Arabic Calligraphy – Arabian Records (1st post : Eid Al Fitr – 01st Shawwal 1439 (AH) / 15th June 2018 ) / (BETA testing – Research

ARABIC LANGUAGE: World Celebrates Arabic, ‘The Language of Poetry and the Arts’

UNESCO chooses theme for World Arabic Language Day 2023
Arabic is one of the most widely spoken languages, used daily by more than 400m people

Language is a main pillar of any society, and a driving force for connecting communities. As one of the six official languages in the UN, and one of the most spoken languages globally, Arabic is an incubator of culture, science and knowledge.

It is also one of the most widely spoken languages in the world, used daily by more than 400 million people.

World Arabic Language Day has been celebrated by UNESCO every year on Dec. 18 since 2012, the date coinciding with the day in 1973 that the UN General Assembly adopted Arabic as the sixth official language.

UNESCO recently chose “Arabic — the Language of Poetry and Arts” as the theme of World Arabic Language Day 2023 to highlight the role Arabic has played in poetry and art for centuries.

Experts told Arab News that Arabic has many characteristics and aesthetic values, both in written text and spoken discourse.

“Arabic language is very closely linked to the arts, literature and various cultural styles, from poetry to prose, to the rest of the literary genres, such as the story, the novel, the narrative, and poems in various artistic and scientific fields,” Mohammed Alfrih, a member of the board of directors of the Saudi ‎Publishers Association, said.

“We can hardly find another language that mimics the Arabic language in its elegance and its different expressive ability, and it is not surprising that non-native speakers confirmed that, let alone its native speakers,” he said.

Yousef Rabab’ah, a professor of Arabic language and literature at ‎Jordan’s Philadelphia University, said: “The Arabic language is characterized by features and characteristics in derivation, vocabulary, and idiomatic expressions that make it able to keep pace with developments in various fields, and this is proven objectively.”

Rabab’ah‎, who is editor-in-chief of Afkar Magazine, which is published by the Jordanian Ministry of Culture, said: “The Arabic language has been able throughout its history to influence many arts related to it, for example the arts of decoration, in which the Arabic calligraphy was essential in its formation. Artists were able to adapt the Arabic letters and Arabic calligraphy to produce artistic paintings and beautiful decorations that we see in places of worship, the walls of castles, palaces, and on the covers of books.

“Likewise, Arab voices, and the way they are performed and controlled, have a great role in the arts of singing, music and mirth, and we will not forget the plastic arts that adopt the formations of Arabic calligraphy which enter into the drawings of this type of art,” he said.

According to Hanan ‎Al-Sharnouby, assistant professor of literature and criticism at Alexandria University, the Arabic language has a profound association with various forms of arts, and it is necessary for those seeking to engage in linguistic arts and speech sciences to master the language.

Al-Sharnouby noted that language and art are interconnected, influencing each other. She emphasized that quality content for films, series, and theater necessitates a language that reflects Arab identity effectively and that the rich heritage of Arabic serves as a solid foundation for sophisticated art that fully engages its audience.

Mohammed Daud, a professor of Arabic language and dean of the ‎Faculty of Linguistics at Sudan University of Science and Technology,‎ said: “There are formative and structural characteristics common to natural human languages, in addition to what is specific to each language.

“The Arabic language is distinguished by these formative and structural characteristics without the rest of the languages. It is represented by the fact that Arabic is concerned with the aesthetic values in the written text and spoken discourse, taking into account the semantic differences between words that appear synonymous in different structural contexts, which enabled it to express the same meaning in different ways and with amazing accuracy.

“This is reflected in its illustrative styles and its individual and collective creative arts, and applies to the ways of thinking of its speakers in their keenness to portray the details of artistic situations and the integrity of their creative production,” he said.

Daud said that the future of the Arabic language is bright due to the stability of its morphological, grammatical and semantic systems, and its ability to derive words and generate meanings through these means.

Tha’er Alethari, a professor of criticism and literature at University of Wasit in Iraq, said: “It is important to realize that Arabic is the only language in the world that has been understood for 2,000 continuous years.

“We read pre-Islamic poetry, understand it, and perhaps quote it on a contemporary issue, and this communication has given the language vitality and the ability to adapt to every era.

“There are two linguistic characteristics that helped it in this, the first of which is the abundance of linguistic roots in it, and the second is its etymological nature. Arabic does not depend on antecedents and suffixes in generating connotations, as is the case with most human languages. subject, noun, adverbs, etc,” he said.

source/content: arabnews.com (headline edited)

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World Arabic Language Day has been celebrated by UNESCO every year on Dec. 18 since 2012. (Reuters)

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ARABIC LANGUAGE

SAUDI ARABIA: Maryah Abdudeeb the Saudi Visionary Jewelry Designer Turning Arabic Literature Into Stunning Wearable Art

Saudi jewelry designer, Maryah Abdudeeb, is revolutionizing the world of wearable art by fusing the elegance of Arabic calligraphy with the beauty of literature. Through her brand, Mashq, she has embarked on a creative journey that begins with the delicate strokes of a calligraphy brush and culminates in the creation of breathtaking masterpieces inspired by poetry and literature.

Mashq, which takes its name from an ancient form of calligraphy, meaning “stretch out,” captures the essence of Arabic letters in a unique and captivating manner. The brand’s founder, Maryah Abdudeeb, drew inspiration from her childhood experiences, where she witnessed her father’s skillful calligraphy and her mother’s ability to transform simple materials into works of art.

Guided by these formative influences, Abdudeeb embarked on a quest to explore the depths of Arabic poetry and literature. Her creative journey was further enriched as she traveled to different countries, marveling at architectural marvels adorned with historic Arabic inscriptions. It was during these encounters that she stumbled upon jewelry pieces engraved with calligraphy, each one narrating a deeply personal story.

With a profound love for Islamic art, Abdudeeb believes in showcasing and appreciating its timeless beauty. To deepen her knowledge and understanding of this art form, she immerses herself in Islamic design books, where she discovers an array of captivating designs and phrases inspired by this rich cultural heritage.

The COVID-19 lockdown proved to be a turning point for Abdudeeb, as she pondered over ways to combine her twin passions: jewelry and Arabic calligraphy. It was during this period of introspection that the concept of Mashq was born.

In March 2021, Mashq made its debut, unveiling its inaugural collection. Abdudeeb personally contributed to each stage of the jewelry-making process, acting as both the calligrapher and designer. Each piece in the collection showcases verses and lines from her favorite works of Arabic poetry and literature, capturing the essence of profound emotions and inspiring narratives.

The transformative design process begins with Abdudeeb meticulously rendering the chosen phrase in calligraphy, striving to convey its true essence. The phrase is then transformed into a three-dimensional representation using specialized jewelry design software. Depending on the size and intricacy of the piece, it is crafted either by hand or with the assistance of cutting-edge machinery.

However, the true measure of success for Abdudeeb lies in the emotions evoked by her creations. By employing a variety of meaningful phrases and materials such as silver, gold plating, and gems, she aims to establish a connection between the wearer and the words. Each piece serves as a reflection of personal sentiments or a wellspring of motivation, empowering individuals to carry their chosen phrase with grace and pride.

source/content: abouther.com (headline edited)

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SAUDI ARABIA

WORLD RECORD: SAUDI ARABIA: The Longest Calligraphic Mural in the World. Murals Beautify Makkah and Depict Saudi Heritage and Culture for pilgrims

The world’s longest calligraphic mural has been installed on the road leading to Makkah’s Grand Mosque, in the latest beautification of the holy city.

The 75-meter mural, designed by artist Amal Felemban, joins a host of sculptures and installations already adorning Makkah in a project run by local authorities to boost its visual appeal and depict Saudi heritage and culture for pilgrims.

Felemban told Arab News that it was important to retain and promote the ancient art of mural painting, as it portrays Saudi culture and aesthetics and links the old world with the modern.

“In the modern era, they brighten up streets and cover some of the ugliness of the gray buildings,” she said, adding that murals and sculptures reflected the true spirit of the city.

“My mural tells the story of the urban heritage in the holy capital, as it received a wonderful echo of this authentic Hijazi art, and it is different from the rest of the murals near large mosques,” she said.

HIGHLIGHTS

• The Municipality of Makkah installed the longest calligraphic mural in the world on King Abdul Aziz Street, the road that leads to the Grand Mosque.

• Artist Amal Felemban shared that murals are one of the oldest forms of art that can beautify the streets and show local culture and heritage to pilgrims and visitors.

“Mine are not letters or poetic verses, but were rather inspired by the authentic urban culture of this country.

“Many pilgrims do not have a sufficient knowledge about Saudi Arabia, nor about our culture and civilization, so we need to show it through arts, murals and sculptures.”

Felemban said that the municipalities in all Saudi regions must pay great attention to this form of art, which reflects Saudi culture and attracts more tourists.

“Millions of visitors from all over the world will flock to our beloved Kingdom, which requires us to show our heritage and culture properly.”

My mural tells the story of urban heritage in the holy capital.

Amal Felemban, Artist

Artist Badr Al-Sulaimani said that the murals and sculptures in the holy city bring joy and pleasure to the hearts of pilgrims from all over the world.

He added that they helped highlight many creative artists from inside and outside the Kingdom in various competitions and bring a historical dimension to contemporary art.

“This proves the importance of employing arts and creating an attractive artistic environment, using all the techniques that contribute to providing a cultural and artistic dose for passers-by,” Al-Sulaimani said.

The Municipality of Makkah organizes competitions for painting murals and drawing Arabic calligraphy, which it describes as one of the most significant written and visual arts which is associated with the Holy Quran.

A team from Umm Al-Qura University’s Department of Visual Arts is also participating in improving the city’s landscape.

source/content: arabnews.com (headline edited)

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The beautification of Makkah continues with new murals adorning street walls on the way to the Grand Mosque. (SPA photos)

The murals feature Arabic calligraphy, a pillar of Islamic art. (SPA)

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SAUDI ARABIA

AUGUST 10th: WORLD CALLIGRAPHY DAY . 6 (six) Of The Most Prominent Calligraphers From The Arab World

Arabic Calligraphy, the art of creating decorative handwriting or lettering, is one of the oldest art forms from the Arab region; one that has not only thrived with time but also evolved into a unique form of expression. It survived through several tumultuous periods that threatened its existence, from civil wars to an invasion by the Mongol Empire that destroyed Baghdad.

Even though the writing wasn’t as focused on in the past, with many Arabs preferring to memorize poetry and other forms of text and pass them down verbally, that changed significantly later. Calligraphy would flourish to include the preservation of the Quran, adorn mosques as well as the palaces of kings, and by royal scribes when writing decrees, among other things.

In celebration of World Calligraphy Day, we decided to dive into the past and look back at some of the most well-known and prominent calligraphers from the Arab world.

Ibn Muqla

One of the biggest names in developing and improving Arabic calligraphy, born in 885 AD in Baghdad, Iraq, during the Abbasid Caliphate, he started out as a tax collector before rising through the ranks and becoming the Caliph’s Vizier three different times.

At this time, the Kufi style dominated the calligraphy scene, but Ibn Muqla invented new art styles that superseded the previous ones. Ibn Muqla was the one who invented the Thuluth and Al-Mansoub styles, as well as the foundations and rules for others, such as Naskh. The Naskh and Thuluth got further development throughout the centuries that followed, and calligraphers still use them today.

While the Kufic style was rigid in its overall design, Naskh had a more cursive structure but wasn’t as popular and as used at the time, Ibn Muqla changed that by improving on it and using it in official decrees, and private correspondence.

Ibn Muqla’s Thuluth style was new with its letters having long vertical lines with broad spacing. Its name translates to “one-third”, in reference to the maximum height for the letters on the same line must not exceed one-third of the ‘alif.

As for the Al-Mansoub style, it mainly focused on three measurements: the size of the period meaning the “Noqta”, the circle with a diameter equal to the height of the alif (the first letter in the Arabic language) and, and the height of the alif.

Ibn Al-Bawwab

Little is known when exactly Ibn Al-Bawwab was born. However, we know of his existence and his body of work thanks to the survival of many of his manuscripts, Qurans, and texts referring to him by name.

With his name literally translating to “son of the doorman,” he didn’t grow up in a wealthy family and had to work to make a name for himself. He did so by learning about law and theology and working in several professions, such as a home decorator. However, he would later settle on working in book illumination and calligraphy.

Over years of hard work, he became renowned as a master calligrapher; fluent in six different styles in the field, perfecting the Al-Mansoub style and developing the Reyhani, Naskh, Tawqi, and Muhaqaq styles significantly.

Housed at the Chester Beatty Library in Dublin, Ireland, is the sole surviving Qur’an penned by Ibn al-Bawwab gifted to the country by Ottoman Sultan Selim I.

Mohammad Hosni

Originally from Syria, Mohammad Hosni Al-Baba was born in 1894 and is considered one of the last classical calligraphers. Al-Baba received his initial formal training with the Turkish master, Istanbul-based Yousef Rasa, who had renovated the Umayyad Mosque in Damascus, Syria. Al-Baba would later study under another renowned calligrapher, Mehmed Showki Afendi, author of the work “The Thuluth & Naskh Mashqs.”

He would later travel to Cairo, Egypt, becoming one of the leaders in Islamic and Arabic calligraphy, turning his home into a hub for artists, calligraphers, and poets. Al-Baba would be famous for improvements to the lettering in the Thuluth style, the linear structure of Arabic script, and was appointed by King Farouk as the first professor to be a master at the Royal Institute of Calligraphy.

His children would continue his legacy but in different fields since many grew up surrounded by artists when they visited Al-Baba’s home. The most famous of his children are actress Soad Hosni, dubbed “Cinderella of Egyptian Cinema,” and Najat Al Saghira, who became an actress and singer.

Hassan Massoudy

Born in 1944, Iraqi painter and calligrapher Hassan Massoudy continues to be one of the biggest inspirations for many modern artists today. French writer Michel Tournier even considered him as the “greatest living calligrapher” in 1989.

Massoudy grew up in Baghdad, Iraq, until 1969, when he fled to Paris, France, entering the École des Beaux-Arts, where he studied figurative painting. At the time, he looked for a job to pay for his studying, finally finding one as a calligrapher in Arabic magazines, writing their headlines.

While he wasn’t famous for a traditional calligraphy style, his distinct and elaborate designs made him stand out among the rest of the artists of his time. Massoudy would delve into the world of theater, collaborating with artists and choreographers, creating different productions focusing on the harmony of dance, calligraphy, and dance routines.

Nja Mahdaoui

Studying abroad but seeking inspiration from his traditional roots, Tunisian artist and calligrapher Nja Mahdaoui invented the world of Arabic calligraphy as a graphic style, creating what was called “Calligrams.”

Born in 1937 in Tunis, Tunisia, he first started learning art history and painting at the Carthage National Museum. He later traveled to Rome, Italy, where he continued to study painting and learned more about philosophy at the Santa Andrea Academy. He also moved to Paris, France, where he went to the Cité Internationale des Arts and École du Louvre before returning to his home country in 1977.

His calligraphic style focuses mainly on the designs he creates as a whole rather than the composition of words since his “calligrams” resemble Arabic letters but have no literal meaning, leading to many naming him the “inventor of abstract calligraphy.” People can see Mahadaoui’s work on several materials used as a canvas, including jewelry, drums, leather, paintings, walls, glass, and so much more.

A UNESCO Crafts Prize laureate, Mahdaoui, graced the Facebook campus in 2018 by painting one of their halls using Arabic calligraphy in his unique style as part of the “FB AIR program,” turning their hall into a vividly colorful masterpiece.

Ahmed Mustafa

Egyptian artist and calligrapher Ahmed Mustafa was born in 1943 in Alexandria, Egypt, graduating from the Faculty of Fine Arts at Alexandria University in 1966 before traveling to the UK on a scholarship to the Central School of Art and Design in London, England, where he earned his Ph.D. in 1989.

Inspired by his Islamic roots, his calligraphic works mainly focused on quotes from the Quran, among other sources. Working on several materials as his canvas, Mustafa has designs on glass and carpets, among others.

Mustafa also set up the Fe-Noon Ahmed Moustafa Research Centre for Arab Art and Design in London in 1983. He lectures and creates workshops globally as well as does commissions, one of which was presented by Queen Elizabeth II to Pakistan for the country’s fiftieth anniversary in 1997.

The following year, the Vatican invited him to do an exhibition at the Pontifical Gregorian University in Rome, Italy. World media at the time announced it as the first achievement of its kind in the history of Muslim-Christian relations.

source/contents: scoopempire.com / Omar Yousry /(headline edited)

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EGYPT / FRANCE / IRAQ / SYRIA / TUNISIA / U.K

7th edition of ‘Cairo International Biennale of the Arabic Calligraphy Art’ 07- 20 June. A Simultaneous 3-day Seminar on ‘Pioneers and Renovators in 100 Years (1922 – 2022)’

Cairo witnessed the seventh edition of the Cairo International Biennale of the Arabic Calligraphy Art under the auspices of Minister of Culture Ines Abdel-Dayem at the premises of Cairo Opera House.

Under the slogan ‘Pioneers and Renovators in 100 years (1922/2022)’, the biennale included a three-day seminar that ran from 6 to 9 June at El-Hanager Cinema that highlighted the most prominent figures of Arabic Calligraphy in Egypt and the Arab world as well as an art exhibition showcasing artistic gems of this Art from 125 countries represented by 15 artists at the Art Palace in the Cairo Opera House Complex that is running from 7 to 20 June.

This year’s biennale coincides with the announcement of Cairo as the Capital of Islamic Culture and only a few months after Arabic Calligraphy was added on the Representative List of Intangible Cultural Heritage of Humanity.

Furthermore, the event established a new tradition of honouring artists and researchers for their achievements, and a side competition was held in the name of renowned Egyptian calligrapher Khedr El-Portsaidy — the founder of the Arabic Calligraphy Museum as well as the one who accredits and certifies Arabic calligraphers in Egypt.

In the opening session, Mohamed El-Baghdady — the general commissioner of the biennale — noted that this year marks the centenary jubilee of the establishment of Egypt’s first calligraphy school during the reign of king Fouad in 1922.

The session also included the presentation of a research paper written by Nahla Imam — country representative of Egypt at the 2003 Convention of Safeguarding the Intangible Heritage of UNESCO — who shared her experience in adding Arabic calligraphy knowledge, skills, and practice on UNESCO’s representative list of intangible cultural heritage in December 2021.

Mohamed Hassan Abu El-Khair — the first to innovate the ‘mashq’

The second day of sessions showcased the pioneers and renovators of such enchanting art.

The first paper was presented by researcher and calligrapher Mohamed El-Shafaai on passing down the practice of such art in Egypt, taking the family of Mohamed and Abdel-Aziz Abu El-Khair as an example, as the two are renowned Egyptian calligraphers that this year’s round was dedicated to.

He started off by revealing that the concept of passing down this form of art dates back to the pre-Islamic era, explaining that the initial idea behind Arabic calligraphy was transcription, and then the artistic element came later.

“During the pre-Islamic era, except for a small circle, very little knew how to write Arabic, and according to Abdalla Ibn Abbas, the first person to begin writing in Arabic in the tribe of Qureish was Harb Ibn Umaya — one of the masters of the tribe and the father of Sufian Ibn Harb.

The other key person in calligraphy art was El-Wazir Ibn Noqla, who was famous during the Abbasid Caliphate and inherited the art from his father El-Ali Ibn Hassan, explained El-Shafaai.

Mohamed Hassan Abu El-Khair was born in Cairo in 1921, he studied in Al-Azhar and then joined The School of Improving Calligraphy when he was only 17, where he was the top of his class and was taught by calligraphy masters such as Sheikh Fakhr El-Din, Sheikh Ali Badawi, and Mohamed Hosni El-Baba — the father of iconic Egyptian actress Soad Hosni to name but a few.

He excelled in El-Sulus and Reqaa calligraphy and soon became a professor of the art of calligraphy at Oum El-Qoura University in Mecca for 20 years.

“He was the first to innovate in the mashq (an educational manual technique) of the solos of Arabic calligraphy that are taught to fourth graders, where he started teaching students to write whole sentences from the beginning instead of focusing on letters with no context,” El-Shafaai added.

Abdel-Qader Al-Shihabi — the calligrapher of the Palestinian government

The second paper focused on Abdel-Qader Al-Shihabi — a Palestinian calligrapher — that was written by Farag Hussieny. Al-Shihabi is a renowned Palestinian calligrapher whose fame reached its peak during the first half of the 20th century and was known as the ‘calligrapher of the Palestinian government.’

“Born and raised in Jerusalem, Abdel-Qader Al-Shihabi comes from a long line of calligraphers that started off this art between the 12th and 14th year of the Hijri calendar, however, Al-Shihabi learned calligraphy in Istanbul at the hand of Mohamed Ezzat, the biggest artist. He was known for his suluth calligraphy, which decorates the walls of Al-Aqsa Mosque to date. He also spent all his life teaching calligraphy in Jerusalem and encouraging young artists to follow his passion,” explained Hussieny.

Abdalla Al Zohdi: the calligrapher of Al-Haramein Al-Sharifine

The third paper covered the ‘calligrapher of Al-Haramein Al-Sharifine (The Two Holy Mosques) Abdalla Al-Zohdi and was written by Sami Saleh Abdel-Malak.

“Born in Nablus, Abdalla Al-Zohdi was born around 1251. His family moved to Istanbul, where he studied and excelled in calligraphy at a very early age. His artistic fame made him the official calligrapher of the Prophet’s Mosque in Medina, where his calligraphy adorns the walls and ceilings of the mosque till now,” the paper explained,

“During the reign of khedive Ismail, he was commissioned to write the calligraphy of the Keswa of the Kaaba and Mahmal. His implacable calligraphy was quite visible and stood out in the design of the keswa from that day onwards. He was known by his highly complex and geometric Sulus calligraphy.”

source/content: english.ahram.org.eg (headline edited)

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EGYPT

Exhibition Celebrates Late Calligrapher and Artist Mohammad Bajnaid

Mohammad Salem Bin Abdul Basit Bin Abdul Rahman Bin Junaid Bajnaid (aka) Mohammad Bajnaid – Artist. Calligrapher.

Saudi artist and calligrapher Mohammad Salem Bajnaid contributed to the design and embroidery of the Kiswah — the cloth that is draped over the Kaaba in Makkah on the day that pilgrims leave for Mount Arafat during the Hajj.

Sharbatly House Museum in Historic Jeddah is currently hosting an exhibition celebrating the work of the renowned Saudi artist and calligrapher Mohammad Salem Bajnaid.

The show is part of Saudi Arabia’s Year of Arabic Calligraphy, launched by the Ministry of Culture with the support of the Quality of Life Program

The new exhibition in Jeddah runs until December and features 21 works from throughout Bajnaid’s career, some of which are Quranic verses and prophetic hadiths.

The show is split into four main areas: The Ancient House, Family bonds, Knowledge, and Patience.

It has been curated by the artist’s grandson, Salem Fouzi Bajnaid, who told Arab News: “The credit behind all the efforts in setting up this event goes to (the artist’s) family and friends, in cooperation with the ministry of culture. We’ve witnessed such an amazing response on the first few days, with art admirers from everywhere coming to appreciate the work being displayed here.”

Bajnaid, who died in October 2019, was widely recognized as one of the most talented calligraphers in the Arab and Islamic world. He contributed to the design and embroidery of the Kiswah — the cloth that is draped over the Kaaba in Makkah on the day that pilgrims leave for Mount Arafat during the Hajj — and was also the creator of the Kingdom’s gift to the United Nations for its headquarters in New York in 1982.

website :msalembajnaid.com/

source/content: arabnews.com

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SAUDI ARABIA