of the Companions (tabi'een) and then the Muslims of the
following generations made exemplary arrangements for the preservation and
protection of the Qur`an. Every
generation of Muslims tried to retain the correct recital of the Qur`an
intact and passed it on to the next generation. Firstly arrangements were made to ensure the correctness of the
short and long vowel and the dots, secondly care was also taken to ensure the
correct recitation of the Qur`an with accurate pronunciation, and this
subject was developed into a special branch of learning, called 'tajwid'
which is considered as a miracle of the Qur`an itself.
There are three main branches of 'Ilm al
tajwid':
1.
The correct
pronunciation of letters and the variations of pronunciation in different
places.
2. The correct length (prolongation) and
emphasis given to vowels under different circumstances.
3. The correct stop or pause.
There are several
advantages of the art of 'tajwid' which preserves the original text of the
Qur`an and one gets the honour of reading the Qur`an with due accuracy and it
creates a new zeal and liking among people to keep on reading the Qur`an. The
art of 'tajwid' is related to the
Qur`an in the same manner as tune is to a musical instrument, and Muslims
made it an art by itself.
Since music and painting
are not having religious sanction, the aesthetic talents of Muslims found
expression in the development of art of tajwid
and calligraphy. As the tajwid in relation to the recitation
of the Qur`an is further qualified by certain settled principles peculiar to
it, the learning 'tajwid' by an
expert and qualified teacher becomes essential. This was a matter of necessity to learn the accurate
pronunciation from person to person as there were no other means like tape‑recorder
etc., which are now available due to scientific and technological
development. Therefore, in order to
preserve the original mode of recitation in which Prophet Muhammad (S), used
to recite, it became necessary for every succeeding generation to obtain and
preserve it from the preceding one.
And this was actually done. In
the beginning a special group of Companions was constituted which learnt recitation
directly from the holy Prophet and thereafter this group taught to the other
succeeding groups and this process of learning continues even today. This was the reason that Ameer al Muminin 'Umar bin Abdul Aziz
described the art of 'tajwid' as
essential.
Recitation of the Qur`an
in a proper way is considered as a part of belief itself and it is based on
the authority of the Qur`an.
The rules and principles
of 'tajwid' determined by Muslims
are essentially in strict accordance with the instructions of the Qur`an and
of the Prophet. The following ayaat of the Qur`an lay down:
1. "... and with measured tones recite
the Qur`an". (Qur’an 73:4)
2. "...and who read it (the Qur`an) as
it ought to be read". (Qur’an 2:121)
The importance of 'tajwid' can more easily be realised
by the Prophetic Traditions in this regard, which are over one hundred in
number. For example:
1. Recite the Qur`an in the same way in which
you are taught.
2. Read Qur`an according to Arabic tone and
accent.
3. Decorate the Qur`an with melodious voice
because it would increase the beauty of the Qur`an.
4. Everything has got an ornament and the
ornament of the Qur`an is its melodious recitation.
5. It is mentioned in Fatawa‑Kabir:
لايجوز
تلاوة
القرآن للذي
ليس له اداء
لان الاداء
فرض وتلاوته
نفل ويجوز
ترك النفل
بجهة الفرض
Translation:
It is not
permissible for a man to recite Qur`an who cannot do so according to 'tajwid' because recitation of the
Qur`an is recommendatory (nafil) while reading it according to 'tajwid' is obligatory (farz)
therefore, a recommendatory thing can be rescinded for the sake of obligatory
thing but not vice versa.
6. Baihaqi records the
following tradition:
Ali bin Abi
Talib said:
'Tajwid' is an art of pronouncing
the words of the Qur`an according to accurate account and settled pauses.
Since the Qur`anic words are capable of
being pronounced in more than one way, the way in which particular word was
pronounced by the holy Prophet would form a basis for the art of recitation.
This was an accepted
principle that as the mode and tone of recitation of the Qur`an should be
according to the recitation of the Prophet, who belonged to Quraish Tribe,
recitation of the Qur`an should be according to Quraish pronunciation and
Quraish accent and tone. It should be accepted as the standard one.
Whatever differences of
opinion with regard to the prophetic tone and accent were expressed are
recorded with relevant references and even the minute details relating to
vowels, dots and movements. The
purpose was to preserve everything relating to the recitation of the Qur`an
so that the Qur`an could be preserved intact. Some selfish persons for the sake of expressing their own
knowledge and personal benefits deliberately concocted false stories. For example one person Yaqub was beaten by
the Khalifah and one ibn Shanboodh was beaten with strips by the minister ibn
Muqallah. Both of them confessed their guilt and promised to refrain from such
mischief in future. Certain persons
were even reckless to tamper with the Qur`anic ayaat.
It requires longer time
for one to know the details of the art of recitation of the Qur`an and that
qualified 'huffaz' are the protectors of the text of the Qur`an. This is proved by some examples, too.
It is common rule that if
the silent noon‑sakit (n which is not pronounced) or noon‑e‑tanwin (n which is pronounced) appear before La'am (as L) or Ra (as R), it is so merged into 'Laam' or 'Ra' that 'noon' is not
pronounced at all. For example 'manllam' is pronounced as 'mallam', 'minrab' is pronounced as 'mirrab'.
But according to the
report of Imam Hafs, Prophet Muhammad (S) while pronouncing a particular ayah
(Qur’an 75:27) gave a pause, after 'noon‑sakit'
(i.e. silent n) and pronounced 'noon' clearly. The same method is followed by all the
subsequent Quaris (those who recite
Qur`an according to the settled rules of pronunciation and accent).
If it is necessary to give a pause in the recitation of the
Qur`an, details of this pause are found in tajwid.
While reciting the Qur`an
if breath is disturbed the sequence of communication would also be broken,
therefore pause is necessary to be given at correct place for normalising
respiration. Scholars developed, as a
part of the art of recitation, a separate branch of 'the art of pause and the
beginning' which is indicated by the marks of pause at various places in the
Qur`an where it is mandatory for the reciter to give a pause.
During the life time of
the holy Prophet pause was given only at the end of each ayah which
was followed till the period of Abu Omer bin 'Ala Nafey who was the first
person to permit a pause during the ayah also, provided meanings were
not affected. Then Hamza adopted the
method of giving pause wherever the breath broke. Sajawandi and others used certain special types and places of
pause and made it a full fledged discipline named as 'Rumuzul Qur’an'.
Scholars described about twenty types of pauses such as waqf‑e‑Jayez (lawful
pause), waqf‑un‑nabi
(Prophet's pause) etc.
Certain Qur`anic words
are pronounced differently because of their etymological differences or
different reports. These are termed as variant readings. It is, however clear
that they are very minor and insignificant and therefore, have no bearing on
the meanings of the words. Because of these variant readings neither a
permitted thing is described as forbidden, nor a forbidden is described as
permitted. Secondly every variant reading is based on some report, therefore,
if a reporter is reliable, his recitation would be accepted, if he is weak,
it would be rejected. As has been
mentioned earlier, two such persons who used to recite wrongly were punished
and prevented from repeating their mischief.
Therefore, the mode of
recitation adopted by Prophet Muhammad (S) was passed on safely through
generation to generation and reached us.
Thus the mode of recitation having this continuity is accepted as
obligatory. The following seven
reciters were famous during second/eighth century:
1. In
Makkah Abdullah bin Katheer‑ud‑dari (d.120/738) was from among
the tabi'een (Companions of the
Companions), and had met the famous Companions like Anas bin Malik, Abdullah
bin Zubair, Abu Ayyub Ansari etc.
2. Nafey
bin Abdur Rahman bin Abi Nayeem (d. 169/786) benefited himself from seventy
of such Companions who were directly trained in recitation by Abi bin Kaab,
Abdullah bin Abbas and Abu Huraira.
3. In
Syria Abdullah Yahsabi (d.118/736) was famous for his recitation. He learnt
recitation from Mughaira bin Abi Shahab who received this art from Ameerul Muminin Uthman bin Affan.
4. In Basra Abu Amar
(Zayyanul ' Ula bin ' Ammar ) (d.154/771) learnt recitation through Mujahid
bin Jubair and Sayeed bin Jubair, from Abdullah bin Abbas and Abi bin Kaab.
5. In
Basra Yaqub bin Ishaq Hazrami ( d.205/820) was benefited by Salam bin
Sulaiman. He in turn had learnt from 'Asim and Abu Amar.
6. In Kufa Hamza bin Habeeb (d. 188/804)
benefited, through Sulaiman bin Mehran 'Amish and through others from Ameerul
Muminin Uthman.
7. 'Asim
ibn Abil Najud Asadi (d. 127/745) learnt through Zarr bin Jubaish, from Ameerul Muminin Uthman, Ameerul Muminin 'Ali and Abdullah bin
Masood.
To these seven reciters
following three are added and called 'ten reciters' i.e., 'qirat ashra'.
1. Ali bin Hamza bil Kasa'i (d.189/805)
2. Khalaf bin Hisham (d.229/844) who learnt
recitation from Kaleem bin 'Isa bin
Hamza Zayyat.
3. Yazid bin Qa'qa alias Abi Ja'far (d.130/748) who learnt
recitation indirectly through Abdullah bin Abbas, Abu Huraira and Abi bin
Ka'b.
If the following four are
added, they would be called "fourteen reciters " they are:
1. Hasan
Basri (d.110/728)
2. Muhammad Abdur Rahman (d.123/741)
3. Yahya bin Mubarak Yazidi (d.202/818) who
was eminent grammarian. He learnt
recitation from Abu Amar (at serial No. 4, and Hamza (at serial No. 6,)
4. Abdul
Farah Muhammad bin Ahmed (d.388/998)
In the fourth/tenth
century, Imam Abu Bakr Ahmed bin Musa bin Abbas who is well known as ibn
Mujahid (d.324/936) while referring to 'seven reciters' substituted the name
of Ali bin Hamza bin Kas'i in place of Yakub bin Ishaq. When ibn Mujahid selected these seven
reciters, it was generally believed that the seven words 'Saba ahraf' in the Prophetic hadith
refers to the seven reciters. In fifth/eleventh century Abu Amar Al Dani
Andulasi (d.444/1052) achieved great popularity. Dhahbi describes that the art of recitation ended with Al
Dani. Al Dani also determined the
number of reciters as seven and he wrote the famous book 'Al‑Taiseer'.
Presently recitation is taught according to his method throughout the
world. In sixth/twelfth century Imam Abul Qasim bin Fera Andulasi
(d.590/1194) a blind reciter, achieved great popularity. He presented the famous book of Al‑Dani
'AlTaiseer' in the form of a poem consisting of 1173 poetic
couplets. This is called 'Qaseeda‑e‑Lamia' (each
couplet ends with the letter La'm). There are more than fifty commentaries of
this poem in Arabic. It is also
translated into Urdu language.
Similarly, one more book on tajwid
by Muhammad bin Muhammad jazri (d. 823/1420) called 'Muqadama Jazria' is presented in the form of a poem. Moula
Ussamuddin Tashikbari Zada (d. 968/1561) and other scholars wrote
commentaries of this poem.
According to Sunnah, there are six types of recitation,
namely:
1. Continuous
(mutawatir) which refers to
the recitation followed from a
particular group, whose truth is never denied. The seven reciters prior to
Imam Abu Bakr Ahmed bin Musa bin Abbas, are unanimously accepted to be
continuous.
2. Famous
(mash‑hur) refers to the
recitation whose testimony is established and which is reported by one
authentic reporter from another authentic reporter and which is in accordance
with Mas'haf Uthman. This can
neither be dubbed as unauthentic nor can be accepted as continuous.
3. Non‑famous (ghair mash‑hur) is one which may be authentic but is not in
accordance either with Mas’haf Uthman or the Arabic language.
4. Rare (shadh) is one which is not authentic or whose authority is not
reliable.
5. Fabricated or unauthentic (Moudhu) is one which is attributed to
someone without authority. For
example Abul Fazl Muhammad bin Ja'far Khaza’i (d. 408/1017) collected some
recitations and attributed them to Imam Abu Hanifa.
6. Recorded (mudrij) is one which is similar to a mudrij sunnah and in which a word is added for the sake of
elucidation.
Seven Letters of Qur`an
In one hadith the Prophet is reported to have
said:
"This Qur`an is
revealed according to seven letters, you may follow whichever is easier for
you".
This resulted in
difference of opinion among the Islamic scholars as to what is meant by seven
letters. Some considered this seven number as referring to the seven modes of
recitation. Some believed that the number seven is used in the tradition to
refer to multiplicity of description, i.e., unspecified number while some
believed this number as referring to seven dictions or seven tones found in
Arabia.
However, Nizamuddin Qumi
Nishapuri, in his commentary 'Gharaibul
Qur`an' recorded the saying of Imam Malik that the number seven is used
to mean the following seven types of differences in recitation, namely:
1. Difference of singular and plural.
2. Difference of masculine and feminine.
3. Difference of short and long
vowels.
4. Difference
of nature of use.
5. Difference of letters which indicate
Arabic punctuation (huroofe‑nahviya).
6. Difference which changes the letters.
7. Difference in tones.
Some scholars believed
that the number seven refers to the seven types of meaning and the argument
for such an opinion is based on a hadith
that “previous books were revealed through one door whereas the Qur`an is
revealed through seven doors, namely deterrent, forbidden, dos, don'ts,
similar and examples”. But this tradition or hadith is considered as weak according to its source and the
number seven has nothing to do with the seven methods of recitation. All the
Islamic scholars agree that whatever, the mode of recitation reached us
through continuity can be followed and all such modes can be adopted for
recitation of the Qur`an, and it is not correct to limit such number to seven
only. This inference is not drawn out of inconclusive debate but is obtained
from the study of hadith and from
conflicting reports relating to
recitation.
The question as to
whether the continous recitation is based on seven letters or not is only a
theoretical debate which causes confusion. The argument that letters and
recitation are same, does not have any weight. Several reports are described
in several tones or recitations, and it is not necessary that difference of
opinion should be made a subject of discussion. Nobody noticed that what is
referred to in hadith is 'letter'
which cannot be interpreted to mean difference of diction or difference of
recitation or even difference of meaning. If one meaning is correct it
follows that the other meaning is wrong. Thus the words 'seven letters' used
in the hadith do not refer to the
seven modes of recitation. This is accepted by Abu Shamma in his treatise. He
says: "Some however still hold that the seven modes of recitation common
in use now a days are the same seven letters referred in the hadith.
But this inference is held by some illiterates and is against the consensus
of juristic opinion."
The eminent scholar Dr.
Mohd. Hameedullah (1908-2002) says: “There has been difference of opinion
among the scholars as to what is actually meant by ‘seven letters’. My
personal opinion is that it refers to tribal dialects”.
Imam Kabir Abu Bakr bin
Musa bin Abbas known as ibn Mujahid was responsible for this whole confusion.
The famous commentator of the Qur`an and renowned reciter Ahmed bin Ammar
Mahdavi (d. 430/1039) objected to him, thus: "The founder who collected
seven modes of recitation has done an unnecessary job which confused and
misled the Ummah to believe that
number seven used in the hadith
denotes the seven modes of recitation. He should have referred either less
than seven or more than seven to avoid confusion."
Mode of recitation of the
Qur`an was started by Prophet with a view of preserving the text of the
Qur`an and reading the Qur`an correctly is a part of this purpose. When the
Qur`an is preserved in the memories of millions of people and is also written
on paper the purpose of protecting the Qur`an is well achieved. Therefore
this basic purpose should always be kept in mind to read the Qur`an according
to 'tajwid'. Unnecessary
discussions and technical delicacies should be avoided so that the honour of
this discipline is not affected. For more than a billion Muslims, the Qur`an
is the meeting point and therefore, all people belonging to different places,
despite of differences in their language, tone or race, read the Qur`an
exactly in the same manner according to same principles or 'tajwid'.
Indian subcontinent is not
only a prominent region according to its Muslim population, but during last
one thousand years it has given birth to several experts of 'tajwid' in every part. These experts
further developed this art and continued it even today.
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