Islamic Art and Language as a Source of Inspiration Leading to Traditional Arabic Calligraphy Art

Authors

  • Duaa Mohammed Alashari Faculty of Islamic Civilization, Universiti Teknologi Malaysia, 81310 Johor Bahru, Malaysia
  • Abd.Rahman Hamzah Faculty of Islamic Civilization, Universiti Teknologi Malaysia, 81310 Johor Bahru, Malaysia
  • Nurazmallail Marni Faculty of Islamic Civilization, Universiti Teknologi Malaysia, 81310 Johor Bahru, Malaysia

DOI:

https://doi.org/10.11113/umran2019.6n3.342

Keywords:

Islamic civilization, Arabic Calligraphy, Islamic Art, Arabic language, Quranic colour

Abstract

The Islamic art has developed from different kind of visual art. Arabic calligraphy is one of the most prominent arts starting from the revolution of the Quran and has a long history. This paper will help to provide some sources of information that can be used by people who would like to understand and study the Islamic calligraphy and Islamic art. Also, this paper is connecting the Arabic language to universal spirituality and express how Arabic calligraphy has become a prominent feature in Islamic world. Indeed, this paper provides a brief of the long history of Islamic calligraphy, explains about some of various of Arabic fonts style, and some important Quranic colour that has significant in the Islamic culture. Arabic calligraphy, which is also known as Islamic calligraphy, has a long history of development starting from the first written form of the Quran, in the early 7th century. The Arabic calligraphy art presents how to understand and appreciate its varied styles and modes. Calligraphers start creating their art by using some passages from the Quran or Arabic poems as a starting point then they develop their compositions in a complex and intricate piece of art by the overlap of Arabic letter and words that integrate. Arabic calligraphy is about movement, rhythm and dynamism as seen through the calligraphic marks in most mosques or Islamic building or Islamic calligraphy painting. Islamic calligraphy presents the aspect of aesthetic principles and demonstrate the love for Arabic language and culture with the aesthetic methods of traditional Arabic art.

Author Biography

Duaa Mohammed Alashari, Faculty of Islamic Civilization, Universiti Teknologi Malaysia, 81310 Johor Bahru, Malaysia

Duaa Alashari was born in Jeddah, Saudi Arabia and lived there for many years. Then, she moved to the United States to get her painting MFA from the Savannah College of Art and Design in Savannah, Georgia. She now lives in Savannah. She received her Bachelors of Islamic Art Education from King Abdu Aziz University in Jeddah, Saudi Arabia, in May 2007.  Alashari’s work is displayed in King Abdu Aziz University and Arabia Calligraphy Gallery in Jeddah, Saudi Arabia and in the Savannah College of Art and Design in Savannah, Georgia.  Alashari’s art, which often combines Islamic calligraphy with representations of the Islamic decorations, addresses the complex composition of show identity from the unique perspective of personal experience. In much of her work, she returns to her Arabic language and culture, looking back on it as an artist caught somewhere between past and present, and as an artist, exploring the language in which to “speak” from this uncertain space. Her paintings often appropriate Arabic calligraphy and Islamic art tradition, thereby inviting viewers to reconsider the beauty of Islamic art. She has worked in numerous media, including painting, glass, metal, and fabric. "In my art, I wish to present myself through multiple images, as artist, as Saudi, as traditionalist, as Muslim. In short, I invite the viewer to experience different art from Middle East, and to show them how to identify, understand and appreciate its varied styles and modes.”

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Published

2019-10-21

How to Cite

Alashari, D. M., Hamzah, A., & Marni, N. (2019). Islamic Art and Language as a Source of Inspiration Leading to Traditional Arabic Calligraphy Art. UMRAN - International Journal of Islamic and Civilizational Studies, 6(3), 33–45. https://doi.org/10.11113/umran2019.6n3.342

Issue

Section

Islamic Studies