Taking A Closer Look At Arabic Calligraphy

Ottoman Dynasty

During the Ottoman Empire (1444 – 1923), Arabic calligraphy went through a noticeable evolution, not only because of the development of a new script but also because of the enhancement of existing scripts. Most Arabic scripts reached their final and modern form during the period between the 15th and 19th centuries. The Ottoman reign is considered a remarkable period in the development of Arabic calligraphy, second only to the Abbasid dynasty.

Throughout the four centuries of the Ottoman Empire, many scripts were developed, such as Diwani, Riq’a, Jeli Dewani, Tughra’a and Siyaqat. Many calligraphers contributed to this development of Arabic calligraphy, including Mustafa Halim (died 1964), Nejmiddin Okyay (died 1976) and Hamid Aytac Al-Amadi (died 1982).

We’ll cover two commonly known scripts from this era, the Diwani and Riq’a scripts.

DIWANI SCRIPT

The name of this script derives from “Diwan,” the name of the Ottoman royal chancery. It was used in the courts to write official documents. Developed during the 16th century, it reached its final shape in the 19th century and is still used today.

It is defined by its beautiful curved letters, merged to form complex shapes and decorative forms. This complexity makes it harder to use with long text, so a simpler version of the script is needed if a calligrapher is to use it for that purpose.

Example of Diwani script (Image source: Wikimedia)

Another complex instance of the Diwani script in the shape of a boat (Image source: Wikipedia)

RIQ’A SCRIPT

As we’ve seen, the names of some scripts come from the geographical area where they developed. In this case, the name “Riq’a” derives from how the script was used: written on small pieces of paper or cloth. It seems to be one of the more recent scripts, developed in the 18th century, and is still used today.

The Riq’a script is known for its simple form, making it perfect for paragraphs and long texts. The way its letters are connected makes it particularly easy to convert into a digital font. However, it is not especially attractive in titles or decorations because it does not have the sophisticated letterforms of the Diwani, Thuluth and Kufic scripts.

Paper from the Holy Qur’an in Riq’a script (Image source: Wikimedia) 

Paper from the Holy Qur’an in Riq’a script (Image source: Wikimedia)

Conclusion

Arabic calligraphy has developed for over 14 centuries in various regions around the world. This history and diversity has enriched Arabic scripts with ever more complex and artistic forms. During this long period, the Baghdadi and Ottoman eras contributed the most to its development.

Arabic calligraphy is still today one of the most widely acknowledged arts and continues to develop both in traditional methods as well as in digital and computer-generated arts. Arabic calligraphers from around the world continue to develop their own styles and artwork based on existing scripts and their own letters and scripts. Free modern scripts contribute to the art just as much as traditional scripts have done.

RESOURCES

Below are links to some master calligraphers of today who enrich Arabic calligraphy with their artwork and masterpieces:

• Hajj Noor Deen, China
• Mohamed Zakariya, US
• Hassan Massoudy, France
• Mokhtar El Baba and Kamel El Baba, Lebanon
• Hasan Celebi, Turkey
• Khurshid Gohar Qalam, Pakistan
• “Arabic Calligraphy in Contemporary Design,” Rafiq Elmansy, GraphicDesign.com
  A previous article in which I highlight modern calligraphers

In researching for this article, I relied on the following resources:

• Calligraphy Qalam: An Introduction to Arabic, Ottoman and Persian Calligraphy, Elisabeth Kvernen
• “Arabic Calligraphy,” Khalid Mubireek, Islamic Arts and Architecture
• “The Development of the Arabic Script: A Brief History,” M.J. Alhabeeb, University of Massachusetts Amherst
• “History of Calligraphy,” Alavi Mehr
• “Islamic Calligraphy,” Wikipedia
• “Roots of Modern Arabic Script: From Musnad to Jazm,” Saad D. Abulhab, Arabetics

[divider]

Rafiq Elmansy is an author, creative director and lecturer at the American University in Cairo. He is also an Adobe-certified instructor and Adobe Education Leader. He writes books for many publishers, such as Taylor and Francis, John Wiley and O’Reilly Media. He is also the founder of 3D Printing Pin, a 3D printing and design blog.