In the high mountain valley of Gurez, where winter snows cut villages off for months and life moves in slow, ancient rhythms, a young man quietly created one of the most extraordinary artistic and devotional feats in contemporary Kashmir. His name is Mustafa Ibn Jameel, and his work — a 500-metre-long handwritten Qur’ān scroll — has captured national attention, revived a fading Kashmiri art, and etched his name into the cultural memory of the region.
This is not the story of an artist backed by institutions, sponsors, or formal training. It is the story of a self-taught calligrapher who transformed personal discipline into a monumental offering of faith.
A Valley, a Young Man, and a Calling
Mustafa comes from Tulail, a remote sub-valley of Gurez in north Kashmir’s Bandipora district. The region is known for its breathtaking landscapes and harsh winters, but rarely for large-scale artistic projects. Opportunities are limited, connectivity often unreliable, and resources scarce.
Yet it was here, in this quiet corner of the Himalayas, that Mustafa began practicing calligraphy — not with grand ambitions, but simply to improve his handwriting. What started as a personal exercise gradually turned into a passion. As he copied verses of the Qur’ān, he found peace in the rhythm of the script, comfort in its curves, and purpose in its discipline.
Soon, calligraphy became more than a hobby. It became a spiritual practice.
And then came an idea so bold that even seasoned artists would hesitate:
to write the entire Qur’ān by hand on one continuous scroll — half a kilometre in length.
The Scroll That Was Too Long for Kashmir
No shop in Kashmir sold the kind of paper Mustafa needed. Ordinary sheets would not suffice. He required a single continuous roll, strong enough to withstand ink, handling, and months of work.
For two months, he searched suppliers and finally located a factory in Delhi that could produce a custom roll:
14.5 inches wide, 500 metres long.
That roll, once delivered, became his canvas — a blank, endless road of paper stretching out like destiny itself.
Three Months of Handwriting the Qur’ān
When the scroll arrived, Mustafa began the most intense phase of his life. Day after day, he wrote — sometimes 15 to 18 hours at a stretch — using carefully selected pens and specially prepared ink.
He chose Naskh script, the classic style of Qur’ānic calligraphy known for its clarity and beauty. Maintaining consistency across 500 metres is nearly impossible, yet he achieved remarkable uniformity.
The writing phase alone took around three months.
The scroll eventually contained the equivalent of 450 pages of Qur’ānic text.
One Million Three Hundred Thousand Dots
Once the verses were complete, Mustafa turned to the decorative border — an element often overlooked by non-artists, yet crucial in classical Islamic manuscripts.
Instead of using printed patterns or stencils, he designed a border entirely from individual dots.
By the time he finished, the border contained approximately:
1,300,000 dots
each placed by hand, each forming part of a delicate, repeating geometry that framed the Word of God.
This single component took an entire month of concentrated effort.
Finishing, Lamination, and Preservation
Preserving a manuscript of this size is a logistical marvel. The scroll was carefully laminated to protect it from moisture, wear, and time. This ensures that Mustafa’s work can survive for decades, perhaps centuries, if stored properly.
His entire project — the paper, ink, tools, travel, and preservation — cost him nearly ₹2.5 lakh, largely funded by himself.
In the end, he did not simply produce a manuscript.
He produced a cultural artefact — one that bridges classical Kashmiri heritage with modern devotion.
Recognition and a Record
Mustafa’s scroll received recognition from the Lincoln Book of Records, an NGO that documents unique personal achievements. While not the Guinness World Record, the acknowledgment brought legitimacy, visibility, and appreciation for his dedication.
Soon after, national and regional media covered his story, bringing him widespread admiration. Interviews, videos, and features highlighted not merely the scale of his work, but the sincerity with which he pursued it.
Yet those who have met Mustafa describe him as soft-spoken, humble, and remarkably uninterested in fame.
His repeated statement:
“I did it for the love of the Qur’ān.”
Reviving a Fading Kashmiri Art
Kashmir was once a thriving centre of manuscript illumination and Islamic calligraphy. From the Sultanate period to the Mughal era, Kashmiri scribes produced some of South Asia’s most beautiful manuscripts.
But with printing technology and the decline of traditional arts, handwritten Qur’āns became rare.
Mustafa’s work has helped revive interest in this centuries-old craft. Young people from the valley have reached out to him, inspired to learn calligraphy. His story has become proof that remarkable artistic achievements can emerge even from remote regions with limited resources.
In a landscape often overshadowed by political headlines, Mustafa’s scroll stands as a reminder of Kashmir’s quieter, creative, spiritual soul.
Beyond the Record — A Legacy in the Making
Mustafa Ibn Jameel’s 500-metre Qur’ān is more than a record-breaking scroll.
It is:
a personal act of devotion,
a revival of Kashmiri manuscript culture,
a demonstration of extraordinary discipline,
and a gift to future generations.
His project proves one thing:
Greatness does not always come from wealth or privilege. Sometimes it comes from a valley, a pen, and a heart full of love for the Divine Word.
Mustafa’s journey is far from over. Reports suggest he is continuing to work on more handwritten Islamic texts — slowly building a body of work that may eventually define him as one of modern Kashmir’s most significant calligraphers.
But even if he never writes another scroll, the one he has already created ensures that his name will be remembered — written not just on paper, but in the artistic and spiritual history of Kashmir.
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