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Arabic Calligraphy
Arabic calligraphy is the artistic practice of handwriting and calligraphy based on the Arabic alphabet. It is known in Arabic as ''khatt'' ( ar, خط), derived from the word 'line', 'design', or 'construction'. Kufic is the oldest form of the Arabic script. From an artistic point of view, Arabic calligraphy has been known and appreciated for its diversity and great potential for development. In fact, it has been linked in the Arabic culture to various fields such as religion, art, architecture, education and craftsmanship, which in return have played an important role in its advancement. Although most Islamic calligraphy is in Arabic and most Arabic calligraphy is Islamic, the two are not identical. Coptic or other Christian manuscripts in Arabic, for example, have made use of calligraphy. Likewise, there is Islamic calligraphy in Persian or the historic Ottoman language. Arabic alphabet The Arabic alphabet is known to be used by one of the most widely used language sc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ottoman Turkish Language
Ottoman Turkish ( ota, لِسانِ عُثمانى, Lisân-ı Osmânî, ; tr, Osmanlı Türkçesi) was the standardized register of the Turkish language used by the citizens of the Ottoman Empire (14th to 20th centuries CE). It borrowed extensively, in all aspects, from Arabic and Persian, and its speakers used the Ottoman Turkish alphabet for written communication. During the peak of Ottoman power (), words of foreign origin in Turkish literature in the Ottoman Empire heavily outnumbered native Turkish words, with Arabic and Persian vocabulary accounting for up to 88% of the Ottoman vocabulary in some texts.''Persian Historiography & Geography''Pustaka Nasional Pte Ltd p 69 Consequently, Ottoman Turkish was largely unintelligible to the less-educated lower-class and to rural Turks, who continued to use ("raw/vulgar Turkish"; compare Vulgar Latin and Demotic Greek), which used far fewer foreign loanwords and is the basis of the modern standard. The Tanzimât era (1839–187 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mustafa Râkim
Mustafa Râkim ( ota, مصطفى رآقم; Modern Turkish: ''Mustafa Râkım'') (1757–1826), was an Ottoman calligrapher. He extended and reformed Hâfiz Osman's style, placing greater emphasis on technical perfection, which broadened the calligraphic art to encompass the Sülüs script as well as the Nesih script. Life and career Mustafa Râkim was born in Unye on the Black Sea in 1758. When he was very young, his father, Mehmed Kaptan, took him to Istanbul to live with his brother, İsmail Zühdi Efendi, who was an established calligrapher. After Ismail was appointed as an instructor of calligraphy at the Imperial Palace, the young Râkim received his formal training there studying under his brother. Mustafa Râkim would become Ismail Zühidi's most celebrated pupil. Ismail Zühidi and Mustafa Râkim went on to develop their own style of calligraphy based on the work of Hâfiz Osman. They were able to develop a style of ''celî sülüs'' that was aesthetically pleasing, so ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hâfiz Osman
Hâfiz Osman ( ota, حافظ عثمان Modern Turkish: ''Hâfız Osman'') (1642–1698) was an Ottoman calligrapher noted for improving the script and for developing a layout template for the hilye which became the classical approach to page design. History Born Osman Den Ali, in Istanbul, he was of Dervish origin and worked under the name of Hâfiz Osman. His father was a muezzin at the Khassèki mosque, a position which afforded he and his family great protection. He became an accomplished calligrapher and was a tutor to the sultans Ahmed II, Mustafa II and Ahmed III, and was held in high esteem by the sultan Mustafa II, who, according to legend often watched him work and held his inkwell as he wrote. He received his formal training with Suyolcuzade Mustafa Eyyubi and Derviş Ali. He studied ''nashk'' and ''sulus'' with Derviş Ali, and was certified by Suyolcuzade Mustafa Eyyubi. Osman also admired the work of the 15th-century calligrapher, Seyh Hamdullah, and spent many ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Seyyid Kasim Gubari
Seyyid Kasim Gubari of Diyarbakır was a 17th-century Ottoman artist, noted for his poetic writing and calligraphy. He is celebrated as one of the most accomplished calligraphers of his time and decorated a number of important public buildings including the Blue Mosque in Istanbul. Life and work Seyyid Kasim Gubari's date of birth is not known, but he lived in Diyarbakır in south-eastern (modern day) Turkey on the banks of the Tigris River. He was a direct descendant of the prophet, Mohammed which entitled him to use the appellation ''Seyyid''. Born Cherif 'Abdallah, he was given the nickname of Gubari (or Ghobâri) because according to legend, he wrote, in ghobar writing, an entire chapter of the Q'ran, consisting of four verses and fifteen words, on a single grain of rice. He was originally known for his poetic writing and took up calligraphy and decorative inscription sometime later. He responsible for much of the calligraphy in the dome of the Sultan Ahmed Mosque (the "Blue M ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hamid Aytaç
Hamid Aytaç (pronounced Aytach) (b. 1891, Diyarbakır - d. 18 May 1982) was an Islamic calligrapher born during Ottoman times. In his later life, he was acknowledged as the Islamic world's leading calligrapher and was one of the last of the classical calligraphers. Life and career Born Sheikh Musa Azmi, in 1891 in Diyarbakır, his paternal great-grandfather was the calligrapher Adem-i Amidi. In international circles, he is also known as Hamid Al Amidi. Some of his works may be found to be signed as Azmi. He is known by the pseudonym Hamid."Hamid Aytac zmi, Musa; al-Amidi, Hamid(1891-1982)", ''Journal of Ottoman Calligraphy''Hamid Aytac (Azmi, Musa; al-Amidi, Hamid) (1891-1982)/ref> Hamid learned the jali-thuluth ( Turkish: celi-sülüs) style from Mehmed Nazif (1846–1913), the naskh and thuluth styles from Kamil Akdik (1862–1941) and the ta'liq style from Mehmed Hulusi (1869–1940). He was one of the final links in the strict master-student system that had been i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sheikh Hamdullah
Sheikh Hamdullah (1436–1520) ( tr, Şeyh Hamdullah), born in Amasya, Ottoman Empire, was a master of Islamic calligraphy. Life and work Sheikh Hamdullah was born in Amasya, a north-central town in Anatolia. His father, Mustafa Dede, was a Sheik of the Suhrawardi order, and had migrated from Bukhara (in present-day Uzbekistan) to Anatolia. In Amasya, he studied the six scripts under the tutelage of Hayreddin Mar'asi. He learned the traditional method of the old masters, but struggled to reproduce it. While studying, he met Bâyezïd, the son of Sultan Mehmed, the Conqueror who was a fellow student, and the pair became friends. When Bâyezïd assumed the throne in 1481, following his father's death, he invited his friend, Sheikh Hamdullah, to the capital, Istanbul. Hamdullah went on to become a master calligrapher at the Imperial Palace. In 1485, Bâyezïd II acquired seven works by the great calligrapher, Yaqut al-Musta'simi. Bâyezïd then encouraged his court calligrapher, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fakhr-un-Nisa
Fakhr-un-Nisa Shuhdah Umm Muhammad al-Baghdadiyyah or Shuhdah al-Baghdadiyyah was a scholar, muhaddith and a calligrapher. Shuhdha was called "the calligrapher, the pride of womanhood, a muhaddithah (female of muhaddith) of Iraq with a high Isnad." Name Her full name stands ''Fakhr-un-Nisa Shuhdah Umm Muhammad bint Abu Nasr''. ''Fakhr-un-Nisa'', in Arabic means the "Glory of Womanhood." She was titled ''Shuhdah al-Baghdadiyyah'' or the "Writer of Baghdad" and ''al Katibah'', or the female scriber. Early life and education Fakhr-un-Nisa Shuhdah was born in early 11th century in the Iranian city of Dinawar to Abu Nasr Ahmad ibn al-Faraj al-Dinawari (d.574). Her great-grandfather had been a dealer in needles, and thus acquired the soubriquet al-Ibri'. But was her father who had acquired a passion for hadith, and managed to study it with several masters of the subject. Abiding the Sunnah, he himself gave his daughter a sound academic education, ensuring that she studied under many tr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ibn Al-Bawwab
Ibn al-Bawwāb (), also known as Ali ibn-Hilal, Abu'l-Hasan, and Ibn al-Sitri, was an Arabic calligrapher and illuminator who lived in Baghdad. He is the figure most associated with the adoption of round script to transcribe the Qur'an. He most likely died around 1022 CE in Baghdad. Life Ibn al-Bawwab was from a poor family. His name literally translates as the “son of the doorkeeper.” He was trained in law and theology, was very devout and is said to have been able to recite the Qur'an from memory. Detailed accounts of his life are lacking, however, it is known that he worked as a home decorator before beginning book illumination and eventually moving to calligraphy. Additionally, it is known that, upon his death in 1022 CE, he was buried in Baghdad near the tomb of Ahmad ibn-Hanbal. He was fluent in all six scripts and refined them. He achieved fame in his own lifetime and was readily recognized by his long beard. His students carried his improved style through to succe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ibn Muqla
Abu Ali Muhammad ibn Ali ibn Muqla ( ar, أبو علي محمد بن علي ابن مقلة, Abū ʿAlī Muḥammad ibn ʿAlī ibn Muqla; 885/6 – 20 July 940/1), commonly known as Ibn Muqla, was an official of the Abbasid Caliphate of Persian origin who rose to high state posts in the early 10th century. His career culminated in his own assumption of the vizierate at Baghdad thrice: in 928–930, 932–933 and 934–936. Unable to successfully challenge the growing power of regional emirs, he lost his position to the first '' amir al-umara'', Ibn Ra'iq, and died in prison. He was also a noted calligrapher, inventing ''al-khatt al-mansūb'' () and '' khatt ath-thuluth'' (). Life Early life and career Ibn Muqla was born in Baghdad, the capital of the Abbasid Caliphate, in AH 272 (885/6 CE).. His career in public service began in Fars, where he served as tax collector. His rise to power in the central government came in 908, under the patronage of the powerful vizier Abu ' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diwani
Diwani is a calligraphic variety of Arabic script, a cursive style developed during the reign of the early Ottoman Turks (16th century - early 17th century). It reached its height of popularity under Süleyman I the Magnificent (1520–1566). It was labeled the Diwani script because it was used in the Ottoman diwan and was one of the secrets of the sultan's palace. The rules of this script were not known to everyone, but confined to its masters and a few bright students. It was used in the writing of all royal decrees, endowments, and resolutions. A Diwani text adorned with a tugrah, a complex calligraphic seal, represented the authority of the Sultan and the Ottoman state. The Diwani script can be divided into two types: # The Riq`a Diwani style, which is devoid of any decorations and whose lines are straight, except for the lower parts of the letters. # The Jeli Diwani or clear style. This kind of handwriting is distinguished by the intertwining of its letters and its ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nasta'liq
''Nastaliq'' (; fa, , ), also romanized as ''Nastaʿlīq'', is one of the main calligraphic hands used to write the Perso-Arabic script in the Persian and Urdu languages, often used also for Ottoman Turkish poetry, rarely for Arabic. ''Nastaliq'' developed in Iran from '' naskh'' beginning in the 13th century and remains very widely used in Pakistan, Iran, Afghanistan and as a minority script in India and other countries for written poetry and as a form of art. History The name ''nastaliq'' "is a contraction of the Persian , meaning a hanging or suspended '' naskh''". Virtually all Safavid authors (like Dust Muhammad or Qadi Ahmad) attributed the invention of to Mir Ali Tabrizi, who lived at the end of the 14th and the beginning of the 15th century. That tradition was questioned by Elaine Wright, who traced evolution of ''nastaliq'' in 14th century Iran and showed how it developed gradually among scribes in Shiraz. Moreover, according to her studies ''nastaliq'' has its ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
