Latest news with #JaliDiwani
Kuwait Times
6 days ago
- Entertainment
- Kuwait Times
Art of patience and precision
Veteran Kuwaiti calligrapher Abdulamir Al-Bannai reflects on decades of devotion to Arabic calligraphy, offering insights, techniques and timeless advice for aspiring artists Kuwaiti calligrapher Abdulamir Al-Bannai has spent decades shaping the elegant curves of Arabic script into art. In a conversation with Kuwait Times, he shared insights from his extensive career and passion for calligraphy — a journey that began in childhood and continues to this day. Al-Bannai, who served as head of the calligraphy and drawing department at Kuwait Television in 2002, has contributed significantly to the presence of Arabic calligraphy on national television since 1978. Beyond his professional contributions, he is also an active member of several local and regional organizations dedicated to the preservation and advancement of Arabic calligraphy. A journey rooted in curiosity 'My calligraphy journey started in elementary school,' he recalled. 'My Arabic teacher had a very beautiful handwriting style. I used to imitate it, and he encouraged me by writing notes like 'Thank you for this beautiful line' in my notebook. That motivated me and improved my drawing skills, as I tried to replicate the letters exactly as I saw them.' As he grew older, Al-Bannai would frequent calligraphy shops, observing the work of experienced calligraphers to absorb their techniques — even if just by watching. Abdulamir Al-Bannai Jali Diwani: A signature style Of the many traditional Arabic scripts, Al-Bannai holds a particular fondness for the Jali Diwani style, which he has mastered and frequently uses in exhibitions. 'Jali Diwani is my favorite,' he said. 'It evolved from the Diwani script during the late 16th century under the Ottomans. While it shares the Diwani script's hallmark of rounded, overlapping letters, Jali Diwani is distinguished by its ornate, decorative marks that fill the spaces between characters.' This elaborate script demands not only technical skill but also an artistic eye for balance and composition — qualities that Al-Bannai has refined through years of practice. Advice for aspiring calligraphers Al-Bannai encourages emerging artists to study the works of master calligraphers and to remain committed to continuous practice. 'Calligraphy requires patience,' he emphasized. 'Whoever doesn't have patience cannot become a calligrapher.' He advises beginners to start with simpler scripts, which help build hand control and spatial awareness. 'It's important to understand dimensions and flexibility, and to use good materials — like high-quality pens, soft polished paper and silk threads placed in the inkwell circle.' But technical skill alone isn't enough, he adds. Selecting meaningful phrases and wise sayings to write is also part of the artistry. 'Keep your writings, and revisit them over the years to see how you've developed,' he said. With his decades of dedication, Al-Bannai exemplifies how Arabic calligraphy is more than a craft — it is a lifelong artistic pursuit rooted in culture, discipline and deep personal expression.
Shafaq News
21-05-2025
- General
- Shafaq News
Spirit in the script: Iraq's Ramadi guardian of calligraphy
Shafaq News/ In a quiet corner of Ramadi city in central Iraq, Imad al-Khattat dips his pen into ink and begins tracing a verse in Jali Diwani script. Around him, the walls are lined with canvases of calligraphy—each stroke a reflection of discipline, memory, and faith. 'When I write, I don't follow the line,' he says. 'The line follows me.' Al-Khattat established Al-Anbar's first Arabic calligraphy studio in 1976. He was the province's first member of the Iraqi Calligraphers Association, alongside colleagues from Fallujah and Haditha. Their membership helped formalize a craft long absent from the region's artistic institutions. 'Calligraphy isn't decoration,' he told Shafaq News. 'It's a language of spirit.' His career spans nearly five decades, during which he has participated in regional exhibitions in Turkiye, Sharjah, Dubai, and Amman. Despite the exposure, he has never accepted awards. 'Competitions are based on taste, not integrity,' he explained. 'The work speaks for itself.' One of al-Khattat's most renowned pieces, Al-Hilya, combines Thuluth, Ijazah, and Jali Diwani scripts, structured around classical ratios and adorned with religious phrases. He views it as a spiritual offering. 'It's not a product; it's a written prayer.' He also criticized the growing practice of digital replication, where calligraphers' signatures are removed and their works are marketed under other names. 'It's not just theft—it's deletion.' Al-Khattat recalls working at a local glass factory early in his career, where he applied gold calligraphy to drinking vessels and supervised their design through kiln processing. He credits this experience with shaping his precision and patience. 'I begin with Jali Diwani, then Thuluth, Diwani, Taliq, and finally Ijazah... Each script leads me where it wants.' Text selection, he insists, is never arbitrary. Religious verses, invocations, and classical Arabic poetry form the core of his work. 'If the viewer feels nothing, the piece has failed.' Today, the Iraqi calligrapher works privately on hand-copying the Quran—a task he considers the pinnacle of his artistic and spiritual journey. However, he refuses to sell his original pieces. 'They hold part of me,' he said. 'You can't assign a price to that.'
Shafaq News
12-05-2025
- General
- Shafaq News
Spirit in the script: Ramadi's guardian of calligraphy
Shafaq News/ In a quiet corner of Ramadi, Imad al-Khattat dips his pen into ink and begins tracing a verse in Jali Diwani script. Around him, the walls are lined with canvases of calligraphy—each stroke a reflection of discipline, memory, and faith. 'When I write, I don't follow the line,' he says. 'The line follows me.' Al-Khattat established Anbar's first Arabic calligraphy studio in 1976. He was the province's first member of the Iraqi Calligraphers' Association, alongside colleagues from Fallujah and Haditha. Their membership helped formalize a craft long absent from the region's artistic institutions. 'Calligraphy isn't decoration,' he told Shafaq News. 'It's a language of spirit.' His career spans nearly five decades, during which he has participated in regional exhibitions in Turkiye, Sharjah, Dubai, and Amman. Despite the exposure, he has never accepted awards. 'Competitions are based on taste, not integrity,' he noted. 'The work speaks for itself.' One of al-Khattat's most renowned pieces, al-Hilya, combines Thuluth, Ijazah, and Jali Diwani scripts, structured around classical ratios and adorned with religious phrases. He views it as a spiritual offering. 'It's not a product; it's a written prayer.' He also criticized the growing practice of digital replication, where calligraphers' signatures are removed and their works marketed under other names. 'It's not just theft—it's deletion.' Al-Khattat recalls working at a local glass factory early in his career, where he applied gold calligraphy to drinking vessels and supervised their design through kiln processing. He credits this experience with shaping his precision and patience. His workflow follows a practiced instinct. 'I begin with Jali Diwani, then Thuluth, Diwani, Taliq, and finally Ijazah,' he explained. 'Each script leads me where it wants.' Text selection, he insists, is never arbitrary. Religious verses, invocations, and classical Arabic poetry form the core of his work. 'If the viewer feels nothing, the piece has failed.' Today, al-Khattat works privately on hand-copying the Quran—a task he considers the pinnacle of his artistic and spiritual journey. However, he refuses to sell his original pieces. 'They hold part of me,' he said. 'You can't assign a price to that.'
