Definition of Calligraphy
Calligraphy encompasses a variety of definitions and terminologies. It is often described as the art of depicting shapes and designs that represent spoken words, reflecting the needs and emotions within the soul. It is a skill wherein the movement of the fingers with a pen adheres to established rules and guidelines. The definition that most aptly encompasses this art form is that of a craft focused on rendering letters in an aesthetically pleasing and attractive manner.
The Origin of Arabic Calligraphy and Writing
Arabic calligraphy holds significant artistic value and has a distinct historical background. This art form is often associated with Arabic ornamentation, as it is commonly used to adorn the domes of mosques and the walls of palaces. It is also utilized in the decoration of ancient manuscripts and books, particularly in the transcription of the Holy Quran. The Arabic language has been referred to as the “tongue of the hand,” illustrating the elegance and beauty of this art form. Arabic calligraphy adds a special charm to painted works, Quranic verses, and prophetic sayings.
The history of Arabic calligraphy stretches back many centuries, and there are numerous historical narratives and theories discussing the origins of Arabic script and writing. Among these theories are:
- The First Theory: This theory suggests that the origins of writing are divine, stemming from God Himself. It is supported by the Quranic verse: “And He taught Adam the names – all of them. Then He presented them to the angels and said, ‘Inform Me of the names of these, if you are among the truthful.'” This implies that Adam was the first to write on Earth after God taught him, and following the great flood that engulfed the Earth, each nation retained its scripts.
- The Second Theory: Proponents of this theory believe that Arabic script is derived from the Musnad script, known as Himyarite script, due to the geographical position of the Arabian Peninsula, which lies between Yemen, the Levant, and Iraq, facilitating trade routes. As a result, the Arabs adopted the Himyarite script and developed Arabic calligraphy from it, referring to it as “the derived script.”
- The Third Theory: This theory posits that Arabic calligraphy evolved from Nabataean script, relying on the examination of inscriptions from the pre-Islamic era and the early Hijri century, with evidence coming from findings in Umm al-Jamal in Jordan.
In the early days of the Arabic language, writings lacked dots. This situation persisted until Abu al-Aswad al-Du’ali introduced dots to the letters. For instance, the name “Khalid” would have been written as “Halid” until Abu al-Aswad modified it to “Khalid,” thus distinguishing between potentially ambiguous words in the absence of dots.
Types of Arabic Calligraphy
There are numerous styles of Arabic calligraphy, differing in origin, naming conventions, and applications. The main styles include:
- Kufi Script: Named after the city of Kufa in Iraq, where it first emerged, Kufi script is derived from Nabataean script prevalent in the Arabian Peninsula. It was used for writing the Quran for five centuries until the fifth Hijri century. Notable for its straight letters, Kufi script often requires a ruler for accurate width and length. It gained widespread popularity during the Abbasid era, featuring prominently in official correspondence, documentations, and the decoration of mosques and various edifices. Various types exist, numbering over 70, showcasing clear distinctions in letterforms.
- Naskh Script: Regarded as one of the clearest Arabic scripts, it gained considerable fame during the early Abbasid period due to its simplicity and legibility. It is widely used today in reproducing the Quran, newspapers, magazines, and educational material. The first to set the rules for Naskh script was the minister Ibn Muqlah, and it later became known as “the Atabaki Naskh” due to its refinement by the Atabaks.
- Thuluth Script: Established by Ibn Muqlah with specific measurements and proportions, this style was later refined by Ibn al-Bawwab al-Baghdadi, who enhanced its constructions while maintaining its foundational principles. Thuluth is recognized as one of the most visually stunning yet challenging scripts to write, demonstrating significant evolution over time. Mastery of Thuluth script serves as a key benchmark for evaluating a calligrapher’s skill and talent.
- Ruqa’a Script: This everyday script is commonly used for daily writing and correspondence. It was developed by the Turkish calligrapher Moustafa Bey and adopted in the Ottoman court documents. Ruqa’a is characterized as a simpler, more straightforward form of Arabic script and serves as the first style learned by students. It is prevalent in newspapers, magazines, and various signs, noted for its lack of derivation into other scripts.
- Diwani Script: Among the most elegant Arabic scripts, the Diwani style was primarily used by calligraphers in royal courts. Noted for its straight baseline and absence of diacritics, it was discovered during the reign of Ottoman Sultan Muhammad al-Fatih. Several variants of Diwani script have since emerged, including connected Diwani and other detailed styles.
- Persian Script: Emerging in Persia (Iran) during the 13th century, the Persian script is distinguished by its simplicity and clarity. It is free from complexity and diacritics. Persians began employing this script after the advent of Islam, with its foundational rules established by the Persian calligrapher Mir Ali al-Tabrizi. The increasing interest in Persian calligraphy has led to the development of additional styles, such as Shakasteh and the Persian adaptive script.
- Ijazah Script: This style is a blend of Naskh and Thuluth scripts, named thus for the ability of calligraphers to combine both styles. Founded by calligrapher Yusuf al-Shajari, it was further refined by Mir Ali al-Tabrizi, and its applications resemble those of Thuluth script.
- Tughra Script: This is an aesthetically pleasing form of Arabic calligraphy often resembling a coffee pot. Commonly written in Thuluth script, it was extensively used by Ottoman sultans and has diminished alongside the fall of the Ottoman Empire, although it is still occasionally practiced by calligraphers, primarily for Quranic phrases and prophetic hadiths.
- Taj Script: An evolved version of Thuluth script, Taj script was developed under Egyptian King Fuad I, characterized by the initial letter resembling a crown. However, it did not achieve widespread use and was primarily recognized during its development period.
- Maghrebi Script: Named for its reception, it was neither favored by calligraphers from Egypt and the Levant, retaining its status as a local style in Morocco. The style saw considerable development during the flourishing period in Al-Andalus in the 8th and 9th Hijri centuries but experienced a decline in usage thereafter.
Modern Arabic Calligraphy
It is well-established that modern Arabic calligraphy did not emerge overnight but has evolved over the years to reach its current level of sophistication and beauty. Today, many individuals are dedicated to the art, striving for both development and mastery. For instance, contemporary styles such as Ghubari script, related to Sufism and praised for its precision and delicacy, and word art, which merges Arabic calligraphy with graphic designs, have been rediscovered. Here, artworks combine graphic representations with additional elements inscribed in Arabic calligraphy. Numerous museums are dedicated to Arabic calligraphy, including the Arabic Calligraphy Museum in Damascus and the UAE Arabic Calligraphy Museum.
Video on Types of Arabic Calligraphy
The ornamentation in Arabic calligraphy is often regarded as one of the most striking features of Islamic art. Curious about the various styles of Arabic calligraphy? Watch the video to learn more: