The three new images continue the same reverential tableau of an ancient library illuminated by candlelight, but they introduce subtle shifts in composition, lighting, and the specific Quranic passages displayed. Each scene remains a meticulously crafted homage to the sanctity of the written word, with the open book at the center, surrounded by flickering flames and framed by towering shelves of leather-bound volumes. The Arabic calligraphy, executed in the refined Naskh script with occasional Thuluth flourishes, is drawn from the Quran, and the pages are adorned with illuminated borders and marginal markers that reflect the scribal traditions of medieval Islamic manuscripts. The texts, while distinct from those in the previous set, maintain a thematic continuity, focusing on divine guidance, human responsibility, and the eternal dialogue between Creator and creation. The first of the three images presents a large, open book resting on a wooden table, its pages aglow with the warm light of five candles arranged asymmetrically around it. The right-hand page begins with verse 129 of Surah Al-Baqarah, part of the supplication of Abraham and Ishmael for the Prophet Muhammad: رَبَّنَا وَابْعَثْ فِيهِمْ رَسُولًا مِّنْهُمْ يَتْلُو عَلَيْهِمْ آيَاتِكَ وَيُعَلِّمُهُمُ الْكِتَابَ وَالْحِكْمَةَ وَيُزَكِّيهِمْ ۚ إِنَّكَ أَنتَ الْعَزِيزُ الْحَكِيمُ The text continues across the left-hand page, moving into verses 130–132, which recount the submission of Abraham and his descendants: وَمَن يَرْغَبُ عَن مِّلَّةِ إِبْرَاهِيمَ إِلَّا مَن سَفِهَ نَفْسَهُ ۚ وَلَقَدِ اصْطَفَيْنَاهُ فِي الدُّنْيَا ۖ وَإِنَّهُ فِي الْآخِرَةِ لَمِنَ الصَّالِحِينَ ۞ إِذْ قَالَ لَهُ رَبُّهُ أَسْلِمْ ۖ قَالَ أَسْلَمْتُ لِرَبِّ الْعَالَمِينَ ۞ وَوَصَّىٰ بِهَا إِبْرَاهِيمُ بَنِيهِ وَيَعْقُوبُ يَا بَنِيَّ إِنَّ اللَّهَ اصْطَفَىٰ لَكُمُ الدِّينَ فَلَا تَمُوتُنَّ إِلَّا وَأَنتُم مُّسْلِمُونَ The page concludes with the basmalah in a gold roundel, signaling the start of Surah Al-Imran. The verse numbers are marked by small gold rosettes, and a marginal note in red indicates the end of the eighth hizb (half-juz’). The illumination is restrained yet elegant, with vine motifs in teal and crimson framing the text and a small illuminated panel at the top of the right-hand page depicting a mihrab-like arch in gold and lapis. The candles, three on the right and two on the left, cast a soft, golden light that pools on the table, highlighting the texture of the paper and the subtle creases at the gutter. The library in the background is a cavernous space with arched windows and shelves that recede into a blurred haze, creating a sense of infinite expanse. The composition is intimate, with the book’s centrality emphasized by the asymmetrical candle arrangement, which draws the eye inward toward the text. The second image shifts to a slightly elevated perspective, with the book placed on a low stand and flanked by four candles—two tall ones on the left and two shorter ones on the right, accompanied by a small brass incense burner and a sprig of greenery. The right-hand page opens with verse 102 of Surah Al-Imran, the exhortation to fear Allah: يَا أَيُّهَا الَّذِينَ آمَنُوا اتَّقُوا اللَّهَ حَقَّ تُقَاتِهِ وَلَا تَمُوتُنَّ إِلَّا وَأَنتُم مُّسْلِمُونَ The text continues across the left-hand page, moving into verses 103–105, which emphasize unity and the consequences of division: وَاعْتَصِمُوا بِحَبْلِ اللَّهِ جَمِيعًا وَلَا تَفَرَّقُوا ۚ وَاذْكُرُوا نِعْمَتَ اللَّهِ عَلَيْكُمْ إِذْ كُنتُمْ أَعْدَاءً فَأَلَّفَ بَيْنَ قُلُوبِكُمْ فَأَصْبَحْتُم بِنِعْمَتِهِ إِخْوَانًا وَكُنتُمْ عَلَىٰ شَفَا حُفْرَةٍ مِّنَ النَّارِ فَأَنقَذَكُم مِّنْهَا ۗ كَذَٰلِكَ يُبَيِّنُ اللَّهُ لَكُمْ آيَاتِهِ لَعَلَّكُمْ تَهْتَدُونَ ۞ وَلْتَكُن مِّنكُمْ أُمَّةٌ يَدْعُونَ إِلَى الْخَيْرِ وَيَأْمُرُونَ بِالْمَعْرُوفِ وَيَنْهَوْنَ عَنِ الْمُنكَرِ ۚ وَأُولَٰئِكَ هُمُ الْمُفْلِحُونَ ۞ وَلَا تَكُونُوا كَالَّذِينَ تَفَرَّقُوا وَاخْتَلَفُوا مِن بَعْدِ مَا جَاءَهُمُ الْبَيِّنَاتُ ۚ وَأُولَٰئِكَ لَهُمْ عَذَابٌ عَظِيمٌ The page ends with a marginal sajda marker in teal, indicating verse 102 as a point of prostration. The illumination is more elaborate here, with a large illuminated header in gold and ultramarine at the top of the right-hand page and a small floral medallion in the center of the left-hand page. The incense burner, with a faint wisp of smoke, adds a sensory dimension to the scene, evoking the ritualistic atmosphere of a mosque library during nightly recitation. The greenery, possibly a sprig of myrtle or basil, introduces a touch of life amidst the stillness, symbolizing the vitality of the divine word. The library’s shelves are more detailed in this image, with individual volumes visible in shades of red, green, and brown, and a hanging lantern in the background casting additional light. The composition is balanced yet dynamic, with the candles and incense burner creating a triangular focal point that leads the eye to the text. The third image returns to a more dramatic setup, with the book elevated on a lectern and surrounded by six candles arranged in a semicircle, their flames casting intricate shadows on the table and walls. The right-hand page begins with verse 200 of Surah Al-Imran, the concluding verse of the chapter: يَا أَيُّهَا الَّذِينَ آمَنُوا اصْبِرُوا وَصَابِرُوا وَرَابِطُوا وَاتَّقُوا اللَّهَ لَعَلَّكُمْ تُفْلِحُونَ The text continues across the left-hand page, transitioning into the opening verses of Surah An-Nisa (Chapter 4): يَا أَيُّهَا النَّاسُ اتَّقُوا رَبَّكُمُ الَّذِي خَلَقَكُم مِّن نَّفْسٍ وَاحِدَةٍ وَخَلَقَ مِنْهَا زَوْجَهَا وَبَثَّ مِنْهُمَا رِجَالًا كَثِيرًا وَنِسَاءً ۚ وَاتَّقُوا اللَّهَ الَّذِي تَسَاءَلُونَ بِهِ وَالْأَرْحَامَ ۚ إِنَّ اللَّهَ كَانَ عَلَيْكُمْ رَقِيبًا ۞ وَآتُوا الْيَتَامَىٰ أَمْوَالَهُمْ ۖ وَلَا تَتَبَدَّلُوا الْخَبِيثَ بِالطَّيِّبِ ۖ وَلَا تَأْكُلُوا أَمْوَالَهُمْ إِلَىٰ أَمْوَالِكُمْ ۚ إِنَّهُ كَانَ حُوبًا كَبِيرًا The page concludes with a large illuminated colophon in gold and crimson, marking the end of Surah Al-Imran with the phrase ختم سورة آل عمران. The verse numbers are indicated by gold teardrops, and a marginal note in red signals the start of the fifth juz’. The illumination is particularly lavish, with a full-page border of interlocking geometric and floral motifs in gold, lapis, and malachite, and a central medallion on the right-hand page depicting a stylized mosque lamp. The library in the background is more ornate, with carved wooden panels and a stained-glass window allowing slivers of colored light to filter through. The candles’ flames are captured in sharp detail, their light mingling with the glow of additional lanterns in the distance, creating a chiaroscuro effect that highlights the texture of the paper and the richness of the binding. The composition is grand and ritualistic, with the elevated lectern and semicircular candle arrangement evoking a mosque pulpit during a night of Quranic recitation. Collectively, the texts in these three images form a thematic progression that mirrors the spiritual journey of the believer. The first image, with its focus on Abraham’s supplication and the legacy of submission, establishes the foundation of faith rooted in prophetic tradition. The second image, with its emphasis on unity, piety, and the call to enjoin good and forbid evil, addresses the communal responsibilities of the faithful. The third image, with its transition from patience and perseverance to the ethical treatment of orphans and the sanctity of trusts, bridges the personal and societal dimensions of divine guidance. This selection is characteristic of Quranic manuscripts designed for sequential recitation, particularly during the nights of Ramadan, where the transition from Al-Baqarah to An-Nisa spans the meditative and practical aspects of the faith. The physical characteristics of the manuscript are consistent across the images, suggesting a single codex of considerable antiquity. The paper is a polished, cream-colored stock with visible laid lines, likely produced in a Syrian or Iraqi mill during the 14th or 15th century. The ink is carbon-based for the black text, with shell gold, lapis lazuli, and malachite for the illumination. The pages show signs of careful use—subtle creasing at the gutters, faint discoloration near the margins, and the soft patina of age—indicating a volume that has been handled with reverence over generations. The binding, partially visible in the third image, is a lacquered leather cover with blind-tooled central medallions and flap, typical of deluxe Qurans commissioned for mosque endowments or scholarly libraries. The candlelight remains the dominant source of illumination, its warm glow symbolizing both the fragility and the enduring power of divine revelation. The flames, captured in exquisite detail, cast intricate shadows that dance across the pages, highlighting the texture of the paper and the elegance of the calligraphy. The libraries themselves, with their towering shelves, carved woodwork, and stained-glass windows, evoke the great madrasas and mosque libraries of the Islamic world, where scholars and devotees gathered to study, recite, and contemplate the sacred text. The absence of human figures enhances the focus on the book, allowing it to take on a presence that is both silent and eloquent, a conduit for the divine word in a space consecrated to knowledge and worship. In sum, these three images are not merely visual depictions but immersive experiences of Quranic recitation and scholarly devotion. The texts, carefully chosen and beautifully rendered, transform the scenes into moments of active spiritual engagement, where the reader—though absent—is implicitly present in the open pages and flickering flames. The library, with its infinite shelves and timeless architecture, becomes a sanctuary where the past and present converge, and the candlelight, tenuous yet steadfast, mirrors the eternal light of divine guidance that illuminates the path of the seeker.