Islamic Calligraphy by L53Kusd


									  In the name of Allah, A Bismillah

In the form of a bird appearing to drink
                                  Iran, second half of the 19th century

Gulzar is defined by Safadi (1979) in Islamic Calligraphy as the technique of filling the area within the outlines of relatively
large letters with various ornamental devices, including floral designs, geometric patterns, hunting scenes, portraits, small
script, and other motifs. Gulzar is often used in composite calligraphy where it is also surrounded by other decorative units and
calligraphic panels.
                                       Zoomorphic Calligraphic Type

In zoomorphic calligraphy, the words are manipulated and structured into the shape of a human figure, a bird, an animal, or an
object. Safadi notes that Thuluth, Naskh, and Nasta'liq scripts are extensively applied to create such calligraphic compositions.
                                   Ottoman Turkey, Istanbul, 1845 AD

Tughra is a unique calligraphic device that is used as a royal seal. The nishanghi or tughrakesh is the only scribe specialized
in writing Tughra. The emblems became quite ornate and were particularly favored by Ottoman officialdom.
             Page from a manuscript of the Qur’an

Tunisia, probably Qairawan, early tenth century Gold and red ink on parchment dyed blue
Two leaves from a manuscript of the Qur’an

Abbasid caliphate, ninth to tenth century Ink and gold on parchment
Naskhi Script (18th Century)
    Ta'liq Script

An Ottoman manuscript
                            A Bismillah

By al-Qandusi, from his remarkable 12-volume Qur'an (completed 1849)
                                  Thuluth Script

Collage. Arches surrounding inscriptions of thuluth script. Extract from the Dakhira
                                of the Sharqawa
                                                      Kufic Lettering

Alternation and juxtapositioning of a supple, cursive style with rigid, angular kufic lettering. The combination of stylized floral
ornamentation, geometric interlacing and the richness of the polychrome treatment highlight the individual words and
               Andalusian maghribi script

Fragment of a page from the Qur'an, copied on colored silk.
Andalusian maghribi script

     A typical example
    Sumbuli script

Signature by 'Arif Hikmat
Interwoven floral kufic script

     The name of Allah.
                                                          A Bird

Bringing a message to the mystic Abdelqadar Jilali, known as the 'White Hawk'. Calligram in relief on an unidentifiable ground.
      Maghribi script

The double letter lam and alif
                Maghribi Kufic

With diacriticals in red, written on gazelle skin
The opening of the Surah Maryam

    From al-Qandusi's Qur'an
The name of the Prophet Muhammad (Peace be upon him)

        In mirror images, by Subail Anwar, Istanbul
                            Jilli diwani

A larger version of diwani.Composition by Muhammad 'izzat al-Karkuki

Star on the threshold, 1984
Rashid Koraishi

The name of Allah

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