Arabic Script and the Art of Calligraphy

Arabic Script and The Art of

Arabic Script and the Art of Calligrpahy

Origional Kufi Scripts in the 7th Century

Arabic Script and The Art of

A Large Illuminated Qur ’an Leaf in Kufic Script, North Africa or Near East, late 9th century AD. (Text : surah al-ahqaf (XLVI), verse 1 to part of verse 4)

Arabisc art

The word Calligraphy derived from Greek words Kallos (beauty) and Graphos (writing).

Calligraphy is the most important and pervasive element in Islamic art. It has always been considered the noblest form of art because of its association with the Qur’an, the Muslim holy book, which is written in Arabic.

Arabic manuscript on vellum, 7 lines to the page, written in elongated Kufic script in brown ink with vocal points represented by red and yellow dots, single verse divisions marked with a triangular cluster of gold dots, wide outer margins indicating the leaf has not been trimmed. {Source: www.sothebys.com}

Variation of Kufi Scripts By Calligrapher : Behnam Igzeer

The Development and Spread of Calligraphic Scripts Calligraphy was a tool for communications in the Arab peninsula used in architecture, decorations and coins designs. The first Muslims used to document Quran (the holy book of Islam) on parchment paper with reed and ink was in Kufic script. The name Kufic derives from the city Kufa in Iraq in the seventh century. It features angular letters, horizontal format, and thick extended strokes. Eventually, variations of kufic emerged.

Examples range from letters intertwined with floral ornament (floriated kufic) to letters that appear to be woven into knots (knotted/plaited kufic).

From the images below, modern and new kufic script is used using graph paper, ruler and a pencil to outline the script.

Once completed, a special calligraphy ink is then applied to fill it in. To enhance the artwork, Arabisc (a floral artwork drawn using geometric tools) is often used as a border decorations.

Arabisc art By: Behnam Igzeer

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Arabic Script and the Art of Calligrpahy

Regional Scripts and Variations

Rik’a Scripts By Calligrapher : Behnam Igzeer

My LOGO

Tools and materials affected the quality of the final product. Every calligrapher learned how to prepare pens, inks, and paper. Pens (qalam) were often fashioned from reeds due to their flexibility.

First, hollow reeds were harvested and left to dry; the calligrapher then cut a tip in the shape, width, and angle that best matched the particular script he or she planned to use. Inks were made of natural materials such as soot, ox gall, gum Arabic, or plant essences.

Different regions developed their own styles and were named after their geographical area. The three main regions were very important in the development of various styles. The Arab Peninsula, the Ottoman Empire and Persia. Riq’a the simplest form of style derived from Riq’a, the stylish Diwani from Diwan, Thuluth and Naskh during the Ottoman Empire.

Proportional Scripts

Manuscripts were written on papyrus and parchment (animal skin) before paper was introduced to the Islamic world from China around the eighth century. Because of the status of calligraphy as an art form, the tools associated with it—shears, knives, inkwells, and pen boxes—were often elaborately decorated and sometimes made of precious materials.

Unfortunately very few calligraphers remain, the art is slowly fading away in the Arab Peninsula. However, private Calligrapy training is availbale but hard to find one. I was lucky to find one and am training how to write the beautiful script using a Bamboo reed and a special ink.

Although Kufic was the first script, the basic script of Riq’a is the first to be taught. The style resembles basic Arabic alphabets which makes it easier to practice. Once this unit is completed, next follows Diwani, Naskh, Farsi, Thuluth, Kufic and other various styles.

A new system of proportional cursive scripts was codified from the tenth to the thirteenth century by three main Calligraphers of that era. In a proportional script, each letter’s shape is determined by a fixed number of rhombic (diamond-shaped) dots .A rhombic dot is the shape formed when a calligrapher presses his or her pen to paper in one downward motion, producing the diamond shape. A word written in one of the proportional scripts can vary in size but the letters will always be in strict proportion to one another. There are six proportional scripts (the Six Pens)—Naskh, Thuluth, muhaqqaq, rayhani, tawqi‘, and riq’a.

Calligraphers and Their Tools Calligraphers are the most highly regarded artists in Islamic culture.

The art of calligraphy was passed down from master to student, often within the same family. In order to become a master calligrapher and acquire a formal license, a student had to train for years by copying models to perfect his or her skills. Training to become a calligrapher was a long and rigorous process. Most calligraphers were highly educated and some came from the upper echelons of society. Many rulers received extensive calligraphic training from the best court masters and became accomplished calligraphers in their own right.

My Calligraphy teacher Behnam, gained his skills from Iraq. Today, the art of calligraphy is widely practiced.

Diwani Scripts By Calligrapher : Behnam Igzeer

Images below represent the Bamboo Reed, Ink and some basic Arabic, Rik’a and Diwani Script alphabets.

Diwani Script filled with special Alphabets By Calligrapher : Behnam Igzeer

Learning Calligraphy

Farsi Scripts By Calligrapher : Behnam Igzeer

Farsi Script with floral art By: Iranian Calligrapher

Arabic Alphabets

Rik’a Alphabets

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Diwani Alphabets

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