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Abstract

The current study aimed to examine the ornamental design systems employed in Qur’ānic manuscripts, focusing on the celebrated copy of the Qur’ān produced by Yaqut al-Mustasimi in 690 AH/1291 CE, a distinguished exemplar of the Baghdad School. The research addressed the problem of how illuminators developed systematic ornamental frameworks that balanced aesthetic harmony with the codicological functions of the manuscript. Adopting a descriptive-analytical method, the study investigated selected folios noted for their preservation, visual clarity, and representative artistic value—particularly the introductory pages and opening surahs. Through detailed structural analysis, five distinct ornamental systems were identified. These included quadrilateral symmetry, bilateral symmetry, radial organization, diffusion through modular repetition, and combined multiple frameworks. The findings demonstrated that these systems were neither arbitrary nor purely decorative, however, grounded in geometric logic and deliberate design methodology. A notable feature is the integration of symmetry with controlled asymmetry, particularly in double-page spreads, which ensured continuity between facing folios and reflected advanced spatial planning. The research highlighted how Baghdadi illuminators, constrained by the prohibition of figural imagery, transformed vegetal and geometric motifs into highly sophisticated compositional systems. These strategies not only defined the visual identity of the Abbasid Qur’ān but also established a legacy that shaped later Islamic manuscript traditions. By articulating the methodological foundations of these systems, the study contributed to a deeper understanding of Islamic manuscript design. Additionally, it provided a framework to analyze ornamental logic in historical and contemporary Qur’ānic art.