History of Arabic Calligraphy

 

Arabic calligraphy has a rich history which was started in the era of Islamic tradition. Arabic tribes have historically favored verbally transmitting poetry and texts from generation to generation through memorization. But as Islam spread and the significance of keeping the Quran in written form increased, that began to change. 

A number of early semitic languages were spoken on the Arabian Peninsula prior to the spread of Islam, and the finding of calligraphic artifacts in these languages indicates that calligraphy was practiced there before Islam. Cuneiform calligraphy, for example, was used as early as 600–500 B.C. to adorn king monuments in ancient Persia. Nevertheless, because of how Islam united the region under the Arabic language and because of its reverence for the written word, it was unquestionably the spread of Islam that brought about a great age of calligraphy throughout the ancient Middle East.

"The golden age of calligraphy"

The earlier development of Arabic calligraphy fluctuated a lot. Numerous scripts experienced fluctuations in popularity in distant locations such as Spain, Morocco, Baghdad, Damascus, and Morocco known as Kufic after the Iraqi city of Kufah, it was the first universal script and ruled Arabic calligraphy from the 7th-11th century. However, it was still rudimentary and lacked organization, particularly when compared to the systematization that would occur during the "Golden Age" of calligraphy, which started at approximately 1000 B.C. and continued until the mid-13th century.

Three outstanding calligraphers are usually identified as having defined the "Golden Age" of Arabic calligraphy: Ibn Muqla (886–940), Ibn al-Bawwab (who is thought to have lived from 961–1022), and Yakut al-Musta'simi of Amasya (d. 1298). 

Famous Calligraphers at the Arab time

The techniques of calligraphers today rely on Visiter Ibn Muqla, who is renowned for having codified the fundamentals of calligraphy, including his theory of proportion. His theory of proportion established the length of the Alif stroke and the rhomboid dot as the units of measurement used to calculate all the letters in a given script.

Seven rhomboids are used to measure an Alif in Ibn Muqla's theory of proportion. The length of the Alif is used to determine a circumference, from which the other characters are computed.

Ibn al-Bawwab, who came after Ibn Muqla, improved a number of Ibn Muqla's scripts and is said to have created the Rayhani and Muhaqqaq cursive scripts. Many of Ibn Muqla's original manuscripts are also believed to have been preserved by Ibn al-Bawwab; sadly, none of them have survived to the present day.

Yaqut al Musta'simi, the third renowned calligrapher of the Golden Age, was a scribe in the royal court who developed the practice of cutting the pen nib at an angle. These two seemingly insignificant innovations permanently altered the technique and aesthetics of Arabic calligraphy. Musta'simi also further systematized the method of proportionate measurements. Yakut survived the Mongol conquest of Baghdad and is reported to have sought safety in a minaret, where he carried on with his work despite the destruction of the city below.

Six major scripts emerged from the work of these artists during the Golden Age: Sulus, Nesish, Muhakkak, Reyhani, Tevki, and Rika.

Evolution of Arabic calligraphy

Beyond its geographical dissemination, Arabic calligraphy underwent evolution in its primary uses. Arabic calligraphy was initially used as a means of communication and to preserve the divine word as revealed in the Quran. But as time went on, it also started to play a significant role in coin design, architecture, and decoration. Furthermore, Arabic calligraphy separated into two groups over time: Kufic and rounded scripts.

Kufic scripts

Arabic is primarily an oral culture, very early Arabic script was rarely used. However, the Arabic language gained much greater significance when the Quran had to be preserved during the spread of Islam. Consequently, the script was intentionally rendered beautiful. Kufic is the name of this script version. Although Kufic is still practiced today in a variety of forms, its distinctive features include angular, rectilinear letterforms and a horizontal orientation.

Rounded scripts

While Kufic became the standard for sacred texts, a faster script was needed for smaller-scale documents, such as letters, as they were written more quickly. These script styles—now referred to as round scripts—are regarded as formal. Writing in rounded script leaves little to no opportunity for artistic expression because the style should ideally not appear to have been written by a human hand.

Tools used for Arabic Calligraphy

Qalam Pen

The Qalam pen, which is made from a cut and dried reed, is the most popular pen for Arabic calligraphy. In Islam, this pen is regarded as a representation of wisdom.

Khamish Pen

A khamish pen, also called a reed pen, is commonly used by calligraphers from Iran, Turkey, and the Arab world. It is created from riverbank reeds, but before it can be used for calligraphy, it must undergo a protracted curing period.

Bamboo Writing Instrument

One of the world's earliest calligraphy instruments is the bamboo pen. Because bamboo has a rigid edge that allows calligraphers to achieve the full range of pen movements while also providing some flexibility.

Pen Handam

The Handam pen, one of the most adaptable writing instruments for Arabic calligraphy, comes in several sizes, ranging from a sizable 10mm model to a sub-1mm micro nib. Because of this, it can be used with a variety of script types. It has a high degree of durability as well; you won't need to cut or sharpen it nearly as often as you would with a Khamish pen.

Celi Pen

Large-scale Arabic calligraphy is the specialty of the Celi pen. The bamboo nibs have ink reservoirs built right into them.

Ahar Paper 

There is a kind of paper designed especially for Arabic calligraphy, though any other paper can also used. In central India, Ahar paper is made by hand. It is covered in a coating consisting of alum and egg white sizing mixed with starch. Because the ink sits on top of the glossy coating rather than soaking into the paper, calligraphers are able to erase and make corrections.