The integration of color-coded Tajwid rules in modern Mushaf printing, while ostensibly designed to facilitate

Quranic recitation, has paradoxically introduced a layer of systemic complexity within the Malaysian context.

Commercial publications currently exhibit a bewildering array of visual schemas, characterized by a distinct lack

of comprehensive standardization, divergent interpretations of Tajwid rules, and a high potential for reader

confusion, particularly among novices. This study argues that the absence of robust official standards and the

proliferation of idiosyncratic interpretations have compromised the pedagogical efficacy of these visual aids.

will continue to serve as cognitive burdens rather than educational enhancements, necessitating the development

Imagine a scenario where every textbook publisher arbitrarily selects a different color to represent the same

fundamental concept, devoid of any unifying guideline or shared semiotic logic. This, in essence, captures the

precarious state of Tajwid color coding within modern Mushaf publications in Malaysia. The rapid evolution of

printing technology has catalyzed the widespread adoption of chromatic differentiation for specific letters or

verses, intended to aid the recognition of recitation rules such as idgham or ikhfa’. While undoubtedly a visual

innovation, the fundamental question remains whether this unbridled variation facilitates acquisition or

Printing Control and Licensing Board (LKSQ) has historically prioritized textual accuracy—a paramount

concern—yet the visual dimensions, such as color systems, have largely escaped rigorous scrutiny.

Consequently, Tajwid color coding remains a 'wild' innovation, driven by commercial differentiation rather than

It is imperative to critically assess the extent to which these divergent systems aid recitation and whether they

inadvertently promote misinterpretation of rules. The absence of consistent scientific references in color

selection, coupled with the unchecked autonomy of publishers, renders this issue critical. Therefore, this study

aims to evaluate the uniformity and marking principles of current Mushafs and, more specifically, to propose a

framework for the improvement of Tajwid color coding in Malaysia. By employing a systematic document-based

analysis supported by authoritative literature, this research seeks to elucidate the systemic failure currently at

that visual elements encompassing color, iconography, and annotation possess the capacity to accelerate

comprehension and facilitate the memorization process (Abdullah, 2021; Osman, 2020). On the surface, this

assertion appears logically sound. Theoretically, the isolation of distinct phonological rules through visual cues

should reduce the processing load required to identify them within a dense text. However, a critical examination

of the literature reveals a significant oversight: the issue of uniformity. The prevailing body of work often

assumes that the mere presence of visual aids equates to educational utility, largely ignoring the detrimental

effects of inconsistent visual syntax. Innovations that lack standardization do not merely fail to help; they

potentially foster misinterpretation and cultivate an unhealthy reliance on visual crutches devoid of foundational

Within the specific domain of Tajwid instruction, color coding is positioned as a potent pedagogical tool.

A scrutiny of local literature reveals that Malaysia suffers from a profound lack of national standards for Tajwid

color coding (Mohd Salleh, 2021; Ramli, 2023). Publishers operate with autonomy, generating Mushafs with

varying chromatic complexities—ranging from five to over seven distinct colors. This fragmentation directly

undermines Quranic education. Consider a learner who initiates their study with a Mushaf from Publisher A,

associating the color green with a specific nasalization rule, only to transition to a Mushaf from Publisher B

where green signifies a completely different elongation rule. Such discrepancies are not merely inconvenient;

they are pedagogically counterproductive. While scholars like Ismail (2019) and Zainal Abidin (2020) have

attempted to develop visual approaches, their efforts are likely to remain marginalized in the absence of a unified

methodologies, the role of color standardization is frequently relegated to a footnote rather than being

interrogated as a systemic issue threatening the integrity of Quranic pedagogy. The comparative analysis by

Yusof (2019) regarding color coding systems in Southeast Asia and the Arab world further underscores the

Ultimately, while the concept of chromatic Tajwid holds robust pedagogical potential, its current failure to

achieve genuine effectiveness lies in the rampant non-uniformity and the dearth of scientific justification. There

are no clear regulations, no structured policies, and no official recognition of this method as a legitimate,

standardized instructional instrument. It remains a drifting innovation, tethered only by market trends rather than

educational rigor. This situation demands a critical re-evaluation that moves beyond passive acceptance of

innovation toward a rigorous demand for structural coherence. The literature clearly indicates that without

intervention, the proliferation of unstandardized visual aids will continue to widen the gap in Quranic

of color coding issues without the interference of variable human experiences. Field data, in this specific context,

would merely confirm the confusion that is already self-evident on the printed page; the priority is to map the

Data collection was executed through a targeted selection process. First, the study sourced commercial

Malaysian Mushafs from several dominant publishers. This selection was not random but strategic, aiming to

capture the practices of market leaders to understand how competitive differentiation manifests in visual design.

These artifacts represent the tangible reality facing the average consumer. Second, authoritative Tajwid textbooks

served as the control variable. These texts provide the disputable standards of rule categorization, offering an

objective baseline against which the accuracy of color marking could be measured. Third, the research examined

existing publication guidelines from regulatory bodies to identify regulatory lacunae, reinforcing the argument

of the mapping. This scientific scrutiny was designed to identify deviations where publishers might have merged

distinct rules under one color or separated identical rules into multiple colors without phonological justification.

The third component, Conceptual User Experience Analysis, estimated the impact of these visual innovations

based on established theories of visual learning. While not an empirical user study, this phase applied principles

of cognitive psychology to predict the inevitable load and confusion resulting from the identified inconsistencies.

This methodological triangulation was devised to provide maximum clarity on the systemic failures of the current

The examination of selected commercial Mushafs revealed a stark and pervasive lack of uniformity in the

application of color codes for identical Tajwid rules. A direct comparison across publishers demonstrated that a

preferences or brand differentiation strategies than by the necessities of learning or cognitive ergonomics. This

A troubling trend of over-marking was also identified. Several Mushafs applied color coding to minute variations

of mad (elongation) that classical Tajwid experts typically deem insignificant for novice readers. This

indiscriminate coloring results in a visual saturation that risks overwhelming the learner. Consequently, the user

is likely to develop a reliance on the presence of color itself, reading the visual cue rather than understanding the

Finally, the study found instances of inaccurate mapping between rules and colors. In certain cases, distinct rules

were conflated under a single color, while in others, the same rule was assigned different colors depending on

context, without any apparent justification. These inconsistencies indicate a lack of scholarly rigor in the design

process, confirming that the current implementation of color coding is often disjointed from authoritative Tajwid

The pervasive non-uniformity identified in this study presents a formidable barrier to the transfer of learning. If

one considers the analogy of traffic signals, the current state of Mushaf publishing is akin to a system where

and authoritative scholarship, transcending mere aesthetic considerations. The reform of this system cannot be

superficial; it requires a fundamental restructuring of how visual aids are approved and implemented in sacred