Calligraphy in Islam

Calligraphy is the form of invention which denote signs and earn in an expressive form, its a form of visual art which was developed in westbound Europe by monks about 1500 years before. It is a painting which is helps to express emotions through designs and show the quick-witted skills of an individual. it is Greek script defined by greek roots Kalli meaning beautiful and attractive and gharphia refers to writing. The point of this proposal is to discuss the role of penmanship in islam and opposite types of calligraphy. Calligraphy is the tongue of the hand, the delight of the conscience, the ambassador of the mind, the inheritor of the thought, the weapon of know conductge, the companion of absent friend, the converser with them over pertinacious distances, the depository of secrets, and register of nonethelessts. Ibrahim Ibn Muhammad Ash-Shaybani Many religions shake up made the use of art to portrait their core doctrine. Islam has employ the shapes and sizes of word and letter in calligraphy which is a paramount form of art for Islamic visual expression and inspiration. It portrait the cultural value of Islamics.The Islamic calligraphy is a hallmark of most muslim societies it stands out with other calligraphical usage with flexibility and its applicable to any decorative purpose, from the 8th one C it became more standardized and bonding with Muslim identity far more firmly than any writing tradition. The tools apply by calligrapher atomic number 18 unique which includes reeds and brush pens, scissors, a knife for cutting the pens, an sign pot, and a sharpening tool, The traditional way to asseverate the pen, according to Safadi, is with middle finger, forefinger, and thumb comfortably spaced out along the (pens) shaft.Only the lightest possible pressure is applied. The most admirable reeds were native to the coastal lands of the Persian Gulf. Qalams the most valued objects are stipulated across the inbuilt Muslim world. An accom plished and handy scribe would require different qalams in order to achieve different degrees of fineness. Inks apply are of various colors but the ink most used is black and brown, since thither acuteness and consistencies can be altered, Many of the calligraphers are provide training on how to prepare ink while other implies that their recipe is a secret.Although techniques differ from adept place to another place, most inks were ground on soot or lamp-black mixed with water and gum-Arabic. Other ingredients are indigo, minced gall-nuts, and henna. The final stage of set involved straining the ink through silk. Also, the ink might be perfumed if desired. There are different kinds of calligraphy restricted to Islam the most common among them is Kufic. It has amalgamation of square and angular lines on one end, and compact bold circular forms on the other.It reached perfection in the late 8 century and became to wholly script to write Quran for following 300 years. Taliq callig raphy which was developed in Iran in the tenth century created by Hassan Ibn Husayn but due to great improvement by abd-ul-malk its usually interact with him. It is written with thick nipped pen with cater corner cuts, its a combination of short turn out vertical with broad horizontal whose natural length is exaggerated wherever possible and especially at the end of work. Thuluth is medieval Islamic style of handwritten alphabet.Its written on principium that one leash of each letter slopes. It is gigantic and fancy calligraphy script which is often used for titles rather than the long text. The letters are round and maybe written in line so close that the constituent of letters intersect with each other. Many of its discripence are found on architectural monuments as well as on glass, metalwork, textiles, and wood. Naskh which means copying, is like a run on a mill which was used in ordinary correspondence and the production of literary works.It has a regular appearance. This c alligraphic script of Ibn Muqla was escorted to faithfulness 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 many late development in the Calligraphy. The Safavid dynasty in 1502 produced an eye opening masterpieces of Islamic art.During 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 lighter 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 1858. This dynasty was the greatest, richest, and longest lasting 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.The passionate development of calligraphy in India led to the creation 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 super appreciated in this era especially when the Taj Mahal was built. One wee remains closely associated with It with the superb calligraphic inscriptions displayed in the geometric friezes on the white marble that is the name of the ingenious calligrapher Amanat Khan, whose real name was Abd ul-Haq.It can be proven that the fact, that the Arabic calligraphy has more strongly associated with Islam than the Arabic language itself. That is, even illiterate people who could not conceive either spoken or written Arabic knew at one time when they were in a Muslim environment when they saw the Arabic script clearly displayed in calligraphy. This rare function of the Islamic calligraphy continues to th e present day.Referencing Sana Naveed. (2006). Moslem calligraphy art. Available http//www.muhammadanart.com/ . exist accessed 17th feb 2011. Islami City. (2005). islamic calligraphy . Available http//www.islamicity.com/culture/calligraphy/. Last accessed 17th 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 encyclopedia of calligraphy techniques Headline. p34-56. Saramago (1995). Manual of painting & calligraph Carcanet, in association with Calouste Gulbenkian Foundation,. p1-17.