ShareKUWAIT: The Islamic civilization has largely inspired and enriched the art of Arabic calligraphy, and throughout the decades of Islamic rule, it has become on par with poetry and music. Natives of the Arabian peninsula since pre-Islamic ages had a special attachment to the Arabic language, marveling at eloquent verbal poetry until the Quran revelation upon Prophet Mohammad (PBUH) that stated in the first verses, “Recite, and your lord is most generous. He who taught by the pen.”
Another verse of the Quran says, “Noon (or Nun), the pen and what they write...,” a divine inspiration for writers, chroniclers, and calligraphers for centuries since this verse was revealed upon the Prophet (PBUH). The early form of calligraphy is the Kufic style, distinguished by straight letters that make many words look like a square or a rectangle, but with time, Muslim calligraphers broadened the art as they mingled with peers from other civilizations, freeing themselves from rigid patterns and embracing various shapes and forms.
Calligraphy scripts are based on well-woven architectural shapes; however, “it is not lifeless; rather, it is a living creature inspired by diverse arts and formed with the artistic elements of coherence, balance, light, shadow, volume, and emptiness,” said Farid Ali, the head of the Kuwait Center for Islamic Arts at the Grand Mosque, in an interview with Kuwait News Agency (KUNA). Al-Ali, a polymath, narrated how he merged Arabic calligraphy with his formative art works, and after studying architecture, he expanded them, mingling factors from the three realms and producing a hybrid exclusive art.
Al-Ali has been involved in Arabic calligraphy since 50 years ago, and some of his works have been distinguished with 99 black-and-white forms of His Almighty’s (Allah) name that have been applauded worldwide. He had also created 500 forms for the messenger’s name and published a book titled “Mohammadiat,” available in many countries — in addition to a number of exhibitions he has held in Kuwait.
Al-Ali, founder of the center, has organized since 15 years ago many exhibitions, competitions, courses, gatherings, seminars, published a number of books, hosted calligraphers from abroad, and supported calligraphy centers abroad. Some of his works adorn mosques, statues, including the Islamic dome at Bayan Palace, the “Al-Hamdolellah” sculpture situated on the sixth ring road, and effigies in Kufic letters. The art has noticeably grown, and now there are a number of famous non-Arab calligraphers, namely Mohammad Zakaria, the US; Fuad Honda, Japan; Hajj Noureddine, China; and Noria Garcia, Spain.
In East Asia alone, there are more than 200 accredited calligraphers. Several countries have embraced the art. Sharjah, the UAE, Algeria, Egypt, Morocco, and Iran regularly hold international competitions. Teacher Mohammad Al-Saddani said Arabic calligraphy is distinguished by creativity unseen in other languages’ scripts. It is a main part of “our heritage as it adorns old palaces and mosques.” Farid Abdal, an architecture teacher at Kuwait University, says that Arabic calligraphy and architecture are intertwined, both derived from the philosophy of beauty and harmony.
He noted that development in this art took a special turn during the Abbasite dynasty at the hands of Abu Ali Muhammad ibn Ali ibn Muqla (also widely known as ibn Muqla), who composed the theory of dimensions of written characters, keeping them in harmony and symmetry with each other. Arabic calligraphy is a double-dimensional art, while architecture is an art of three or multiple dimensions’ art, said Dr. Mohammad Al-Jassar, Secretary General of the National Council of Culture, Arts, and Letters.
His assistant, Musaed Al-Zamel, said that the council held a number of Arabic calligraphy exhibitions in March, including a special one displaying the name of His Almighty, affirming the council’s standing policy of encouraging calligraphers. Sara Khalaf, an official at the free studio, said that several calligraphy exhibitions had been held at the facility, noting that the art has been mingled into several others, namely architecture and painting. — KUNA
