|Tuesday, 5-Oct-2004 00:00
Khat (calligraphy) and Imad
Little bit info on Khat writting.
Arabic calligraphy, unlike most culture, influences the style of monumental inscription.
Islamic calligraphy or khat jawi writing is held in high regards as it is considered of great importance, especially in countries where Islam is practised.
Copying or rewriting the verses of the Al-Quran is considered a religious act, and the calligraphy is much esteemed because of its religious associations.
In the Islamic world, calligraphy has traditionally been held in high regards.
The praises recorded from the copying of the Quran, and the aesthetic energy that was devoted to it, have raised Arabic calligraphy to the status of an art.
There are four types of khat writing methods, which are commonly competed in the country, namely the Nasakh, Thuluth, Rik'aag and Dewani.
Nasakh is commonly used in writing the verses of the Quran.
It originated during the reign of Sayyiddina Othman. Later, it was developed by Saudi Arabian calligraphy writers.
Thuluth, meanwhile, is mainly used as decorative writings being displayed at mosques and suraus in the country.
Rik'aag is a simple way of calligraphy writing, which is seldom practised in the country.
Dewani is seldom used in the country but it is also considered as decorative writings and is difficult to understand.
Unique Calligraphic Collections
The development of Arabic calligraphy led to the creation of several decorative styles that were designed to accommodate special needs or tastes and to please or impress others. The most outstanding of these techniques or scripts are Gulzar, Maraya or Muthanna, Zoomorphic, Siyaqat, and al-Khat al-Hurr.
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.
* Maraya or Muthanna:
Maraya or Muthanna is the technique of mirror writing in which the composition on the left reflects the composition on the right.
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.
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.
Siyaqat is another style developed and favored by the Ottomans; it was used in chancelleries and courts. Siyaqat has a close affinity with Kufic script where the lines are straight and heavy and relatively angular.
* al-Khat al-Hurr:
Al-Khat al-Hurr may be the most modern calligraphic script and was developed in different parts of the Arab world in the 1980s. This free-style script does not follow a pre-set pattern but typically is elegant and highly stylized. It is excessively cursive, and the curves display marked contrast in line width. A curve might change abruptly from the heaviest possible line a pen can create to the thinnest possible line from the same pen.
Little bit about Imad.
Imad Abdulrahman el-Kheir (aka= IMAD) : a Malaysian singer of Lebanese origin but resides currently in Malaysia. He introduced new beats (and instruments) to older spirtual songs. He uses various musical instruments and adds new tunes to older songs. His Hit-songs are "ya Rabb ya Rahman, ya Mubdi3 al-Akwan", "Rabbaho ina Munaya" and "Qalbi Yonady ya Rabb"
Jie Lea Adra