For centuries and up to this day, the intricate and mesmerizing designs of Arabic calligraphy have left a mark on Islamic art and culture. By treating writing and the written word as sacred, it showcases the exquisite beauty of Arabic script in a visually captivating manner. Among the many Arab calligraphers dazzled by this art form is Shaymaa Hitou, a Syrian artist living in Kuwait.

Within this art form, lies countless secrets and mysteries, which Hitou firmly believes can only be revealed to those who are eager enough to dive into its depths. She views calligraphy not just as a skill to be temporarily acquired, but as a lifelong journey intertwined with the calligrapher’s soul and body. “Even if I devoted my entire life to learning it, I know that I won’t be able to unleash all its secrets. It’s like an endless ocean, and I only hope to grasp just a bit of its wisdom along my road,” she told Kuwait Times.

'No' (لا), from a manuscript dating back to 573 AH in the Levantine Kufic script.

'Allah and His angels send blessings on the Prophet O ye that believe send ye blessings on him, and salute him with all respect' -- Moroccan calligraphy in the Qandusi style.

'And God knows and you do not know' (والله يعلم و أنتم لا تعلمون) -- simplified Andalusian script.

'Have a blessed month' (مبارك عليكم الشهر) -- Kufic Quranic script.

‘O Healer, O Restorer of health, O Sufficient’ (يا شافي يا معافي يا كافي) — Hijazi inscription style

For her, perhaps the allure of Arabic calligraphy lies in its special connection to the divine, dating back to the beginning of Islam, when it served as the primary tool for recording God’s sacred words in the Holy Quran. Captivated by its spiritual nature, and historical origins, she only found herself further drawn to it, eager to deeply study archaeological inscriptions and historical manuscripts, with a yearning passion for identifying and deciphering ancient writings.

Immersed in her search for the hidden treasures within letters, and after years of avid learning and practicing, she finally crafted her own distinctive calligraphy script and named it “Hijazi inscription script,” which according to her is extracted from tombstones in the Hijaz dating back to the second and third centuries. Describing it, she said, “It is distinguished by its beauty, majesty and meticulous details, reflecting the mastery of its engravers during that era.”

‘And We haven’t sent you except as a mercy for mankind’ (و ما أرسلنك الا رحمة للعالمين) — Qandusi script

‘The pious will have a pleasant ending’ (و العقبة للمتقين) — Square Kufic and Andalusian simplified script

‘There is no God but Allah’ (لا إله إلا الله) — Almoravid Kufic and square Kufic.

‘O Healer, O Restorer of health, O Sufficient’ -- Square Kufic script

The script that Hitou created belongs to the family of Kufic calligraphy script, one of the oldest forms of Arabic calligraphy, which she considers her favorite. “Kufic calligraphy is a universe of its own, unveiling stories and narratives, characterized by its ancientness, originality, and its unfamiliar form to the people of our time,” she noted.

Watching the evolution of Arabic calligraphy has deeply intrigued her, particularly with its development of a diverse range of styles, all while maintaining the original structure from the oldest known inscription on rock to the letters written today. For that, she has been keen to adopt her own style that reflects a harmonious blend between uniqueness and preservation of traditional artistic elements. “I find no satisfaction or fulfillment if I didn’t introduce something new. I aim to leave my own touch in every art piece that I create,” Hitou expressed.