History of Calligraphy In the language of "calligraphy" is a simplification of calligraphy (the vocabulary of the English language). The word was adopted from the Greek word derived from the word meaning beauty Kallos (beautiful) and graphein meaning to write (write) means writing or characters, which means "beautiful writing or the art of beautiful writing. In Arabic calligraphy called khat, which means line. In terms may be disclosed, "calligraphy is hanwriting as an art, to some will mean formal calligraphy penmanship, distinguish from writing only by its exellents guality" (calligraphy is handwritten as works of art, in some ways is calligraphy is a beautiful formal writing , the difference in longhand is the quality of its beauty). There are also other expressions, such as Hakim al-Rum said: Calligraphy is a spiritual geometry and expressed with a physical device.
While Hakim al-Arab said that calligraphy is a staple in soul and expressed sensory senses. Restrictions are also in line with that expressed by Yaqut al-Musta'shimi that calligraphy is spiritual geometry is born with physical tools. While Ubaidullah bin Abbas termed the calligraphy with oral al-Yadd hand or tongue and many more calligraphy terminology matching those already mentioned. However, a more comprehensive terminology calligraphy expressed by Shaikh Shamsuddin al-Akfani as follows: calligraphy is a science that introduces single-letter forms, location-location and merangkainya ordinances into a structured writing or what was written on the lines, how how to write and determine which ones do not need to be written, composed composed spelling needs and determine how to compose them. I. History of Calligraphy in the Islamic World Arabs recognized as highly skilled people in the field of literature, with a series of names of famous writers of his time, but in terms of literary tradition (read: khat) is still far behind when compared to some other nations around the world who have attained quality of writing is very prestigious. Call it like the Egyptians in writing Hierogliph, the nation of India with Devanagari, the script Kaminomoji the Japanese, the Indians with Azteka, Assyrian nation with Phonogramm / Posts Nails and various other countries have first had a kind of letters / characters. This situation is understandable given the Arabs are a nation whose life is nomadic (moving) are not concerned with the existence of a post, so the oral tradition (communication by word of mouth) they prefer, even some of them seem ANATI letters. Known for its use of new posts on the eve of the arrival of Islam with al-Mu'alaqot marked elongation (poems taped to the wall masterpiece Ka'bah). Formation Arabic alphabet that became known in the early days of Islam took centuries. North Arabian inscriptions bertarikh 250 M, 328 M and 512 M indicate this fact. Of the existing inscriptions, that can be traced from the Arabic alphabet letters Vegetable, ie letters northern Arabs who are still in clumps Smith who mainly just showing dead letters. Of people inhabiting the North Arabian Hirah and Anbar, the text develops its use to areas south peninsula Directions.
A. Calligraphy developments Umayyad period (661-750 AD)
Some kinds of calligraphy originally developed by the town where the development of writing. From a variety of written characters there are only three main styles associated with writing known in Makkah and Madinah are Mudawwar (round), mutsallats (triangles) and Ti'im (twin composed of triangular and circular). Even this is only two of the three preferred the cursive style written and easy style called muqawwar characterized by soft, supple and stylish mabsut characterized by rigid and consist of thick strokes (rectilinear). Two of these styles also cause the formation of a number of other styles which include Mail again (oblique), Masyq (enlarged) and naskh (inskriptif). Masyq and naskh style continues to evolve, while the Mail eventually abandoned as lost by the development Kufi. Developments Kufi also spawned several variations in both vertical and horizontal lines, involving letters and decoration ornaments. Kufi style emerged Murabba '(straight), Muwarraq (decorated leaf), Mudhaffar (woven), Mutarabith Mu'aqqad (entwined related) and others. Similarly cursive styles have evolved remarkable even beat Kufi style, both in terms of diversity of new styles and uses. In this case, the copy of the Qur'an, religious books, and other correspondence.
Among the Umayyads calligrapher termashyur developed cursive is Qutbah al-Muharrir. He found that four posts Thumar, Jalil, Nisf and Tsuluts. The four writing styles complement each other in style to become more perfect. Posts Thumar characterized perpendicular written with the pen on Tumar-Tumar (full sheets, rolls of skin or paper) are not cropped. This paper is used for written communication to the caliphs and emirs-amir palace official document writing. While writing Jalil characterized by sloping used by the public.
The history of this period is not so much as revealed by the Abbasid caliph pelanjutnya have destroyed most of the relics in the interest of political. There are only a few remaining examples of writing such inscriptions are built Mu'awiyah Dam construction, post-Shakhrah Qubbah Ash, writing Kufi inscription on a pond built Caliph Hisham and others.
B. Calligraphy developments Abbasid period (750-1258 AD)
The style and technique of writing calligraphy is growing especially in this period the more calligrapher born, including Ad-Dahhak ibn 'Ajlan who lived during the time of Caliph Abu Abbas As-Shaffah (750-754 AD) and Muhammad ibn Ishaq during Caliph al-Mansur (754-775) and al-Mahdi (775-786). Ishaq contributed greatly to the development of writing and Tsulutsain Tsuluts and popularize its use. Then calligrapher ie Abu Yusuf as-Sijzi studying Jalil told Ishaq. Yusuf managed to create a more subtle point than before.
The calligrapher Abbasid period was recorded as the big name is Ibn Muqlah who in his youth studied calligraphy at Al-ahwal al-Muharrir. Ibn Muqlah made a large contribution to the development of cursive writing because of the spectacular discovery of geometrical formulas in calligraphy consisting of three elements in the manufacture of raw unity letter he offers are: point, the letter alif, and circles. He said each letter should be made under the provisions of this and called al-Khat al-Mansub (writing that standard). He also pioneered the use of six basic kinds of writing (al-Aqlam as-Sitta) is Tsuluts, naskhi, Muhaqqaq, Raihani, Riqa 'and Tauqi' which is cursive. Posts naskhi and Tsuluts became popular because of the efforts of Ibn Muqlah used that could eventually shift the dominance Kufi handwriting.
Ibn Muqlah effort was followed by the famous students include Muhammad ibn as-Simsimani and Muhammad ibn Asad. Of the two students are then born calligrapher named Ibn Bawwab. Ibn Bawwab develop another formula that has been pioneered by Ibn Muqlah known as Al-Mansub Al-Faiq (letters lean beautiful). He has a great attention to the improvement of khat naskhi and Muhaqqaq radically. But his work is little left today is a fragment of the Qur'an and the earthly course.
In the next period appears Yaqut al-Musta'simi which introduces a new method of writing calligraphy is more soft and smooth again against six basic styles are famed. Yaqut was a great calligrapher Daula days of the end of the Abbasid dynasty until the collapse in 1258 AD due to the invasion of the Mongols.
The use of calligraphy in the Abbasid Daula shows the very real diversity, when compared with the far Ummayads. The calligrapher Daula Abbasid very ambitious explore new discoveries or deform motifs emerging. The works of calligraphy predominantly used as ornaments and architecture by Abbasids than Children Ummayads the only dominating element floral and geometric ornament that got pengarih Hellenism and Sasanian culture.
C. Development of Advanced Calligraphy Period
In addition to the eastern lands of Islam (al-Masyriq) that spanned the east of Libya, including Turkey, also known as the western lands of Islam (al-Maghrib), which consists of all the Arab countries west of Egypt, including Andalusia (Islamic Spain). This region gave rise to different forms of calligraphy. Growing keligrafi dominant style is different Maghreb Kufi style in Baghdad (Iraq). Writing systems invented by Ibn Muqlah also not fully acceptable, so the cursive writing style that is conservative.
As for the Masyriq, after the destruction of the Abbasid Daula fits under Mongol armies of Genghis Khan and his son Hulagu Khan, the development of calligraphy can quickly bounce back no less than half a century. By Ghazan Khan's grandson Hulagu who had converted to Islam, was rebuilt artistic traditions. Uljaytu successor of Ghazan also continued effort, he gave encouragement to the scholars and artists to work. The art of calligraphy and decoration of the Koran had reached its peak. Dynasty has mentored several calligrapher Yaqut as Ahmad al-Suhrawardi a copy of the Koran in style Muhaqqaq year 1304, Mubarak Shah al-Qutb, Sayyid Haydar, Mubarak Shah al-Suyufi and others.
Il-Khan dynasty that lasted until the 14th century Timurid dynasty replaced by Timur Leng established. Although known as a great destroyer, but after he converted to Islam intellectuals and artists receive special attention. He possessed great attention to calligraphy and ordered copying al-Qur-an. This was followed by his son, Shah Rukh. Among calligraphers this period was Muhammad al-Tughra'I a copy of the Koran bertarih 1408 daam Muhaqqaq style gold. And Shah Rukh own son named Ibrahim Sulthan became one of the leading calligraphers.
Timurid dynasty setback before the 15th century and was soon replaced by the Safavid dynasty in Persia and Iraq survive until 1736. The founder and his successor Shah Ismail Shah Tahmasp encourage the formulation and development of a new style of calligraphy called Ta'liq now known Khat Pharisees. The new style was developed Ta'liq Nasta'liq which had the effect of naskhi. Posts Nasta'liq naskhi and finally shift into writing which is used to copy Persian literature.
In the area of India and Afghanistan developed a more nuanced traditional calligraphy. Behari style emerged in India in the 14th century the bold horizontal striped lengthwise contrasts with the slim vertical lines. While in China region again showed the typical pattern, influenced the writing brush strokes of Chinese characters commonly called Shini style. This style of writing influenced by growing in India and Afghanistan. Posts Shini regular inscribed in ceramics and pottery.
In a further development, the Arab diperintaholeh Ottoman dynasty (Ottoman) in Turkey. The development of calligraphy since the last dynasty until the development is always associated with the Turkish Ottoman dynasty. Developments during Ottoman calligraphy shows tremendous passion. Love of calligraphy not only on academics and artists, but also some sultan even known as a calligrapher. They did not hesitate to recruit experts from enemy countries such as Persia, the Pharisees style was developed by the dynasty. The calligrapher who is seen as a great calligrapher during this dynasty was Shaykh al-Amasi Hamdullah that gave birth to several children, one of which is Hafidz Usman. The development of calligraphy Turkey since the beginning of the Ottoman spawned a new style of remarkable beauty, sticking with the style of calligraphy developed much earlier in Baghdad. The most important thing is Syikastah, Syikastah-amiz, and Diwani Diwani Jali. Syikastah (form fractures) is a style developed from Ta'liq and Nasta'liq early. This style is usually used for practical purposes. Diwani style was in the beginning was penggayaan of Ta'liq. This paper was developed in the late 15th century by Ibrahim Munif, which is then refined by Shaykh Hamdullah. This style is really cursive, with a dominant curved line and tiered-stacking. Diwani then developed again and gave birth to a new, more monumental style called Diwani Jali, who is also known as Humayuni (kingdom). This style is fully developed by Hafidz Usman and his disciples.
II. History of Calligraphy in Indonesia
In Indonesia, calligraphy is an art form of Islamic culture was first discovered, in fact it marks the arrival of Islam in Indonesia. Sense of the phrase is not without reason that based on the results of research on archaeological data Islamic calligraphy done by prof. Dr. Hasan Muarif Ambary, kufi calligraphy style has evolved in the 11th century, the data found in the tomb of Fatimah bint tombstone Maimun in Gresik (d. 495 AH / 1082 AD) and several other tombs of the century-15th century. Even the well recognized since his return to Southeast Asia and the archipelago, as well as used for writing epitaph [no tombs, the Arabic alphabet (read: calligraphy) is also widely used for writing course material, personal notes, legislation, manuscripts formal agreement in the local language, in coin, stamp, letterhead and so on. Arabic letters used in the local language is termed the Malay Arabic alphabet, Arabic or Arabic Pegon Java.
In the XVIII-XX centuries, calligraphy turned into creative activities Indonesian artists are realized in a variety of media such as wood, paper, metal, glass and other media. Included also for writing Mushaf-old copy of the Koran with paper materials and paper deluang pure imported. The habit of writing the Qur'an has many pioneered by great scholars in Islamic boarding schools smenjak the 16th century, though not all scholars and students who are good at writing calligraphy with beautiful and true. It is very difficult to find a khattat who featured at the end of the 19th century or early 20th century, because there is no qualified teacher of calligraphy and the availability of textbooks that contain the rules of writing calligraphy. Textbook on calligraphy was first coming out around 1961 Muhammad Abdur Muhili essay titled "Beautiful Writing" and a bouquet of Drs. Abdul Karim Hussein titled "Khat, Calligraphy Art: Fine Guidance Writing Arabic Letters" in 1971.
The pioneer generation of new schools showing the real figure is more in the books or religious books hand the results of their many scrapes in the ground water. The figures include; K.H. Abdur Razaq Muhili, H. DaRami Yunus, H. Salim Bakary, H.M. Salim Fachry and K.H. Rofi'i Karim. Force generation that followed until the youngest generation can be mentioned among others, Muhammad Sadzali (students Abdur Razaq), K. Mahfudz of Ponorogo, Faih Rahmatullah Rahmat Ali, Faiz Abdur Razaq and Mohammed Wasi 'Abdur Razaq, Misbahul Munir from Surabaya, Chumaidi Ilyas of Bantul and others. D. Sirajuddin next AR active writing books on calligraphy and painting calligraphy creation shift.
In subsequent developments, calligraphy is not just limited to writing wonderful developed berkaidah, but also began to be developed in the context of artistic or visual art. In this context calligraphy become a way but it is not an escape for artists painting hesitate to draw living things. In the aspect of artistic, calligraphy has the advantage fisioplastisnya factors, geometric patterns, and a flexible arch ritmisnya so easily varied and constantly inspired.
The presence of the nuances of painting calligraphy first began to appear around the year 1979 in the national scope of the first National Calligraphy Painting exhibition in conjunction with the convening of the National MTQ XI in Hyderabad, following the first exhibition at the Conference of Islamic Media of the World in 1980 at the Jakarta Convention Center and Exhibit National MTQ XII in Banda Aceh in 1981, the National MTQ in Yogyakarta in 1991, Islamic Calligraphy Exhibition at the Jakarta Cultural Center to celebrate New Yahun AH 1405 (1984) and other exhibits.
The painter who pioneered the calligraphy painting is Prof. Ahmad Sadali (Bandung Garut origin), Prof.. AD. Pirous (Bandung from Aceh), Drs. H. Amri Yahya (Yogyakarta, from Palembang) and H. Amang Rahman (Surabaya), followed by the younger generation like Saiful Adnan, Hatta Hambali, Hendra Buana and others. They come with a renewal of the forms of the letters with the basics of anatomy kaedah-kaedah away from the original, or offering a new pattern in the way of designing the different letters of the patterns that have been standardized. The presence of the art of calligraphy lujkis inevitably get different responses and reactions, sometimes even violent reaction and lead to a declaration of war. However apapin result of the reaction, the presence of the art of calligraphy is considered khattat far, less technical knowledge, are less familiar with various kinds of media-isolated, and too long of an appearance in front of audiences. Lack striking the khattat, after seeing the artists process their work is a weakness of a language a way to see which was more or just owned the painter.
Another development of calligraphy in Indonesia's art is incorporated into one of the branches that competed in the event MTQ. Initially triggered by the MTQ national calligraphy competition 1981 in Banda Aceh XII and XIII in Padang National MTQ 1983. Competition is ultimately deemed unsatisfactory because the system is sending directly to the work of the committee MTQ handwriting, while writing in each participant. National MTQ XIV in Pontianak negate contest next year and MTQ kaligr
Really interesting.
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