Powered By Blogger

Sunday, November 3, 2013

Calligraphy and Islamic Culture


 Calligraphy and Islamic Culture By Lynette Haberman


Pre-9th Century Hijazi Script
            “Bism Allah al Rahman al Rahim,” the literal translation being: “In the name of God, the merciful, the compassionate.”[1] This statement commonly appears at the beginning of important written documents within Muslim societies, and is an example of the importance of the written word within the Islamic culture, as it represents the dedication of the projects achievement to Allah.  I found this to be a fitting introduction as this subject is about the art of Islamic calligraphy.[2]

Mosque
The art of writing, to many scholars, is viewed as synonymous with the development and expansion of religion. Islamic calligraphy also known as Arabic calligraphy is a testament to that common belief.  Scripts, of eloquently flowing letters scrolled from right to left (as Arabic is a Semitic language) in angular intricate designs form verses of the holy Qur’an, songs, and poetry, pottery, and even woven into blankets, all equal in visual and audial beauty.  

As the Muslim empire grew the practice of writing remained intact, the ancient calligraphers’ devotion to delicacy and detail ensured its emergence as an art form.  The sacred symbolism of the art of beautiful handwriting thus provides evidence of the religious and aesthetic importance of Islamic calligraphy within Muslim culture.  
A. Schimmel writes in her book entitled Islamic calligraphy: Iconography of Religions that “calligraphy is an art that expresses the true Islamic spirit, even the Qur’an talks of the importance of writing.”[3]  It was believed that the ancient calligraphers were the primary reason for the preservation of the Qur’an, and because they were maintaining the purity of the text they were preforming a sacred and holy duty.  It was an expression of their devotion to Allah. And the amount of effort and time put into the copying of the text in such an esthetically pleasing way became an integral part of Islamic culture.
 

Late 9th Century Kufic Script
During the first centuries of the development and expansion of Islam, scribes copied the Qur’an, using a modified version of the Arabic alphabet arranging the letters in an artistic way to form the Hijazi script, later around the ninth century the calligraphers began to make thicker strokes forming the first Kufic style script.[4]    
Late 9th century Kufic Script
 
There are many different styles of Islamic calligraphy usually categorized by location of origin or the person who created them, and then in turn classified by the sub-categories. There are many sub-categories; however, the most popular are the kufic scripts, known as geometric in appearance, originating in Kufa, Iraq; and the naskh scripts known as cursive in appearance. naskh translates to the word “copy” it was used by calligraphers to replace the kufic script when copying the Qur’an and is generally believed to be easier to write. Simplistic naskh scripts are usually used in modern times for computers.[5]
 
Poetry 
Islamic calligraphy is written using a pen made of reed known as a “qalam” it has an angled point which enables the thick upward and downward strokes and the diamond shaped “dots” that are used along the alphabet. Many of the artists use this method when creating their poetry, or songs, or proverbs that are commonly viewed as Islamic art.   However, the calligraphy scripts were also ideal for being transcribed onto ceramics like pottery, and even stone work.  These scripts were also used to decorate Mosques all around their empire.  Calligraphy was implemented into almost every aspect of society throughout the early Islamic world.[6]  
Because of the connection between religion and handwriting, calligraphy emerged within Islamic society as an art form that is continually practiced.   Many modern day Muslim artists look to the holy books pages for inspiration, and as time passes the art of calligraphy continues to change and represents something truly sacred within Islamic culture.

[1]   Mangho A. and A. L. Loeb. “Tessellations in Islamic Calligraphy.” Leonardo , Vol. 28, No. 1 (1995), pp. 41
[2]   Mangho A.
[3] Schimmel.A. “Islamic Calligraphy:  Iconography of Regions.”(Leiden: Brill, 1982
[4] Schimmel. A
[5] Mangho A.



[6] Schimmel A.

No comments:

Post a Comment