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2020 | OriginalPaper | Chapter

The Arabic Calligraphy: An Identifying Parameter in Space, Time and Contents

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Abstract

The art of Arabic calligraphy is considered highly in the Islamic world. However, although writing was an important means of preserving and spreading the Koran, it has also found widespread use in not strictly religious areas, such as in the decoration of everyday objects. Throughout the history of Islam, the work of calligraphers has been researched and appreciated. Calligraphy and abstract representations have become the main means of artistic expression, linked to a belief that figurative art was a form of idolatry. Contemporary artists from the Islamic world, and not only, still use the legacy of calligraphic art to insert inscriptions or abstract figures in their works as if it were an identifying mark, a recognizable art form, a language that defines a belonging. Starting from the research and analysis developed during the master degree thesis (Mansour, degree thesis 2014), aimed at investigating the connections between the most widespread forms of artistic expression in the Islamic world (geometry, calligraphy and arabesque), we wanted to focus attention on one of these three art forms, probably the most important for Arabs, to highlight its importance linked to the past, its developments in space and time and its future potential.

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Footnotes
1
Muhammad, born approximately 570 CE in the Arabian city of Mecca, was the founder of Islamic religion.
 
2
The number of Muslims in the world is about one billion seven hundred million of which only 25% are Arabs (www.​worldatlas.​com and http://​filosofiainmovim​ento.​it/​indagine-sul-mondo-arabo-musulmano/​).
 
3
In the Koran the sura is each of the 114 chapters in which the Book is divided.
 
4
Stabiner (2014, p. 4).
 
5
Curatola (1993, p. 27).
 
6
In the Islamic Sharea the representation is not appreciated. The Koran and the Hadith do not express any absolute prohibition in this sense; the condemnation contained in some of the surahs (chapters) is aimed at the creation of idols by the pagans (Stabiner 2014, p. 5).
 
7
Canova Mariani and Ferraro Vettore (1999, p. 17).
 
8
Ivi, p. 18.
 
9
Clevenot and Degeorge (2000, p. 151).
 
10
Ibn Al-Nadeem (1971).
 
11
Ancient Arab tribe, settled in the area on the border between Syria and Arabia. The reign of the Nabateans began in the fifth century BC and reached its peak in the first century AD, with Petra the capital of the kingdom.
 
12
Some scholars of the twentieth century have identified in some styles of the characteristics that could derive from the suriac alphabet (Abbott 1939, pp. 5–14).
 
13
From the name of the Iraqi city al-Anbar.
 
14
From the name of the city of Makka in Saudi Arabia.
 
15
From the name of the city of Medina in Saudi Arabia.
 
16
From the name of the city of Bussra in Iraq.
 
17
From the name of the city of Kufa in Iraq.
 
18
Juma’a (1968, p. 23).
 
19
Abdallah Husene (2003, p. 22); Burckhardt (2002, p. 74).
 
20
Daher Al-Kurde (1939, p. 73).
 
21
Abdallah Husene (2003, p. 25).
 
22
Curatola, Scarcia (1990, p. 35).
 
23
Adolf Grohmann (1887–1977) was an Arabist, Egyptologist and Semitist of Austrian descent.
 
24
Grohmann (1952).
 
25
Clevenot and Degeorge (2000, p. 152).
 
26
Abdallah Aldaraise and Abdelhade (2009, p. 169).
 
27
Abdallah Husene (2003, p. 28).
 
28
Clevenot and Degeorge (2000, p. 152).
 
29
Ibidem.
 
30
Curatola and Scarcia (1990, pp. 35–36).
 
31
The Umayyyad dynasty, the first dynasty of caliphs that ruled the Islamic caliphate from 661 to 750, based in Damascus.
 
32
Al-Qalam Al-Jalel: a term used to indicate a type of pencil dedicated to large scale writing.
 
33
Ibn Al-Nadeem (1971, p. 7).
 
34
Aqlam: The term is used in the early period of the Arabic writing’s development to identify some forms of writing, as Qalam Al-Jaleel. The term is then used to indicate the difference in of the pencil’s thickness.
 
35
The Abbasids are the second dynasty to rule the Islamic caliphate from 750 to 1258, based in Baghdad.
 
36
The twelve types are: Qalam Al-Jaleel, Qalam Al-Sejelat, Qalam Al-debaj, Qalam Al-Tumar alkabeer, Qalam Al-Tholotain, Qalam Al-Zanbour, Qalam Al-Maftah, Qalam Al-Haram, Qalamm Al-Ohoud, Qalam Al-Qasas, Qalam Al-Cherfaj e Qalam Al-Moamarat.
 
37
Known for having introduced into Arabic calligraphic art the greatest and most important reform in its history, was an excellent mathematician and minister to three Abbasid caliphs, but political activity involved him in palace intrigues that cost him torture, exemplary punishment and finally death, which occurred in prison in complete oblivion (Lotito 2014, p. 22).
 
38
Clevenot and Degeorge (2000, p. 153).
 
39
The alif is the first letter of the Arabic alphabet; it corresponds to a simple vertical line.
 
40
Ibidem.
 
41
Abu Al-Abbas Ahmad Ibn Tulun (835–884), was a Turkish soldier who became prince of Egypt and founded the Tulunid Emirate including Egypt, Jordan, Palestine and Syria under his rule.
 
42
Dimand (1972).
 
43
Obada (1915, pp. 13–14).
 
44
Clevenot and Degeorge (2000, p. 152).
 
45
Abdallah Husene (2003, p. 33).
 
46
Ivi, p. 34.
 
47
From turkish: mirrored writing.
 
48
Naje Zen il-Deen al-Masref (1972).
 
49
Abdallah Husene (2003, p. 41).
 
50
Ibn Muqla (1991, p. 123).
 
51
Abd al-Kaber al-Chatebe, Diwan al-chat al-arabe, Dar al-Awda, Beirut, 1980, p. 51.
 
52
Martínez Montávez and Ruiz Bravo (1991, pp. 42–43).
 
53
Clevenot and Degeorge (2000, p. 152).
 
54
Atasoy et al. (1990).
 
55
Curatola (1993).
 
63
Blair Susan (2008, pp. 589–590).
 
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Metadata
Title
The Arabic Calligraphy: An Identifying Parameter in Space, Time and Contents
Authors
Osama Mansour
Rossana Netti
Copyright Year
2020
DOI
https://doi.org/10.1007/978-3-030-41018-6_27

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