Running Head: ISLAMIC CALLIGRAPHY: ROUND AND RECTILINEAR SCRIPT

Islamic Calligraphy: A Comparison between Round and Rectilinear Script

Noor Danielle Murteza

U14121079

Cultural Studies

University of Sharjah – CFAD -

Running Head: ISLAMIC CALLIGRAPHY: ROUND AND RECTILINEAR SCRIPT

Contents

INTRODUCTION ........................................................................................................................................ 3

CLASSIFICATION RESEARCH ............................................................................................................ 3

RECTILINEAR AND ROUNDED STYLES............................................................................................... 4

Rectilinear. ................................................................................................................................................ 4

RECTILINEAR AND ISLAMIC CALLIGRAPHY ................................................................................ 5

Rounded. ................................................................................................................................................... 6

CONCLUSION ............................................................................................................................................. 7
Running Head: ISLAMIC CALLIGRAPHY: ROUND AND RECTILINEAR SCRIPT

INTRODUCTION

Rectilinear and rounded are two classifications for Islamic calligraphy. They have been

the subject of numerous academic studies and publications1 that seek to describe their origins,

how they were used, and the way they developed into related styles. My aim in this paper is to

delineate the main characteristics of each, briefly taking into consideration their stylistic

differences and practical applications and usage throughout history. Also taken into

consideration is the question of classification methods, how calligraphy relates to Arabic, and the

idea that Arabic calligraphy is allied with Islamic art.

Calligraphy may be defined as an art which is founded upon a code of geometric and

decorative rules; an art which, in the patterns which it creates, implies a theory of language and

of writing.2 The closest approximation to this word found in the Arabic language is the word

Khatt.3 As Sheila Blair describes “The Arabic (word) Khatt was traditionally bound with the

notion of trace.” The word is closely related to the idea of creating a mark, an aesthetic mark.

CLASSIFICATION RESEARCH

One of the most detailed systems of classifications of scripts was that of Francois Droche,

which took into account the shape of six pivotal letters.4 Other scholars analyzed and

documented the position of letters, their form, elongation, formatting of the page, diacritical

markings and spacing between words and lines. A common method of researchers is to classify
Running Head: ISLAMIC CALLIGRAPHY: ROUND AND RECTILINEAR SCRIPT

different styles by identifying proportions, in most cases the length of the letter Alif, measured

with dots, was taken as a module. The dot was a basic diamond shape created by the reed pen of

the calligrapher.5

RECTILINEAR AND ROUNDED STYLES

The classification used in this paper describes the overall style of the calligraphy as either

rectilinear or rounded (see Fig.1).

Rectilinear.

Rectilinear script encompasses many different scripts that are often referred to

collectively as Kufic.6 This script had many regional variations throughout time, but its most

important features remained standard. From the oldest variations of Kufic in Mecca and

Madina, emerged the newer regional styles including Eastern and Western Kufic. Other Kufic

scripts that are categorized based on style not region, include the Foliated Kufic, Plaited Kufic,

Square Kufic (see Fig.2).

The script was a priestly script, used by scholars to transcribe the Küran and other official

documents. It was monumental and geometric and almost never featured diacritical markings for

short vowels.7 Early examples can be seen in Masahif, or Küranic folios, as well as in

architecture, coinage, and cloth.

The graffito found at Taif in the Hijaz area of modern Saudi Arabia is one of the earliest

examples of Arabic writing. The calligrapher, ‘Amr bin Janab, records the construction of a

damn by the Umayyad Caliph Mu’awiya bin Abi Sufyan.8 The graffito was written in rectilinear

Kufic script (see Fig.3). Fifteen of the letters used are pointed including the letters, ba’, ta’, tha’,

nun, and ya’. The Alif terminates at the bottom with a crescent shaped curve leading to the right.
Running Head: ISLAMIC CALLIGRAPHY: ROUND AND RECTILINEAR SCRIPT

Many of the letters are elongated horizontally parallel to the baseline. Some letters conform to

the vertical upward line such as the letter Lam. There is a rigidity to the words, but the spacing

between them create a rhythm which acts as a fundamental tool of organization in later Kufic

styles.9 Diacritical marks are used in this monumental inscription, which is rather unusual for

early Kufic script.

RECTILINEAR AND ISLAMIC CALLIGRAPHY

Most Kufic manuscripts that have survived are Küranic manuscripts, since rectilinear

script was the chief script used to transcribe the Küran until the late 9th early 10th century.

Writing was carried out in a horizontal format which allowed for the large spaces between the

words (mashq). In most cases a single page has only up to five lines on it.

A later example of Western Kufic script is the ‘Blue Küran’, dated to the 9th or 10th

century and written in Northern Africa, in Qairawan, or in Western Islamic lands of AlAndalus.10

The golden script glistens in blue indigo dyed vellum.11 Similar features of Kufic script are seen,

the pointed letters, the rhythm in the elongation of the letters, large spacing between words, and

the classic curved Alif (see Fig.4). These observations are echoed by A. George12 whose work

centers on uncovering the geometric proportions in the Kufic Script. He describes a harmony and

rhythm to the script creating by repeating proportions that were held sacred by many ancient

civilizations.

An important discussion in the subject of Arabic calligraphy is the validity of calling the

artistic practice Arabic. In my view, a more accurate term for this art form is Islamic

Calligraphy.13 There is a twofold reason. First, the strong attachment calligraphy and the written

word have with the sacred in the Islamic faith makes it foolish to attempt to separate them. Those

entrusted with transcribing the Küran often viewed their work as scared and holy. Second, the
Running Head: ISLAMIC CALLIGRAPHY: ROUND AND RECTILINEAR SCRIPT

argument against the encompassing term of Islamic art14 does not apply to such a unifying potent

tradition that was shared by more than one language. It is true that the script used in the majority

of the examples left behind is Arabic, but the languages expressed ranged from Arabic, Persian,

to Turkish.15

Rounded.

Round script is a script that speaks to this multiple languages point directly, since it was a

script that was quickly taken up by different languages, especially Persian, and developed into

local styles. Rounded script can be divided historically into two phases: cursive script16, and

broken cursive17.

Cursive script can be seen as an experimentation phase that still held on to many of the

practices used in Kufic script but with an adoption of a more rounded form. This script is

distinct in its utilization of thick and thin strokes. The letter Alif begins with a serif and is not

absolutely vertical, as seen in the preceding Kufic, as it has a slight wave-like bend. The bowls of

letters such as nun, and qaf are rounded, as well as the loops of letters like the mem, and ‘ayn.

The letter dal decreases in size to a small stroke 45 degrees to the baseline. The words are far

closer together on the pages and there are more lines per page18 (see Fig. 5). Manuscripts were

often signed with the calligrapher’s name, which was not previously seen in Kufic manuscripts.

However, the cursive script still maintained breaking the words into different lines as was seen in

Kufic writings19.

The one generally accredited with the standardization of the cursive script is Ibn Muqla

(886-940 CE)20. He utilized the previously mentioned system of using the thickness of the reed

pen to measure proportions. After becoming standardized the cursive script began to replace

Kufic script in official court documents and even Küran transcription21. This script was common
Running Head: ISLAMIC CALLIGRAPHY: ROUND AND RECTILINEAR SCRIPT

by the tenth century, although slowly receiving different stylization that transformed into broken

cursive.

Broken cursive was free flowing and stylized compared to cursive script, but it

maintained the proportions set out by Ibn Muqla. It shared many characteristics with cursive

script. For example, the spacing between the words was smaller, making the page looked

cramped, and the variation in the width of the script. Broken cursive occasionally had small “v”

shapes that connected letters, but its most distinctive feature was the general rounded forms. An

example of standardized and free flowing broken cursive script in the 13th century can be seen in

the work of Ibn Al-Bawwab, a pupil of Ibn Muqla22 (see Fig.6). Modern styles of rounded script

that grew out of broken cursive include: Thuluth, Rayhan, Tawqi’, Muhaqqaq, Naskh, Nastaliq,

Magribi script, Riqa’.

CONCLUSION

There are many suggested reasons for the canonization of round script, as some cited

changes in the tools and materials, while others suggested political motivations. Some refer to

social and cultural changes that may have stimulated the movement. However, it is important to

understand that these two scripts developed in parallel. In earlier times the angular script was

more prominent, used for everything, from coins to Kürans. Later on, the rounded script, which

was previously used by scribes for everyday writing, came into standard use and spread widely

to other languages. The differences between the styles is not chronological as much as it is

stylistic and functional, but the prominence of one did not lead to the extinction the other.
Running Head: ISLAMIC CALLIGRAPHY: ROUND AND RECTILINEAR SCRIPT

Rectilinear Round

Referred to as Kufic, has many Includes cursive script, broken

regional and stylistic variation cursive, and many stylistic and

regional variations on the broken

cursive script.

Usually written with a horizontal Usually a vertical format

format

Letters were geometric (square Kaf,

vertical Lam) Letters were rounded (rounded

Nun, rounded Qaf)

Alif is vertical with a crescent ending Alif is wavy or rounded with a

that curved to the right. serif at the top.

Was mostly used to transcribe the Used by scribes and for

Küran. everyday writing

Widely used in the earlier period Widely used in the later period

(preceding the 9th century) (9th century onwards)

Wide spacing between words, and Smaller spacing , and far more

few lines on a page lines on a single page

Never signed by the calligrapher, Sometimes signed by the

but name of commissioner calligrapher.

mentioned.
 Running Head: ISLAMIC CALLIGRAPHY: ROUND AND RECTILINEAR SCRIPT

A B C D
Figure1. Examples of Calligraphy styles. A and B are example of Kufic script; C and D are example of later standardized free flowing round script. (Khatibi and
Sijelmassi 1996).

Figure 4. Folio from the "Blue" Qur'an ( 9th-10th century). Housed at the
Figure 2. Examples of Kufic styles. On the left is an example of geometric Brooklyn Museum. The Western Kufic script is void of diacritical marks in
Kufic, on the right an example of foliated Kufic. (Khatibi and Sijelmassi this example. (Khatibi and Sijelmassi 1996)
1996)

Figure3. Carving near Ta’if in Hijaz (677-678 CE) An early example of rectilinear script. (Blair 2006)
Running Head: ISLAMIC CALLIGRAPHY: ROUND AND RECTILINEAR SCRIPT

Figure 5. A page from Gharib Al-Hadith (866 CE). An example of cursive script on paper.
The aim of the writing here is to be legible. (Blair 2006)
Running Head: ISLAMIC CALLIGRAPHY: ROUND AND RECTILINEAR SCRIPT

Figure 6. Page containing Suras 53:53- 54:11 written by Ibn Al-Bawwab (1000-1001 CE). An example of broken
cursive script as developed it developed from cursive writing of Ibn Muqla. (Blair 2006)
Running Head: ISLAMIC CALLIGRAPHY: ROUND AND RECTILINEAR SCRIPT

1
(Blair 2006) (George 2003) (Hodgson 1977) (Khatibi and Sijelmassi 1996) (Schimmel 2011) (Hillenbrand 1999)
2
(Khatibi and Sijelmassi 1996, 14)
3
The system of transliteration employed in this paper, to the best of my abilities, is that of Marshall Hodgson
outlined in his book Venture of Islam.
4
Ibid
5
(Khatibi and Sijelmassi 1996, 46-47)
6
This term is misleading since the script was not developed in Kufa. Earliest examples of this script can be dated far
earlier than the establishment of the city of Kufa in 638 CE
7
Diacritical marking were first added during the reign of cAbdul-Malik in 685 CE. These marking help in avoiding
misreading the text (Schimmel 2011).
8
See (Blair 2006, 85-87)
9
(Blair 2006)
10
See (Fendall 2003, 28) Jonathan Bloom argues that the use of the Abjad system for numbering the verses
suggested that the manuscript originates from Fatamid Rule in Ifriqiyyah.
11
(Blair 2006) (Fendall 2003) (Hillenbrand 1999) (Schimmel 2011)
12
(George 2003)
13
See Dr. Blair argument in preface to Islamic Calligraphy.
14
See Hodgson’s argument in Venture of Islam and the use of the term Islamicate.
15
Turkish language utilized Arabic script and lettering before adopting roman letters under the rule of Kemal
Atatürk (Khatibi and Sijelmassi 1996, 15)
16
Also New Style, and Qaramathian, see (Blair 2006, 143-146)
17
(Blair 2006)
18
(Blair 2006, 146-148)
19
Ibid
20
(Khatibi and Sijelmassi 1996, 100)
21
(Hillenbrand 1999, 58 59)
22
(Khatibi and Sijelmassi 1996) (Blair 2006)
Running Head: ISLAMIC CALLIGRAPHY: ROUND AND RECTILINEAR SCRIPT

Bibliography

Blair, Sheila. 2006. Islamic Calligraphy. Cairo: American University of Cairo.

Fendall, R. 2003. Catalogue 27: Islamic Calligraphy. London: Sam Fogg.

George, Alian Foud. 2003. "The Geometery of the Quran of Amajur: A Preliminary Study of

Proportions in Early Arabic Calligraphy." Muqarnas 1-15.

Hillenbrand, Robert. 1999. Islamic Art and Architecture. London: Thames and Hudson.

Hodgson, M. 1977. The Venture of Islam: Conscience and History in a World Civilization.

Chicago: University of Chicago Press .

Khatibi, Abdelkebir, and Mohammed Sijelmassi. 1996. The Spendour of Islamic Calligraphy .

London: Hudson and Thames Ltd.

Schimmel, Annemarie. 2011. Styles of Calligraphy. October 14. Accessed May 2, 2016.

http://islamic-arts.org/2011/styles-of-calligraphy/.