A review of sources and approaches in the typology of calligraphic movement works in contemporary art of the Middle East

Farahmand Drav, Sara; Moridi, Mohammad Reza

doi:10.22070/negareh.2024.18595.3316

A review of sources and approaches in the typology of calligraphic movement works in contemporary art of the Middle East

Document Type : Research Paper

Authors

Sara Farahmand Drav ¹

Mohammad Reza Moridi ²

¹ Ph.D. candidate in the Art Research Department, University of Art, Tehran, Iran.

² Associate Professor and Faculty Member in the Art Research Department, Iran University of Art, Tehran, Iran.

10.22070/negareh.2024.18595.3316

Abstract

Introduction: Calligraphy, as the most prominent art among Muslims, has been practiced by many calligraphers up to the contemporary era. This art, which has always followed established rules, had multiple functions in the Islamic world, from writing the Qur'an and manuscripts to contributing to other artistic forms. Prominent calligraphers such as Ibn Muqla, Ibn al-Bawwab, Yaqut al-Musta'simi, and many others gradually refined the art and passed it on to later generations. Over time, Islamic calligraphy evolved along a long and complex trajectory and became a symbol of Muslim creativity and cultural distinction. In the modern era, however, although traditional calligraphy is still practiced by many artists, it has lost many of its former functions. From the second half of the 20th century, within artistic movements known in Iran as Saqqakhaneh, Naghashi-Khat and Khat-Naghashi, and in Arab countries as Huruffiyya and Calligraphic School of Art, this art acquired new functions through its encounter with modern art. In these movements, which emerged almost simultaneously across the Middle East, artists such as Hossein Zindaroudi, Faramarz Pilaram, Madiha Umar, Rachid Kuraichi, and others employed calligraphy and letters to create new forms in modern painting. In this new approach, letters were deconstructed in modern paintings, new media replaced traditional ones, and new concepts were introduced, some had cultural identity and others had only literary aspects, but still the aesthetic qualities of calligraphy remained recognizable. Therefore, some scholars, including Hojjat Amani, named these new methods “calligraphic movement” or “Khoshnevisaneh”. Over time, the number of artists engaged in this trend grew, and the new calligraphy became one of the most significant artistic trends in Arab countries and Iran.
Purposes & Questions: In order to solve challenges that have emerged around the types and scope of contemporary calligraphy works in Iran and the Arab countries of the Middle East, it is necessary to carry out a study with the aim of understanding the evolution of contemporary calligraphic practices and to answer the research questions about how calligraphy can be recovered and interpreted within the context of contemporary art, how artists have used calligraphy as a foundation for creating new works; and what themes and concepts have informed their engagement with calligraphy.
Methods: This research is based on the descriptive-analytical method, and the method of collecting information is library-based, purposeful, and informed. The method of data analysis is as follows: First, the works of some prominent researchers from the Arab world, and from Iran in recent decades, whose works are most relevant to the research objectives, have been studied. In the Arab world Abdelkebir Khatibi, Mohammed Sijelmassi, Nada Shabout, Wijdan Ali, Venetia Porter, Rose Issa, and Charbel Dagher, and in Iran, Hamid Keshmirshekan have been examined.
Findings & Results: The researchers studied the typology of works from different perspectives, and their opinions overlapped in some respects. Khatibi & Sijelmassi divided the works into four categories: geometric, abstract, decorative, and symbolic, and in their classification, there is no clear border between traditional and modern calligraphy. Wijdan Ali presented a multifaceted classification that includes both form and content. Dagher focused on the linguistic functions of letters and signs. And Porter described a group of works abstracts and classified other works according to content. Among the research works in the Persian language, no significant research was found in line with the typology of the works (with the exception of one example of a master's thesis: Torabi, Mohammad Mohsen, “Typology of Calligraphic Painting in Iran,” which is limited to Iranian artists' works). But Hamid Keshmirshekan, in his outstanding work, “An Introduction to Contemporary Iranian Art,” followed this trend in the history of contemporary Iranian art and identified various types of works in the New Calligraphy Movement. In this work, he has attributed three types of lettristic, Naqashi-Khat (some kind of neo-traditional approaches), and new letteristic approaches to Iranian calligraphy in the modern era.
The results of the approaches lead to the conclusion that the experts have so far classified calligraphic works using formalistic and content approaches. The content of the works covers a wide range of literary, political, social, and historical topics. Sometimes the works adopt an orientation toward tradition, and sometimes they move toward the future. Two distinct views can be found in the attitude of this art towards the future, modern art, and avant-garde art. The modern approach in this artistic refers to the use of new materials and themes alongside a formal analytic engagement with traditional calligraphy. Regarding avant-garde works, a fundamental and complete transformation is underway in the art of calligraphy, which requires more time and more research to make further comments about it.

Keywords

Contemporary calligraphic movement

Saqqakhaneh movement

Naqashi-Khat

Huruffiyya movement

Lettrism

Typology

احصائی، م. (۱۳۸۰). حافظ اسرار الهی [خوشنویسی نستعلیق]. بازیابی شده در ۲۱ مرداد، ۱۴۰۳، از https://mohammadehsaei.com/arts/calligraphy

الیاسی،‌ ب. (۱۳۸۸). پژوهشی در نقاشی-خط ایرانی (عوامل تأثیرگذار بر نقاشی-خط دهه‌ی 40-80) [پایان‌نامه کارشناسی ارشد منتشرنشده]. دانشگاه سیستان و بلوچستان.

امانی، ح. (۱۴۰۱) نقاشیخط، خط-‌نقاشی یا هیچ‌کدام؟، روزنامه اعتماد، (۵۳۷۰)، چهارشنبه ۱۶ آذر، ص. ۹. بازیابی شده در ۱ مهر، ۱۴۰۲، از https://www.etemadnewspaper.ir/fa/main

امانی، ح.، بلخاری قهی، ح.، و جباری کلخوران، ص. (الف-۱۴۰۰). خوشنویسی اسلامی، نماد مقاومت در برابر روند غربی شدن (با تکیه بر نظریه مطالعات پسااستعماری). باغ نظر، ۱۸(۱۰۰)، ۲۱-۳۰. https://doi.org/10.22034/bagh.2021.249115.4670

امانی، ح.، بلخاری قهی، ح.، و جباری کلخوران، ص. (ب-۱۴۰۰). تغییر معنا در گفتمان خوشنویسی ایران معاصر از دیدگاه تحلیل گفتمان انتقادی. هنر و تمدن شرق، 31(۹)، (بهار)، ۵۱-۶۲. http://noo.rs/nir3I

بلر، شیلا، . (1396)، ). خوشنویسی اسلامی، مترجم (ولی‌الله کاووسی، مترجم). تهران، فرهنگستان هنر، چاپ و نشر شادرنگ. https://www.ketabsource.ir/downloads/97

پاکباز، ر. (139۶). دائره‌المعارف هنر. فرهنگ معاصر. https://ajansbook.ir

پاکباز، ر.، امدادیان، ی.، و ملکی، ت. (1386). پیشگامان هنر نوگرای ایران: حسین زنده‌رودی. ماه‌ریز. https://www.goodreads.com/book/show/27386024

ترابی، م. (۱۳۹۵). گونه شناسی نقاشی-خط در ایران [پایان‌نامه کارشناسی ارشد منتشرنشده]. دانشگاه فردوسی مشهد.

حداد عادل، غ.، و میرسلیم، م. (ناظران). (۱۳۷۵). دانشنامه جهان اسلام (غ. حداد عادل، و م. میرسلیم، ناظران). بنیاد دائره‌المعارف اسلامی. https://noorlib.ir/book/info/20632

کشمیرشکن، ح. (1396). کنکاشی در هنر معاصر ایران،. نشر نظر. https://nazarpub.com/product/86

مریدی، م. (1402). گفتمان‌های هنر اسلامی مدرن: مطالعات جامعه‌شناختی هنر مدرن و معاصر در سرزمین‌های اسلامی. متن؛ دانشگاه هنر تهران. https://matnpub.ir/402

Adnan, E. (1987). Allah [Mixed media on paper]. The Permanent Collection of the Jordan National Gallery of Fine Arts. Retrieved July 19, 2023, from https://www.brynmawr.edu/news/alum-trip-jordan-begins-arabic-lesson-sijal-institute

Al-Attar, S. (1999). Untitiled. Arab Modern Art Encyclopedia.

Ali, W. (1997). Modern Islamic Art: Development and Continuity. University Press of Florida. https://archive.org/details/modernislamicart0000aliw

Ali, W. (Ed.). (1989). Contemporary Art from the Islamic World. Scorpion Publishing. https://openlibrary.org/books/OL9338214M/Contemporary_Art_from_the_Islamic_World

Ali, W. (2003). Modern Art from the Arab World. Universes in Universe/ Art Actuel du Monde Islamique. Retrieved December 24, 2024, from https://universes.art/en/nafas/articles/2003/modern-art-from-the-arab-world

Amani, H. (2022). Calligraphy, Calligraphy or None? Etemad Newspaper, 5370, Wednesday, December 7^th, Retieved https://www.etemadnewspaper.ir/fa/main [In Persian].

Amani, H., Bolkhari Ghahi, H., & Jabbari Kalkhoran, S. (2021-a). Islamic Calligraphy, a Symbol of Resistance to the Process of Westernization (Based on the Theory of Postcolonial Studies). The Monthly Scientific Journal of Bagh-e Nazar, 18(100), 21-30. https://doi.org/10.22034/bagh.2021.249115.4670 [In Persian].

Amani, H., Bolkhari Ghahi, H., Jabari Kalkhoran, S. (2021-b). Changing the meaning in the discourse of contemporary iranian calligraphy from the perspective of critical discourse analysis,. Journal of Art & Civilization of the Orient, Volume 9, Issue 319(31), Pages 51-62. http://noo.rs/nir3I [In Persian].

Blair, S. (2017). Islamic Calligraphy (V. Kavousi, Trans.). Tehran: Academy of Arts of Iran. https://www.ketabsource.ir/downloads/97 [In Persian].

Boullata, K. (1983). There is No I but I [Silkscreen]. Received June 14, 2023, from https://www.barjeelartfoundation.org/collection/there-is-no-i-but-i/

Cernuschi, C. (2012). Paul Klee and language. In J. Sallis (Ed.), Paul Klee: Philosophical Vision- From Nature to Art (pp. 105- 133). McMullen Museum. https://archive.org/details/paulkleephilosop0000klee/page/104/mode/2up?q=Paul+Klee+and+Language

Dāghir, S. (2016). Arabic Hurufiyya: Art and Identity (S. Mahmoud, Trans.). Skira. https://search.worldcat.org/title/Arabic-Hurufiyya-:-art-and-identity/oclc/939995162

Eigner, S. (2015). Art of the Middle East: Modern and Contemporary Art of Arab World and Iran (Z. Hadid, Foreword Writer; Revised & expanded ed.). Merrell. https://search.worldcat.org/title/896907796?oclcNum=896907796

El Nagdi, O. (1979). Untitled One [Painting, Mixed media on wood]. Barjeel Art Foundation. https://www.artsy.net/artwork/omar-el-nagdi-untitled-one

El-Salahi, I. (1965). Reborn Sounds of Childhood Dreams I [Enamel paint and oil paint on cotton; Reference T13979]. Retrieved October 22, 2023, from https://www.tate.org.uk/art/artworks/el-salahi-reborn-sounds-of-childhood-dreams-i-t13979

Elyasi, B. (2009). A Study on Iranian Calligraphic Painting (Influential Factors on Calligraphic Painting from the 1960s to the 2000s) [Unpublished master’s dissertation]. University of Sistan and Baluchestan. [In Persian].

Ermes, A. O. (2003). La [Acrilic on paper]. Retrieved December 18, 2023, from https://www.aliomarermes.co.uk/

Haddad Adel, G., & Mirsalim, M. (Eds.). (1996). Encyclopaedia Islamica [Daneshnameh‑ye Jahan‑e Eslam]. Tehran: The Center for Islamic Encyclopaedia. https://noorlib.ir/book/info/20632 [In Persian].

Hammad, M. (1985). Khat. National Gallery. Retrieved October 24, 2023, from https://nationalgallery.org/artist/mahmoud-hammad/?lang=ar

Issa, R., Cestar, J., & Porter, V. (2016). Signs of our Times: From Calligraphy to Calligraffiti (H. U. Obrist, Forword writer). Merrell. https://www.merrellpublishers.com/9781858946528

Keshmirshekan, H. (2016), An Introduction in to Contemporary Iranian Art. Tehran: Nazar. https://nazarpub.com/product/86 [In Persian].

Khatibi, A., & Sijelmassi, M. (1996). The Splendor of Islamic Calligraphy. Thames and Hudson. https://search.worldcat.org/title/The-splendor-of-Islamic-calligraphy/oclc/34275017

Koraïchi, R. (1979). Tel al‑Za‘tar [Mixed media on paper]. The Jordan National Graphy of Fine Art. https://nationalgallery.org/

Koraïchi, R. (1986). Without You, or Me, or the Nostalgic Hallucination [Painting, Ink on clay on wood]. Grey Art Museum. Retrived June 29, 2023, from https://greyartmuseum.nyu.edu/2020/04/artwork-spotlight-rachid-koraichi/

Lenssen, A., Rogers, S. A., & Shabout, N. M. (2018). Modern Art in the Arab World: Primary Documents. The Museum of Modern Art. https://search.worldcat.org/title/1035756538

Mahdaoui, N. (n.d.). Calligraphy Composition. National Gallery. Retrieved September 27, 2023, from https://nationalgallery.org/artist/nja-mahdaoui/

Mathaf encyclopedia of Modern Art and the Arab World. (n.d). Tiffany Floyd. Retrieved 17 September, 2023, from https://mathaf.org.qa/en/encyclopedia/authors/tiffany-floyd/

Moridi, M. (2023). Discours of Modern Islamic Art: Sociological Study of Modern and Contemporary Art in the Islamic Lands. Matn; Tehran Art University. https://matnpub.ir/402 [In Persian].

Moustafa, A. (2013). Maturity of Consciousness - variant 1 [Paper]. Retrieved September 21, 2024, from https://www.artsy.net/artwork/ahmed-moustafa-maturity-of-consciousness-variant-1

Omar, M. (n.d.). Untitled [Oil on paper]. Retrieved 15 September, 2023, from https://www.bonhams.com/auction/26829/lot/20/madiha-omar-syria-1908-2005-the-cave/

Pakbaz, R. (2018). The Encyclopedia of Art. Farhang-e-Moaser. https://ajansbook.ir [In Persian].

Pakbaz, R., Emdadian, Y., & Maleki, T. (2016). Pioneers of Iranian modern art: Charles-Hossein Zindaroudi. Tehran: Mahriz. https://lib.ut.ac.ir/site/catalogue/1043073 [In Persian].

Porter, V. (2006). Word into Art: Artists of the Modern Middle East (S. Eigner, Forward writher). The British Museum Press. https://archive.org/details/wordintoartartis0000port

Saudi, M. (1977). Homage to Mahmoud Darwish: The Lover’s Tree [Silk screen and watercolour on paper]. DAF Beirut. https://dafbeirut.org/collection/mona-saudi/thyt-lmhmwd-drwysh-shjrt-alaanshq-homage-mahmoud-darwish-lovers-tree

Shabout, N. (1999), Modern Arab Art and the Metamorphosis of the Arabic Letter [Unpublished PhD. Thesis]. The University of Texas, the Faculty of the Graduate School. https://www.proquest.com/openview/bdc18cfffcb0352636f506642df89ffb/1?pq-origsite=gscholar&cbl=18750&diss=y

Shabout, N. (2007). Modern Arab Art (Formation of Arab Aesthetics). University Press of Florida. https://searchworks.stanford.edu/selections/6997721

Tanavoli, P. (2005). Heech in the Cage [Sculpture, Bronze]. The British Museum. Retrieved October 20, 2023, from https://www.tanavoli.com/works/sculptures/bronze/heech-in-the-cage/

Torabi, M. (2016). Typology of Calligraphic Painting in Iran [Unpublished master’s dissertation]. Ferdowsi University of Mashhad. [In Persian].

Waqialla, O. (1980). Kaf Ha Ya Aayn Sad [Objrct type: Calligraphy, Museum No.: 1998,0716,0.1]. The British Museum. https://www.britishmuseum.org/collection/object/W_1998-0716-0-1

Wijdan Ali. (2024). Received September 27, 2024, from https://alchetron.com/Wijdan-Ali#wijdan-ali-0a2734fc-fdf4-48b7-b2f0-dc7a2cc7a40-resize-750.jpeg

Zindaroudi, C. H. (1972). Fhe+Jkm [Oil on canvas]. Retrieved September 21, 2024, from https://www.artymag.ir/en/counter/F7fW/