“He who taught the use of the pen, taught man that which he knew not.” Qur’an, Sura Al-‘Alaq (96:4-5) |
Calligraphy has developed as a very important artform and devotional activity in Islam since it is regarded as one means by which the divine word of God can be recorded. It has permeated all aspects of creative expression in Muslim culture, including art and architecture, and is consequently more than merely a visual means of reminding the viewer of the Qur’an and the word of God.
“Beauty of script is incumbent upon you for it is one of the keys of mankind’s daily bread.” Attributed to the Prophet Muhammad |
In addition, the calligrapher (in Arabic al-khattat) was afforded a higher social status than for example the gilder, binder or painter. This elevated social status accorded to the calligrapher was reinforced by the fact that many rulers in Islam were keen to compete in the artform with professional calligraphers. It is not an exaggeration to say that calligraphy is considered by many to be the very heartbeat of Islam.
“Writing is spiritual geometry, wrought by a material instrument.” Al-Amuli in his Nafa’is al-Funun |
The relevance of geometry to Islamic calligraphy cannot be overstated. A complex set of geometric rules was laid down by Ibn Muqlah (d. 940). These were based on the rhombic dot as the unit of measurement. Each letter was rigorously disciplined and related to each other (the other elements consisting of the first letter of the Arabic alphabet, the alif, and the circle). Symmetry, harmony and pattern are essential components in the development of Islamic calligraphy in its many forms.
“Writing is a tongue to which the heart runs and is the depository of secrets, the investigator of news and the preserver of historical memorials.” Al-Jahiz |
The printing of the Arabic script did not become widespread until the 19th century with the advent of the first capable presses in Beirut and Cairo. This may explain why the art of calligraphy has remained so much more prized throughout the Islamic world compared to Europe where printing had begun to replace manuscripts during the 15th century. Though a number of books were printed using the Arabic script during the 16th and 17th centuries, particularly in Italy and the Low countries, there was an initial reluctance among Muslims to use this new process.
“Handwriting is jewellery fashioned by the hand from the pure gold of the intellect.” Abu Hayyan al-Tawhidi |
This Qur’an is written in black naskhi script with the Arabic verses divided into single words and short phrases followed by a Persian translation and commentary. From Central Asia, it is one of two volumes and is dated AH 1100/1688 CE. It contains many decorative features, such as the colours of the marginal ornaments, usually associated with book production from the Indian subcontinent. This is unsurprising since there was considerable trading activity between Badakhshan, where this manuscript probably originated, and India. It is also interesting that the Persian text is integrated within the Arabic, which is presented in larger bolder black script. It is more usual to find interlinear Persian and Arabic scripts which, from a calligraphic and practical point of view, would have been much more straightforward to produce. 35.2 x 22 cm. (Ms. 910 Ar). |
Containing thirty-four panels of Arabic calligraphy mounted on card in a concertina form, the album is written in naskhi script throughout, perhaps by Ahmad Nayrizi, the famous Persian practitioner of naskh in the AH 12th/18th CE century. There is no date on this work but this is not unusual since in many ways this may be seen as an example of pages of calligraphic practice sheets.
24.5 x 14 cm. (Ms. 160 Ar).
Nasir al-Din al-Tusi (d. 1274) was one of the major intellectual figures of AH 7th/13th CE century Islam and his extensive writings included works on philosophy, theology, mathematics, physics and astronomy. After completing his formal education, al-Tusi found patrons at Ismaili courts in Persia beginning sometime in the AH 620s/1220s CE. For the next twenty-five years, al-Tusi stayed in Quhistan and at the Ismaili fortress of Alamut, using its rich library to write some of his most important scientific and philosophic works. This manuscript, a commentary on one of Nasir al-Din al-Tusi's works on astronomy, is by the 16th century scholar, ‘Abd al-‘Ali al-Birjandi (d. AH 934/1528 CE), and is among a number of scientific works in the Institute’s Library. It was copied in Sha‘ban 1029/1620. The text is written throughout in black and red ink with diagrams illustrating many of the astronomical elements discussed. 25 x 14 cm. (Ms 596 Ar). |
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