I like the simplicity of Riq'aa. When I attenpt to write in Arabic, it is the form I am trying to use.
Deewani
Farsi/Ta'liq
Kufi
Riqa
Thuluth
Naskh
please let me know which Arabic calligraphy style appeals to you most
Naskh Naskh was one of the earliest scripts to evolve. It gained popularity after being redesigned by the famous calligrapher Ibn Muqlah in the 10th century. Because of Ibn Muqlah's comprehensive system of proportion, Naskh style displays a very rhythmic line.
Naskh later was reformed by Ibn al-Bawaab and others into an elegant script worthy of the Qur'an -- and more Qur'ans have been written in Naskh than in all the other scripts together. Since the script is relatively easy to read and write, Naskh appealed particularly to the general population.
Naskh is usually written with short horizontal stems -- and with almost equal vertical depth above and below the medial line. The curves are full and deep, the uprights straight and vertical, and the words generally well spaced. Currently, Naskh is considered the supreme script for almost all Muslims and Arabs around the world.
Farsi/ ta'liq Ta'liq (hanging) script is believed to have been developed by the Persians from an early and little known Arabic script called Firamuz. Ta'liq, also called Farsi, is an unpretentious cursive script apparently in use since the early 9th century.
The calligrapher Abd al-Hayy, from the town of Astarabad, seems to have played an important role in the script’s early development. He was encouraged by his patron, Shah Isma'il, to lay down the basic rules for the writing of Ta'liq. The script is currently in great favor with Arabs, and it is the native calligraphic style among the Persian, Indian, and Turkish Muslims.
The Persian calligrapher Mir Ali Sultan al-Tabrizi developed from Ta'liq a lighter and more elegant variety which came to be known as Nasta'liq. However, Persian and Turkish calligraphers continued to use Ta'liq as a monumental script for important occasions.
The word Nasta'liq is a compound word derived from Naskh and Ta'liq. Ta'liq and Nasta'liq scripts were used extensively for copying Persian anthologies, epics, miniatures, and other literary works -- but not for the Holy Qur'an.
Deewani Deewani script is an Ottoman development parallel to Shikasteh (broken style). The script was largely developed by the accomplished calligrapher Ibrahim Munif in the late 15th century from the Turkish/Persian Ta'liq. Deewani reached its zenith in the 17th century, thanks to the famous calligrapher Shala Pasha.
Like Riq'a, Deewani became a favorite script for writing in the Ottoman chancellery. Deewani is excessively cursive and highly structured with its letters undotted and unconventionally joined together. It uses no vowel marks. Deewani also developed an ornamental variety called Deewani Jali which also was known as Humayuni (Imperial). The development of Deewani Jali is credited to Hafiz Uthman. The spaces between the letters are spangled with decorative devices which do not necessarily have any orthographic value. Deewani Jali is highly favored for ornamental purposes.
Kufi Kufi was the dominant priestly script in early times. It was created after the establishment of the two Muslim cities of Basrah and Kufah in the second decade of the Islamic era (8th century A.D.). The script has specific proportional measurements, along with pronounced angularity and squareness. It became known as al-Khat al-Kufi (Kufi script).
Kufi script had a profound effect on all Islamic calligraphy. In contrast to its low verticals, Kufi has horizontal lines that are extended. The script is considerably wider than it is high. This gives it a certain dynamic momentum. The script often is chosen for use on oblong surfaces. With its glorious Handasi (geometrical) construction, Kufi could be adapted to any space and material -- from silk squares to the architectural monuments left by Timur at Samarqand.
Because Kufi script was not subjected to strict rules, calligraphers employing it had virtually a free hand in the conception and execution of its ornamental forms.
ThuluthThuluth script was first formulated in the 7th century during the Umayyad caliphate, but it did not develop fully until the late 9th century. The name means 'a third' -- perhaps because of the proportion of straight lines to curves, or perhaps because the script was a third the size of another popular contemporary script. Though rarely used for writing the Holy Qur'an, Thuluth has enjoyed enormous popularity as an ornamental script for calligraphic inscriptions, titles, headings, and colophons. It is still the most important of all the ornamental scripts.
Thuluth script is characterized by curved letters written with barbed heads. The letters are linked and sometimes intersecting, thus engendering a cursive flow of ample and often complex proportions. Thuluth is known for its elaborate graphics and remarkable plasticity.
and lastly which one resembles most your handwriting, if you can write in ArabicReq'aa This script, also called Ruq'ah (small sheet), evolved from Naskh and Thuluth. Although Riq'a has a close affinity with Thuluth, Riq'a developed in a different direction. Riq'a became simplified. The geometric forms of the letters are similar to those of Thuluth but are smaller with more curves. Riq'a is rounded and densely structured with short horizontal stems, and the letter alif is never written with barbed heads.
Riq'a was one of the favorite scripts of Ottoman calligraphers and underwent many improvements at the hand of Shaykh Hamdullah al-Amasi. Later, Riq'a was revised by other calligraphers and went on to become the most popular and widely used script. Today, Riq'a is the preferred script for handwriting throughout the Arab world
Thank you
Last edited by جوري; 07-08-2007 at 01:54 AM. Reason: added a little note of each
I like the simplicity of Riq'aa. When I attenpt to write in Arabic, it is the form I am trying to use.
That is what I use as well-- although my affinity has always been for Kufi, but I have never been able to master it... so I admire it from afar...format_quote Originally Posted by Woodrow
I like the simplicity of Riq'aa. When I attenpt to write in Arabic, it is the form I am trying to use.
thank you for your vote and participation...
Sadly, I can't write Arabic nor do I understand it, so I've to settle for reading it.
From the picture samples you've displayed here, My eyes keep drifting towards Kufi. I find the blend of artistry and script very appealing. In my opinion, it must really take a strong imagination and a steady hand to be able to write it.
Aside from that, I love the Naskh script, it's really easy on the eyes for Non-native Arabic speakers like me.
Asalam alakum i like Farsi/ ta'liq
I feel a patriotic urge to say Farsi/ ta'liq. But that Kufi was much cooler!Looks like balkony bars, or some kind of Iron wall surrounding a park, its like a decoration.
Thanks for all the replies... what happened to all the previous posts that were here? eh-- just as well..
I guess we have no Turks on board?... no one is up for deewani, where I find its cursive circular style rather warm and provocative...There is definitely something highly artistic and ornate about Kufi -- I am surprised that it is losing out to Farsi...
I prefer what is most simple. I see Arabic as language meant to convey a message rather than as an art form.
I saw Uthaymeen's handwriting, and I thought it was a squiggle, but now i see its a style. MashaAllah.
For personal use, I use Farsi/Ta'liq (in urdu)
For writing Arabic I use simply Naksh and it's also easier to read in the Quran.
But the beauty of calligraphy is in sophistication that soothes the eye, I like Deewani and Thuluth.
I vote for Farsi as it is very delicate and I have always admired my colleages at school who mastered this art at very young ages.
I didn't know the names of the other writing styles jazaakillaahu khayraa.
I write in rik'a/naskh something between the two. but farsi ta'liq is niceeee maasha'Allaah!
Thuluth looks good
Erm...Jazakillah khair sister - nice thread!
Masha'allah!! I love all of the writings
My writing would be more towards the Farsi/Ta'liq with some Ruq'ah concepts as I had practised Ruq'ah for a while...
Me to, for simple writing farsi is the best, but beauty kufi is much better.format_quote Originally Posted by PurestAmbrosia
Islam as borrowed a lot from persian culture, like art. Some Iranians say that Islam destroyed Iran, I dont think so at all, they just transformed it, in the 1700s The persian and sunni king nadir counqered Delhi in India.
It was the brittish empire that destryed persia not Islam...
format_quote Originally Posted by MustafaMc
Agreed akhi-- I just started this thread because of something I'd read in the refutation section, it is more an indirect way to "politely" point the attention to those who seek to find error in the Quran, when they have no knowledge of Arabic, that what they misconstrue as evidence of textual change, is nothing more than calligraphy... part of the posts that were deleted up to and including this one
where I asked a textual expert to decode the Arabic written in each of those styles which go back from 6-7 century to the most modern..
i didn't vote because though i am learning a number of arabic words from urdu, i do not speak arabic. but i like the naksh the best and the farsi 2nd - they are easier to read.
something i've always wondered about when you see the shahadah and various qur'anic quotes written in real fancy, ornate calligraphy styles - can you actually read it? is it easy for you?
here's an example: (i like stuff like this btw)
I can yes.. although once a dear colleague of mine got me a card from the STAATLICHE MUSEEN ZU Berlin --MUSEUM FUR Islamische Kunst --( their Islamic section)-- I copied that from the card now as I am looking at it-- anyhow I kept straining my eyes to make sense of it, finally took it home and got my fancy magnifier from cape cod (I never take it out, unless I want to live in the moment) but I digress-- and alas I finally discovered that the whole thing was written in Farsi, for I couldn't understand any of it no matter how hard I strained..Actually says on the back Gebetsniche (Mirhab) aus der Maiden-Moschee Iran ( Kaschan), dat. 623H. (1226)-- probably if I had flipped it over then I'd have saved myself a major embarrassment instead of feigning knowing what it saysformat_quote Originally Posted by snakelegs
we've all been there.
that's cool that you can read these things. i've seen some very beautiful intricate pictures that were made from arabic calligraphy.
here is a picture of it by the way
and if you can read German
Moschee mit Blätterdach
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Gebetsnische (Mihrab) aus der Großen Moschee von Kaschan/ Nordwestiran, 1226, 280 x 180 cm; Foto: Gudrun Stenzel
Die Gebetsnische aus der Ruine einer Moschee in Konya (drittes Viertel des 12. Jahrhunderts) lädt ein zu einer ähnlich aktiven Deutung des scheinbar reinen Ornaments (Abb.). Der Bauteil aus Fayencemosaik wurde über Jahre sorgfältig zusammengesetzt und ergänzt; annähernd die Hälfte fehlte. Der dreifarbige Fayencedekor – türkis, schwarz, gelb mit stellenweise weißen Putzzwischenfeldern – entspricht dem Bau- und Ornamentstil der türkischen Seldschukendynastie des 13. Jahrhunderts. Die Vertiefung der Nische zeigt ein Flechtband, das im ungleichmäßigen Zickzack-Verlauf geometrische Figuren erzeugt. Ausgehend von facettierten Säulchen zu beiden Seiten wölbt sich eine Art (auf arabisch „muqarnas“ genanntes) Zellwerk auf – erst beim genaueren Hinschauen geben sich die Zellen als zu großen, aufrechten Blattbüscheln über kurzen Ästen stilisierte Formen zu erkennen, die den Ursprung der Säulen wie Bäume organisch fortführen. Dem Betrachter wird sogar ein Querschnitt durch die beiden Baumkronen angedeutet, im Gabelblatt-Rankenwerk der flachen Front über den Säulen, zentriert in einem aufgefalteten Stern in jedem Zwickel.
Nun könnte man aus der Darstellung zum Weiterdenken angeregt werden und die zweite Hälfte des facettierten Nischenhalbrunds virtuell zu einer Kuppel ergänzen, die auch den Betrachter überwölbt. Die schöne Vorstellung, sich in einer Laube zu befinden, die schützt und erfreut, mag ihn zum Träumen mitreißen – bis er des großen, in erfindungsreichster Kalligraphie gefaßten Koranverses aus Sure 29 darüber gewahr wird, die an den Zweck des Moscheebesuchs gemahnt: „Steh auf zum Gebet, wahrlich, das Gebet verbietet, was abscheulich und verwerflich ist
http://kunst.zeit.de/805.html?&tx_cccbrowse_pi1[pointer]=2&cHash=574c8285b0
MashaAllah, all the handwrittings are so kool.
I write in a combination of Riqa' & Farsi/Ta'liq. These two are really helpful if you're writting from a dictated lesson/Muhaadharah. You'd have difficulties catching up if you were to write it in Naskh.
Last edited by amirah_87; 07-10-2007 at 06:19 PM.
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