Pada abad ketiga selepas Hijrah (abad ke-9 Masihi), para penulis khat mula bersaing antara satu sama lain dalam menghiasi Al-Qur'aan. Beberapa gaya tulisan yang berbunga-bunga telah berkembang dan pelbagai tanda pembeza mula muncul. Pada zaman inilah tanda “ ّ ”, yang menandakan konsonan berganda (tashdeed), mula digunakan buat pertama kali.

In the third century after the Hijrah (9th century C.E.), calligraphers began competing with each other in the beautification of the Qur’aan. A number of flowery scripts evolved and a variety of distinguishing marks appeared. It was during this period that the sign “ ّ ”, indicating a doubled consonant (tashdeed), first came into use.

Selepas itu, penulis khat mula mengamalkan tradisi menulis nama surah dan bilangan ayat di dalamnya pada permulaan setiap surah. Oleh kerana Nabi (ﷺ) hanya menyebut nama beberapa surah, dan menjadi amalan di kalangan para sahabat untuk menamakan surah mengikut frasa pembukaannya (contohnya, Surah Ara'ayta kini dikenali sebagai Surah Maa'oon), pelbagai nama bagi surah yang sama menjadi biasa. Tanda-tanda yang menunjukkan permulaan dan penghujung ayat, tanda-tanda yang menunjukkan pembahagian al-Qur'an mengikut juz' (salah satu daripada 30 bahagian), hizb (setengah juz') atau rukoo', serta pelbagai tanda baca, telah ditambah pada teks dalam tempoh ini.18

Following that, calligraphers began the practice of writing the name of the soorah and the number of verses in it at the beginning of each soorah. Since the Prophet (ﷺ) only mentioned a few of the soorahs by name and it was the practice among the sahaabah to entitle the soorahs according to the introductory phrases (e.g. Soorah Ara’ayta is now known as Soorah Maa‘oon), a variety of names for the same soorah became common. Signs indicating the beginning and ending of verses, signs showing the division of the Qur’aan according to juz’ (one of 30 parts), hizb (half a juz’) or rukoo‘, as well as a variety of punctuation marks, were added to the text during this period.18

Para ulama pada zaman itu menentang penambahan-penambahan ini kerana bimbang akan berlakunya sisipan (tambahan yang dimasukkan ke dalam teks utama). Mereka juga berdasarkan penentangan mereka kepada kenyataan sahabat Ibn Mas‘ood, "Peliharalah al-Qur'an daripada tambahan dan jangan campurkan apa-apa dengannya." 19 Namun, kebanyakan ulama tidak menentang titik dan baris untuk menandakan baris (harakat) dan membezakan huruf-huruf yang serupa bentuknya, kerana perkara ini telah menjadi keperluan sebenar untuk bacaan yang betul dan untuk melindungi teks al-Qur'an daripada diselewengkan. Al-Hasan al-Basree, Ibn Seereen dan Rabee‘ah (ulama dalam kalangan murid-murid para sahabat) dilaporkan semuanya berkata bahawa nuqtah (titik untuk membezakan huruf-huruf yang serupa) dan tashkeel (tanda baris) adalah diterima.20 Lama-kelamaan, tambahan dan hiasan yang meluas oleh penulis khat menjadi begitu biasa sehinggakan bantahan awal para ulama terlupa. Teks al-Qur'an pada hari ini ialah bukti jelas bahawa bantahan ulama telah diabaikan, tetapi sisipan hiasan yang dibimbangkan itu tidak berlaku, terutamanya disebabkan tradisi berterusan dalam kalangan umat Islam untuk menghafal keseluruhan teks al-Qur'an dalam keadaan kemurniannya yang asal.

The scholars of the time were opposed to these additions, fearing interpolations (additions to the main text). They based their opposition also on the statement of the sahaabee Ibn Mas‘ood, “Keep the Qur’aan free from additions and do not mix anything with it.” 19 Most scholars, however, were not against the dots and dashes to indicate vowelling and differentiate between lookalike letters, as these had become a real necessity for correct recitation and protection of the Qur’aanic text from distortion. Al-Hasan al-Basree, Ibn Seereen, and Rabee‘ah (scholars among the students of the sahaabah) were all reported to have said that the nuqtah (dots for distinguishing look-alike letters) and tashkeel (vowel markings) were acceptable.20 In time, the widespread additions and decorations of calligraphers became so commonplace that the early objections of the scholars were forgotten. The Qur’aanic texts of today are clear evidence that the opposition of the scholars was ignored, but the feared interpolation of decorative additions has not occurred, due mainly to the continuing tradition among Muslims of memorizing the whole text of the Qur’aan in its original purity.