خط

calligraphy

At the age of six, I found myself captivated by the visual beauty of a mesmerizing composition printed on an old booklet. I couldn’t comprehend its content at the time, but it was my first real encounter with the concept of beauty. A few years later, I came to realize that it was a workbook for learning the rules of Arabic calligraphy, which has since become an inseparable part of my library for over three decades. That composition was the Crowned letter “ج” in the Thuluth script, which I have repeatedly practiced, striving for the perfection of its beauty and delicate balance for many years to come

في السادسة من عمري، وجدت نفسي مأخوذاً بجمال تكوين بصري ساحر، كان مطبوعاً على كتيب قديم، لم أكن أستطيع فهم محتواه آنذاك. لكنه كان أول اشتباك فعلي مع مفهوم الجمال، عرفت بعد سنوات قليلة أنها كراسة تعلم قواعد الخط العربي، والتي أصبحت جزء لا يغيب عن مكتبتي منذ ثلاثة عقود. ذلك التكوين كان حرف “ج” التاجي في خط الثلث، والذي دأبت على تكراره ومحاولة الوصول إلى كمال جماله وفرط توازنه لسنوات عديدة تلت.

“I have often said that Arabic calligraphy is my first teacher, and one of the key sources nurturing my visual reservoir. Today, I fully recognize its profound role in shaping my professional journey, serving as the initial workshop where I experimented with what I call the ‘three innate conditions,‘ which have accompanied me across the various mediums I have engaged with over two decades.

The first of these conditions is understanding the sensitive relationship between mass and void, or what I have come to refer to as ‘mass and arrow’ when it pertains to the components of Arabic calligraphy. This condition, which gradually evolved into an instinctive appetite, allowed me to develop an early comprehension of composition, design, and photography, ultimately leading to an exploration of how to deconstruct and manage visual relationships in other media. Through it, I learned the importance of carefully considering the empty space before focusing on the structure of the elements themselves.

The second condition was embracing the doctrine of daily practice and repetition. Unlike most other arts, Arabic calligraphy leans toward craftsmanship, beginning with a highly structured and disciplined approach, grounded in the precise study of letter forms and their connections. This discipline turns its practice into a daily ritual, akin to exercises in meditation, breathing, or prayer, and over time, it evolves into a mental workout.

The third condition revolves around liberation from the rules and their reproduction. With Arabic calligraphy, it’s a journey that starts with a deep understanding of the rules, which then extends into a continuous self-exploration through evolving personal projects.

At the age of twelve, I began learning calligraphy under the guidance of professional calligraphers—a journey that started with passion and soon turned into work, as hand-lettering on walls and creating advertising boards, before the emergence of modern techniques, became my first profession. This was all before I joined the Faculty of Fine Arts in Damascus in 2001.

In this space, Iaim to share parts of this journey by showcasing collections of exercises and completed works. I will also share exercises from different time periods for educational purposes, allowing enthusiasts to observe the influence of these “THREE CONDITIONS” throughout this journey.

لطالما ردّدتُ عبارةَ أن الخطّ العربي هو معلمي الأول، و أحد أبرز الروافد التي تغذي مخزوني البصري. واليوم أدرك جيداً دوره البديع في سياق مسيرتي المهنية، فقد كان بمثابة المصنع الأول الذي اختبرت فيه ”الشروط الفطرية الثلاثة“ والتي سترافقني إلى الوسائط الاخرى التي أمارسها على مدار عقدين من الزمن.

أولى تلك الشروط كان إدراك حساسية العلاقة بين مفهومي الكتلة والفراغ، أو ما تعودت ان أسميه ”الكتلة والسهم“ عندما يتعلق التوصيف بمكونات الخط العربي. هذا الشرط، والذي تحول مع مرور السنين الى شهية فطرية ساعدتني لفهم مبكر لموضوعات التكوين و التصميم و التصوير وصولاً لمحاولة تفكيك وادراة العلاقات البصرية في الوسائط الأخرى. ومن خلاله تعلمت ضرورة الاعتناء بالفراغ الخالي من العناصر قبل النظر في بنية العناصر أساساً.

أما الشرط الثاني فقد كان اعتناق عقيدة التمرين والممارسة اليومية، فالخط العربي خلافاً عن معظم الفنون الأخرى، فن ينحو الى الحرفة، فهو مشروع يبدأ بسياق موضوعي محكم، قائم على دراسة القواعد المضبوطة والالتزام المطلق بمركبات الحروف واشتباكاتها. هذه الضرورة تجعل من ممارسته طقسا يومياً يتحول مع مرور السنين لتمرين ذهني على غرار تمارين التامل والتنفس والصلوات.

والشرط الثالث كان حول التحرر من القواعد وإعادة انتاجها، وبصحبة الخط العربي هي رحلة تبدأ بفحص واستيعاب تلك القواعد في المقام الأول، ثم تمتد لتتجلى من خلال مشاريع ذاتية متجددة

في سن الثانية عشرة بدأت بتعلم الخط على يد خطاطين محترفين، رحلة بدأت بشغف، وتحولت الى عمل أيضاً، حيث كانت الكتابة اليدوية على الجدران وتنفيذ اللوحات الإعلانية قبل ظهور التقنيات الحديثة هي مهنتي الأولى، قبل أن ألتحق بكلية الفنون الجميلة في دمشق عام ٢٠٠١.

في هذه المساحة، أود مشاركة أجزاء من هذه الرحلة من خلال عرض مجموعات من التمارين والاعمال المكتملة. وسأحرص على مشاركة تمارين من فترات زمنية متعددة بغرض تعليمي، كي يتسنى للمهتمين ملاحظة تأثير تلك “الشروط الثلاثة” على هذه الرحلة.

خط النسخ

Naskh

The name Naskh comes from the Arabic word for “transcribing” or “copying.” It is one of the oldest and most widely used Arabic scripts, known for its clarity and simplicity. In the 10th century, Minister Ibn Muqla introduced a precise system of rules that ensured consistency and proportionality in the script, making it ideal for copying sacred texts and official documents.

 

خط الديواني

Diwany

Comming soon

Diwani Script is a decorative Arabic calligraphy style that emerged in the 16th century during the Ottoman Empire, developed by the calligrapher Housam Roumi. It is characterized by its intricate design and tightly interwoven letters, making it a symbol of prestige and secrecy within the Ottoman court. Diwani script was primarily used for writing royal decrees, legal documents, and diplomatic correspondence. It is divided into two main types: Riq’a Diwani, which is simpler and used for daily correspondence, and Jeli Diwani, which is more decorative and used for official documents. The complexity of the script made it difficult to read, offering additional protection for the documents

خط الرقعة

Ruqa

Comming soon

Ruqa’a script is a widely-used Arabic script developed in the 13th century Hijri (19th century CE) during the Ottoman period. It is characterized by its simplicity and efficiency, much like Sans Serif fonts in Latin letters, where there are no decorative elements or embellishments. The script avoids unnecessary serif-like flourishes, focusing on short, straight lines and minimal curves, making it easy to read and quick to write. These attributes make Ruqa’a popular in educational contexts and everyday use, ensuring clarity and functionality.

خط الفارسي

Farisi

Comming soon

Farisi or Nastaʿliq is a highly elegant Persian calligraphic script developed in the 14th century. Known for its flowing curves and aesthetic appeal, it became the standard for Persian poetry and literature. Nastaʿliq was primarily used for writing Persian texts but later spread to other languages like Urdu and Ottoman Turkish. Its artistic and cultural significance continues to resonate, making it a cherished form of expression in Persian art and poetry

خط الثلث

Thuloth

Comming soon

Thuluth script is one of the oldest and most significant Arabic calligraphic styles, developed in the 7th century during the Umayyad period and refined further in the Abbasid era. The name “Thuluth” (meaning “one-third”) refers either to the proportion of the letters or the size of the pen used, which is one-third the size of a larger pen known as “Tumar.” Thuluth became the foundation for many other Arabic scripts, such as Naskh, and is renowned for its elegance and versatility.

This script is characterized by flowing curves, deep horizontal lines, and large, interconnected letters, making it ideal for sacred texts like the Quran and for monumental architectural inscriptions. Its aesthetic qualities give it a majestic and decorative presence, particularly in religious and artistic contexts.

Due to its complexity and the skill required to master it, Thuluth is considered a benchmark for calligraphic expertise. Calligraphers who perfect this script are highly regarded as true masters of their craft.

Gallery

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