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Woman who makes the alphabets speak

Elegant curved lines coming together to create fascinating designs and patterns, the art of Arabic calligraphy showcases different religious and moral messages — all carved out to perfection.

Working alongside master calligraphers from Istanbul and Teheran, Narjes Noureddine is one of the few professional Emirati calligraphers promoting the art of Arabic calligraphy in the UAE. Partnering with Mashreq Gold for a unique display of her works, Narjes says, “Calligraphy is a very specialised art form and starts with intrinsic talent. But one needs to realise that talent alone cannot lead to success. Calligraphy has its principles and rules which can be learned only by studying and with continuous practice.”

Narjes, who practises her art everyday, explains: “The ornate designs take more than six months to complete. It may look seemingly simple to the eye, but the geometric designs are a complex construction of symmetry, balance and form.”

A ritzy composition of curved lines; each design is unique in itself as Narjes adds, “No two calligraphers can produce the same designs. There can be thousands of different variations of the same words and verses as each calligrapher has his own style.”

Narjes started her artistic journey at the Sharjah Institute for Arabic Calligraphy as a student in the year 2000. Specialising in the ‘Jali Diwani’ style, Narjes won several international awards and has today found a place for herself among some of the leading calligraphers of the region.

“My love for the art of calligraphy started in school. Whenever I started sketching, my friends used to huddle around and look in admiration. Noticing my talent, my father started giving me Quranic verses and poems, which I would then convert into calligraphic designs.” Narjes went on to travel to Istanbul to learn the ‘Thuluth’ style under masters Hassan Chalabi and Dawood Baktash. Later, she went to Teheran to learn Farsi ‘Nastaaliq’ and ‘Shekasteh’ styles under the masters Abbass Akhawein and Yadollah Kaboli.

Classified into six scripts known as ‘Al-Aqlam Al-Sittah’ or Shish Qalam in Persian and Turkish, Arabic calligraphy makes heavy use of geometric and cursive styles. The Arabesque style is an interaction between font and ornamentation or the ‘Zakhrafah’. The motion starts with light and shade, continues in a line and then turns into a blot or takes another form.

Distinguishing the art from the English style of calligraphy, Narjes says, “English calligraphy is relatively simple in construction. The bends and curves are marked at a fixed 30-degree oblique, whereas in Arabic, the angles differ with a varying combination of letters.”

Narjes has taken pains to incorporate modern trends in the art form by including a variety of forms and colours in her designs. “It’s rewarding when people appreciate our work, which we do with passion and dedication. Participating in international competitions and workshops provides collaboration which leads to a unique cultural exchange between countries.”

Commenting on Mashreq Gold’s partnership with Narjes, Omar Saleem Asghar, head of Wealth Management, said, “This is the second time Mashreq Gold is collaborating with Narjes and we are committed to offering her an appropriate platform to succeed and represent her country as one of the few professional female calligraphers in the region.” The exhibition is displaying 24 paintings throughout the month of Ramadan and is being held across all six Mashreq Gold centres.

Calligraphy, the mirror of Arabic culture and architecture

DUBAI — Arabic calligraphy originated in the Arabian Peninsula. With the rise of Islam, it flourished as an integral part of the culture as it was the primary tool to preserve the
Holy Quran.

With time, more artistic uses of the writing style were introduced by decorating the Holy Quran with beautiful calligraphy types. After the spread of Islam in the Arab world, calligraphy became associated with Arabic culture and architecture, especially in the form of abstract Arabesques on walls and ceilings of mosques and in manuscripts.

Specialist paper manufacturers prepared the calligraphy paper for artists as the manuscripts, dating back to several hundred years, are still preserved in museums across the world.

Bassem Zabeeb, a calligrapher from the UAE says, “There are hundreds of types of paper around the world. All have different properties and textures. Each reacts differently to the different types of ink, brushes, nibs and other calligraphy tools.”

Professional calligraphers make use of parchment papers as they soak the ink and increase the longevity of designs. Known as museum-grade papers, sourcing material for calligraphy can be expensive and time-consuming.

“Specialist paper-manufacturers in Istanbul still practise the craft of grinding paper the traditional way. Calligraphers stockpile these papers in the beginning of the year and use them all throughout,” adds Bassem.

Calligraphy nibs too differ from the usual fountain pen nibs. They use a much broader scale as fountain pen nibs are much less than half the width of a calligraphy fine.

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