The clear in the intonation double collections 25*35

What is clear in Tajweed double comprehensive 25*35 Muhammad Naeem Muhammad Hani Al-Sa'i What is clear in Tajweed on the Mushaf according to the narration of Hafs from Asim What is clear in Tajweed on a Mushaf according to the narration of Hafs from Asim with the Ottoman script And the most important feature of this blessed project, God willing: 1- Clarity and avoidance of concealment, as it explicitly symbolizes the rulings of Tajweed. 2- Avoidance of multiple colors and reliance on a single color. 3- Maintaining the clarity of the Mushaf and distinguishing its verses from symbols and terminologies, and ease of reading the verse isolated from all that. 4- Detailing the Tajweed rulings related to the Quranic letters that are cut off at the beginning of the surahs, which is absent in other previous experiments and projects. 5- Specifying the locations of Tajweed rulings. 6- We considered in writing the stopping rules at the heads of the verses without connecting, according to our preferred opinion. 7- We preserved the Ottoman script as it is and kept all terminologies in black font without changing anything. Idea: Muhammad Naeem Muhammad Hani Al-Sa'i Preparation: Dar Al-Salam for Printing, Publishing, Distribution, and Translation The most prominent features of what is clear in Tajweed: 1- An idea that has become a reality: The idea is summarized in combining maintaining the dignity and reverence of the Holy Quran and facilitating the learning path for Tajweed rulings. 2- One color: Indicates Tajweed rulings, where the letter bearing the Tajweed ruling is colored blue. 3- Explicit wording: We relied on explicitly mentioning the Tajweed rulings above the letter where the Tajweed rule applies. 4- Places of whispering: The whispering letters are colored, provided they are silent, and the word "whisper" is placed above them, as well as if they are silent due to stopping at the heads of the verses. 5- Places of Qalqalah: The Qalqalah letters are colored, provided they are silent, and the word "Qalqalah" is placed above them, as well as if they are silent due to stopping at the heads of the verses. 6- Type of elongation: The distinction between obligatory and permissible elongation is made with numbers. If the elongation is obligatory, a number one is placed next to the word "mad," and if it is permissible, two or more numbers are placed separated to indicate the reader's choice between the number of movements. 7- Rules of the silent Nun, Tanween, and the silent Meem: The silent Nun and Tanween are colored, and the type of ruling is explicitly written above them, with the number (2) next to the rulings of concealment, assimilation with nasal sound, and reversal, as well as the silent Meem with concealment of the lips and assimilation with lips, indicating prolonging the nasal sound by two counts. 8- Rules of the Raa for Tashdeed and Tafrīq: The silent Tashdeed Raa is colored blue. As for the silent Raa where Tashdeed or Tafrīq is permissible, we chose to Tashdeed it and colored it. 9- Elegant edition: We used a suitable color for the background of the Mushaf with a decorated frame in harmonious colors, and made the general text of the Mushaf in black, with the Tajweed ruling location distinguished in blue.