Aref Al-Ameer, a Saudi calligrapher, is deeply passionate about the art of Arabic calligraphy. In this series, he begins by walking us through the history and evolution of the script. “It is considered one of the most beautiful forms of writing on the face of the earth without dispute,” he says. “It is the script in which the Holy Quran was written — a true visual delight.” Inscriptions resembling the script were used in the Hijaz region and the early Kufic script.

Aref Al-Ameer

Al-Ameer explained that Arabic calligraphy follows highly precise rules and proportions, particularly in Thuluth, Naskh and Persian scripts. “There are different views about the origins of Arabic calligraphy, but the most likely theory is that it originated in the Nabataean Kingdom, whose capital was Petra. The Nabataeans were Arabs,” he said, pointing to an ancient stone.

Arabic writing continued to evolve and improve, he noted, particularly after the spread of Islam, which emphasized high-quality and beautiful writing. “The Prophet (PBUH) paid special attention to writing, especially for the Quran, and prophetic narrations highlight the importance of quality calligraphy.”

Calligraphy saw major development during the caliphate of Imam Ali (RA), Al-Ameer said. It was during this period that the Kufic script was formalized, named after the city of Kufa, the then capital of the caliphate. Under the Umayyads, the calligrapher Qutbah Al-Muharrir introduced a softer style, departing from the angular rigidity of Kufic. His work paved the way for the development of Naskh and Thuluth scripts by later masters like Ibn Qafla and Ibn Al-Bawwab.

Later, during the Abbasid Caliphate, Yaqut Al-Musta’simi emerged as a towering figure in the art form. His style inspired Ottoman calligraphers, especially Mustafa Raqim, who elevated Thuluth to its highest level of beauty and power.

“The Turks invented new scripts such as Ruqa’ah, Diwani, Jali Diwani and Taghraa’,” Al-Ameer said. “The Persians, influenced by earlier Islamic scripts, developed Ta’leeq, the Persian script, and Shakasteh (a broken, fluid line).”

Al-Ameer explained that Arabic calligraphy encompasses a rich array of styles, each with distinct traits and historical roles. Kufic, the oldest form, is known for its geometric lines. Thuluth, often seen in mosque decorations and Quranic texts, is intricate and highly esteemed. Naskh is favored for its clarity and readability, making it ideal for manuscript transcription.

Ijaza, or “signature” script, blends Naskh and Thuluth and was used in official correspondence. Persian styles like Ta’leeq and Nastaliq are highly ornamental and often used in poetry, earning the title “bride of scripts.” Ruqa’ah, on the other hand, is simple and commonly used in official and public writings.

The Ottoman Empire popularized Diwani script for state use, including variants like Ottoman, Egyptia and Baghdadi styles. Diwani Jali is a more elaborate branch with overlapping, interlaced letters. Taghraa’ is used for ornate signatures, often circular and curved, while the Taj script — commissioned by King Fuad I of Egypt — blends Naskh and Ruqa’ah with a crown-like motif.

“Other notable scripts include Sunbuli, recognized for its small, wave-like letters; Saqat, developed by Turks for confidential political use; and Mu’alla, a modern creation by the calligrapher Al-Mualla,” he said. “Each style reflects the evolution and versatility of Arabic calligraphy across different regions and time periods.”

Al-Ameer said he is working on creating new styles based on traditional scripts, including decorative variations, a practice he believes all calligraphers should pursue. “I hope these new forms will be a valuable artistic contribution to Arabic and Islamic art.”

He advised aspiring calligraphers to constantly train and replicate the works of great masters. “Humility is essential — never be vain or self-satisfied, even at the peak of skill. That’s the only way to preserve artistic and moral integrity. I want to help sustain the excellence of Arabic calligraphy by following in the footsteps of the old masters,” he said. “And I believe in the value of live competitions — writing directly on paper in front of an audience. That is the true test of a calligrapher’s skill.”