The document discusses the history and development of Arabic calligraphy scripts. It describes Kufic as the oldest script dating back to the 7th century and notes its angular shape. It also discusses the development of Naskh script in the 10th century as a standardized cursive style. Additionally, it outlines various regional scripts that developed like Nasta'liq in Persia, Diwani in Turkey, and Sini in China. Overall, the document provides a comprehensive overview of the origins and evolution of different Arabic calligraphy styles.
This presentation briefly talks about Islamic art and architecture, about their types, and introduction to Islamic calligraphy and their uses in Islamic architecture and their contemporary use of Islamic calligraphy.
This presentation briefly talks about Islamic art and architecture, about their types, and introduction to Islamic calligraphy and their uses in Islamic architecture and their contemporary use of Islamic calligraphy.
describing calligraphy in interior design
its history
and the role of calligraphy in forming modern interiors
what is the relationship of zaha hadid and calligraphy ?
The Influence of the Arabic Language: The Muwashshah of Ibn Sahl Al-Andalusi ...AJHSSR Journal
ABSTRACT: The muwashahat were the product of the popular Arabic literary tradition, but their progress is associated with social factors in the Andalusi setting. This article is an attempt to study the inspiration of the Arabic language focusing on a literary genre like the Arabic Andalusian Muwashshah as a legacy of the graceful language. The paper constitutes an endeavor to assess the motivation and influence of the Arabic tongue on the literary practice of Andalusia with reference to the muwashshah particularly a piece of poetry of the same genre by a leading poet, Ibrahim Ibn Sahl Al-Ishbili Andalusi. The researcher, in this paper, undertakes to show the perspicacity of some verses of Ibn Sahl as a case of the elegance of the Arabic tongue. Ibn Sahl‟s muwashshah is worthy of being not given enough attention principally his poetry as a legacy of the dignified Arabic tongue in a part of the European continent.As a suitable approach, the researcher applies the descriptive-analysis. The article commences with a succinct exploratory framework on the importance of the Arabic language and its bond with poetry because poetry is thejewelry of Knowledge. The next point gives a justified illustration on the Muwashshah as an impact of Arab Muslims. Then, it moves progressively to present some crucial notions on the poet Ibn Sahl Al Andalusi. After that, the study attempts to give an analysis on one of the muwashshah, trying to probe the depth of the language the poet applied. Through this portion, the researcher tries to find out the influence of the Arabic tongue and to exemplify the aptitudes of Ibn Sahl through lyrics. The article finishes with a concise conclusion précising the complete analysis and commenting on the recommendations if the researcher may recommend.
How to read islamic calligraphy by maryam d ekhtiardocsforu
For centuries, Islamic calligraphy has mesmerized viewers with its
beauty, sophistication, and seemingly endless variety of styles.
How to Read Islamic Calligraphy offers new perspectives on this
distinctive art form, using examples from The Met’s superlative
collections to explore the enduring preeminence of the written word
as a means of creative expression throughout the Islamic world.
Combining engaging, accessible texts with stunning new pho
tography, I low to Read Islamic Calligraphy introduces readers to the
major Islamic script types and explains the various contexts, whether
secular or sacred, in which each one came to be used. Beauty and
brilliance emerge in equal measure from works of every medium,
from lavishly illuminated Qur’an manuscripts, to glassware etched
with poetic verses, to ceramic tiles brushed with benedictions. The sheer breadth of objects illustrated in these pages exemplifies the ubiq
uity of calligraphy in the arts of Islam and the vitality of its role in
Islamic culture. 156 pages, 141 color illustrations, map, glossary, bibliography
A Voice of Arabs Taabbata-Sharran: A Bandit by Name a Poet of Pride - صوت من...Al Baha University
The magnitude of the Arabic language holds back from its being one of the unblemished languages in its brilliance and its reiterated capability to adapt to countless different sciences and knowledge. The Arabic language has reached creativity and ingenuity in diverse fields and genres of literature in which the supreme is poetry. This article attempts to present the inner landscapes of Taabbata-Sharran and his profession placing him in the context of both his social milieu and his age.
The paper aims at studying the figurative, allegorical and appealing images in Al-Gafiah of Taabbata-Sharran in which it follows the inferential inductive critical methodology concentrating analytically on his Al-Gafiah poem. The study attempts to divulge in the analysis the appealing qualities and poetic matters as well as the rhetorical images in it with particular reference to the first ten verse lines. The article begins with an introduction to Arabia and the Arabic Poetic Language then shifts to shed light on the poet Taabbata-Sharran as a great poet of Arabia, the center of the Arabic language. It is concluded with a brief examination and comments on the poem Al-Gafiah trying to catch on the original Arab ideals, morals, integrity, and beliefs in the pre-Islamic Epoch it contains.
describing calligraphy in interior design
its history
and the role of calligraphy in forming modern interiors
what is the relationship of zaha hadid and calligraphy ?
The Influence of the Arabic Language: The Muwashshah of Ibn Sahl Al-Andalusi ...AJHSSR Journal
ABSTRACT: The muwashahat were the product of the popular Arabic literary tradition, but their progress is associated with social factors in the Andalusi setting. This article is an attempt to study the inspiration of the Arabic language focusing on a literary genre like the Arabic Andalusian Muwashshah as a legacy of the graceful language. The paper constitutes an endeavor to assess the motivation and influence of the Arabic tongue on the literary practice of Andalusia with reference to the muwashshah particularly a piece of poetry of the same genre by a leading poet, Ibrahim Ibn Sahl Al-Ishbili Andalusi. The researcher, in this paper, undertakes to show the perspicacity of some verses of Ibn Sahl as a case of the elegance of the Arabic tongue. Ibn Sahl‟s muwashshah is worthy of being not given enough attention principally his poetry as a legacy of the dignified Arabic tongue in a part of the European continent.As a suitable approach, the researcher applies the descriptive-analysis. The article commences with a succinct exploratory framework on the importance of the Arabic language and its bond with poetry because poetry is thejewelry of Knowledge. The next point gives a justified illustration on the Muwashshah as an impact of Arab Muslims. Then, it moves progressively to present some crucial notions on the poet Ibn Sahl Al Andalusi. After that, the study attempts to give an analysis on one of the muwashshah, trying to probe the depth of the language the poet applied. Through this portion, the researcher tries to find out the influence of the Arabic tongue and to exemplify the aptitudes of Ibn Sahl through lyrics. The article finishes with a concise conclusion précising the complete analysis and commenting on the recommendations if the researcher may recommend.
How to read islamic calligraphy by maryam d ekhtiardocsforu
For centuries, Islamic calligraphy has mesmerized viewers with its
beauty, sophistication, and seemingly endless variety of styles.
How to Read Islamic Calligraphy offers new perspectives on this
distinctive art form, using examples from The Met’s superlative
collections to explore the enduring preeminence of the written word
as a means of creative expression throughout the Islamic world.
Combining engaging, accessible texts with stunning new pho
tography, I low to Read Islamic Calligraphy introduces readers to the
major Islamic script types and explains the various contexts, whether
secular or sacred, in which each one came to be used. Beauty and
brilliance emerge in equal measure from works of every medium,
from lavishly illuminated Qur’an manuscripts, to glassware etched
with poetic verses, to ceramic tiles brushed with benedictions. The sheer breadth of objects illustrated in these pages exemplifies the ubiq
uity of calligraphy in the arts of Islam and the vitality of its role in
Islamic culture. 156 pages, 141 color illustrations, map, glossary, bibliography
A Voice of Arabs Taabbata-Sharran: A Bandit by Name a Poet of Pride - صوت من...Al Baha University
The magnitude of the Arabic language holds back from its being one of the unblemished languages in its brilliance and its reiterated capability to adapt to countless different sciences and knowledge. The Arabic language has reached creativity and ingenuity in diverse fields and genres of literature in which the supreme is poetry. This article attempts to present the inner landscapes of Taabbata-Sharran and his profession placing him in the context of both his social milieu and his age.
The paper aims at studying the figurative, allegorical and appealing images in Al-Gafiah of Taabbata-Sharran in which it follows the inferential inductive critical methodology concentrating analytically on his Al-Gafiah poem. The study attempts to divulge in the analysis the appealing qualities and poetic matters as well as the rhetorical images in it with particular reference to the first ten verse lines. The article begins with an introduction to Arabia and the Arabic Poetic Language then shifts to shed light on the poet Taabbata-Sharran as a great poet of Arabia, the center of the Arabic language. It is concluded with a brief examination and comments on the poem Al-Gafiah trying to catch on the original Arab ideals, morals, integrity, and beliefs in the pre-Islamic Epoch it contains.
Hope that this can help you much in your studies and lessons :)
Let this be your guide to wonder around the beauty of Arabian Literature
C(r): Afro Asian Book and wikipedia.org
Arabic calligraphy is the art of beautiful writing using the letters of the Quran. Islamic calligraphy emerged between the 8th and 10th centuries, and later it continued to develop more artistically and under different rules. www.naqshschoolofarts.com
The Enduring Legacy of Islamic Calligraphy in Art and Architecture.docxOffpageSeo6
The history of Islam bears witness to the profound significance of calligraphy in both art and architecture, from the diverse styles of Arabic scripts since the inception of the Quran to the medieval walls of Andalusian Spain. This form of art is deeply intertwined with the Islamic faith, serving as a visual representation of spiritual significance.
Famous Arabic Literature and its Impact on Arabic Language Learningabdulshaikh5253
Arabic literature boasts a rich and diverse heritage that spans centuries, encompassing a wide range of genres, themes, and styles. From poetry to novels, Arabic literature has captivated readers around the world with its eloquence, depth, and cultural significance
Educational system in the Time of the ProphetMuQeet
Prophet Muhammad as a Teacher, Dean and Rector, An important reference material to learn about the value of Education in Islam and Muslim society. Authored by Dr. M Hamidullah, this is a feature in Islamic Scholarship.
آل انڈیا علماء و مشائخ بورڈ اہل سنت کی شان
آل انڈیا علماء ومشائخ بورڈ وقت کی اس ضرورت کو کہتے ہیں جو اہل سنت کی افادیت پر اس کی حمایت و نصرت پر اپنے دائرے میں وہ بہتر سے بہتر کام کررہاہے کہ جس نے دشمنوں کو سرخم کرنے پر مجبور کردیا اس میں شک نہیں کہ آزادئ ہند کے بعد سے اب تک سنی اور سنیت کسی مضبوط، مستحکم اور اعلیٰ قیادت سے محروم رہی ہے جس کا فائدہ غیر سنیوں نے بھر پور طریقہ سے اٹھایا اور بھولے بھالے سنی مسلمانوں کو بڑی ہی چالاکی کے ساتھ راہ سے بے راہ کرنے کی انتھک کوششیں کیں اور اس مقصد میں وہ مسلسل کامیاب ہوتے جارہے ہیں سیاسی حلقو ں میں انہیں قبولیت ملی، ایوان سیاست میں انکی رسائی ہوئی اور ہم یہ سب کچھ دیکھ کر بھی کچھ نہ کرسکےاہل خانقاہ خانقاہ نشینی میں عافیت سمجھتے رہے اور علماء اہلسنت یاتو اسطرف متوجہ نہیں ہوئے یا پھر ذرائع کے فقدان یاقلت اسباب کی وجہ سے کوئی منظم تحریک چلا نہیں سکے اور سنیت بے یار و مددگا رہی بلکہ خود اہل خانقاہ بعض دوست نما دشمنوں کی سازش کا شکار ہوکر آپسی اختلاف و انتشار میں پڑ گئے جس کا نتیجہ یہ ہوا کہ جن خانقاہوں میں تصوف نے تقویت پائی ان خانقاہوں سے تصوف کی ارتھی سجانے کی منظم تحریکیں چلائی گئیں جس کا رزلٹ یہ نکلا کے بجائے فرقہائے باطلہ سے نپٹنے کےاس گھر کو آگ لگ گئی گھر کے چراغ سےبنام سنیت متشدد قسم کے لوگوں کی حرکات و سکنات نے خانقاہی نظام کا شیرازہ بکھیرنا چاہا جس کو سمیٹنے کیلئے کوئی تحریک ،انجمن ، یا کمیٹی باضابطہ طور پر میرے علم کے مطابق سامنے نہیں آئی لہذا وقت کی اہم ضرورت تھی کہ سنیت کو کوئی مضبوط قائد ملے' نگہبان ملے جو سنیت پر شب خون مارنے والوں سے اسکی حفاظت کرے اور اتحاد کو پارہ پارہ ہونے سے بچا سکے.
فالحمد للہ علٰی ذٰلک ! یہ عظیم کام شہزادۂحضور غوث العالم مخدوم سمنانی ،قائد ہند اشرف ملت، حضرت علامہ الحاج الشاہ پیر" سید محمد اشرف میاں " اشرفی الجیلانی کچھوچھوی مدظلہ العالی نے احسن طریقہ سے انجام دیاہے ـ موصوف نے’’آل انڈیا علما ء و مشائخ بورڈ " قائم کرکے پرخلوص کوشش کی ہے کہ تمام سنی خانقاہیں اور ادارے ایک پلیٹ فارم پرآکے اتحاد و اتفاق کے ساتھ اسلام و سنیت کی خدمات انجام دیں
شکرللہ !حضرت قائد ہند اشرف ملت قبلہ اپنے اس نیک مقصد میں کافی حد تک کامیاب بھی ہیں انکی کامیابیوں، اعلیٰ قابلیتوں، اورحسن اخلاق و اخلاص کے پیش نظر امید قوی ہے کہ آل انڈیاعلماء مشائخ بورڈ " بتوفیق اللہ تعالیٰ" اسلام و سنیت کے تحفظ و فروغ کیلئے آئندہ بھی خلوص و للہیت کے ساتھ کام کرتا رہیگا۔
اور مثالی خدمات انجام دیکر سنیوں کے اضطراب وبے چینی کے اس عالم میں اطمینان و سکون قلبی کاسامان کریگا۔
تمام مخلص علماء ومشائخ اس تحریک کو مضبوط سے مضبوط تربنانے کیلئے باضابطہ طور پر ممبر بنیں اور بنوائیں تاکہ پورے ملک میں اسلا م و سنیت کی حفاظت و حمایت اور اشاعت کا کام کسی اعلیٰ قائد کی قیادت میں کیا جاسکے اور اس کے اچھے نتائج برآمد ہوسکیں ۔
اللہ سبحانہ وتعالیٰ بظفیل احمد مصطفیٰ صلی اللہ علیہ والہ واصحابہ وسلم ہم سب کو اتحاد و اتفاق کے ساتھ دین و ملت کی خدمت کرنے کی تو فیق سعید نصیب فرمائےآمین!
Shaikh e azam mahanama ghausul alam feb 2007 shaikh e azamAale Rasool Ahmad
Shaikh e Azam Mahanama Ghausul Alam Feb 2007 Shaikh e Azam
Chief Editor: Ashraf Millat Huzoor Syed Muhammad Ashraf Ashrafi Al Jilani
Jame Ashraf Kichhauchha Sharif
Author: Ghausul Alam Mahboob e Yazdani Sultan Syed Ashraf Jahangir Simnani RadiAllahu Anh
Explained: Hazrat Maulana Razaul Haque Ashrafi Raj Mahli Shaikhul Hadis Jame Ashraf Kichhauchha Sharif
Aalim e Islam Ka Aek Aesa Mujahid Jinhone Apne Puri Zindagi Dushmanaane Islam Jang karte rhe Yahan Tak ki Fatih e Baitul Muqaddas Kahle, inki Seerat pr aek Mukhtar si Kitab ............................
Khaleefa Gausul Aalam Mahboob e Yazdani Shaikhul Isalam Al Hafiz Al Qadri Allama Syed Abdur Noorul Ain Ashrafi Al Jilani ki Seerat Par Likhi Gyi chhoti si Kitab.........
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The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
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2. االسالميةالعلوممعهد إحياء Ihya Academy
History of Arabic Persian and Urdu Language
Scripts
Initially it was 22 and later Hazrath-e- Ali Raziallahu tala anhu made it as 28/29 called as Huruf-ul Hija
Here, same Arabic letters/alphabet with addition of some letters: Pay, Cheem, Zay, Gaaf and
interchanging Wow and Hay.
3. االسالميةالعلوممعهد إحياء Ihya Academy
Here, same Arabic and Persian letters/alphabet with addition of some letters: Pay, Cheem, Zay, Gaaf and
interchanging Wow and Hay + Tay, Day, De, Do chame wali Hay, Hamza and Ye.
Kufic
9th century Qur'an, an early Kufic example from the Abbasid period.
Kufic is the oldest form of the Arabic script. The style emphasizes rigid and angular strokes, which
appears as a modified form of the old Nabataean script. The Archaic Kufi consisted of about 17 letters
without diacritic dots or accents. Afterwards, dots and accents were added to help readers with
pronunciation, and the set of Arabic letters rose to 29.[4]
It is developed around the end of the 7th century
in the areas of Kufa, Iraq, from which it takes its name.[5]
The style later developed into several varieties,
including floral, foliated, plaited or interlaced, bordered, and squared kufi. It was the main script used to
copy Qur'ans from the 8th to 10th century and went out of general use in the 12th century when the
flowing naskh style become more practical, although it continued to be used as a decorative element to
contrast superseding styles.
There were no set rules of using the Kufic script; the only common feature is the angular, linear shapes of
the characters. Due to the lack of methods, the scripts in different regions and countries and even down
to the individuals themselves have different ways to write in the script creatively, ranging from very square
and rigid forms to flowery and decorative.
Common varieties includes:
1. Maghribi (Moroccan or western) Kufic is a slight modification of early Kufic. It features a
significant amount of curves and loops as opposed to the original Arabic kufic script. Loops for
the characters such as the Waw and the Meem are pronounced and perhaps more exaggerated.
2. Fatimi (or eastern) kufic is prevalent in the North African region, particularly in Egypt. The stylized
and decorative form was mainly used in the decoration of buildings.
3. Murabba (or square) kufic is absolutely straight with no decorative accents or curves. Due to this
rigidity, this type of script can be created using square tiles or bricks. In Iran, entire buildings may
be covered with tiles spelling sacred names like those of God, Muhammad and Ali in square
Kufic, a technique known as banna'i. Contemporary calligraphy using this style is also popular in
modern decorations.
4. االسالميةالعلوممعهد إحياء Ihya Academy
Decorative Kufic inscriptions are often imitated into pseudo-kufics in Middle age And Renaissance
Europe. Pesudo-kufics is especially common in Renaissance depictions of people from the Holy Land.
The exact reason for the incorporation of pseudo-Kufic is unclear. It seems that Westerners mistakenly
associated 13–14th century Middle-Eastern scripts as being identical with the scripts current during Isa
Alaihissalaam time, and thus found natural to represent early Christians in association with them.
Naskh
Naskh script in a 14th-century Qur'an from the Mamluk dynasty.
The use of cursive script coexisted with Kufic, but because in the early stages of their development they
lacked discipline and elegance, cursive were usually used for informal purposes. With the rise of Islam,
new script was needed to fit the pace of conversions, and a well-defined cursive called naskh first
appeared in the 10th century. The script is the most ubiquitous among other styles, used in Qur'ans,
official decrees, and private correspondence. It become the basis of modern Arabic print.
Standardization of the style was pioneered by Ibn Muqla (886-940 A.D.) and later expanded by Abu
Hayan at-Tawhidi (died 1009 A.D.) and Muhammad Ibn Abd ar-Rahman (1492–1545 A.D.). Ibn Muqla is
highly regarded in Muslim sources on calligraphy as the inventor of the naskh style, although this seems
to be erroneous. However, Ibn Muqla did establish systematic rules and proportions for shaping the
letters, which use 'alif as the x-height.
Variation of the naskh includes:
1. Thuluth is developed as a display script to decorate particular scriptural objects. Letters have
long vertical lines with broad spacing. The name reference to the x-height, which is one third of
the 'alif.
5. االسالميةالعلوممعهد إحياء Ihya Academy
2. Riq'ah is a handwriting style derived from naskh and thuluth, first appeared in the 9th century.
The shape is simple with short strokes and little flourishes.
3. Muhaqqaq is a majestic style used by accomplished calligrapher. It was considered one of the
most beautiful script, as well as one of the most the difficult to execute. It is commonly used
during the mamluk era, but the use become largely restricted to short phrases, such
as basmallah, from the 18th century onward.
Regional
Nasta'liq calligraphy by Mir Emad Hassani, perhaps the most celebrated Persian calligrapher.
With the spread of Islam, the Arabic script was established in a vast geographic area with many regions
developing their own unique style. From the 14th century onward, other cursive styles began to develop
in Turkey, Persia, and China.
1. Nasta'liq is a cursive style originally devised to write the Persian language for literary and non-
Qur'anic works. [
Nasta'liq is thought to be a latter development of the naskh and the earlier ta'liq
script used in Iran. The name ta'liq means 'hanging', and refers to the slightly steeped lines of
which words run in, giving the script a hanging appearance. Letters have short vertical strokes
with broad and sweeping horizontal strokes. The shapes are deep, hook-like, and have high
contrast. A variant called Shikasteh is used in a more informal contexts.
2. Diwani is a cursive style of Arabic calligraphy developed during the reign of the
early Ottoman Turks in the 16th and early 17th centuries. It was invented by Housam Roumi and
6. االسالميةالعلوممعهد إحياء Ihya Academy
reached its height of popularity under Süleyman I the Magnificent (1520–1566). Spaces between
letters are often narrow, and lines ascend upwards from right to left. Larger variation
called djali are filled with dense decorations of dots and diacritical marks in the space between,
giving it a compact appearance. Diwani is difficult to read and write due to its heavy stylization,
and became ideal script for writing court documents as it insured confidentiality and prevented
forgery.
3. Sini is a style developed in China. The shape is greatly influenced by Chinese calligraphy, using
a horsehair brush instead of the standard reed pen. A famous modern calligrapher in this
tradition is Hajji Noor Deen Mi Guangjiang.
Kufic
Kufic script in a 11th-century Qur'an.
Maghribi kufic script in a 13th-century Qur'an.
Square kufic tilework in Yazd, Iran.
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Under-glaze terracotta bowl from the 11th century Nishapur.
Gold dinar from 10th century Syria.
Naskh
Muhaqqaq script in a 15th Century Qur'an from Turkey.
Muhaqqaq script in a 13th-century Qur'an.
Riq'ah script in an early 16th century Ottoman manuscript dedicated to Selim I.
Diploma of competency in calligraphy, written with thuluth and naskh script.
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Thuluth script tile in Samarkand.
One of the calligraphy decorating Hagia Sophia.
Regional varieties
Ta'liq script in an Ottoman manuscript.
Nasta'liq Script.
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Proportions of the nasta'liq script.
Sini script in an 11th-century Qur'an.
Chinese Qur'an written in Sini with Chinese translation.
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Modern examples
Bismallah calligraphy.
Bismallah calligraphy.
An example ofzoomorphic calligraphy.
Flag of the Islamic Emirate of Afghanistan Islamic Emirate of Afghanistan 2001.
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Animation showing the calligraphic composition of the Al Jazeera logo.
The Emirates logo is written in traditional Arabic calligraphy.
The instruments and work of a student calligrapher.
Islamic calligraphy performed by a Malay Muslim in Malaysia. Calligrapher is making a rough draft.
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Nasta'liq
Main article: Nasta'liq script
The Nasta'liq calligraphic writing style began as a Persian mixture of scripts Naskh and Ta'liq. After
the Mughal conquest, Nasta'liq became the preferred writing style for Urdu. It is the dominant style
in Pakistan, and many Urdu writers elsewhere in the world use it. Nasta'liq is more cursive and flowing
than its Naskh counterpart.
Nastaʿlīq (also anglicized as Nastaleeq; in Persian: قیلعتسن nastaʿlīq) is one of the main calligraphic
hands used in writing the Perso-Arabic script, and traditionally the predominant style in Persian
calligraphy.[1]
It was developed in Iran in the 8th and 9th centuries.[citation needed]
It is sometimes used to
write Arabic-language text (where it is known as Taʿliq and is mainly used for titles and headings), but its
use has always been more popular in the Persian, Turkic, and South Asian spheres of
influence. Nastaʿlīq has extensively been (and still is) practiced in Iran, Pakistan and Afghanistan for
written poetry and as a form of art. However, it is harder to read than Naskh.
A less elaborate version of Nastaʿlīq serves as the preferred style for writing Persian, Kashmiri, Punjabi
and Urdu, and it is often used alongside Naskh for Pashto. Nastaʿlīq was historically used for writing
Ottoman Turkish, where it was known as tâlik (not to be confused with a totally different Persian style,
also called taʿliq; to distinguish the two, Ottomans referred to the latter as ta'liq-i qadim = old ta'liq).
Nastaʿlīq is the core script of the post-Sassanid Persian writing tradition, and is equally important in the
areas under its cultural influence. The languages of Afghanistan (Dari, Uzbek, Turkmen, etc.), Pakistan
(Punjabi, Urdu, Kashmiri, Saraiki, etc.), India (Urdu, Kashmiri, Rekhta), and the Turkic Uyghur language
of the Chinese province of Xinjiang, rely on Nastaʿlīq. Under the name taʿliq (lit. “Suspending [script]”), it
was also beloved by Ottoman calligraphers who developed the Diwani (divanî) and Ruqah (rık’a) styles
from it.
Nastaʿlīq is amongst the most fluid calligraphy styles for the Arabic alphabet. It has short verticals with no
serifs, and long horizontal strokes. It is written using a piece of trimmed reed with a tip of 5–10 mm (0.20–
0.39 in), called "qalam" ("pen", in Arabic and Persian ",)"قلم and carbon ink, named "davat". The nib of
a qalam is usually split in the middle to facilitate ink absorption.
Two important forms of Nastaʿlīq panels are Chalipa and Siah-Masq. A Chalipa ("cross", in Persian) panel
usually consists of four diagonal hemistiches (half-lines) of poetry, clearly signifying a moral, ethical or
poetic concept. Siah-Masq ("inked drill") panels, however, communicate via composition and form, rather
than content. In Siah-Masq, repeating a few letters or words (sometimes even one) virtually inks the
whole panel. The content is thus of less significance and not clearly accessible.
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History
After the Islamic conquest of Persia, Iranians adopted the Perso-Arabic script, and the art of Persian
calligraphy flourished in Iran as well as in other Islamic countries. Apparently, Mir Ali Tabrizi (14th
century) developed Nastaʿlīq by combining two existing scripts of Nasḫ and Taʿlīq. Hence, it was
originally called Nasḫ-Taʿlīq. Another theory holds that the name Nastaʿlīq means "that which abrogated
(naskh) Taʿlīq".
Nastaʿlīq thrived, and many prominent calligraphers contributed to its splendor and beauty. It is believed
that Nastaʿlīq reached its highest elegance in Mir Emad's works. The current practice of Nastaʿlīq is,
however, heavily based on Mirza Reza Kalhor's technique. Kalhor modified and adapted Nastaʿlīq to be
easily used with printing machines, which in turn helped wide dissemination of his transcripts. He also
devised methods for teaching Nastaʿlīq and specified clear proportional rules for it, which many could
follow.
The Mughal Empire used Persian as the court language during their rule over South Asia. During this
time, Nastaʿlīq came into widespread use in South Asia, including Pakistan, India, and Bangladesh. The
influence continues to this day. In Pakistan, almost everything in Urdu is written in the script, constituting
the greatest part of Nastaʿlīq usage in the world. In Hyderabad, Lucknow, and other cities in India with
large Urdu-speaking populations, many street signs and such are written
in Nastaʿlīq alongside Devanagari, Telugu or other Indian scripts. Also, the education system
in India recognizes Urdu as a language of preference for students who wish to designate it as their first
language, and the quality of the language training is of a high standard. The situation
of Nastaʿlīq in Bangladesh used to be the same as in Pakistan until 1971, when Urdu ceased to remain
an official language. Today, only a few people use this form of writing in Bangladesh.
Nastaʿlīq is a descendant of Nasḫ and Taʿlīq. Shikasta Nastaʿlīq (literally "broken Nastaʿlīq") style is a
development of Nastaʿlīq.
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Urduor more precisely Modern Standard Urdu, is a standardized register of the Hindustani
language. Urdu is historically associated with the Muslims of the region of Hindustan. It is the national
language and lingua franca of Pakistan, and an official language of six Indian states and one of the 22
scheduled languages in the Constitution of India. Apart from specialized vocabulary, Urdu is mutually
intelligible with Standard Hindi, which is associated with the Hindu community. The Urdu language
received recognition and patronage under the British Raj when the British replaced the Persian and local
official languages of North Indian states with the Urdu and English language in 1837.
Origin of Urdu
Main article: History of Hindustani
The word Urdu is derived from the same Turkic word ordu (army) that has given English horde (meaning-
a large group of people).
The Mughal Empire's official language was Persian. With the advent of the British Raj Persian language
was replaced by the Hindustani written in the Persian script and this script was used by both Hindus and
Muslims. The language was variously known as Hindi, Hindavi and Dehlavi. The communal nature of the
language lasted until it replaced Persian as the official language in 1837 and was made co-official, along
with English. This triggered a Hindu backlash in northwestern India, which argued that the language
should be written in the native Devanagari script. Thus a new literary register, called "Hindi", replaced
traditional Hindustani as the official language of Bihar in 1881, establishing a sectarian divide of "Urdu" for
Muslims and "Hindi" for Hindus, a divide that was formalized with the division of India and Pakistan after
independence (though there are Hindu poets who continue to write in Urdu to this day, with post-
independence examples including Gopi Chand Narang and Gulzar). At independence, Pakistan
established a highly Persianized literary form of Urdu as its national language. Ain-ul-Haq
Faridkoti theorized that Urdu was not an Indo-European language. Faridkoti suggested that not only Urdu
but many other South Asian languages, including Punjabi and Sindhi, are Dravidian languages with
influences from Manda and the Indo-Chinese family of languages.
There have been attempts to "purify" Urdu and Hindi, by purging Urdu of Sanskrit loan words, and Hindi
of Persian loan words, and new vocabulary draws primarily from Persian and Arabic for Urdu and from
Sanskrit for Hindi. This has primarily affected academic and literary vocabulary, and both national
standards remain heavily influenced by both Persian and Sanskrit. English has exerted a heavy influence
on both as a co-official language.
Prepared by:
Moulana Muhammed Mahaboob Radawi
Ihya Academy Islamic Sciences
Bangalore