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The art of Islamic calligraphy developed from the 7th to the 14th century, beginning in western Arabia, spreading south to Yemen and north to the Near East, and continuing east and west to Iran, Egypt, North Africa, and Spain. This handsome book demonstrates the breadth and beauty of Islamic calligraphy across centuries and continents, as seen in rare early folios of the Qur’an.
Noted scholar David J. Roxburgh begins by discussing the Qur’an, which Muslims believe to be the written record of a series of divinely inspired revelations to the Prophet Muhammad. He then analyzes Kufic script, the preeminent vehicle for writing early manuscripts of the Qur’an; reforms of calligraphy in the 10th century; and the great master Islamic calligraphers, in particular Yaqut al-Musta‘simi. The beautiful reproductions of folios and bifolios validate Roxburgh’s conclusion that “the miracle of the text of the Qur’an found its equal in the technical mastery of the calligrapher’s practice, a miracle in its own right.”
- Sales Rank: #2633624 in Books
- Published on: 2008-10-06
- Original language: English
- Number of items: 1
- Dimensions: .20" h x 8.40" w x 10.80" l, .75 pounds
- Binding: Paperback
- 64 pages
About the Author
David J. Roxburgh is the Prince Alwaleed bin Talal Professor of Islamic Art History in the Department of Art and Architecture at Harvard University.
Most helpful customer reviews
13 of 13 people found the following review helpful.
wonderful introduction to the art of Qur'anic calligraphy
By Merrily Baird
"Writing the Word of God: Calligraphy and the Qur'an" is one of two museum catalogues published in 2007 to accompany the exhibition of Islamic calligraphy and the tools used by Islamic calligraphers. These exhibitions were first shown at the Museum of Fine Arts in Houston, were then at the Asia Society in New York, and can currently be seen through early December 2010 at Emory University's Carlos Museum in Atlanta.
Both catalogues were written by the distinguished Harvard scholar David Roxburgh, and each benefits from his erudition and lucid writing style. "Writing the Word of God" presents Qur'an pages that cover the period from the mid-7th century to the early 15th century. The countries represented in the selection range from Iran, Iraq, and Central Asia in the east, through the Near East, and, finally, the Maghreb (that portion of North Africa that includes Morocco, Tunisia, and Algeria) and southern Spain in the west. Several stories are embedded in Roxburgh's text: the increasing formalization and attention to style seen in the evolution of Qur'anic calligraphy styles; the emphasis on lineage-like connections among calligraphers; and the changing geographical loci of innovation in calligraphy styes, especially from the 10th century onwards. Technology change, especially the transition from the use of parchment to the use of paper as the main writing support, is another fascinating theme.
As those of us associated with Emory's Carlos Museum are rapidly discovering, Islamic calligraphy provides a most attractive and accessible window for beginning to learn about Islamic history. To more fully appreciate how these calligraphic traditions evolved after the early 15th century, you may wish to pick up the companion catalogue called "Traces of the Calligrapher" which looks at the work of 18th and 19th-century Islamic calligraphers in Iran and Turkey and the tools that they used.
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