Chapter Review In Calligraphy Example

Chapter Review In Calligraphy Example Chapter Review In Calligraphy â€" Assignment Example > The study of Muslim calligraphy is affected by the geographical boundaries and time. This means that art varies with place of existence. The Islamic art has been divided into seven art zones whose boundary is not clearly demarcated but are known to have originated from different time zones between 7th and the present day. These areas show the artistic nature of the Islamic aesthetic creations and serves to show how art has established unity among its groups although internal variations can also be accounted for. The historical map of the diffusion of the Muslim art shows that the Arabian gulf together with part of West Africa are the centers of divergence. The art which diffused in this case including musical instruments, vocal styles and codes, architectural forms and decorations and visual motifs and structures. In the history of calligraphy, the chapter enumerates the most valuable calligraphers from Zayd Ibn Thabit, the secretary of Mohamad to Darwish Abd al Majid Taliqani, th e most important master of the shikastah script. Of all the categories of the Islamic art, calligraphy is the most prevalent, most significant and most revered by Muslims worldwide. History has it that the writing was learned by close associates of Muhammad who wanted to substitute memorizing and the necessity grew when Muhammad died. Writings evolved from writing on the reeds, inscriptions on stones, use of Arabic numerals to which were closely associated with Jewish ones and finally, the Arabic system was refined. It is after this refinement that the calligraphy came in as the Muslim community wanted to beautify their writings. Here, calligraphers produced variants of the basic Kufi fonts which were elongated. The variation led to was in the form of angular forms of kufi. Others come as floriated kufi where the verticals of letters are extended to form leafy structures, plaited kufi forming decorative laces on the vertical and the animated kufi for letters ending in stylish anim al or human fingers. By the 9th century, almost 20 cursive scripts had been developed and was standardized in terms of vertical and horizontal length by Vizier Ibn Muglah of 10th century who proliferated the variants of the cursive texts using the rhombic dots. From the 11th century, more cursive and rounded script known as Naskhi and is distinguished by its clarity, simplicity and legibility thought to have been introduced by Ibn Muglah for the court of Baghdad. Ibn al Bawwab is accredited for pioneering the use of rounded scripts for the Quran. The rounded scripts were further perfected by Abd allah al Mustad who is believed to create the six cursive scripts of his time. From then, the following generations have been following generations have been making a great use of variance of size for beautification. Every ruler, dynasty and era has strived to produce a more beautiful Quran than its predecessors. Calligraphers become a prized edition to any court and hence, every learned p erson strived to master the art. Calligraphy came not only to be used in iron-working, glassware and wood. Thuluth is one of the most important cursive script to be developed in the Muslim world and is usually used for architecture, small object decorations and in writing tittles for the Quran.