In the name of Allah Most Gracious Most Merciful
And prayers and peace be upon the Prophet Muhammad and his family and companions, and whoever followed him, until the day of Judgment.

Praise be to Allah, who sent down the Quran to the last of the Prophets, to be a mercy to the worlds.
Among the manifestations of His mercy is that He taught man the Quran and the depiction, taught him with the pen, taught him what he did not know..
It is the wisdom of Allah, its images are manifested in the facets of our lives, in every time and place, to affirm the constant and connect, and to deal with the variable, so it adapts it as a stream that enriches and prospers, and does not contradict or cancel.
It is a course of perpetuity of life for people who understand…
Thus, the creative idea in the Tajweed Quran was established based on the two axis of historical documentation and scientific creativity.

Axis of historical documentation:

The first stage:
The words of Allah Almighty were written by order of His Prophet, may Allah’s prayers and peace be upon him and his family, and the eye was reading -from the written- only the drawing of the Quranic word, while the diacritic, punctuation and tajweed were learned verbally by hearing and receiving.
Example: The Noble Qur’anic Verse:

It was written in the following form:

The second stage:
To transcribe the words of Allah Almighty, which took place during the reign of Imam Ali, may Allah honor his face, this was carried out by Abu Al-Aswad Al-Du’ali and Al-Khalil Ibn Ahmad Al-Farahidi, who placed the diacritical signs (i.e. the fatha, the damma, the kasra, and the sukoon) to set the vowels on the written words of Allah.

This stage of transcribing contained the previous stage and replaced it, and the role of reception was not abolished, rather it was strengthened to know how to pronounce this written diacritic.

The third stage:
To transcribe the words of Allah Almighty, which took place during the reign ofCaliph Abd al-Malik bin Marwan, this wass carried out by Al-Nasr bin Asim al-Laithi, who placed the dots on similar letters to distinguish them from each other.

For example, the letter (Dhal-Th) was distinguished by placing a dot above the letter (Dal-D), and the letter (Jeem-J) was distinguished by placing the dot below the letter (Haa-H)…etc. which means that the eye can read the written word of Allah in its drawing, vocalization and punctuation, while the Tajweed (which means improving the performance of some letters) remained being learned orally and by listening.

This stage of transcribing contained the previous one and replaced it. The role of receiving was not abolished, but it was strengthened to learn how to pronounce the letters that were similar in their drawing.
In the new stage of transcribing of the word of Allah Almighty, which took place recently, time and color coding was performed for some of the letters subject to the rules of Tajweed, thus the written word of God Almighty became containing all the elements: Drawing, Vocalization, Punctuation and Tajweed.
This stage of transcribing contained all the previous stages and replaced them and it did not and will not abolish the role of receiving, but it will strengthen the role of receiving to learn how to come up with the letters in Tajweed, in order to make the recitation of the Holy Quran easier, in compliance with the Almighty’s saying (and recite the Qur’ān with measured recitation.)

The focus of scientific creativity:

At first sight, it comes to mind that 28 colors have been used to show 28 Tajweed rules, but if that what happened, then there would be confusion instead of benefit.

So, in order to feel the importance of time and color coding based on the use of only 3 color categories, instead of 28 colors. We have to make the following comparison between the creativity in the application of inflection rules and the modern creativity in the application of Tajweed rules:

The inflectional vocalization of letters using only four movements (the fatha, the damma, the kasra, and the sukoon) is important due to express dozens of different inflectional cases. The fatha, for example, is the same for each of the past tense: (qala), the present accusative verb: (hatta ya’atya), the accusative object: (la aealam alghyba), accusative of purpose, absolute object, tamyiz and the adverb… etc.

The same transcribing form of this fatha have been used for these different inflectional rules, as long as they share the same aperture sound, and so that the definition of the inflectional rule of a word is determined according to its position in the sentence. This interests those who wish to know the reason for the inflectional rule. As for those who read, they must know that this is a fatha that is for accusative case, and after they hear it, they must imitate its sound, and they are not required to know the reason for this fatha in Arabic, but they are required to pronounce the word in its correct form, and to understand its meaning.

Let’s take the following Quranic sentence as example:       

 Many people make a mistake in knowing the reason for the kasrah on the word (as-Salihat), and they think that its inflectional ruling is (genitive), but it is for the object of the feminine sound plural which the accusative movement for it is the kasrah, not the fatha or the damma. One also has to focus on understanding and contemplating the meaning of that Quranic sentence, and not on the reason for its inflectional rule, which is for those who specialize in grammar and inflection.

Therefore, the paradigm shift that took place in the Tajweed Mushaf is evident in that it makes the reciter of the Holy Quran can actually recite it in Tajweed directly while reading (after listening carefully to how to perform the letters from their articulation from his sheikh or teacher), exactly like the case of distinguishing the letter (Al-Thaa-Th) from the letter (Al-Taa- Ta), so if there are three dots on the letter, that means the reader must pronounce the letter Al-Thaa from its correct articulation, by receiving from his sheikh or teacher. The same applies to distinguishing the fatha movement from the Kasra movement.

Accordingly, the reader of the Tajweed Quran has to know practically only three color categories:

• Category of red color in its tones for the the letters subject to the rules of the lengthening
• Category of green color for the Ikhfaa and Ghunnah rules.
• Category of dark blue color for the emphasized Ra’a letter, and the light blue for the Qalqalah.
• Category of grey color for silent letters.

For those who want to learn the justifications and names of the Tajweed rules, they can refer to the end of the Quran where they are explained through a simple and direct table, which includes 28 basic rules of Tajweed.

As a result:
Reading several pages from the Tajweed Quran makes the process of improving performance (ie Tajweed) automatic, and makes it easier for the teacher and the learner to achieve the required benefit. The red letter for lengthening, the green letter for ghunnah and the blue letter for the articulation whether for emphasizing or Qlaqalah. This spontaneity is similar to the spontaneity of a traffic light, red for stopping, green for passing, and this is can be done without preoccupying the mind, which is freed for meditation and contemplation only.

And ever has the favor of Allah been great, that this noble work was protected from the tampering by the following means:

• Legitimately: Through the approval of the concerned authorities in the Arab and Islamic worlds, where it has been approved as the only Mushaf in the use of colored letters for the Tajweed rules according to the report of the Quran Review Committee in Al-Azhar Al-Sharif on 7/11/1999.
• Legally: by obtaining an official patent in 1994.
• Practically: through the spread of millions of copies in the world and the increasing demand.