Art and the writing of sacred words

Al-Qamar, 2021

The art of Divine Writing-Calligraphy has exceptional features that truly revolve around the Islamic ideology. It is represented in diverse visionary, imaginative and creative ways. In many parts of the world the importance of hand writing or calligraphy is waned due to the modern approach in the fields of technology, science as art as well. Present day, calligraphers and artists producing such art works that are the combination of traditional scribal writing and transformed it into stylized form of calligraphic art. By utilizing assorted methods and techniques they are contributing to flourish and strengthen this art form. Therefore, in Islamic culture it is regarded as the major art form and has as a central position. By the time it is not diminished but still alive, significant and vibrant as it was from the advent of Islam.

2019

The current research (the distinction of Islamic art in the framework of Arabic calligraphy) is an attempt to study the aesthetic qualities of the Arabic calligraphy inspired by Islamic art with its structural conceptual references and the use of the character of the aesthetic characters according to formations that have a relationship centered on the linear structure of the text, And its transmission from its functionality (blogging) to aesthetic privacy (the decoration) inspired by the rules of the Arabic letters and their origins. The Arabic calligraphy was associated with Quranic texts and the prophetic Hadiths and stages of their functional and aesthetic improvement, And the variety of forms, especially the line of the third, which is proof of mastery of the calligrapher, which is the most beautiful and complete in the qualities of the letters aesthetic, varied and multi-faceted bodies of the calligrapher to another, and lack of study to show the aesthetic side of the lines of ...

UMRAN - International Journal of Islamic and Civilizational Studies

The Islamic art has developed from different kind of visual art. Arabic calligraphy is one of the most prominent arts starting from the revolution of the Quran and has a long history. This paper will help to provide some sources of information that can be used by people who would like to understand and study the Islamic calligraphy and Islamic art. Also, this paper is connecting the Arabic language to universal spirituality and express how Arabic calligraphy has become a prominent feature in Islamic world. Indeed, this paper provides a brief of the long history of Islamic calligraphy, explains about some of various of Arabic fonts style, and some important Quranic colour that has significant in the Islamic culture. Arabic calligraphy, which is also known as Islamic calligraphy, has a long history of development starting from the first written form of the Quran, in the early 7th century. The Arabic calligraphy art presents how to understand and appreciate its varied styles and modes....

Al-Qamar, 2021

Calligraphic art in Pakistan is one of the major art forms of Fine Arts and Design practices. It is a popular art form, because of its religious importance and secular appeal. Calligraphic art is based upon Quranic Verses written in the beautiful script. It can be called a traditional genre of art and design. This study is an attempt to explore Binqulander's calligraphic art from aesthetic point of view as well as high scale design compositions with color and text and his work as a reflection of formal art & design learning from Pakistan. The methodology adopted for this study is based upon extrinsic and intrinsic analysis. It will particularly focus on its aesthetics and underling philosophical concepts. Binqulander is one of the most renowned trendsetters of this generation.

Bagh-e Nazar, 2021

Problem statement: Confrontation with the West has facilitated the influence of colonialism on Islamic societies and changing the contextual discourse of the structure of the traditional and social systems has brought about critical and profound changes in all areas, including Islamic culture and art. With the westernization of art education and progress and technology in various industries meanwhile the art of traditional book embellishment flourished. With the westernization of all manifestations of art and related technologies, the traditional art of book embellishment has become less obsolete and led to the "marginalization" of this art. The formation of post-colonial studies, with the "resistance" stance towards power in colonial forms, as well as the rejection of Western academia by some leading Western artists, has challenged the legitimacy of Western principles and aesthetics as a gold standard. Thus, Islamic artists turned again to calligraphy as a symbol of resistance and an element that was born out of Islamic civilization to find identity, and get rid of the consequences of colonialism, and reproduce indigenous culture. Research objective: Recognizing the factors that protect islamic calligraphy from colonialism. Research method: This article considers two main factors as effective in examining the cause of Islamic calligraphy resistance against the westernization process. First, the social situations and the search for a new identity, which is the byproduct of post-colonial influences, have led the traditional Art return to the origins and the theory of resistance. Such return has protected the traditional calligraphy from colonialism and cultural imperialism. Second, the quality and the possibilities of creative calligraphy, often coupled with the divine words possess abstract nature in essence and objectivity; it is fused with the treasures of wisdom as well as literature and humanities, and it is adaptable to other Islamic arts and ways of teaching and learning which is ultimately deeply rooted in the tradition and mysticism of Islam. Therefore, it can be concluded that Islamic calligraphy in the contemporary era will be able to maintain its originality and identity if it keeps its creative aspects and maintains its connection with the wisdom of its teachings and traditions.

2005

This paper examines Islamic calligraphy as a method of Qur'anic recitation. Calligraphy performs the Divine as a flowering in space, much as oral recitation performs the Divine as a flowering in time. Theoretically, the paper applies Heidegger's discussion of technology as a process of revealing to the traditional Islamic notions of zahir (the apparent) and batin (the hidden). As a technology, calligraphy reveals the depth of batin through the zahir of written form. This revelation occurs as calligraphic inscription is simultaneous evaluated as linguistic message, aesthetic form, and iconic image. By way of reference, three images of the bismillah are discussed as practices of visual recitation. Employing the same verse for each figure displays the flexibility of calligraphy and its ability to reveal numerous hidden meanings within a single text.

2018

The visionary aspect of Islamic calligraphic art has most directly affected its formation, as well as the aesthetics itself. This art was often attributed a mystical dimension, as it was strictly under the influence of spirituality, the Divine message and the intensity of that message, and later through Sufism, it was immersed in deep symbolism too. Respecting holy people was one of the most important characteristics of Sufism, which reflected directly onto the art, to which they were prone, especially the Mawlawi and Bektashi Sufi orders. Sufis or mystics, as they are known in the West, were committed to cultivating this tradition of transmitting knowledge, so that many of them practiced rituals in calligraphic art. Many authors stress a characteristic Sufi meditation of "invoking God's names" (dhikr) as one of the important factors for reaching aesthetics, i.e. ability to 'see' its inner beauty and finally realise it. It is a little surprising that many eminent calligraphic artists were themselves Sufi teachers-mystics or their followers, disciples, who had set artistic standards that became canonical. Thus, characteristic calligraphic works were created, with unusual compositions and visual content, which became specific to Sufi calligraphic art. In this paper my aim is to present the calligraphic compositions, which possess some enigmatic quality, symbolism. It is believed that letters have a magical character, through the characteristic forms of the letters themselves, their separate meaning and symbolism, as well as their numeric value. Calligraphic art is by and large based on visions from the spiritual world, since its inception further through various forms of manifestation.

It is safe to claim that the emergence of calligraphy as one of the most important art in the Islamic era had a direct relationship with the outmost importance of Qur’an for Muslims. In this line, there are numerous quotations from the Holy Prophet and the Imams about the crucial importance of beautiful transcribing of Qur’an. Therefore, calligraphy quickly spread throughout the world of Islam and developed by artists in different regions. Iranian artists played a significant role in developing of Islamic calligraphy amongst were Ahval-e Moharrar, Ibrāhim sejzi, Ibn-e moqlah-the rule-governor of six scripts- Ibn-e bavvab, and etc. Additionally, a large number of survived manuscripts of Qur’an produced in Iran demonstrate the developing of calligraphy in relation with Qur’an. In this article we reviewed the evolution of the Qur’anic scripts in Iran up to the end of Qajar period (14th / 19th century) and discussed about the importance of Qur’an in developing of Iranian calligraphy. Keywords: Islamic arts, Qur’an, transcribing of Qur’an, Iranian calligraphy, Iranian calligraphers, Kufic script, six scripts.