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This paper aims to investigate a linguistic issue related to Sari Al-Deen Al-Durori (d. 1066 A.H), a renowned Arab linguist in the 11th century of the Islamic calendar. Despite being relatively unknown to modern scholars and researchers, this linguist has left behind a valuable knowledge legacy and held a significant scientific standing among his contemporaries. The focus of this study is on 'Baiti A-Raqmatain', a topic that has been subject to various interpretations by Arab linguists, including grammarians. In this paper, the author presents ten different perspectives addressing the problems in 'Baitia A-Raqmatain'. Additionally, the author introduces a syntactic interpretation and meaning, along with three new opinions that have not been previously discussed in the literature. I was inspired to write on this topic after reading several valuable manuscripts by renowned Arab scholars covering various areas of knowledge. Among them, I came across the works of Sari Al-Deen Al-Durori, an Arab intellectual who, in my opinion, has not received the recognition he truly deserves. Sari Al-Deen Al-Durori was a prominent scholar of the 11th Hijri century and has left behind a scientific heritage that is worthy of study and research. The study is divided into two sections. The first section focuses on discussing the author himself, including his background, birth and death dates, his jurisprudential and doctrinal school, scholarly reputation, influential teachers, disciples, and written works. Within this section, I also delve into the manuscript itself, examining its attribution to Sari Al-Deen, the author's methodology, language and style, as well as its form. I conclude this section with a comprehensive systematic review of the investigation. The second section of the study is dedicated to the transcription and documentation of the analyzed texts, including commentary, following commonly accepted investigation rules. I wrap up this section by providing a list of references used throughout the study. [ABSTRACT FROM AUTHOR]

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Muslims in general, Moroccans and Andalusians in particular, took care of the Mus'haf. In terms of the material on which it was written, the people of the Islamic West began writing the Mus'haf on parchment, which was used in the Mus'haf until recently. Then they started writing on paper since (AH 5th / AD 11th) century. As for the type of calligraphy, the Kufic script was used to write the Mus'haf until the (AH 5th / AD 11th) century, Until it was replaced by the Moroccan script.As for the ink colors, it was used black in writing, red in tashkil (signs), and yellow in the titles of the Surahs. In terms of binding, it began simple by using wooden panels that were covered in leather or fabric, and then studded with gemstones, gold and silver flakes, Then the wood panels were replaced with paper covers that were covered in leather and decorated with ornaments and gilding. The Mus'haf under study is a model of the Moroccan Mus'haf, in which the features of the manuscripts and Mus'hafs in the Islamic West are clear, Through the study of this Mus'haf, the Moroccan manuscript industry will be shed light on since its inception, following the stages of its development and monitoring its most important features.The Mus'haf under study is kept at the Abi Mohamed El Marjani Mosque in Tunis. This mosque was established during the reign of Sultan Abi Hafs Omar (683--694 AH / 1284-1294 AD) by Sheikh Abi Muhammad al-Marjani. Today, the Mus'haf is in an acceptable state of memorization - except that some of its papers were partially damaged - as it keeps all of its original pages and books, and it belongs to the pattern of the Mus'haf. The pages of the Mus'haf were written in extended Moroccan calligraphy, as well as the conclusion page, which contains the name of the calligrapher and the commander of writing the Mus'haf, and the history of the void of his writing in the Maghribic script (Fassi script). The pages of the Mus'haf were written in black ink, except for the titles of the fence and their data, and they were written in golden ink. The conclusion page also wrote a dark red supply.

Copyright of Journal of Al-Frahids Arts is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)