在希吉拉历的第三世纪（公元九世纪），书法家们开始竞相装饰《古兰经》。多种华丽的字体逐渐形成，各种区分性的标记也随之出现。正是在这一时期，表示辅音重叠的符号“ ّ ”（叠音符，tashdeed）开始被使用。

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.

此后,书法家开始在每章经文的开头书写该章的名称和经文节数。由于先知只提到过少数几章的名称,而圣门弟子的习惯是依据开头的词句为章命名(例如,《艾拉艾塔》章如今被称为《马欧》章),同一章经文出现了多种名称,并逐渐流行。在此期间,经文中还加入了标示节首与节尾的符号、划分卷(juz’,三十分之一部分)、半卷(hizb)或鞠古尔(rukoo‘)的标记,以及各种标点符号。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

当时的学者反对这些增添，担心会出现窜入（即在正文中掺入额外内容）。他们的反对还依据了圣门弟子伊本·麦斯欧德的话："让《古兰经》远离增添，不要在其中掺入任何东西。"19 然而，大多数学者并不反对用圆点和短横来标示元音、区分形近字母，因为这些标记对于正确诵读以及保护《古兰经》文本不致被歪曲已成为真正的必要。据报道，哈桑·巴士里、伊本·西林和拉比尔（均为圣门弟子的学生中的学者）都曾表示，点号（用于区分形近字母的圆点）和元音符号（tashkeel）是可以接受的。20 随着时间推移，书法家们广泛的增添与装饰变得十分普遍，早期学者的反对意见也就被人遗忘了。今天的《古兰经》文本清楚地证明，学者们的反对未被采纳，但人们担心的装饰性增添导致正文窜入的情况并未发生，这主要归功于穆斯林持续的传统，即完整地背诵原本纯正的《古兰经》全文。

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.