Latest news with #Thuluth
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.'
Arab Times
15-05-2025
- Entertainment
- Arab Times
Arabic calligraphy: Where the spirit of the past meets the rhythm of the present
ALGIERS, May 15: Arabic calligraphy, long regarded as one of the most exquisite forms of artistic expression in Islamic and Arab cultures, continues to captivate with its harmonious blend of aesthetic form and deep meaning. Over the centuries, it has evolved into a refined visual art that mirrors the rhythm of poetry— mesmerizing in its beauty while continuously renewing itself without compromising its authenticity. Characterized by fluid curves and precise extensions, Arabic calligraphy today stands as a vibrant expression of both heritage and adaptability. It continues to hold its place in adorning mosques, enriching manuscripts, and embellishing public squares and museums across the Arab world. The strength of Arabic calligraphy lies in its rich diversity. From the elegant flow of Naskh script to the ornate complexity of Thuluth, the graceful lines of Diwani, the geometric precision of Kufic, and contemporary letter-based designs, each script carries the signature of its era and the identity of its creators. This fusion of tradition and innovation was on full display at the 13th International Cultural Festival of Arabic Calligraphy, which concluded its latest edition in Algeria on Wednesday. The event brought together contemporary artists and calligraphers who showcased more than 100 works, demonstrating how Arabic calligraphy continues to evolve beyond its classical roots. Participants pushed creative boundaries, using calligraphy as a dynamic medium to express modern artistic visions, while remaining rooted in a deep cultural and spiritual legacy. The works presented during the festival reaffirmed the enduring relevance of calligraphy as a living art — one that shines brightly in the ever-evolving landscape of Arab creativity.
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.'
Shafaq News
11-05-2025
- General
- Shafaq News
Iraqi cop's fine art: Calligraphy sets Kirkuk apart
Shafaq News/ A retired police officer in the northern Iraqi city of Kirkuk has become one of the region's most respected Arabic calligraphers, preserving traditional script and ornamentation from a small studio in the city center. Faleh Hassan Murad, known locally as Abu Firas, spent over four decades balancing police duties with a lifelong passion for calligraphy. While serving in the Kirkuk Police Directorate, he earned a reputation for his refined handwriting, often used in official records and signage. Now in his seventies, Murad continues to produce handwritten works in classical styles including Naskh, Thuluth, Diwani, Ruqah, Kufic, and Persian Nastaliq. Each form is governed by strict geometric rules and appears widely across Islamic manuscripts, architecture, and educational materials. These rules did not stop him, though. 'Each script has a structure, but once mastered, it allows for innovation,' Murad told Shafaq News. His studio features a blend of Arabic calligraphy, children's educational charts, and hand-painted banners. He also incorporates Islamic arabesque ornamentation—geometric and floral patterns used in mosques and manuscripts—drawing inspiration from Iraq's landscapes, from the southern marshes to the northern mountains of Kurdistan. Though he trained alongside prominent calligraphers in Kirkuk, Murad chose to remain in his street-level workshop near the old courthouse, which now serves as a hub for aspiring artists. 'He opened his door to anyone who wanted to learn, free of charge,' said one former student. 'To him, calligraphy was a cultural duty, not just a skill.' Murad describes his work as part of Iraq's cultural continuity. 'Kirkuk is full of history,' he affirmed. 'I'm proud to have contributed with pen, pattern, and precision.'
FACT
28-03-2025
- Business
- FACT
UAE defines the Dirham with a new symbol
The rollout includes one for the digital format as well. The UAE has always been at the forefront of breaking news. With tons happening across the region — in all the sectors — it's always a step ahead. Now, it's taken a significant step and introduced an official symbol for its currency, the dirham. For years, the Emirati Dirham was represented as AED, Dhs or د.إ, in Arabic. But now, the Central Bank of the UAE (CBUAE) unveiled the new Dirham symbol in both its physical and digital forms. The design of the new Dirham symbol pays tribute to Arabic calligraphy. The pointed curves are inspired by traditional scripts like Thuluth and Diwani, making it as authentic and close to home as possible. Designed to represent financial stability and modernity, the symbol is derived from the English letter 'D' and incorporates two horizontal lines. But that's not all. The Central Bank of the UAE has also launched the symbol for the Digital Dirham. Encircled around the regular Dirham symbol, the design reflects a digital token — similar to what you might have seen on other forms of cryptocurrencies. Featuring colours of the UAE flag, the digital symbol blends national identity with modern technology. This news comes only weeks after Saudi Arabia introduced a symbol for its currency, the Saudi Riyal, making it the first country in the Middle East to do so. And now, with the rollout of the new symbol, the UAE aims to enhance the Dirham's recognition in international markets as well. Expect to see the symbol integrated across banking systems, financial reports, exchange platforms and daily transactions soon. The #CentralBankUAE (CBUAE) today unveiled the new symbol for the UAE's national currency, the "Dirham", in a move that embodies the vision of the wise leadership, and the directives and ongoing support of His Highness Sheikh Mansour bin Zayed Al Nahyan, Vice President, Deputy… — Central Bank of the UAE (@centralbankuae) March 27, 2025 Details on when the Dirham symbol will officially appear on keyboards remain under wraps. But with both Saudi Arabia and the UAE now having their own currency symbols, could this inspire other Middle Eastern nations to follow suit? We'll have to wait to find out. GO: Visit for more information.
