'Calligraphy in Islam\r'

' chirography is the form of art which denote signs and garner in an expressive form, it’s a form of ocular art which was developed in western atomic number 63 by monks ab break through 1500 years before. It is a pic which is helps to express emotions through designs and show the intellectual skills of an individual. it is Greek word defined by greek grow Kalli meaning beautiful and attractive and gharphia refers to makeup. The aim of this plan is to discuss the role of penmanship in islam and various types of writey. Calligraphy is the tongue of the break, the delight of the conscience, the ambassador of the mind, the heir of the thought, the weapon of knowledge, the companion of absent fri female genitals, the converser with them over bulky distances, the depository of secrets, and register of events. ” †Ibrahim Ibn Muhammad Ash-Shaybani Many religions have make the use of art to portrait their core doctrine. Islam has apply the shapes and sizes of word and letter in calligraphy which is a paramount form of art for Moslem visual expression and inspiration. It portrait the cultural values of Muslims.\r\nThe Islamic calligraphy is a hallmark of around Moslem societies it stands out with other calligraphic tradition with tractableness and its applicable to any decorative purpose, from the 8th angiotensin converting enzyme C it became more than standardized and bonding with Muslim personal identity far more firmly than any authorship tradition. The tools use by calligrapher are alone(predicate) which includes reeds and brush pens, scissors, a knife for cutting the pens, an sign pot, and a sharpening tool, The traditional way to hold the pen,” fit to Safadi, â€Å"is with middle finger, forefinger, and thumb well spaced out along the (pens) shaft.\r\nOnly the lightest possible pressure is applied. ” The just about admirable reeds were primaeval to the coastal lands of the Persian Gulf. Qalams the most val ued objects are stipulated across the entire Muslim world. An accomplished and handy scribe would require contrary qalams in order to achieve variant degrees of fineness. Inks used are of various colors but the ink most used is black and brown, since there pungency and consistencies can be altered, Many of the calligraphers are fork up training on how to prepare ink plot other implies that their recipe is a secret.\r\nAlthough techniques differ from one place to another place, most inks were based on soot or lamp-black mixed with water and gum-Arabic. different ingredients are indigo, minced gall-nuts, and henna. The final stage of preparation twisting straining the ink through silk. Also, the ink capacity be perfumed if desired. There are different kinds of calligraphy restricted to Islam the most common among them is Kufic. It has union of square and angular lines on one end, and boneheaded bold circular forms on the other.\r\nIt r individuallyed perfection in the late 8 speed of light and became to only bridge player to write Quran for following 300 years. Taliq calligraphy which was developed in Iran in the 10th century created by Hassan Ibn Husayn but due to cracking improvement by abd-ul-malk its usually affiliated with him. It is compose with thick nipped pen with cater corner cuts, it’s a combination of short thin erect with broad horizontal whose natural length is magnify wherever possible and especially at the end of make believe. Thuluth is medieval Islamic style of handwritten alphabet.\r\nIt’s written on principium that one third of each letter slopes. It is gigantic and fancy calligraphy manus which is often used for titles rather than the long text. The earn are round and maybe written in line so close that the element of letters intersect with each other. Many of its discripence are set in motion on architectural monuments as well as on glass, metalwork, textiles, and wood. Naskh which means â€Å"copying,â₠¬Â is like a runnel on a mill which was used in ordinary correspondence and the production of literary works.\r\nIt has a regular appearance. This calligraphic book of account of Ibn Muqla was escorted to excellence by Ibn Al-Bawwaba, a house decorator who turned his hand to calligraphy. In 10th century it was used for writing the Quran and this art never ended in Persia However, it is Mirza Ahmad Nayrizi, in the early 18th century who is regarded as the last great master of naskh. There were some late development in the Calligraphy. The Safavid dynasty in 1502 produced an shopping centre opening masterpieces of Islamic art.\r\nDuring the era of Shah Ismail and his successor Shah Tahmasp (1524-1576), the Taliq script was invented and developed into a widely used native script which led to the invention of a flatboat and more elegant version called Nastaliq. The word Nastaliq is a compound word derived from Naskh and Taliq The Mughals lived and reigned in India from 1526 to 18 58. This dynasty was the greatest, richest, and longest abiding Muslim dynasty to rule India. They produced some finest art work in the history. Nastaliq, Naskh, and Thuluth were adopted by the Muslim calligraphers during this era.\r\nThe loving development of calligraphy in India led to the base of new versions of Naskh and Thuluth. These Mughal scripts are thicker and bolder, the letters are widely spaced, and the curves are more rounded. Calligraphy was extremely apprehended in this era especially when the Taj Mahal was built. One touch on remains closely associated with It with the superb calligraphic inscriptions displayed in the geometric friezes on the white marble — that is the squall of the ingenious calligrapher Amanat Khan, whose real name was Abd ul-Haq.\r\nIt can be proven that the fact, that the Arabic calligraphy has more strongly associated with Islam than the Arabic language itself. That is, even unlearned people who could not conceive either verbalise or written Arabic knew immediately when they were in a Muslim environment when they saw the Arabic script clearly displayed in calligraphy. This rare pop off of the Islamic calligraphy continues to the present day.\r\nReferencing: Sana Naveed. (2006). islamic calligraphy art. Available: http://www.muhammadanart.com/ . Last accessed seventeenth feb 2011. Islami City. (2005). islamic calligraphy . Available: http://www.islamicity.com/culture/calligraphy/. Last accessed seventeenth feb 2011. Museum Of Fine Arts. (202009). Introduction: Traces of the Calligrapher. Available: http://sites.asiasociety.org/islamiccalligraphy/introduction-traces-of-the-calligrapher/. Last accessed 17th feb 2011. Mamoon Shakkal. (1993). The Language And The Script. Available: http://www.sakkal.com/ArtArabicCalligraphy.html. Last accessed 17th feb 2011. Wilson, Diana Hardy. (1990). The encyclopaedia of calligraphy techniques: Headline. p34-56. Saramago (1995). Manual of painting & calligraph: Carcanet, in association with Calouste Gulbenkian Foundation,. p1-17.\r\n'