who had nothing to do with it. It was edited by al-Ḥusainī al-Ḥaddād. It was set with about half of the sorts designed by Muḥammad Ǧaʿfar Bey (m. 1916) ‒ stacked ligatures, and mīm without white in the middle were used in the afterwords, but not in the qurʾānic text because Ḥifnī Bey Nāṣif wanted it to be clear = easily readable (and with space between words, and between lines).
And she give a sources:
La décision du roi Fuʾād de confier au cheikh ʿAbd al-ʿAzīz al-Rifāʿī (m. 1936) la tâche d’éditer le Coran a-t-elle représenté une initiative marginale aux yeux des historiens de l’islam moderne² ? ²ʿAzab, Ḫālid & Ḥasan, Muḥammad, Diwān al-Ḫaṭṭ al-ʿarabī fī Miṣr. Dirāsa waṯāʾiqiyya li-l-kitābāt wa-ahamm al-ḫaṭṭāṭīn fī ʿaṣr Usrat Muḥammad ʿAlī, al-Iskandariyya, Maktabat al-Iskandariyya, 2010, p. 383.On p. 383 there is nothing of what Asma claims. Just that ar-Rifāʿī wrote a muṣḥaf for the king – nothing about the Amīrīya edition of 1924!
... Muḥammad ʿAbd al-ʿAzīz al-Rifāʿī (m. 1936), ce dernier étant le calligraphe du Coran du Roi Fuʾād.
Both her claims are typical Asma Hilali = her imagintion without factual base.
And for a typeset muṣḥaf, for a muṣḥaf famous for being typeset, that it was calligrahped is even more Asma-like than ordinary.
