Muslim Calligraphy Why Is Muslim Calligraphy Developed Into Fine Art

Artistic practice of calligraphy in Islamic contexts

The Basmala in an 18th-century Islamic calligraphy from the Ottoman region, Thuluth script

Islamic calligraphy is the artistic practice of handwriting and calligraphy, in the languages which use Standard arabic alphabet or the alphabets derived from it. It includes Arabic, Persian, Ottoman, and Urdu calligraphy.^{[1] [2]} It is known in Arabic as khatt Arabi ( خط عربي ), which translates into Arabic line, blueprint, or construction.^[3]

The development of Islamic calligraphy is strongly tied to the Qur'an; capacity and excerpts from the Qur'an are a common and almost universal text upon which Islamic calligraphy is based. Although artistic depictions of people and animals are not explicitly forbidden by the Qur'an, pictures have traditionally been express in Islamic books in order to avert idolatry. Although some scholars dispute this, Kufic script was supposedly developed around the end of the 7th century in Kufa, Iraq, from which it takes its name. The style afterward developed into several varieties, including floral, foliated, plaited or interlaced, bordered, and foursquare kufic. In the ancient world, though, artists would oftentimes get around this prohibition by using strands of tiny writing to construct lines and images. Calligraphy was a valued art form, even as a moral skilful. An ancient Arabic saying illustrates this signal by emphatically stating that "Purity of writing is purity of the soul."^[4]

Still, Islamic calligraphy is not express to strictly religious subjects, objects, or spaces. Like all Islamic art, information technology encompasses a various array of works created in a wide multifariousness of contexts.^[v] The prevalence of calligraphy in Islamic fine art is non directly related to its non-figural tradition; rather, it reflects the centrality of the notion of writing and written text in Islam.^{[half dozen]} For instance, the Islamic prophet Muhammad is related to accept said: "The first matter God created was the pen."^[7]

Islamic calligraphy developed from two major styles: Kufic and Naskh. At that place are several variations of each, also as regionally specific styles. Arabic or Persian calligraphy has also been incorporated into modern art, beginning with the post-colonial menstruation in the Centre East, as well every bit the more recent style of calligraffiti.

Instruments and media [edit]

The traditional instrument of the Islamic calligrapher is the kalam, a pen unremarkably made of dried reed or bamboo. The ink is often in colour and chosen and then that its intensity can vary greatly, creating dynamism and motion in the letter forms. Some styles are often written using a metal-tip pen.

5 main Arabic calligraphic cursive styles:

1. Naskh
2. Nasta'liq
3. Diwani
4. Thuluth
5. Reqa

Islamic calligraphy can be practical to a wide range of decorative mediums other than paper, such as tiles, vessels, carpets, and rock.^[2] Before the advent of paper, papyrus and parchment were used for writing. During the 9th century, an influx of newspaper from Mainland china revolutionized calligraphy. While monasteries in Europe treasured a few dozen volumes, libraries in the Muslim world regularly independent hundreds and even thousands of books.^{[one] : 218}

For centuries, the art of writing has fulfilled a key iconographic role in Islamic art.^[8] Although the bookish tradition of Islamic calligraphy began in Baghdad, the centre of the Islamic empire during much of its early history, it somewhen spread equally far as Bharat and Espana.

Coins were some other support for calligraphy. Offset in 692, the Islamic caliphate reformed the coinage of the Near East by replacing Byzantine Christian imagery with Islamic phrases inscribed in Arabic. This was especially true for dinars, or gold coins of high value. Generally, the coins were inscribed with quotes from the Qur'an.

Past the tenth century, the Persians, who had converted to Islam, began weaving inscriptions onto elaborately patterned silks. So precious were textiles featuring Standard arabic text that Crusaders brought them to Europe equally prized possessions. A notable example is the Suaire de Saint-Josse, used to wrap the bones of St. Josse in the Abbey of St. Josse-sur-Mer, near Caen in north-western French republic.^{[1] : 223–5}

As Islamic calligraphy is highly venerated, near works follow examples prepare by well-established calligraphers, with the exception of secular or contemporary works. In the Islamic tradition, calligraphers underwent extensive training in three stages, including the report of their teacher'due south models, in order to be granted certification.^[seven]

Styles [edit]

Kufic [edit]

Kufic is the oldest grade of the Arabic script. The style emphasizes rigid and angular strokes, which appears every bit a modified form of the sometime Nabataean script.^[9] The Primitive Kufi consisted of about 17 letters without diacritic dots or accents. Diacritical markings were added during the 7th century to assistance readers with pronunciation of the Qur'an and other important documents, increasing the number of Arabic letters to 28.^[x] Although some scholars dispute this, Kufic script was supposedly developed around the end of the 7th century in Kufa, Iraq, from which it takes its proper name.^[11] The manner later adult into several varieties, including floral, foliated, plaited or interlaced, bordered, and square kufic. Due to its straight and orderly style of lettering, Kufic was ofttimes used in ornamental stone carving as well as on coins.^[12] Information technology was the main script used to copy the Qur'an from the 8th to 10th century and went out of full general use in the 12th century when the flowing naskh fashion become more practical. Even so, information technology continued to be used as a decorative element to dissimilarity superseding styles.^[13]

There was no set rules of using the Kufic script; the only common feature is the angular, linear shapes of the characters. Due to the lack of standardization of early on Kufic, the script differs widely betwixt regions, ranging from very foursquare and rigid forms to flowery and decorative ones.^[xiv]

Common varieties include^[14] square Kufic, a technique known as banna'i.^[15] Contemporary calligraphy using this mode is also pop in modern decorations.

Decorative Kufic inscriptions are often imitated into pseudo-kufics in Heart age and Renaissance Europe. Pseudo-kufics is peculiarly mutual in Renaissance depictions of people from the Holy Land. The exact reason for the incorporation of pseudo-Kufic is unclear. It seems that Westerners mistakenly associated 13th-14th century Middle Eastern scripts with systems of writing used during the time of Jesus, and thus found it natural to correspond early Christians in association with them.^[16]

Naskh and Thuluth [edit]

Naskh [edit]

The use of cursive scripts coexisted with Kufic, and historically cursive was commonly used for informal purposes.^[17] With the rise of Islam, a new script was needed to fit the pace of conversions, and a well-defined cursive called naskh first appeared in the 10th century. Naskh translates to "copying," as it became the standard for transcribing books and manuscripts.^[18] The script is the most ubiquitous amongst other styles, used in the Qur'an, official decrees, and private correspondence.^[19] It became the basis of modern Arabic print.

Standardization of the style was pioneered by Ibn Muqla (886 – 940 A.D.) and later expanded by Abu Hayan at-Tawhidi (died 1009 A.D.). Ibn Muqla is highly regarded in Muslim sources on calligraphy equally the inventor of the naskh style, although this seems to exist erroneous. Since Ibn Muqla wrote with a distinctly rounded hand, many scholars drew the decision that he founded this script. Ibn al-Bawwab, the student of Ibn Muqla, is actually believed to have created this script.^[xviii] However, Ibn Muqla did establish systematic rules and proportions for shaping the letters, which apply 'alif as the ten-meridian, and the dot equally basic measurement.^[20]

Thuluth [edit]

Thuluth was developed during the 10th century and slowly refined past Ottoman Calligraphers including Mustafa Râkim, Shaykh Hamdallah, and others, till it became what it is today. Letters in this script have long vertical lines with broad spacing. The proper noun, pregnant "one third", may peradventure be a reference to the x-height, which is one-third of the 'alif, or to the fact that the pen used to write the vowels and ornaments is one third the width of that used in writing the letters.^[21]

Variations:

1. Reqa' is a handwriting mode similar to thuluth. It kickoff appeared in the 10th century. The shape is simple with short strokes and small flourishes. Yaqut al-Musta'simi was one of the calligraphers who employed this style.^{[22] [23]}
2. Muhaqqaq is a majestic style used by accomplished calligraphers, and is a variation of thuluth. Forth with thuluth, information technology was considered one of the most beautiful scripts, as well as ane of the virtually difficult to execute. Muhaqqaq was usually used during the Mamluk era, simply its employ became largely restricted to short phrases, such as the basmallah, from the 18th century onward.^[24]

Regional styles [edit]

Nasta'liq calligraphy of a Persian poem by Mir Emad Hassani, mayhap the about celebrated Persian calligrapher

With the spread of Islam, the Arabic script was established in a vast geographic area with many regions developing their own unique fashion. From the 14th century onward, other cursive styles began to develop in Turkey, Persia, and Red china.^[19]

1. Maghrebi scripts developed from Kufic messages in the Maghreb (North Africa) and al-Andalus (Iberia), Maghrebi scripts are traditionally written with a pointed tip (القلم المذبب), producing a line of even thickness. Within the Maghrebi family, there are unlike styles including the cursive mujawher and the ceremonial mabsut.
   1. Sudani scripts developed in Biled as-Sudan (the West African Sahel) and tin be considered a subcategory of Maghrebi scripts
2. Diwani is a cursive mode of Standard arabic calligraphy developed during the reign of the early Ottoman Turks in the 16th and early 17th centuries. Information technology was invented by Housam Roumi, and reached its pinnacle of popularity under Süleyman I the Magnificent (1520–1566).^[25] Spaces between letters are often narrow, and lines ascend upwards from right to left. Larger variations called djali are filled with dense decorations of dots and diacritical marks in the infinite between, giving it a compact appearance. Diwani is hard to read and write due to its heavy stylization and became the ideal script for writing court documents as information technology ensured confidentiality and prevented forgery.^[14]
3. Nasta'liq is a cursive style originally devised to write the Persian language for literary and non-Qur'anic works.^[14] Nasta'liq is thought to be a later development of the naskh and the earlier ta'liq script used in Iran.^[26] Quite chop-chop gaining popularity as a script in South asia. The proper name ta'liq means "hanging," and refers to the slightly sloped quality of lines of text in this script. Messages have short vertical strokes with wide and sweeping horizontal strokes. The shapes are deep, hook-like, and have loftier dissimilarity.^[14] A variant called Shikasteh was developed in the 17th century for more formal contexts.
4. Sini is a style developed in China. The shape is greatly influenced by Chinese calligraphy, using a horsehair brush instead of the standard reed pen. A famous modern calligrapher in this tradition is Hajji Noor Deen Mi Guangjiang. ^[27]

Modern [edit]

In the mail service-colonial era, artists working in Northward Africa and the Heart Eastward transformed Arabic calligraphy into a modern fine art movement, known as the Hurufiyya movement.^[28] Artists working in this mode use calligraphy equally a graphic element within contemporary artwork.^{[29] [xxx]}

The term, hurufiyya is derived from the Standard arabic term, harf for letter of the alphabet. Traditionally, the term was charged with Sufi intellectual and esoteric pregnant.^[28] It is an explicit reference to a medieval system of teaching involving political theology and lettrism. In this theology, letters were seen equally primordial signifiers and manipulators of the cosmos. ^[31]

Hurufiyya artists composite Western art concepts with an creative identity and sensibility fatigued from their own culture and heritage. These artists integrated Islamic visual traditions, particularly calligraphy, and elements of modern art into syncretic contemporary compositions.^[32] Although hurufiyyah artists struggled to find their own private dialogue within the context of nationalism, they also worked towards an aesthetic that transcended national boundaries and represented a broader affiliation with an Islamic identity.^[28]

The hurufiyya artistic fashion as a move most probable began in North Africa around 1955 with the work of Ibrahim el-Salahi.^[28] However, the utilise of calligraphy in modern artworks appears to have emerged independently in various Islamic states. Artists working in this were oftentimes unaware of other hurufiyya artists's works, assuasive for different manifestations of the fashion to emerge in unlike regions.^[33] In Sudan, for instance, artworks include both Islamic calligraphy and West African motifs.^[34]

The Roof of Frere Hall, Karachi, Pakistan, c. 1986. Mural by artist, Sadequain Naqqash integrates calligraphy elements into a mod artwork.

The hurufiyya art movement was not confined to painters and included artists working in a variety of media.^[35] One instance is the Jordanian ceramicist, Mahmoud Taha who combined the traditional aesthetics of calligraphy with skilled craftsmanship.^[36] Although non affiliated with the hurufiyya movement, the contemporary artist Shirin Neshat integrates Arabic text into her black-and-white photography, creating contrast and duality. In Iraq, the movement was known as Al Bu'd al Wahad (or the 1 Dimension Grouping)",^[37] and in Iran, it was known as the Saqqa-Khaneh motility.^[28]

Western art has influenced Arabic calligraphy in other ways, with forms such equally calligraffiti, which is the use of calligraphy in public art to make politico-social letters or to ornament public buildings and spaces.^[38] Notable Islamic calligraffiti artists include: Yazan Halwani agile in Lebanon ^[39] , el Seed working in France and Tunisia, and Caiand A1one in Tehran.^[xl]

In 2017 the Sultanate of Oman unveiled the Mushaf Muscat, an interactive calligraphic Quran following supervision and support from the Omani Ministry of Endowments and Religious Affairs, a voting fellow member of the Unicode Consortium.^[41]

Gallery [edit]

Kufic [edit]

• 

  Kufic script in an 11th-century Qur'an

• 

  Square kufic tilework in Yazd, Iran

• 

  Nether-glaze terra cotta bowl from the 11th century Nishapur

Naskh and Thuluth [edit]

• 

  Muhaqqaq script in a 15th-century Qur'an from Turkey

• 

  Muhaqqaq script in a 13th-century Qur'an

• 

  Naskh script in an early 16th-century Ottoman manuscript dedicated to Selim I

• 

  Diploma of competency in calligraphy, written with thuluth and naskh script

Regional varieties [edit]

• 

Modernistic examples [edit]

• 

• 

Craft [edit]

• 

  The instruments and piece of work of a student calligrapher

• 

  Islamic calligraphy performed by a Malay Muslim in Malaysia. Calligrapher is making a rough typhoon.

Listing of calligraphers [edit]

Some classical calligraphers:

Medieval

• Ibn Muqla (d. 939/940)
• Ibn al-Bawwab (d. 1022)
• Fakhr-un-Nisa (twelfth century)
• Yaqut al-Musta'simi (d. 1298)
• Mir Ali Tabrizi (d. 14th–15th century)

Ottoman era

• Shaykh Hamdullah (1436–1520)
• Hamid Aytaç (1891-1982)
• Seyyid Kasim Gubari (d. 1624)
• Hâfiz Osman (1642–1698)
• Mustafa Râkim (1757–1826)
• Mehmed Shevki Efendi (1829–1887)

Gimmicky

• Abdul Djalil Pirous, known as A.D. Pirous (b. 1933), Indonesian painter and lecturer
• Ali Adjalli (b. 1939), Iranian master calligrapher, painter, poet and educator
• Wijdan Ali (b. 1939), Jordan
• Hashem Muhammad al-Baghdadi (1917-1973), Iraq
• Mohammad Hosni (1894-1964), Syria
• Shakkir Hassan Al Sa'id (1925-2004), Iraq
• Madiha Omar (1908-2005), Iraqi-American
• Sadequain Naqqash (1930-1987), Pakistan
• Ibrahim el-Salahi (b. 1930), Sudan
• Mahmoud Taha (b. 1942), Jordan
• Charles Hossein Zenderoudi (b. 1937), Iran
• Abdulraouf Baydoun (b. 1956), Syria
• Mohamed Zakariya (b. 1942), Us of America
• Hassan Massoudy (b. 1944), Iraq, France
• Amir Kamal (b. 1972), Pakistan
• Uthman Taha (b. 1934), Syria
• Abas Baghdadi, Iraq
• Mothanna Al-Obaydi, Iraq

Meet too [edit]

• Illuminated manuscript
• Islamic architecture
• Islamic Gilded Age
• Islamic graffiti
• Islamic miniature
• Islamic pottery
• Museum of Turkish Calligraphy Art
• Ottoman Turkish language
• Persian calligraphy
• Sini (script)
• Uthman Taha

References [edit]

1. ^ ^{a b c} Blair, Sheila Southward.; Bloom, Jonathan M. (1995). The art and architecture of Islam : 1250–1800 (Reprinted with corrections ed.). New Haven: Yale University Press. ISBN0-300-06465-9.
2. ^ ^{a b} Chapman, Caroline (2012). Encyclopedia of Islamic Art and Compages, ISBN 978-979-099-631-1
3. ^ Julia Kaestle (x July 2010). "Arabic calligraphy as a typographic exercise".
4. ^ Lyons, Martyn. (2011). Books : a living history. Los Angeles: J. Paul Getty Museum. ISBN978-1-60606-083-4. OCLC 707023033.
5. ^ Blair, Sheila S. (Spring 2003). "The Delusion of Islamic Art: Reflections on the Study of an Unwieldy Field". The Fine art Bulletin. 85: 152–184 – via JSTOR.
6. ^ Allen, Terry (1988). Five Essays on Islamic Art. Sebastopol, CA: Solipsist Printing. pp. 17–37. ISBN 0944940005.
7. ^ ^{a b} Roxburgh, David J. (2008). ""The Eye is Favored for Seeing the Writing'south Form": On the Sensual and the Sensuous in Islamic Calligraphy". Muqarnas. 25: 275–298 – via JSTOR.
8. ^ Tabbaa, Yasser (1991). "The Transformation of Standard arabic Writing: Role I, Qur'ānic Calligraphy". Ars Orientalis. 21: 119–148.
9. ^ Inundation, Necipoğlu (2017). A Companion to Islamic Art and Architecture. Vol. I. Hoboken: John Wiley & Sons. pp. 109–110. ISBN9781119068570. OCLC 963439648.
10. ^ Schimmel, Annemarie (1984). Calligraphy and Islamic Civilisation. New York: New York University Printing. p. 4. ISBN 0814778305.
11. ^ Kvernen, Elizabeth (2009). "An Introduction of Standard arabic, Ottoman, and Persian Calligraphy: Style". Calligraphy Qalam., Schimmel, Annemarie (1984). Calligraphy and Islamic Culture. New York: New York University Press. p. iii. ISBN 0814778305.
12. ^ Ul Wahab, Zain; Yasmin Khan, Romana (30 June 2016). "The Element of Mural Art and Mediums in Potohar Region". Journal of the Enquiry Society of Pakistan. Vol. 53; No. one – via Nexis Uni.
13. ^ "Kūfic script". Encyclopædia Britannica.
14. ^ ^{a b c d east} Kvernen, Elizabeth (2009). "An Introduction of Arabic, Ottoman, and Western farsi Calligraphy: Style". Calligraphy Qalam.
15. ^ Jonathan K. Flower; Sheila Blair (2009). The Grove encyclopedia of Islamic art and architecture. Oxford University Printing. pp. 101, 131, 246. ISBN978-0-nineteen-530991-1 . Retrieved 4 Jan 2012.
16. ^ Mack, Rosamond Due east. Bazaar to Piazza: Islamic Trade and Italian Art, 1300–1600, University of California Press, 2001 ISBN 0-520-22131-1
17. ^ Mamoun Sakkal (1993). "The Fine art of Standard arabic Calligraphy, a brief history".
18. ^ ^{a b} Blair, Sheila S. (2006). Islamic Calligraphy. Edinburgh University Printing. pp. 158, 165. ISBN 0748612122.
19. ^ ^{a b} "Library of Congress, Selections of Arabic, Western farsi, and Ottoman Calligraphy: Qur'anic Fragments". International.loc.gov. Retrieved four December 2013.
20. ^ Kampman, Frerik (2011). Arabic Typography; its past and its future
21. ^ Kvernen, Elisabeth (2009). "Thuluth and Naskh". CalligraphyQalam . Retrieved 26 Nov 2018.
22. ^ "خط الرقاع". example.ampproject.org . Retrieved 16 Apr 2021. {{cite web}}: CS1 maint: url-condition (link)
23. ^ Kvernen, Elizabeth (2009). "Tawqi' and Riqa'". CalligraphyQalam . Retrieved 26 November 2018.
24. ^ Mansour, Nassar (2011). Sacred Script: Muhaqqaq in Islamic Calligraphy. New York: I.B.Tauris & Co Ltd. ISBN 978-1-84885-439-0
25. ^ "Diwani script". Encyclopædia Britannica.
26. ^ "Ta'liq Script". Encyclopædia Britannica.
27. ^ "Gallery" Archived 31 October 2015 at the Wayback Auto, Haji Noor Deen.
28. ^ ^{a b c d eastward} Overflowing, Necipoğlu (2017). A Companion to Islamic Fine art and Compages. Volume II. Hoboken: John Wiley & Sons. pp. 1294. ISBN 1119068665. OCLC 1006377297.
29. ^ Mavrakis, N., "The Hurufiyah Art Movement in Eye Eastern Art", McGill Journal of Eye Eastern Studies Web log
30. ^ A. and Masters, C., A-Z Groovy Modern Artists, Hachette Great britain, 2015, p. 56
31. ^ Mir-Kasimov, O., Words of Power: Hurufi Teachings Between Shi'ism and Sufism in Medieval Islam, I.B. Tauris and the Institute of Ismaili Studies, 2015
32. ^ Lindgren, A. and Ross, S., The Modernist Globe, Routledge, 2015, p. 495; Mavrakis, North., "The Hurufiyah Art Movement in Middle Eastern Art," McGill Periodical of Middle Eastern Studies Blog, Online: https://mjmes.wordpress.com/2013/03/08/article-five/; Tuohy, A. and Masters, C., A-Z Swell Modern Artists, Hachette UK, 2015, p. 56
33. ^ Dadi. I., "Ibrahim El Salahi and Calligraphic Modernism in a Comparative Perspective," South Atlantic Quarterly, 109 (iii), 2010, pp. 555–576, DOI:https://doi.org/10.1215/00382876-2010-006; Flood, F.B. and Necipoglu, 1000. (eds) A Companion to Islamic Art and Compages, Wiley, 2017, p. 1294
34. ^ Flood, Necipoğlu (2017). A Companion to Islamic Art and Architecture. Volume II. Hoboken: John Wiley & Sons. pp. 1298-1299. ISBN 1119068665. OCLC 1006377297.
35. ^ Mavrakis, N., "The Hurufiyah Art Movement in Heart Eastern Art," McGill Journal of Centre Eastern Studies Blog, Online: https://mjmes.wordpress.com/2013/03/08/article-5/;Tuohy "Unknown". Retrieved 25 March 2020. ^{[ dead link ]} , A. and Masters, C., A-Z Peachy Modern Artists, Hachette Great britain, 2015, p. 56; Dadi. I., "Ibrahim El Salahi and Calligraphic Modernism in a Comparative Perspective," South Atlantic Quarterly, 109 (3), 2010, pp. 555–576, DOI:https://doi.org/10.1215/00382876-2010-006
36. ^ Asfour. M., "A Window on Contemporary Arab Fine art," NABAD Art Gallery, Online: http://www.nabadartgallery.com/
37. ^ "Shaker Hassan Al Said," Darat al Funum, Online: world wide web.daratalfunun.org/principal/activit/curentl/anniv/exhib3.html; Flood, Necipoğlu (2017). A Companion to Islamic Fine art and Compages. Book II. Hoboken: John Wiley & Sons. pp. 1294. ISBN 1119068665. OCLC 1006377297.
38. ^ Grebenstein, M., Calligraphy Bible: A Complete Guide to More Than 100 Essential Projects and Techniques, 2012, p. v
39. ^ Alabaster, Olivia. "I like to write Beirut as it's the city that gave us everything", The Daily Star, Beirut, 9 February 2013
40. ^ Vandalog (3 May 2011). "A1one in Tehran IRAN". Vandalog . Retrieved 8 October 2012.
41. ^ Martin Lejeune, 15 June 2017, Oman unveils world's 1st interactive calligraphic Quran

External links [edit]

• Islamic Calligraphy Pictures
• Mushaf Muscat
• mastersofistanbul.com
• baradariarts.com
• Gallery with much calligraphy in Turkish mosque
• Anthology of Persian calligraphers from 10th to 20th centuries

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