An Exhibition of

Afghan calligraphy and

miniature painting
from Herat, Afghanistan

Compiled by: Nasruddin Saljuqi

Ilac Centre Library, Dublin
23-30 March 2004

Calligraphy & Painting

Calligraphy and Painting from Herat, Afghanistan Calligraphy and Painting from Herat, Afghanistan

Introduction Calligraphy

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hank god that during my second re-settlement I am now living in a he art of calligraphy as we know it today actually finds its origins
cultivated country such as Ireland. In an effort to encourage cultural in cave paintings. Back in the days when communication was a
exchange I am introducing some examples of Afghan culture into series of grunts, the written word was a mere pictorial
Irish society. representation of significant events in a caveman’s life. As humans
developed, the art of drawing pictures became quite highly
It is evident to everyone that the last two decades of war in Afghanistan have developed and reached great heights under the direction of the Egyptians.
About 3500 BC, the Egyptians created the highly stylized hieroglyphics for
severely damaged the country. Afghan educated people such as scientists,
which they are so well known. These symbols were incised inside tombs or
artists government employees have immigrated to Europe, America, painted with brushes across papyrus paper.
Canada, Australia and most have moved to Iran and Pakistan. These exiled
artists tried to learn from their host country and have exchanged and shared A few thousand years later, around 1000 BC, the Phoenicians went a step
their culture. further and developed what is believed to be one of the first alphabets and
writing systems. Luckily the Phoenicians were sea faring types and they
The art of calligraphy and painting developed during the Timorid period in readily passed along their new talents to every seaport through which they
Khurasan especially in Herat, Afghanistan. Kamaluddin Behzad and passed.
Baisanqoor were the most well-known artists at that time and we can observe
their work in the Chester Beatty Library in Ireland and other museums They most likely influenced the Greeks who later developed their own form
of writing which by 850 BC the Romans had adapted to suit the Latin
throughout the world. There are hundreds of artists in Herat who followed
language.
their style of working and trained others.
It just so happens that Latin was the lingua franca of the churches of Europe
This exhibition includes a number of different calligraphic styles such as in the Middle Ages and the monks (and a smattering of nobility) constituted
Arabic, Kufic, Persian, Pashtu, Naskh, Taliq, Shakisteh (broken) Rihan etc the only literate members of society.
and a number of miniature paintings which are painted by some exile artists
who are living in Austalia, Netherlands and Iran. Since nothing could be more glorious than the word of God, the monks
began to carefully scribe ancient texts into decorative books used by high-
Most pieces of printed calligraphy are from a book entitled “Gajinh-I Khutoot” ranking church members and royalty. Paper was expensive during the
which means treasure of calligraphy which was written by Mohammad Ali Middle Ages, so scribing monks developed a writing style that was narrower
allowing more words to fit on a single line. This style came to be known as
Attar Heawi and published by the Ministry of Art in Afghanistan in Kabul,
Gothic and lasted as a popular scribing technique throughout much of the
1976. Middle Ages.

As I am working on a publication about Herati Calligraphers and painters I By the mid 15th century, however, Johannes Gutenberg had invented the
have received some examples of miniature painting from well-known exiled printing press based upon the Gothic lettering of the monks. This new
atists who are living in Australia and the Netherlands. I welcome the technique allowed for faster printing of Bibles and threatened the métier of
opportunity to present the work of these artists at this exhibition to the the monks. Although the use of the printing press spread worldwide,
people of Ireland. handwriting skills were still in high demand. The bulky printing press was
too coarse for everyday letters, formal correspondence and invitations. As
Nasruddin Saljuqi the arts flourish during Europe’s Renaissance, so too did the art of
calligraphy. Italians during this time invented the italic script, which became
popular throughout most of Europe.

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Calligraphy and Painting from Herat, Afghanistan Calligraphy and Painting from Herat, Afghanistan

But calligraphers were threatened once again with the advent of engraved the script through the words they draw. Calligraphy has survived
copperplates in the 17th century which permitted the printing of finer lines throughout history despite printing presses and copperplate engravings, and
more attuned to italic script. One hundred years later, artistic penmanship dedicated followers of the art expect it to outlast the next big invention of the
was in a steep decline. 21st century.

To further complicate matters for artistic scribes, by the 19th century the steel
pen and fountain pen replaced the flat-edged pen. The rounded tip of these
new pens made the special curves of calligraphy more difficult to achieve. Persian Calligraphy

W
The art itself might have seen its extinction if it weren’t for the British poet ith the penetration of Islam into Iran (Persia), the Arabic script,
and artist William Morris. In the mid-19th century William Morris which in early Islamic period was Kufic script, was copied by
spearheaded a calligraphic revival, reintroducing the flat edged pen and Iranians. The Iranian writing from there became first Kufic and
elevating the act of writing to the art form of its past. then Naskh. Thus, some Arabic words entered Farsi, the result
of which was a language called Farsi-e Dari.
It might appear that the art of calligraphy couldn’t possibly withstand the
competition from the 20th century’s most important invention – the For more than a century during the time of Abbasids Califs (8 AD - 12 AD),
computer. With a click of the mouse, a list of various scripts are generated the Kufic script did not have dots and accents, and this caused certain
electronically and lasered onto bleached paper in an instant – the art of script difficulties in reading the words. The accents and dots were invented by
preserved in an electronic pulse. But calligraphy is flourishing more than Abol-Asvad and Naser-Asen in the 2nd century of Islam. For the next two
ever with calligraphic societies throughout the United States and Europe. centuries, more than 20 different scripts were used. This period of time was
According to noted calligrapher, Julian Waters during a lecture at the period of manuscript anarchy in Persia.
Washington’s Sidwell Friends School in 1997, true calligraphy is the art of
producing letters that capture the spirit of the text they represent. For many In the third century of Islam (9 AD), Ibn-e Moqleh, a famous writer of the
artists, much mental pre-planning is necessary to fully understand the text Koran and an unmatched master of calligraphy, literature and poetry,
before deciding how to display it in its full beauty. This type of emotion can invented new rules in calligraphy and limited the variations to six styles:
not always be generated from a computer, which for Julian Waters is ‘simply Thulth, Naskh, Reyhan, Mohaggeg, Towgi and Rega. These six scripts
another tool’ to be manipulated by the artist. advanced and flourished as other calligraphers practiced, and because of the
solidity and perfection in their forms and styles, they have remained even
Calligraphy is a popular art form whose boundaries are not restricted to until now. Most of Korans have been written with one of these scripts; Naskh
Europe and the United States. Around 1500 BC the Chinese developed a and Thuluth were the most popular.
complicated writing technique using more than 1500 characters. Today the
Chinese consider calligraphy to be one of their most respected art forms. In addition to these six styles, another script was created by Iranians, and
Master Chinese calligraphers may appear to be spontaneously stroking a was used to write their books called Taliq. This type, although not used as
brush over the paper, but many meditate extensively before designing. The much as other scripts, became a major element for the next, and outstanding,
Arabs are also noted for their history of calligraphy. Their cursive is written movement in Iranian calligraphy.
from right to left and formed by eighteen distinct shapes, the various
combinations of which produce twenty-eight letters. In the 14th century AD an Iranian calligraphy master, Ali Tabrizi, created a
new form of writing which is called Nastaliq (also known as the “Bride of
Arabic script appears highly distinctive from the lettering used throughout Scripts”) by combining Talig and Naskh and adding new rules to them. From
most of Europe, but Arabic calligraphy has had many of the same Greek and then on, the six original scripts and the new Nastaliq have been used for
Phoenician influences. In Arabic calligraphy there are six major scripts (Farsi, writing books in Persia. Naskh and Thuluth have been used for writing
Naskh, Kufi, Deewani, Req’aa, and Thuluth) representing various artistic Korans and Nastaliq is mostly used for poetic writing. Nastaliq has
styles. flourished and advanced in Iran during past 7 centuries, with 12 principles
in mind. These principles are defined as ways of developing one’s character:
For true calligraphers, the art of penmanship will always be alive as long as Boundary Rules, Balance Level, Relation, Combination, Surface, Rotation,
there is at least one artist willing to carry on the tradition. Despite super fast Wild, Narrow, Ascent, Descent, Grace and Dignity. The last two principles
computers that can produce a myriad of different fonts, real calligraphy (Grace and Dignity) are the highest level of excellence, and which can not be
comes from deep within the artist who strives to evoke the true emotion of achieved without spiritual involvement in the art.

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Calligraphy and Painting from Herat, Afghanistan Calligraphy and Painting from Herat, Afghanistan

Nastaliq is an art in which laws of math and nature are obeyed, and has a Naskh is usually written with short horizontal stems — and with almost
mysterious power that enables the artist to create a beautiful piece of equal vertical depth
calligraphy by using several forms of the same letter, or by employing
various forms of the words and using them in different compositions. With above and below the medial line. The curves are full and deep, the uprights
its mystifying beauty, Nastaliq has closely accompanied Persian poetry and straight and vertical, and the words generally well spaced. Currently, Naskh
has played an important role in communicating the poetic concepts to the is considered the s upreme script for almost all Muslims and Arabs around
readers. Looking at the works of calligraphers, both modern and traditional, the world.
reveals that Nastaliq has served both literature and mysticism. In fact,
compared to other poets, the poems of Hafiz and Rumi have most often been
used by artists. In Persian culture and art, poetry, traditional music, and
calligraphy are intimately related and complimenting elements. When Taliq
combined together, they create a specific mystical atmosphere from which a
host of transcendent values irrigate the desert of human soul. Ta’liq (hanging) script is believed to have been developed by the Persians
from an early and little known Arabic script called Firamuz. Ta’liq, also
Within the last 50 years, Nastaliq artists have developed another mysterious called Farsi, is an unpretentious cursive script apparently in use since the
form of this art, while observing the classical rules and regulations of early 9th century.
calligraphy. This new form creates a modern composition of words known as
Khat Naqsh which can be translated to calligraphic painting. The main The calligrapher Abd al-Hayy, from the town of Astarabad, seems to have
characteristic of this modern evolution are briefly as follows: played an important role in the script’s early development. He was
encouraged by his patron, Shah Isma’il, to lay down the basic rules for the
 Using inherited Nastaliq principles in writing words. writing of Ta’liq. The script is currently in great favor with Arabs, and it is the
native calligraphic style among the Persian, Indian, and Turkish Muslims.
 Putting the pieces of the poetry around each other to create a
harmonious composition in an integrated and pleasant piece. The Persian calligrapher Mir Ali Sultan al-Tabrizi developed from Ta’liq a
lighter and more elegant variety which came to be known as Nasta’liq.
 Use of colors in Khat Naqsh splashes a sense of vitality as the However, Persian and Turkish calligraphers continued to use Ta’liq as a
calligraphy expresses the poem. monumental script for important occasions.
The word Nasta’liq is a compound word derived from Naskh and Ta’liq.
Once one’s eyes are attracted to such a piece, then the message will be more
Ta’liq and Nasta’liq scripts were used extensively for copying Persian
noticeable. The importance of conveying the message is the ultimate goal and
anthologies, epics, miniatures, and other literary works — but not for the
commitment of calligraphers. While creating a beautiful composition, artists
Holy Qur’an.
try to make it possible for the viewer to recognize the original writing so that
the beauty and message of this sacred art can be transferred in a coordinated
manner. Deewani script is an Ottoman development parallel to Shikasteh (broken
style). The script was largely developed by the accomplished calligrapher
Ibrahim Munif in the late 15th century from the Turkish/Persian Ta’liq.
Naskh Deewani reached its zenith in the 17th century, thanks to the famous
calligrapher Shala Pasha.
Naskh was one of the earliest scripts to evolve. It gained popularity after
Like Riq’a, Deewani became a favorite script for writing in the Ottoman
being redesigned by the famous calligrapher Ibn Muqlah in the 10th century.
chancellery. Deewani is excessively cursive and highly structured with its
Because of Ibn Muqlah’s comprehensive system of proportion, Naskh style
letters undotted and unconventionally joined together. It uses no vowel
displays a very rhythmic line.
marks. Deewani also developed an ornamental variety called Deewani Jali
which also was known as Humayuni (Imperial). The development of
Naskh later was reformed by Ibn al-Bawaab and others into an elegant script
Deewani Jali is credited to Hafiz Uthman. The spaces between the letters are
worthy of the Qur’an — and more Qur’ans have been written in Naskh than
spangled with decorative devices which do not necessarily have any
in all the other scripts together. Since the script is relatively easy to read and
orthographic value. Deewani Jali is highly favored for ornamental purposes.
write, Naskh appealed particularly to the general population.

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Calligraphy and Painting from Herat, Afghanistan Calligraphy and Painting from Herat, Afghanistan

Kufi Taliq and Nastaliq

When Persia began to recover from the
Kufi was the dominant Mongol devastation of the 13th century and
priestly script in early times. timurs invasion of the 14th century , Taliq
It was created after the (changing script) and its derivative Nastaliq
establishment of the two emerged.
Muslim cities of Basrah and
Kufah in the second decade Taliq appears to have been formalized in the
of the Islamic era (8th 13th century, though it existed from earlier
century A.D.). The script has scripts for several centuries prior to this and
specific proportional was claimed to be derived from the old script
measurements, along with of pre – Islamic Sasanian Persia.
pronounced angularity and
squareness. It became Taliq was written with a thick pen obliquely
known as al-Khat al-Kufi cut and looks quite different from earlier
(Kufi script). scripts. Basically it is the combination off short
thin verticals with broad horizontals whose
Kufi script had a profound effect on all Islamic calligraphy. In contrast to its natural length is exaggerated whenever
low verticals, Kufi has horizontal lines that are extended. The script is possible, especially at the end of words.
considerably wider than it is high. This gives it a certain dynamic
momentum. The script often is chosen for use on oblong surfaces. With its In the 14th century Mir Ali tabrizi developed Nastaliq from Taliq style .His
glorious Handasi (geometrical) construction, Kufi could be adapted to any was a fluid style , which was used extensively in copying romantic and
space and material — from silk squares to the architectural monuments left poetry. Mir ali is said to have dreamt of a flight of geese whose wings and
by Timur at Samarqand. movement inspired the shapes of letters, Numerousecopies of Persian
literary manuscripts, among them the famous edition of ferdawsi’s
Because Kufi script was not subjected to strict rules, calligraphers employing Shahnamah were produced at timurid court and it was here that Nastaliq
it had virtually a free hand in the conception and execution of its ornamental was perfected.
forms.

Muhaqqaq Shikastah (Broken) Script

Muhaqqaq is less round than Thulth, and Rihan is similar to a smaller In the 17th century the final calligraphic development in Persia was invented
version of Muhaqqaq. by sayed Shafua in Heart . This was a personalized Nastaliq called shakistah
or broken script.
Riqa, is a miniature version of Taliq, was used mostly everyday writing.
Shakistah was realy an claborate romantic form of handwriting in which
In addition to these style we must mention two more important styles contrary to its implied meaning , the natural pauses between the letters and
developed in Persian, taliq ans Nastaliq . These forms did not appear until words are blurred by calligrapher joining up the normally empty passages of
the 14th century, but by 15th and 16th centuries were the most important and the verse or sentence. In the 18th and 19th century Shakistah became so
widely used style in Persia. formalized and involved as to be incomprehensible as text and assummed
decoritive function only.

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Calligraphy and Painting from Herat, Afghanistan Calligraphy and Painting from Herat, Afghanistan

Thulth Painting
Thuluth script was first formulated in the 7th century during the Umayyad
caliphate, but it did not develop fully until the late 9th century. The name Painting is the most important art in
means ‘a third’ — perhaps because of the proportion of straight lines to Afghanistan. In all historical places
curves, or perhaps because the script was a third the size of another popular we can observe ancient old painting.
contemporary script. Though rarely used for writing the Holy Qur’an, Heart the blue mosque is a good
Thuluth has enjoyed enormous popularity as an ornamental script for example toils painting. Afghan
calligraphic inscriptions, titles, headings, and colophons. It is still the most contemporary such as painter and
important of all the ornamental scripts. miniaturist follow the style of
painting from the Timurid period
Thuluth script is characterized by curved letters written with barbed heads. 14th century. There are many painter
The letters are linked and sometimes intersecting, thus engendering a cursive and miniaturist who established
flow of ample and often complex proportions. Thuluth is known for its courses and institute faculty for Art
elaborate graphics and remarkable plasticity. in Afghanistan and a number of students are learning in these centres, they
follow the Behzad style and western style too. The professional artists have
This script, also called Ruq’ah (small sheet), evolved from Naskh and their own exhibitions which are displayed in origion country and abroad.
Thuluth. Although Riq’a has a close affinity with Thuluth, Riq’a developed One of the most famous artists who lived in the court of the Timurid
in a different direction. Riq’a became simplified. The geometric forms of the Kingdom was Kemaluddin Behzad1. The Behzad artistic foundation can be
letters are similar to those of Thuluth but are smaller with more curves. Riq’a found in some museums in foreign countries.
is rounded and densely structured with short horizontal stems, and the letter
alif is never written with barbed heads. Behzad
Behzad was born in 1450 A.D. 854 A.H. in Heart Afghanistan. His primary
Riq’a was one of the favorite scripts of Ottoman calligraphers and underwent life is unknown to us, but according to ghazi Ahmad (the author of glisten –i-
many improvements at the hand of Shaykh Hamdullah al-Amasi. Later, honer) he was trained by mirak , the librarian of sultan Hessian Bayqara , the
Riq’a was revised by other calligraphers and went on to become the most famous king of Timuride dynasty (1369 – 1514 A.D.), and the patron of the
popular and widely used script. Today, Riq’a is the preferred script for artists. In a few time he has grown younger and became an expert: man in
handwriting throughout the Arab world. the art of miniature, drawing , painting, mixing of the coulars , making of
good and beautiful sites, and other especial ties of these tiny arts, till he
became the paragon of art of his time. Sub equently, Behzad enjoyed the
affection and benevolence of Sultan Hosien Bayqara, and his very famous
and scholar minister Amie Ali Shir Nawai.
In that time there was an academy of fine arts and painting in Heart, which
was founded by Sultan Hosien , and his minister, and Behzad was appointed
at the head of that institute. Since he was young and hard working man, he
worked with fullenergy and soon became very popular among the other
artists.
After some times, when Heart was invaded by Shah Ismaiel Safavi, in the
year 1510 A.D. Behzad and the other artists of Heart such as Mirak Haji
Qasim Ali and many other summoned to Tabriz.

1
According to some historians, his father was Sharafuddin, he emigrated from Kapisa, to settle in Behzadi, now part of Heart
city. But probably this claim would not be correct, because in other old references has not mentioned such fact.

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Calligraphy and Painting from Herat, Afghanistan Calligraphy and Painting from Herat, Afghanistan

The exhibition features Calligraphy and Painting arts , he worked under well-known artist of Heart prof Mohmammad said
Mashal specifically in miniature Art.
from Herat, Afghanistan He forced to immigrate to Pakistan in ( ) and in his immigrant life
he could train a number of new students and established Afghan Gallery in
Pakistan

Biographies of the Artists

Muhammad Ali Attar Herawi:
Mohammad Ali Attar was born in heart Afghanistan . His father Mohammad
Mohammad Arshad Behzad Saljuki Esmail, was a grocer and (Attar) means grocer in Persian. Muhammad Ali
Mohammad Arshad Behzad Saljuki was born in 1937 in Heart. His family Attar learned calligraphy from childhood through his father and another
was cultured and he learned the Art of calligraphy from his father profeor calligrapher, Mohammad Sadiq Niazi.
Fekri Saljuki, a noted calligrapher , painter, musician and historian. Mohammad Ali is the most renewed calligrapher in Afghanistan. His
Muhammad Arshad worked as a teacher, specialising in Art, English and work may be seen in museums and collection in Afghanistan, Iran and
Persian, for over thirty years. He finished his careers as cultural Secretary in Tajikistan. His work survives on many historical monuments in the region
the Afghan Embassy in Moscow. including the Heart great mosque and Mashhad holy shrine in Iran.
Mohammad Arshad is regarded one of the greatest Afghan 20th century
calligraphers and miniaturist painters. He worked in the Art centre of Abdul Aziz Mardan:
Ghulam Muhammad Maimanhgi institute in Kabul and exhibited nationally Abdul Aziz Mardan was born in Heart Afghanistan in 1924. He was an
and won many prizes of his work. accomplished artist renewed for his miniaturist, painting , calligraphy and
He produced calligraphic work and miniature painting for renewed fine art designs. He was interested in poetry and music and worked as a
lithographic editions of Holy Quran. He lives in Neatherland and his artistic Persian and painting teacher in Heart for a time but later opened a studio
foundation is exhibited in Germany and Holland. in Heart. He was opposing the communist government of Afghanistan in the
late 1970. Following a large demonstration in Marc 1978 which was crush
Abdul Karim Rahimi: by government forces with thousands killed, Abdul Aziz ws arrested for
Abdul Karim Rahimi s/o Abdul Rahim was born in Heart Afghanistan and participating in he protest. He was sentenced to jail bt was executed along
worked as a teacher in Heart. Due to his deep interest , he worked under with forty five other prisoners at Thakhti Safar where was a sightseeing in
well-known artist prof . Mouhammad said Mashal, specifically in miniature Heart.
Art.
In 1976 after passing special entrance exams, he registered in the Fine
Arts Department of the faculty of letters and Humanities.\after graduation
in 1979 he was accepted as Assistant Instructor of Art in the fine Arts
Department. From 1982 to 1983 he served as Department Head in the
painting department of the Art Faculty until 1990.
Rahimi moved to Australia in 1998 and doing his post graduated in new
South wales university. His artistic foundations were exhibited in
Afghanistan and Australia and won prizes.

Khalil Aqa Azhar:

Khalil Aqa s/o Haji Ahmad was born in 1964 in Heart Afghanistan and took
his degree in Art faculty from Kabul university. Due to his deep interest in

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Calligraphy and Painting from Herat, Afghanistan Calligraphy and Painting from Herat, Afghanistan

List of Tableaux an summary of exhibition

Calligraphy features:

1. Styles of kufic script from first to 6th century of Islam.

2. The Thulth script.
3. Thulth Raihani.
4. The Nastaliq Persian style of writing used in Lithography.
5. Rayhan script
6. Kufic style of witting in fourth century
7. Thulth
8. Kufic adventure of second century of Islam.
9. Mohaqiq Script.
10. Kufic in Mohaqeq script.
11. Moaqali script.
12. Kufic style of writing in Shahrookhi period.
13. Kufic style of witting during Ghoorid kingdom in 6th century.
14. Kufic Mikhi(naily) and Moaqali verses.
15. Kufic locked.
16. Kufic script during Saljuki Kingdom.
17. Thulth in Khorasan.
18. Nastaliq style of writing in lithography and Shakesteh (broken).
19. Decorated script.
20. Kufic in 10th century of Islam.
21. Reqa script.
22. Arabic script.
23. Reqa and Rayhan script.
24. Kufic script.
25. The Pashto style of writing a formal Afghan language.
26. Method of writhing Mashaf (Mirror).
27. Arabic writing Naskh style of writing used in typography.
28. Kufic script during first century.
29. Arabic, Kufic and Nastaliq calligraphy by Abdul Aziz Mardan.
30. Arabic, Kufic and Persian calligraphy by Aminullah Pirzad

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Calligraphy & Painting

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