The Aesthetic of Arabic Calligraphy
The first unit established in the Calligraphy Center, specializes in studying the aesthetic aspects of Arabic calligraphy, organizing exhibitions for calligraphers and creating the first comprehensive database of these artists and their works.
One of the goals of this unit is to disseminate interest in the studying of Arabic calligraphy in both schools and universities, as well as to improve the handwriting of the young. A number of workshops are planned to reach children and improve their Arabic handwriting as well as workshops for adults.
History of Arabic Calligraphy
Pre-Islamic writing
Bishr ibn Abdel Malek Al-Kendy was the first to introduce writing in Mecca. Al-Kendy had learned the art of Nabatian script from the Arabian tribes who inhabited the areas of Hirah and Anbar. Evidence was found that Arabs had produced written texts in pre-Islamic times; Jews and Christians at the time possessed books that were written in both Hebrew and Seryan in addition to some Arabic texts. By the beginning of the seventh century CE, Arabic calligraphy gained a distinct style in Hegaz.
Development of Islamic Calligraphy
As Islam dawned in the Arab Peninsula, writing became a vital medium of communication. For Muslims, the Quran (the word of God) was revealed in Arabic, which therefore became the language of Islam even for non-Arab Muslims. Writing and reading became the method in which Muslims recorded and preserved the Sunna, i.e Prophet's instructions and Quranic interpretation. The Arabic language spread as more Muslims were encouraged to learn to read and write in order to comprehend Islamic instructions.
In Times of Muslim Caliphs
In the early stages of calligraphic development, scripts lacked discipline and elegance so they were used for daily administrative purposes only. Writing progressed with both Cursive (circular) and Geometric scripts. A system of letter-pointing had not been developed yet, which resulted in people confusing letters, words and pronunciation, especially with an increasing number of non-Arabs embracing Islam. Reform was required to avoid confusion and a system of Naqt (letter-pointing) and Tashkeel (vowel indication) was developed by Abul Aswad al Du'ali (d.688). Al Khalil ibn Ahmad al Farahidi (d.786) devised a tashkeel system to replace Abu al Aswad's. His system was universally applied since the early eleventh century CE, and included six diacritical marks: Fathah (a), Dammah (u), Kasrah (i), Sukun (vowelless), Shaddah (double consonant), and Maddah (vowel prolongation) which is applied to the Alef.
Ummayad Caliphs
The Ummayad period was a transitional stage for Arabic scripts. Writing in kufic scripts became a profession. The Caliph Abdel Malek ibn Marawan invented a new script; he called it the Mansoob script.
Abbasid Period
Arabic scripts both flourished and developed during this period. Abu Ali Ibn Muqlah, a Vizir to three Abbasid caliphs, developed the first script to abide by strict proportional rules without using geometrical instruments. Ibn Muqlah developed both the Naskh and Thuluth scripts to their modern shapes and invented the Cursive kufi script that was later developed by the Iraqi Quran scholar Ibn el Bawwab.
The Fatimid Period
By this stage, calligraphy took on a new facet. Fatimid caliphs employed calligraphy and scripts in the decoration and adornment of their palaces, mosques and thrones. The Fatimid period was known for the founding of a profession for teaching scripts and the establishment of calligraphy schools.
The Ottoman Period
Following the Ottoman occupation of Egypt, the Turks, who had been writing with Greek and Urdu letters, adopted and excelled at the Naskh script. As Islam expanded into Asia, Arabic letters and scripts were adopted by Russians, Afghans and Moguls.
Arabic calligraphy in Egypt
The most notable epitome of the significance given to calligraphy in Egypt was the manufacturing of the cover of the Ka'aba. The Khedive Ismail summoned Abdallah bek Zohdy to Egypt especially to design and write on the cover of the Ka'aba (Keswah). Zohdy remained in Egypt to become one of the pioneers of the Calligraphic renaissance. By the time of King Fouad, calligraphy was exhibited in works of art. The renowned Turkish calligrapher, Mohammed Abdel Aziz, later on stayed in Egypt where he established a school for Arabic calligraphy and its gilding.
