Neuwirth's Nonsense: Qur'ān vs. Muṣḥaf

Once you are a diva, commoners don't prevent
you any more from writing nonsense.
Be it that they don't dare to,
be it that they think: When the goddess says so, it must be so.

The Qur’ān in its emergent phase is not a pre-meditated, fixed com­pilation, a reified literary arte­fact, but a still-mobile text re­flecting an oral theo­logi­cal-philo­sophi­cal debate bet­ween diverse inter­locutors of various late antique de­nomina­tions.
Angelika Neuwirth, "Two Faces of the Qurʾan" in Kelber, Sanders (eds.): Oral-Scribal Dimensions ... Eugene, OR: Cascade 2016. p.172

So far: no problem.
But a truism for "its emergent phase".

Islamic tradition, however, does distinguish between the (divinely) “authored Book,” labelled al-muṣḥaf ... and the Qur’ānic com­munication process, labelled al-qur’ān.
first in Oral Tradition, 25/1 (2010): 141-156, here: 143
later in Werner H. Kelber, Paula A. Sanders( eds.) Oral-Scribal Dimensions of Scripture, Piety, and Practice. Eugene, OR: Cascade 2016. pp. 170-187, here: 173?

No footnote. No sources given.
For the "Islamic tradition" it should be easy to give lots of sources,
but does the Islamic tradition really see al-qurʾān as a com­muni­cation?
Do Muslims really call the Divine Book al-muṣḥaf?

No and No.
Utter Nonsense! True Neuwirth.

Yes, Muslims make distinctions:
al-kitāb ‒ al-qurʾān ‒ al-muṣḥaf
But al-qurʾān is not a process.
It can be recitation (the core meaning of the word).
It can be the same as al-Kitāb, the divinely authored Book in heaven.
al-muṣḥaf is the rather mundane materia­lisation, not on a tablet in heaven,
but between two covers on earth ‒ be it written by hand, be it printed.
Before reading Neuwirth ‒ and after reading her ‒ I thought that they call the divine book al-kitāb.

If my credentials are too weak, you might rather believe Yasin Dutton:

we need to distinguish between kitāb, qurʾān and muṣḥaf, which we can see as three aspects of the same thing. Kitāb, we would say, is the divine­ly-pre­served ‘original’, which, as God’s speech (kalām) and there­fore one of the divine attri­butes, is, strictly speaking, inde­finable in human terms. In a sense it belongs to a different realm: it is ‘that book’ (dhālika l-kitāb; Q. 2. 2) rather than ‘this Qurʾān’ (hādhā al-qurʾān; e.g. Q. 6. 19, 10. 37, etc). It is, as the Qurʾān says, a book that has been sent down in the form of a qurʾān in the Arabic language (kitābun fuṣṣilat āyātuhu qurʾānan ʿara­biy­yan [‘a book whose āyas (‘signs’, ‘verses’) have been demar­cated (or ‘clarified’) in the form of an Arabic Qurʾān’] Q. 41. 3) so that it can be under­stood by people. One could say that it is from the out-of-time and comes into the in-time on the heart, and then the tongue, of the Messenger: ‘The Trust­worthy Spirit brought it down onto your heart for you to be one of the warners, in a clear Arabic tongue’ (Q. 26. 193–5). But in doing so it takes on some of the characteristics of ordinary human speech: it is in their language ...
we could say that the kitāb of Allah gets expressed as qurʾān on the tongue of the Messenger, and then as ṣuḥuf and maṣāḥif by the pens of the Muslims—and all are aspects of one and the same thing. Wa-l-lāhua aʿlamu bi-l-ṣawāb.

"ORALITY, LITERACY AND THE 'SEVEN AḤRUF' ḤADĪTH" in Journal of Islamic Studies, Vol. 23, No. 1 (January 2012). pp38ff.

al-muzzammil 20, page 775

In Kein Standard I show 26 images of prints by the Amiriyya and reprints, clones of surat al-muzzammil verse 20.
I started with the two copies held by the National (Prussian) Library: the first print from 1924 and a print with reduced margin from 1929.
American university libraries hold other copies. So here are page 775 from 1925:

and 1930:

van Putten's QCT again

"QCT" is a bad name for a bad concept.

bad name ...
because many of its letters are not consonants.
Aḥmad al-Jallad was kind enough to inform me that
these letters ARE con­sonants USED as some­thing else:
con­sonants "re­purposed", cons­onants func­tioning as vowels.

In my philosophy (and that of Wittgenstein II) this makes no sense:
words ARE what they are USED for = they have no essence apart from the way we use them.

But this is not very important.
Important is whether the text
we are dealing with
is purely con­sonant­al.
And unlike all Safaitic, Hismaic, and Thamudic texts
the Early Quranic Text is clearly not purely con­sonantal.
van Putten's term QCT for the Common Early QT is wrong
because many of its letters stand for long vowels,
because many of its letters stand for diphtongs,
because one letter stand for end of word (alif after waw),
because many of its letters stand for short vowels,
‒ not only those that are marked in Giza24 by a circle (in IndoPak with no sign),
    but those seen now as seat/carrier of hamza.

bad concept
Marijn van Putten:

The QCT is defined as the text reflected in the consonantal skeleton of the Quran, the form in which it was first written down, without the countless … vocalisation marks.
The … QCT is roughly equivalent to … the rasm, the … undotted consonantal skeleton of the Quranic text,
but there is an important distinction. The concept of QCT ultimately assumes that not only the letter shapes, but also the con­sonantal values are identical to the Quranic text as we find it today.
As such, when ambiguities arise, for example in medial ـثـ ،ـتـ ،ـبـ ،ـنـ ،ـيـ , the original value is taken to be identical to the form as it is found in the Quranic reading traditions today.

When I look at van Putten's slide, I get what he means by "the Quranic text as we find it today":
Ḥafṣ without the "countless" marks.
The QCT can not be "identical ... to the reading traditions" ‒ because ‒ as I have shown before ‒ many skeletal words do have different dots;
skeletal words stand for different words ‒ they are identical to themselves, NOT to their brothers in another reading.
Here just some words from the first suras differently dotted for Ḥafṣ and Warš:
ءَاتَيۡتُكُم ءَاتَيۡتنَٰكُم (3:81) تَعۡمَلُونَ يَعۡمَلُونَ (2:85) تَعۡمَلُونَ يَعۡمَلُونَ (2:140) (3:188) تَحۡسَبَنَّ تَحۡسِبَنَّ (4:73) تَكُن يَكُن (2:259) نُنشِزُهَا نُنشِرُهَا (2:58) يُغۡفَرۡ نَّغۡفِرۡ (2:165) يَرَى تَرَى ترونهم يرونهم (3:13) (3:83) يَبۡغُونَ تَبۡغُونَ يُرۡجَعُونَ تُرۡجَعُونَ(3:83) (3:115)يَفۡعَلُوا تَفۡعَلُوا يُكۡفَرُوهُ تُكۡفَرُوهُ (3:115) يَجۡمَعُونَ تَجۡمَعُونَ (3:157) (2:271) يُكَفِّرُ نُكَفِّر (3:57) فَنُوَفِّيهمُ فَنُوَفِّيهمُۥۤ (4:13) يُدۡخِلۡهُ نُدۡخِلۡهُ (4:152) يُؤۡتِيهِمۡ نُوتِيهِمُۥٓ‍
Some other examples:
4:94
fa-tabayyanū
fa-taṯabbatū

2:74, 85, 144
yaʾmalūn
taʾmalūn

2:219
kabīr
kaṯīr

2:259
nanšuruhā
nunšizuhā

3:48 wa-nuʿallimuhu
wa-yuʿallimuhu

Yes, the rasm was not meant to be a naked drawing,
people did read it.
But to assume they read Ḥafṣ is just stupid.
Better a naked skeleton than a text fleshed out in ONE way.
It would be nice to have a COMMON Skeletal Text with all the dots,
on which ALL canonical readers agree
‒ which requires ihmal signs for rāʾ, dāl, ḫāʾ, final he, ṭāʾ, ṣād and sīn.
Just for those not familiar with ihmal signs:
for all letters V = two bird wings = لا can be used
for ḫāʾ, final he, ṭāʾ, ṣād and sīn a small letter (not unlike the little kāf in end kāf),
and for rāʾ and dāl a dot below tell us: not ǧīm, not ḫāʾ, not ẓāʾ, nod ḍād, not šīn, not zāʾ, not ḏāʾ!

al-rasm al-ʿUṯmānī vs. "al-rasm al-ʿUṯmānī"

Orientals have a well-established narration about the collection of the qurʾān
and its subsequent dissemination to the central cities of the empire.
Orientalists ‒ keener in scru­ti­ni­zing real old manu­scripts ‒ had the best time ever:
first came the quranic manu­scripts from the Great Mosque of San'a'
then came the realisa­tion that a couple of fragments belong together: that they had been one codex in the ʿAmr ibn al-ʿĀṣ mosque in Fustat before being dis­persed.
And after studying the famous palimpsest and the frag­ments in London, Paris, Peters­burg Orientalists came away "assuming/knowing" what Muslims had "believed/known" for a long time:
during the caliphate of ʿUṯmān the text has been stan­dar­dised.
So far, so good.
But the Orientalists made another discovery:
The early manuscripts were not written in the spelling known as "al-rasm al-ʿUṯmānī",
but in what Michael Marx calls "Hijāzī spelling" ‒ im­pli­citly calling the common "rasm al-ʿUṯmānī" "Kūfī spelling"
‒ although one finds some "Hijāzī spelling" ( علا for على
; حتا for حتى ) in Kūfī mss.
In order not to burry the ʿUṭmānic rasm Behnam Sadeghi comes up with a new concept: the mor­phe­mo-skele­tal text: never­mind the concrete rasm, as long as it is the same mor­pheme (David, thing, about, until) it is the same text.
I have no problem with that,
but I protest, when someone calls "al-rasm al-ʿUṯmānī" (fixed/dis­co­vered/in­vented about four centuries after ʿUṯmān) al-rasm al-ʿUṯmānī without quotation marks.
You can cling to ad-Dānī's rasm, but please do not call it ʿUṯmānic rasm, because it is not!
"belonging to the ʿUṯmānic text type" is fine:
Persian and Ottoman mss. have the ʿUṯmānic text, but not the "ʿUṯmānic rasm", and the ʿUṯmānic rasm is not known.

Kūfī verse numbering

It is not wise to repeat hearsay.
But sometimes we do it never­the­less.
Somewhere I had read that in India the Kufī numbering system
has five more verses than the Egyptian Kufī system ‒
with­out moving any end of verse (there­fore both being Kufī),
just by splitting five long verses.
Adrian Alan Brockett wrote that in the 20th cen­tury the dif­feren­ces have been reduced
‒ with­out giving chapter and verse.

But here are four places where India used to differ from Arabia:
4:173,       6:73,               36:34+5 were
4:173+4 , 6:73+4 resp. 36:34.

In Encyclopedia of Islam II A.T.Welch writes that in India 18:18 was split in two. I can not confirm this. He further writes that Pickthall has this split verse ‒ correct ‒, and that it was only changed in 1976 ‒ it was changed in 1938.

BTW, the Ottomans did not have here an addi­tional end of verse:

added later:
2:246 and 41:45 can be different in India from Gizeh24 (Brockett p.29)
BHO had both Kufī and Baṣrī, known 100% like "modern" Kufī.
HOQz, MNQ, (HaRi and ar-Rušdi) had exactly the same Kufī numbers as we have today ‒ like Muṣḥaf al-Muḫal­la­lātī and KFE.
al-Muḫal­la­lātī is even one of the four authorities giving in Hyderabad38:

Persian / Iran

In one of my first German posts I show that ʿUṯmān Ṭaha writes less calligraphicly than the 1924 Egyptian government print: UT has a strict base line, no mīm without white space in the middle = no mīm below lām: the next letter is always to the left. In the UT style vowel signs are always near "their" letter <--> in traditional Ottoman and Persian style they must only be in the right order.
All in all, ʿUṯmān Ṭaha is very close to the style of the Amiriyya = a simple Ottoman style.
In a German text I focus on orthography, giving most attention to the Maghrebian-Arab and to the Pakistani-Indian ones
and consequently on the new Arab calligraphic style and the new Pakistani-Indian one. Of course, I display examples from Morocco, from the Sudān, from Russia-Tartaristan as well -- and the earlier Indian style from Lucknow plus example from Punjab, from Bengal and Kerala.
I show many examples from Turkey and the Mašriq, but from Iran, I show mainly Nastaʿliq ones.
Here you see the normal Persian "qur'anic" style, taken from old maṣāḥif, all recently reproduced.

although written by three different (famous) writers, they are similar.
Note in the bottom right, that (like sometimes in India) wa is separated from the word to which it "belongs", something forbidden in Arabic.

Here two more examples of wrong wa- at the end of a line. I find the first example shocking because the silent alif-waṣl is separated from its vowel /a/.

Fist images from four Iranian ʿUṯmān Ṭāhā editions:
Now an Arab-Persian version which the original ʿUṯmān Ṭāhā writing, but in 11 lines instead of 15 -- and again twice the grave sin against Arab orthography: wa- at the end of line:

Here a more traditional print: 604 pages, a Persan style close to ʿUṯmān Ṭāhā, mostly with the Persian help signs:

never trust a reprint

never trust a reprint ... you did not "improve" yourself!
Köҫök Hafiz Osman = Haǧǧ Ḥāfiẓ ʿUṯmān Ḫalīfa Qayiš­Zāde an-Nūrī al-Bur­durī (Hac Hattat Kayışzade Hafis Osman Nûri Efendi Burdur­lu, d. 4.Ramaḍān 1311/ 11.March 1894) wrote 106 1/2 maṣāḥif.
BülÜk Hafiz Osman (1052/1642‒1110/1698) wrote only 25 (but many En’am-ı Şerif, and hilye­ler) One on 815 pages (plus prayer, index, colophon) was often reprinted in Syria ‒ in Egypt mostly as re­feren­ce in lengthy commen­taries.
In Turkey one finds hun­dreds of different "reprints".
They never give a true picture of the original.


On the left you see a Syrian print (HO the Elder, twelve lines per pages, 815 pages) from before 1950 with many signs that are later missing:
small hā' and yā' for five and ten (fif­teen, twenty and so on)
small two letter signs always including bā' giving information about Baṣrī verse numbe­ring
small dotless letters under or above a dotless letter stressing its dotlessnes.

In the middle (HO the Younger) I have highlighted two places:
the first was changed by the modern Turkish editors (see the page on the right), because the letters and signs do not follow right-to-left clearly enough.
the second one (modern edition) show a different rasm ‒
a rasm by the way used by the same calli­grapher in the other (the "Syrian") muṣ­ḥaf:

the script

Whereas English is written with
A a B b C c D d E e
F f G g H h I i J j
K k L l M m N n O o
P p Q q R r S s T t
U u V v W x , ; . :
! ? " - 1 2 3 4 5 6
7 8 9 0 (  ) [  ] /  \
% & # ' + * ~ ^ { }
(80 chars)
the first qurʾān manuscripts just have
  ا   ٮ‍   ح‍ د ر و  ه‍ ط ك‍ ل‍
م‍ س‍ ص‍ ع‍ ڡ‍ ڡ ٯ ع ص س
* م ل ك ‌ـه‌ ح ٮ ں ى لا
(30 chars)

Most people know that the earliest manuscripts
do not have diacritical dots, no ḥamza sign, no numerals,
no shadda, no hyphen, colon, just an end of aya sign,
but hardly anybody is aware of two facts:

There is no space between words.
{Th. Bauer is wrong ("Words are set apart by greater spaces" in Peter T. Daniel, ed. p. 559).}
There is no hyphenation: end of line is insignificant.

Start letters and End letters are distinct letters
(although standing for the same sound, they carry a different meaning), whereas Start and Middle forms, End and Iso forms are "just" a consequence of the preceding letter.
As "conservative, liberals, god" are different from "Conservative, Liberals, God"
= A and a are not the same letter
ح‍ and ح are not the same letter
Just as capital letters carry a meaning (person, majesty, name, start of a sentence--in German: noun),
End (resp. Iso) carries the meaning: "end of the word".
Therefore there was no "space between words" -- or was it the other way round?
And because there is no End-waw (and because two alifs can not stand WITHIN a word),
after waw at the end of a word an alif was added: the word border runs between the two alifs.
Lakhdar-Ghazal saw a core letter and end markers:
ح ع م
ٮ ل ى
س ص ں
That does not work for all letters and not for all calligraphic styles.
Unicode sees colon, space, Non-Joiner as triggering the end form of ONE letter.
That is clearly wrong for the early manuscripts.

Bauer's "each letter may occur in four different positions: initial, medial, final, and isolated" is a truism, but it shows, that he noticed that the common statement "each letter has four forms/graphic shapes" is untenable, both because many have only one form (in typewriter script), and many have more than twenty (in "high" naskhi). Not trivial is "the common designation of the Arabic script as "consonantal" is incorrect, since the long vowels are represented but consonant gemination is not." (Bauer in Daniel p.561) -- although not ALL long vowels are represented (as Bauer knows of course), and some short vowels are represented and diphthongs as well.

don't confuse!

Perception is multilayered.
Some "see" blue, black and white.
others see strokes and dots,
others Arab words, or words from the beginning of the qurʾān or (among other things) 18 "dagger alifs".     I see only nine.
A "dagger alif" is a small alif, an Ersatzalif (supple­mentary alif)
or a Wandelalif (transforming alif).
The similar looking signs in the "Indian" muṣḥaf from Medina
are no alifs, but fatḥas, standing fatḥas or turned fatḥas,
not letters but vowel signs.
I fail to understand, how anybody can confuse a sign that sits on its letter (or near its ascender)
with a letter that follows a letter+vowel­sign-com­bina­tion.
Once one knows that in the African notation there must be a ḥarf al-madd to lengthen the vowel,
where­as in the Asian notation fatḥa, kasra, ḍamma each have a turned vari­ant for the long vowel,
one SEEs the difference.
Whoever does confuse long vowel sign and Ersatz letter is blind.
In the last line: two Wandel­alifs:
there is a ḥarf al-madd, but the wrong one: instead of alif (expected after fatḥa): waw resp. yāʾ here the small alif transforms waw resp. yāʾ into alif. (In the blue line above: (long) standing fatḥa again.)
So not 18 dagger alifs, just seven Ersatzalif plus two Wandelalif.
Not convinced?

Look at these examples.
If you don't see "argu­ments", study some­thing else (you are not made to study the writing of maṣā­ḥif).

Here the text from the King Fuad Edition about the small letters (among them "dagger alif"):

And about fatḥa, standing fatḥa, kasra, standing kasra, ḍamma and turned ḍamma.

rasm ‒ consonantal skeleton?

The most common translation for rasm
"consonantal skeleton" is wrong.
Look at the 22nd word of 3:195 واودوا
six letters,
definitely not six consonants.

On the sound level
Arabic, like any language,
has sonants and con-sonants.
But on the sign level,
there are just letters.
It doesn't make sense to talk of Phoenician, Arabic, Semitic consonant letters.
Only once there are sonants/vowels, there can be con-sonants/not sounding on their own.
Since Greeks speak no ḥ, they used the letter ḥēt for ē
Jota for ī, changed ʿain into Omikron, waw into Ypsilon (ū).


When you look into early qurʾān manuscripts,
you will see the letters function as end of word maker &
as long vowels & as diphthongs (ḥurūf al-madd wa'l-līn)
& as short vowels,
not only in the common اولٮك and the less frequent أولوا۠ but in ساورىكم
(7:145, 21:37), لاوصلٮٮكم
(7:124, 20:71, 26:49) and
in rare words like وملاٮه (7:103 + 11:97 + 43:46 ) IPak: وَمَلَائِهٖ / وَمَلَا۠ئِهٖ Q52 : وَمَلَإِيْهِۦ
and اڡاىں (3:144 + 21:34)
IPak: افَائِنۡ / افَا۠ئِنْ Q52: اَفإي۠ن .
Modern readers may perceive two silent letters:
one carrying a hamza,
one otiose.
Originally they stood for ayi or a'i or aʾi --
definitely for short vowels.
Both words are written in IPak with silent alif + yāʾ-hamza
in Q52 with alif-hamza + silent yāʾ.
Add to this alif as akkusativ marker (at the end), as question marker at the beginning, hāʾ (tāʾ marbūṭa) as femining marker
(plus wau as name marker at the end outside the qurʾān عمرو)
and common words like انا.
So, to call all letters "consonants", makes no sense.
To call the rasm "consonantal" is wrong.
Call it: skeleton,
letter skeleton,
basic letters,
skeletal text,
stroke,
drawing.
Unfortunately most academics repeat what their predecessors wrote,
they can't look for them*selves, don't mention thinking for them*selves --
whether female, male, trans*gender or non*binary.

Kein Standard Two (How did they make Gizeh 1924?)

Angelika Neuwirth, an expert on the genesis of the Qur’an before 623,
knows nothing about the history of printed maṣāḥif,
but she writes about it:

the mushaf, i.e. the text put onto sheets, bound between two covers, was trans­mitted through the centuries, genera­tion by generation ... to end up in the last century, in 1925, in the form of a printed text
A. Neuwirth, Der Koran als Text der Spätantike, Berlin: Suhrkamp 2010. p. 190

I fail to understand, what Neuwirth wants to say.
Does she ignore that the Qur’an was printed in 1537, in 1694, in 1698, in 1787 for the first time by Muslims in St. Peters­burg, in 1834 in Leipzig, in the 1830s ten diffe­rent prints in Persia and India?
Does she ignore that from 1875 each year thousands were printed in Istan­bul and India?
What does she mean by "end up in the form of a printed text"?
What does she want to say by "trans­mitted genera­tion by genera­tion"?
Okay, before sound could be recorded, the oral text had to be taught from teacher to pupil:
it was indeed transmitted through the ages.
But was that necessary for the muṣḥaf?
Was it not possible to read (and copy) a muṣḥaf written by a person dead at the time of reading the manu­script?
It was not common to give an isnād of scribes who each have learned the art of writing a muṣḥaf from an older scribe/ ḫaṭṭāṭ.
When we believe the main editor of the King Fuʾād Edition it was a re­con­struction,
based on the oral text and Andalusian books from the 11th and 14th century on the ortho­graphy of the qurʾān.
I believe it was an adaptation of a printed copy of the trans­mission Warš to the normal Egyp­tian reading of Ḥafṣ.
For sure, it was not the last in a chain of trans­mitted maṣāḥif, from Egyp­tian scribe to pupil (through the gene­rations).

Neuwirth has never seen the King Fuad Edition.
Consistently she cites it wrongly.
The book has no title on the cover, no title page; the first page is empty,
the first page with something on it, has the Fatiḥa.
In the afterword, it refers to itself as "al-muṣḥaf aš-šarīf,"
in the dedication to King Fuʾād it calls itself "al-muṣḥaf al-karīm".
Because it has no title, according to the German library rules,
the given/ assumed/ generic title is in brackets: "[qurʾān]",
but Neuwirth gives two different one in the notes:
„Al-Qur‘ân al-Karîm, Kairo 1925“ (Der Koran als Text der Spät­antike, p. 30)
and „Qur‘ân karîm 1344/1925“ (Der Koran als Text der Spät­antike,. p. 273).
Neuwirth has never read the information/ تعريف at the back of the King Fuʾād Edition,
nor read and understood the article Gott­helf Berg­sträßer wrote about it.
Otherwise, she would know that the editors claim to have re­con­struc­ted the muṣḥaf from scratch.
The chief editor is not a scribe, but the chief reader/ qāri of Egypt: he knows the qurʾān by heart ‒ in seven to twenty trans­missions.
In the تعريف he states that he has tran­scribed the oral text according to a didactic poem based on two medieval books on the basic letters for writing the qurʾān,
on a Maghrebian book on vowelling but with Eastern vowel signs and other books ...
I interrupt, because I do not believe, what is written in the تعريف
I am convinced that the editor took a Warš muṣḥaf and adopted it to Ḥafṣ.
For the vowelling, he did not have to replace Maghre­bian signs by Eastern signs because the system developed by Al-Ḫālil ibn Aḥmad al-Farāhīdī was current in the West because printing colour dots was too complicated/ expensive at the time.
The "information" further informs us that verse numbering and litur­gical divisions are according to a recent Egyptian scholar, Abū ʿĪd Riḍwān ibn Muḥammad ibn Sulaimān al-Muḫalla­lātī, again not informing us that they adopted the Moroccan system in which a ḥizb is half a ǧuz ‒ not a quarter as before, as in Turkey, Persia, India, Nusantara.
There are many more things, in which Egyptian maṣāḥif used to be like Ottoman, Persian, Indian and Indone­sian maṣāḥif,
in which from now on they are like Moroccan ones ‒ with­out giving an authority to whom the King Fuʾād Edition is said to adhere.
—> The KFE just follows Maghrebian maṣā­ḥif, a switch of tra­dition, the opposite of what Neu­wirth wrote, the opposite of what Berg­strä­ßer believed.
The KFE has three different forms of tanwīn, and three dif­ferent forms of sukūn ‒ to be precise: the Moroccan sukūn for "un­pro­nounced" (circle or oval) and the Indian sign for "un­vowelled" (clearly the first letter of ǧazm without the dot not "ḫa with­out the dot" as they write).
Egyptian prints used to have signs for long vowels, now they have the Maghre­bian system, in which a vowel sign AND a vowel letter (ḥarf al-madd) is needed (hence a small letter is added when­ever neces­sary).
When a word starts with /ʾā/ they used to write the letter hamza (i.e. an alif) + a turned fatḥa,
now they copy the Maghrebian practice:
seatless hamza-sign+fatḥa followed by a lengthe­ning alif.
This does not change the rasm, it is not mentioned in the scholarly litera­ture cited.
Vowelless nūn not followed by h,ḥ,ḫ,ʾ,ʿ,ġ used to have a sukūn (as in Osm, Soltani, IPak), now they have nothing because they are not pro­nounced (clearly as them­selves - not iẓhār) because they are (partly) assimilated or reduced.
compare the beginning of al-Baqara from Bombay vs. Medina (aka IPak vs. Q52):

There used to be two (or three) different madd signs, now there is just one.

In all these things the King Fuʾād Edition clearly copies Maġribi Warṣ muṣāḥif ‒ unlike pauses, numbering, rasm, dotting they are not described in books ON the matter, al-Ḥaddad could only copy them from maṣā­ḥif. Strangely neither Berg­sträßer, nor anyone else noticed that.
And there is more: no more sign for Baṣrī numbers, no more small nūns, when tan­wīn before alif is spoken as a/u/i-ni (called "ṣila nūn" or on the sub­continent "quṭnī nūn"/tiny nūn).
To summarize:
Except for the transmission of Ḥafṣ, the Kufī numbering, and a new pause system (based on Saǧāwandī), and the letter font of the Amiriyya (by Muḥammad Ǧʿafar Bey)
this is Maghribian.
That the rasm was not ad-Dānī, not al-Ḫarrāz was clear. When people found out that it was only 95% Ibn Naǧāḥ, the editors in Medina and in Tunis added "mostly" (ġāliban / fĭ l-ġālib) to the informa­tion at the end of the book. Since it is 99% Maghribian, I guess al-Ḥaddād just adopted an existing muṣḥaf ‒ the "reconstruction" is a myth.

The other great German qurʾān expert, Hartmut Bob­zin, gives the right year, he writes:

the publication of the so-called "Azhar Koran" on 10 July 1924 (7.Dhū l-hiǧǧa 1342 in the Islamic calendar)
FROM VENICE TO CAIRO: ON THE HISTORY OF ARABIC EDI­TIONS OF THE KORAN (16th ‒ early 20th century), in Middle Eastern Languages and the Print Revolution A cross-cultural encounter. West­hofen: WVA-Verlag Skulima 2002. p.171

which is not correct either: on that day the printing was finished,
before the book could be published it had to be bound.
One can be a good translator of the qurʾān, without knowing a thing about publishing,
but maybe it is not a good idea to write about publish­ing without knowing a thing about it.
And the King Fuʾād Edition is not the Azhar-Koran, nor known as such.
It was produced by the Govern­ment Press under the direction of the Chief Qārī of Egypt, assisted by men from the Education Ministry and the Pedago­gical College on Qaṣr al-ʿAinī.
In the end, the chief of al-Azhar and the chief copy editor of the Govern­ment Press vouched for correct­ness.
Only 1977 to 1987, an "Azhar Koran" was printed ‒ in five different sizes, different bindings and get-ups (with two reprints in Qaṭar, the last one in 1988)



Everything Bobzin writes is completly wrong

Der "Azhar-Koran" löste eine wahre Flut gedruck­ter Koran­ausgaben in allen isla­mi­schen Ländern aus, da man sich nun für den Koran­text auf eine aner­kannte Auto­rität stützen konnte.
The "Azhar Koran" prompted a veritable flood of printed editions of the Koran through­out the Islamic world, as there was now a recognized authority on which the Koran text could be based. ibidem

 

If there was a wave of prints after 1924 ‒ unsubstantiated by Bobzin ‒ it was to due to offset printing, has nothing to do with the KFE. The only print caused by it, the Kabul print of 1934, is "unknown" by the experts.

Die Entscheidung der Kairiner Gelehrten für den Text nach der Les­art "Hafs 'an 'Asim" ver­schaffte ihr nunmehr gegen­über allen anderen Les­arten einen ent­schei­denden Vor­teil.
there was a pronounced tendency to understand the "Azhar Koran" as virt­ually a "textus recep­tus", in other words as the only binding Koran text. The decision by the scholars in Cairo in favour of the text in the "Hafs 'an 'Asim" version secured it a decisive advan­tage over all other versions. ibidem

That Ḥafṣ experienced an upsurge due to the KFE is nonsense. Only in the Sudan it gained a bit ‒ but only because it is closer to the Arabic taught in state schools (which had more pupils now).

Allen "modernen" Koranaus­gaben bleibt eine Gemein­sam­keit ..., daß für die Her­stellung des Satzes keine be­weg­lichen Lettern ver­wendet werden, son­dern stets ein kalli­graphisch ge­stalteter Text zu­grunde liegt, der ent­weder litho­gra­phisch oder photo­mecha­nisch ver­viel­fältigt wird.
all the "modern" editions of the Koran still have one thing in common ... above all in the fact that no movable type is used to set the pages, which are, instead, always based on a
calli­graphi­cally designed text which is reproduced either by litho­graphy or by photo­mecha­nical pro­cesses.

Untrue: KFE'24, Kabul'34, Hyderabad'38 and the Muṣḥaf Azhar aš-Šarīf are type set.

Im Hinblick auf den Text folgte [Flügel] nicht einer einzigen Les­art, son­dern bot einen Misch­text (wie das übri­gens in den meisten Hand­schriften der Fall ist).
As regards the text itself he did not adhere to a single reading, but instead provided a mixed text (as was the case in most manu­scripts). p.169

Again, Bobzin states a fact ("most manu­script editions are a mix of readings") without proving it. It would be inter­esting to get informa­tion about one or two, not to mention "most" manuscripts mixing readings!

In the meantime, young brilliant scholars have surpassed Neuwirth and Bobzin in writing nonsense. Although there are more than a thousand editions printed in Cairo, they call the first (and for over fifty years: the only) Gizeh print "the Cairo Edition (CE)". It is as calling Notre-Dame de Paris "the Paris Novel (PN)."





­‒

Kein Standard

In 1914 a few English- and Scotsmen controlled more than half of the globe (most of the seas and chunks of land too, includ­ing millions of Indians).
Kaiser Wilhelm found that unfair. He started a war.
Five years later Germany had shrunk.
Adolf Hitler found that unfair. He started a war.
As one of the results, German is not understood (less written) by most scholars and scien­tists anymore.
So today, there are people reading books and blogs that do not under­stand German.
Therefore, I will repeat in the Lingua Franca of the age, what I have written in German.
In 1834, years after an adequate copy of the Qur'ān was set and printed in St. Peters­burg (later in Kazan)
and when lithograph copies began to be produced in India and Persia,
the German orientalist Gustav Flügel came up with a new typeset copy,
with a text of his own ‒ not very different from rasm, ḍabṭ and ḥarakat recognized by Muslims, but different from the can­on­ized variants never­theless,
and with a numbering system of his Hamburg col­league Abraham Hinckel­mann (which diverges from all Muslim systems and places the numbers BEFORE the verse).


Already the cover shows Flügel incompetence: the little hā' above hā' signals "not a tā' marbuṭa", but in this position (above hā' in hudā), hāʾ can not be tāʾ, so it can not carry an ihmal sign:

The alif (before lām mīm) has no madda. raḥmān and ḏālika should have a dagger alif, Flügel's font doesn't have one. How could any scholar use such a print?

Although it came 50 years too late, it became the standard edition of European orientalists ‒ for about a century.
Later the Egyptian King Fuʾād Edition became the standard ‒ not as I see it ‒ because it was really better than most others, but because it was much better than the orienta­list sorry effort, and because most (Central European) orien­talists ignored the Magh­rebian and Indian prints (Ottoman and Persian prints had a few hundred more alifs as matres lectionis which does not make them inferior, but serves as an argument against them, besides them not indi­cating as­simila­tion of nūn sākin. ‒ Although most Muslims in Germany use Turkish prints, these are avoided by the scholars.)


This was typeset in 1299/1881/2 in the Egyptian Government Press and printed both in one volume (Prince­ton library 2273) and in ten and/or thirty leather bound volumes (on the market and "Exhibi­tion Islam," London).
13 years later printed in Bulaq as well:

In 1914 ‒ when the United Kingdom was at war with the Ottoman Empire ‒ Egypt declared its indepen­dence, the ruler changed from Wālī/Governor to Sulṭān ‒ Khedive had been the personal title, not a function or an office.
Now it was urgent that Egypt printed its own maṣāḥif. The statement that the "foreign ones" (Istan­bul was the capital, not foreign before 1915) had mistakes ‒ without given further informa­tion what and where ‒ is propaganda, no real informa­tion. Repetition does not turn it into fact.