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Quran Wallpaper Gallery Biography

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Muslims have always deemed calligraphy, the art of beautiful writing, the noblest of the arts. The ﬁrst chapters of the Quran revealed to the prophet Muhammad in the early seventh century (suras 96 and 68) mention the pen and writing. Writing in Arabic script soon became a hallmark of Islamic civilization, found on everything from buildings and coins to textiles and ceramics, and scribes and calligraphers became the most honored type of artist. We know the names, and even the biographies, of more calligraphers than any other type of artist. Probably because of the intrinsic link between writing and the revelation, Islamic calligraphy is meant to convey an aura of effortlessness and immutability, and the individual hand and personality are sublimated to the overall impression of stateliness and grandeur. In this way Islamic calligraphy differs markedly from other great calligraphic traditions, notably the Chinese, in which the written text is meant to impart the personality of the calligrapher and recall the moment of its creation. Islamic calligraphy, by contrast, is timeless.
The reed pen (qalam) was the writing implement par excellence in Islamic civilization. The brush, used for calligraphy in China and Japan, was reserved for painting in the Islamic lands. In earliest times Muslim calligraphers penned their works on parchment, generally made from the skins of sheep and goats, but from the eighth century parchment was gradually replaced by the cheaper and more ﬂexible support of paper. From the fourteenth century virtually all calligraphy in the Muslim lands was written on paper. Papermakers developed elaborately decorated papers to complement the ﬁne calligraphy, and the colored, marbled, and gold-sprinkled papers used by calligraphers in later periods are some of the ﬁnest ever made.
Almost all Islamic calligraphy is written in Arabic script. The Quran was revealed in that language, and the sanctity of the revelation meant that the script was adopted for many other languages, such as new Persian, Ottoman Turkish, and Urdu. Unlike many other scripts that have at least two distinct forms of writing—a monumental or printed form in which the letters are written separately and a cursive or handwritten form in which they are connected—Arabic has only the cursive form, in which some, but not all, letters are connected and assume different forms depending on their position in the word (initial, medial, ﬁnal, and independent). The cursive nature of Arabic script allowed calligraphers to develop many different styles of writing, which are usually grouped under two main headings: rectilinear and rounded. Since the eighteenth century, scholars have often called the rectilinear styles “Kuﬁc,” after the city of Kufa in southern Iraq, which was an intellectual center in early Islamic times. This name is something of a misnomer, for as yet we have no idea which particular rectilinear style this name denoted.
Scholars have proposed various other names to replace kuﬁc, including Old or Early Abbasid style, but these names are not universally accepted, in part because they carry implicit political meanings, and many scholars continue to use the term kuﬁc. Similarly, scholars often called the rounded styles naskh, from the verb nasakha (to copy). The naskh script is indeed the most common hand used for transcription and the one upon which modern styles of typography are based, but the name is also something of a misnomer, for it refers to only one of a group of six rounded hands that became prominent in later Islamic times. As with kuﬁc, scholars have proposed several other names to replace naskh, such as new style (often abbreviated N.S.), or new Abbasid style, but these names, too, are not universally accepted

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