A brief from “ speech of the editor in chief ”

The following series of books include article compositions

about some notable and leading calligraphic styles.

The purpose of which being; to revive an old and traditionally

ancient art form, in view of giving it a more contemporary

angle applicable to the modern times.

By including the original constructs of historical calligraphic surveys,

it is hoped that new lessons for the contemporary society will be provided

using a problem solving approach that is accessible to the tomorrow’s script.

The current situation and status of the calligraphic works of

contemporary artists has decreased (in comparison to the

golden period of the art of calligraphy) and sadly, its’ prospects of vastness

 and social application,

 may be misplaced in the foreseeable future.

  * About author:

The author of this series, studied and researched four styles of calligraphy

(Kufic, Naskh, Thulth and Typology) – learning their technical calligraphic

 skills from other masters of calligraphy and graphics. 

His central focus has been to consider which methodological

designs are best suited to researching each of the styles and through

experience he has demonstrated his expertise by using a delicate manner

 (showing much regard for the type of application of each style in the contemporary era). 

There is no doubt that the technical calligraphic skill of the author is

one of the exclusive properties within this series of books that could be

of benefit to any researcher doing or hoping to pursue a precise study on calligraphy. 

In the past, most books on Muslim calligraphy have been written

by researchers with little or no calligraphic experience. 

Here, the author uses a combination of practical experience

and methods of precision to trace the transformations of

scripts circulated throughout historical periods,

with the aim of achieving an accurate and more scientific depiction of results.     

Before this book was published, he revealed the mysteries

of the writing method of the “Primary Kufic script”,

in the first volume of Kufic Encyclopedia, for the first time.

 The unraveling of this mystery of human culture has provided after

several hundreds of years, the discovery of the lost pen as well as

forgotten method of writing of the “Primary Kufic script”. 

In view of the fact that the application of this particular method of writing

was vast in different countries and had an established impact

 upon human cultures - the importance of this book will undoubtedly survive to assist generations of the future.    

* The concept of “Application”

Throughout the concept and interpretation of the word “application”

is offered in these articles to mean; having a close relationship

with the author’s experiences in the art of contemporary graphic. 

The author proceeds to suggest that; the variation amongst studies

using a historical approach and those which assess the method

of their application (e.g. how they might be used) in the contemporary era,

is also a special and distinguished characteristic of this book.

* Illustrations used within this book

- Please note, some of the pictures in the book may be considered

 to be of poor (or low) grade quality – but their inclusion is

based on the authors’ decision to document and present original

 texts from the ancient or masters’ works. 

Although scientific purpose has exposed new and

elaborate methods of technology,

we are evidently still limited to poor quality pictures – to convey

the simply truth. 

We should therefore not speak with unkindness

and ill-attention about the strategies or interventions of

some museums and cultural centers.  Such complexes (centers)

correctly assume themselves to be the owner (or keeper)

of national or global cultural heritages works

 (even in different countries) perhaps unintentionally,

sparing (withhold) those valuable works from

the eyes of general population

[a trait is especially even more familiar of

 calligraphic researchers – whose work responsibilities

 impact upon families or individualized heritage!]

The most regrettable expression of modern times is the evident

signs of cultural poverty, which appear in the centers at times,

with a cultural identity (and may occur in any part of the world!).  "For half a barleycorn Kalandars of Path purchase no,The stain coat of that one who void of art (skill) is". (A poem by Hafiz)  

- On the one hand, there is similarity between some illustrations

and the other, there is a great deal more emphasis placed upon the

 “teaching” of the characters used within these books. 

We [the persons responsible for compiling this series of work]

believe that any important thing (or matter) can be and should be

considered and studied comprehensively, using a collection of

different views (or aspects).  However doubtless it may be, we

aim to provide audiences with texts that strengthen their related

 illustrations and add a special teaching of new results for

 individualistic and personal interpretation.  We therefore assume

that this particular method of documenting texts with pictures is the

beginning of a novel and scientific approach to calligraphy.  * Repetition of some important notes

It is also worth noting that within these books, there are some instances

 whereby there is similarity of concepts and repetitions of texts.

The contents of these books are aimed at researchers who are doing

or hoping to pursue a precise study on calligraphy and due to the writing

of these articles in different times and for different purposes – a decision

to provide associated or linking material has been made.  

In addition to the above, there are key areas of importance within

some of the subjects that require notes with similar concepts to be reiterated.