Key Master Calligraphers

Ibn Muqla (885-940 A.D.)

Full name:

Abu ‘Ali Muhammad Ibn ‘Ali, known as Ibn Muqla (“Son of Muqla”)

What he did:

Codified the six scripts (al aqlam al-sitta) that became the foundation for the practice of calligraphy to come
Established a proportional writing system that used a circle with the diameter of the letter alif as its basis
Wrote extensively about the art of calligraphy and devised theories of letter shapes

Biography:

Born in Baghdad
Became a scribe in the administration of the ‘Abbasid caliphate (750-1258)
Became head of the state library
Was made vizier (chief counselor) three times between 928 and 936, all under different rulers
Was imprisoned three times during periods of political turmoil
During one imprisonment, his enemies cut off his right hand. When released, he continued to work with great skill using his left hand
Finally, his left hand was severed, his tongue cut out, and he was cast into prison where he died

Ibn Muqla’s proportional writing system

The six scripts

Ibn al-Bawwab (late 10th century-1022 A.D.)

Full name:

Abu’l-Hasan ‘Ali Ibn Hilal, known as Ibn al-Bawwab (“Son of the Doorman”)

What he did:

Refined the rules of Ibn Muqla’s six scripts
Developed a system of proportional measurement such that each letter could be measured by its height and width in dots

Biography:

Born a commoner, the son of a doorkeeper
Began his career as a house painter, then became a book illuminator
Took up calligraphy, mastered the known calligraphy scripts, and developed a few new scripts
Was an imam in a mosque in Baghdad
Was a bit eccentric and wore odd clothes
Wrote a famous poem about calligraphy (see right)
Wrote 64 copies of the Qur’an, only one of which still exists (in Dublin’s Chester Beatty Library)

Proportional writing system using dots

Excerpts from a poem on calligraphy

In the name of God, the
     merciful, the compassionate.
     To him is the voyage and the
     return.
O you who seek perfection of
     writing and desire beautiful
     calligraphy and forms,
If your dedication to writing is
     true, then be pleased that
     your Lord has made it easy.
Learn all the pens [styles], each
     one treasured and lively, that
     make the inky art like the
     jeweler’s craft. […]

Don’t be ashamed by the
     ugliness you will write in the
     first stages of your practice,
Because the job will be hard,
     then easy. How often ease
     comes after distress.
When you have reached the
     goal you desired and you are
     pleased and happy,
Thank your God and follow his
     desires. God loves the
     thankful.
Be pleased with your hand,
     whose fingers write so well,
     leaving beautiful works
     behind in the abode of
     illusion. […]

Yaqut al-Musta‘simi (early 13th century-1298 A.D.)

Full name:

Abu’l-Majd Jamal al-Din Yaqut, known as Yaqut al-Musta‘simi because he served Caliph al-Musta‘sim

What he did:

Refined the six scripts set down by Ibn al-Bawwab
Gave the letter shapes new dimension by emphasizing the slanted cut of the pen
Further systematized the method of proportional measurement with dots
Developed the school of calligraphy that Turkish and Persian calligraphers followed for years to come

Biography:

Born in the region of Anatolia
Was a slave of the last caliph of the ‘Abassid dynasty in Baghdad, al-Musta‘sim Billah (reigned 1242-1258)
Spent nearly his whole life in Baghdad
Became a scribe in the royal court
Studied calligraphy with an excellent woman calligrapher named Shuhda Bint Al-‘Ibari, a student in the direct line of Ibn al-Bawwab
Committed to his work. During the Mongol sack of Baghdad in 1258, he took refuge in the minaret of a mosque so he could finish his calligraphy practice, while the city was being ravaged below
His career flourished under Mongol patronage
Wrote prolifically. Made 364 copies of the Qur’an, several copies of which still exist and are highly prized by collectors

Slanted cut of the pen

Proportional measurement system

Calligraphy attributed to Yaqut al-Musta’simi

Hajj directions — This manuscript is a fragment of a pilgrimage guide for Muslims going on Hajj. Although the text is not signed and certain additions may have been made later, it is possible that this fragment was executed by Yaqut al-Musta’simi himself. Attributed to Yaqut al-Musta’simi. 13th century. 25 x 4 cm. Thuluth script. Courtesy of the Library of Congress, African and Middle Eastern Division. https://www.loc.gov/item/2019714516/

Mir ‘Ali Tabrizi (1360-1420 A.D.)

Full name:

Mir ‘Ali ibn Hasan al-Sultani, known as Mir ‘Ali Tabrizi because he lived most of his life in the city of Tabriz

What he did:

Codified the nast‘aliq script, which became the most important script in Persian calligraphy

Biography:

Little is known about his life except that he lived in Tabriz (Persia) and was a poet and calligrapher
He is called “the chief of the scribes” because of his work in developing the nasta‘liq script
Tradition says that, after dreaming one night about geese, Mir ‘Ali adapted the shape and motion of their wings into visual form, creating the nasta‘liq script

Calligraphy attributed to Mir ‘Ali Tabrizi

Khusraw u Shirin by Nizami (d.1209) Manuscript — Persian in black nasta’liq script with illuminated headings. Calligrapher: Ali ibn Hasan al-Sultani (also known as Mir ‘Ali Tabrizi). Jalayirid dynasty, ca. 1400. Iran. Freer Galler of Art. https://asia.si.edu/object/F1931.29

Mir ‘Imad al-Hasani (1554-1615 A.D.)

Full name:

‘Imad al-Mulk Muhammad ibn Husayn Muhammad Shafi’al-Hasani al-Sayfi al-Qazvini, known as Mir ‘Imad al-Hasani for short

What he did:

Many scholars and calligraphers consider him the finest writer of the nasta‘liq script

Biography:

Worked in the court of Safavid Shah ‘Abbas I (reigned 1587-1629)
Chief rival of ‘Ali Riza ‘Abbasi, a designer of calligraphy inscriptions
Murdered in a conspiracy involving a jealous rival and vain monarch
His work was immensely popular during his lifetime and after his death

Calligraphy by Mir ‘Imad al-Hasani

Poetry verses — This calligraphic fragment includes an iambic pentameter quatrain, or ruba’i, written by the famous mystical poet Shaykh Kamal al-Din Isma’il al-Isfahani (d. 634/1237). Calligrapher: Mir ‘Imad al-Hasani. Iran. Early 17th century. 20.6 x 32 cm. Nasta’liq script. Courtesy of the Library of Congress, African and Middle Eastern Division. https://www.loc.gov/item/2019714662/

Folio with Verses in Nasta‘liq Script — The verses on this folio are written in diagonal lines of nasta‘liq script. Noted for its refined and lyrical quality, nasta‘liq is ideally suited for love poetry replete with mystical allusions and Sufi metaphors. Calligrapher: Mir `Imad al-Hasani. A.D. 1608-9. Iran. The Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/450713

Seyh Hamdullah (1436-1520 A.D.)

Full name:

Hamd Allah al-Amasi, known as Şeyh Hamdullah (Şeyh is the Turkish word for sheikh)

What he did:

Founder of modern Turkish calligraphy
Refined the six standard scripts, and was highly esteemed for his writing in the naskh and thuluth scripts (he followed the tradition of Yaqut al Musta‘simi)

Biography:

Born in the region of northern Anatolia
Member of a dervish order
Studied calligraphy under the master Hayreddin Mar‘asi
When his calligraphy student Bayezid II became sultan in 1481, Hamdullah became a member of the royal court
The sultan so respected Hamdullah that he held the calligrapher’s inkwell while he wrote
When Bayezid II died, Hamdullah fell into disfavor and retired to the country
Wrote 47 copies of the Qur’an, several of which still exist in the Topkapi Palace Museum Library in Istanbul

Calligraphy by Şeyh Hamdullah

Album of calligraphy — The text of this album, which bears the signature of the famous calligrapher Şeyh Hamdullah, features proverbs and tradition of the Prophet Muhammad. Calligrapher: Şeyh Hamdullah. Turkey. Early 16th century. 13.9 x 19 cm. Thuluth and naskh scripts. Courtesy of the Nasser D Khalili Collection of Islamic Art.

Murakka (calligraphic album) — Calligraphy page ascribed to Şeyh Hamdullah, master Ottoman calligrapher. 1400’s. Sakıp Sabancı Museum, courtesy of Google art project. Link.

Apart from the obvious beauty of Ottoman calligraphy, what appeals to me is the important relationship between master and apprentice, and the infinite capacity of this art to renew itself from one generation to the next.
Sakıp Sabancı, Turkish philanthropist

Hafiz Osman (1642-1698 A.D.)

Full name:

Hafiz Osman

What he did:

Considered the greatest 17th century calligrapher of the Ottoman style
Re-invigorated the tradition of Seyh Hamdullah, and re-introduced the six scripts that had fallen into disuse
His style slowly replaced Seyh Hamdullah’s

Biography:

Member of a dervish order
Famous for his writing in the naskh script
Tutored sultans Ahmed II (died 1691), Mustafa II (died 1695) and Ahmed III (died 1736)
Sultan Mustafa II respected the calligrapher by holding his inkwell while he wrote
Wrote 25 copies of the Qur’an. Examples of his work are held at the Topkapi Palace Museum Library in Istanbul and by the Nasser D. Khalili Collection

Calligraphy by Hafiz Osman

Qur’anic verses — This Qur’an was written by the greatest Ottoman calligrapher of the 17th century, Hafiz Osman. Turkey. 1687-1688 A.D. 24.1 x 6.4 cm. Naskh script. Courtesy of the Nasser D Khalili Collection of Islamic Art.

Hasan Celebi (1937-present)

Full name:

Hasan Çelebi

What he did:

Refined the rules of Ibn Muqla’s six scripts
Developed a system of proportional measurement such that each letter could be measured by its height and width in dots

Biography:

Internationally-recognized calligraphy artist in the Ottoman tradition
Served as an imam until 1987
Teaches hundreds of students, 30 of whom have received a certificate or license (ijaza)

The first requirement is to love the art. Love comes before skill. If someone doesn’t desire khatt [calligraphy] they will not succeed. Today, I can’t write the Latin alphabet as my hand shakes too much. When I try to read a book, I can’t read more than 15 pages without falling asleep. But with khatt, my hand stays steady and there are times when I can study the art ten hours or more without lifting my head. Because I love it. It is also necessary to have patience, a good teaching and a good working environment. It is important to be writing everyday, especially when you’re a beginner. I tell my students they must put in 30 hours a day!
Hasan Çelebi

Hasan Çelebi

Bayramları âlem-i islama vesile-i felah kılsın rabbim — Calligraphy by Hasan Çelebi.

Calligraphy by Hasan Çelebi

Hasan Çelebi Hilye — Calligraphy by Hasan Çelebi.

ALLAH bütün işlerinizde size yardım eder — Calligraphy by Hasan Çelebi.

Mohamed Zakariya (1942-present)

Full name:

Mohamed Zakariya

What he did:

Became an American master calligrapher after studying with Hasan Celebi
Commissed to create the U.S. Eid postage stamp
Leading proponent of Islamic calligraphy in the United States today

Biography:

Grew up in California
Converted to Islam after traveling in the Middle East
Master woodworker, engraver, machinist and maker of scientific instruments
Studied with several Turkish calligraphy masters and received his ijaza in 1988 for the thuluth and naskh scripts, and in 1997 for the ta‘liq script (a Turkish variant of nasta‘liq)
Teaches, lectures and exhibits his work internationally
Website: https://mohamedzakariya.org/

Mohamed Zakariya

Calligraphy by Mohamed Zakariya

To learn more about Mohamed Zakariya, watch the documentary by Sanaa Boutayeb Naim, Music of the Eye.

Sometimes people ask me, ‘What does it feel like to do such work?’ There is no good answer, except awareness of the standards that have been set for the art and the responsibility to be faithful to them. So, rather than think of myself as a calligrapher, I still think of myself as becoming a calligrapher.
Mohamed Zakariya. Becoming a Calligrapher: Memoirs of an American Student of Calligraphy.