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Madinat al-Muslimeen Islamic Message Board
| Female Calligraphers in the Service of the Qur’an* |
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| amatullah |
| 11/11/03 at 10:41:34 |
| If any ladies are in malaysia please pm me, is a copy of this readily available in malaysia? Insha'Allah I can wire the money it is a nice gift for eid. Female Calligraphers in the Service of the Qur’an* By Sohaib Jasim - Kuala Lumpur Translated by Imad Alayoubi 04/11/2003 Mushaf Nur Fatima is one of the most outstanding projects Click here for more pictures Mushaf Nur Fatima is the tentative name given to one of the most outstanding projects undertaken by the Yayasan Resto (Al-Baraka Foundation) in Malaysia. The project aims at publishing a copy of the Holy Qur’an (mushaf) that is hand-written in Ottoman script by female calligraphers and ornamented by female artists. The final decision regarding the name has not yet been made, but it might be called The Qur’an of the Believing Women or The Qur’an of the Mothers of the Believers. The work on this project is carried out exclusively by female calligraphers, artists, hafidhzat (those who have memorized the Holy Qur’an), revisers, and others. It revives a tradition upheld by believing women throughout the history of Islamic civilization: historians have recorded that during the eight hundred year Muslim rule of Al-Andalus (Spain), there were 20,000 female calligraphers and Qur’anic scribes (some of whom did not complete the entire Qur’an). According to officials at the Foundation, the mushaf project is the first of its kind in terms of the institutionalization of the work, the completion of the ornamenting and gilding of the Qur’an, and its impending distribution throughout the Muslim world. The Inspiration behind the Ornamentation According to the work plan, the drawings and the ornamentation for this Qur’an are based on sources from all over the world, which differ from those drawn upon in the first version of the Malaysian mushaf. For the purpose of categorizing ornamentation styles, the world map was divided into eight regions: the Arab world; Turkey, Pakistan and Iran Sub-Saharan Africa; Middle Asia and Russia; South Asia (mainly India);Southeast Asia; the coasts of the Pacific Ocean; and the two Americas. In order to select drawings and designs that represent each region, the Foundation embarked on a study of the general architecture and ornamentation work of each of these regions. It also examined the plants and flowers that are prevalent in each region and conducted a study to determine the herbs used in the treatment of diseases that are endemic to each region. The Foundation also undertook a comparative study of the herbs that are used in the various regions to treat the same diseases. The ornamental images on the frames of the mushaf pages differ from those that appeared on the Malaysian mushaf, which was hand-written and ornamented by male calligraphers and artists. The outer frame of the pages is different from the rectangular frame used in the Malaysian mushaf in that it has a wavy outline with various shapes on the upper and lower sections of the page. An Award for Excellence The ornamental images on the frames of the mushaf pages differ from those that appeared on the Malaysian mushaf Furthermore, the sides of the pages contain hadiths and a brief explanation in English and Malay of all the verses of the Qur’an that concern Muslim women. Thus, this Qur’an does not contain a complete translation or interpretation of the entire text of the Holy Qur’an but only an interpretation of certain verses that deal with women. The former queen, Siti Aishah, took a keen interest in the mushaf project until the death of her husband, the King, Sultan Salahuddin Abdul Aziz Shah, in 2002 and the consequent induction of his successor. This project is currently in its third year and is due to be completed in 2005. To convince the relevant authorities of the seriousness of the work, the Foundation printed and distributed Juz’ `Amma (the final part of the Qur’an) in accordance with the above layout and design. And when the Foundation participated in the 8th International Qur’an Exhibition in Tehran on 3 May 2000 , Iranian President Muhammad Khatami awarded the highest accolade at the exhibition to this project. This project and the Malaysian mushaf, which was written and ornamented by the Foundation’s artists, are only the beginnings of a long-term plan to present Muslims the world over with masterpieces of Islamic art. The Inspiration Behind the Frames In an equally rewarding project, the Foundation has published another version that includes a selection of chapters from the Qur’an with Malay translation. This version starts with Surat Al-Fatihah and includes Surat Ya-Sin and Surat As-Sajdah as well as Ayat Al-Kursi and Juz’ `Amma. Another version will soon be produced with English translation and a brief summary of the ahkam at-tajweed (recitation rules). The interesting aspect of this version is that the frame of each surah is decorated in a unique pattern that conveys a special message to the reader who is aware of its connotation. The design of the frame for Surat Al-Fatihah draws on the coconut tree, which is as important to Southeast Asians as the palm tree is to the Arabs. This signifies the importance of Surat Al-Fatihah in the lives of Muslims and its tremendous healing properties. The last juz’ (one thirtieth part) of the Holy Qur’an was embellished with drawings inspired from the mangosteen plant which grows in some Southeast Asian countries. The reasoning behind this is that those who see the mangosteen fruit do not know the goodness it conceals. On the inside, the fruit is sweet and pure. Similarly, those who study the Qur’an will not only discover its pure, unmatched beauty but will also reap the spiritual benefit thereof. As for Surat Ya-Sin, which most Southeast Asian Muslims read on Thursday nights, its ornamentation was inspired by the tamarind plant, which is effective in cooling the body temperature and soothing the nerves despite it sour taste. The frame of Surat Sajdah is decorated with drawings inspired by the rice plant, which grows in Malaysia, Indonesia, Thailand, and Vietnam and is deeply rooted in the culture, poetry, and proverbs of these countries. The rice plant was chosen because when the grain heads fill, they tilt and seem to prostrate in submission to Allah’s Will throughout the vast expanse of green and beautiful farms. The frame for Ayat Al-Kursi is decorated with designs inspired by the lemon tree. This is in reference to the healing and protective properties of Ayat Al-Kursi, which is recited in the wake of every salah (ritual Prayer) and in daily dhikr (remembrance of Allah). What is most interesting is the design used in decorating the frame of the khatam du`aa’, which is read upon completing the recitation of the Qur’an. The appetizers and spices that Southeast Asian countries export inspired this frame. The reasoning behind this selection is that spices are as essential to the Southeast Asian diet as salt is to the diet of Arabs and other nations. According to those who chose this pattern, the du`aa’ (supplication) after completing the recitation of the Holy Qur’an or in the wake of Prayers provide a distinct spiritual flavor. Reviving Islamic Art The Foundation has displayed a range of samples, any one of which could constitute the start of a separate project for producing Islamic art frames that can be widely marketed. The samples are inscribed with the most beautiful names of Allah Most High, Qur’anic verses, hadith, Malaysian poems and proverbs. The samples also include an ornamented marriage certificate similar to those used in Iran, as well as household furniture ornamented with inscriptions, which could replace designs imported from outside the Muslim world. Workers in the Malaysian ornamenting industry who worked on the project have realized the importance of establishing an Islamic art sector. These workers would constitute the nucleus of this sector, which will hopefully be established in the near future. Malaysian Prime Minister Dr. Mahathir Muhammad noted that the management of Yayasan Restu had realized the importance of Islamic art as a Malaysian industry and as a leading factor in the revival of Islamic culture, the spreading of Islamic values and principles. He noted that art had preserved the memory of the many Islamic civilizations established during the past 14 centuries and which spread from Spain in the west to India and China in the east, leaving indelible prints on Southeast Asia and Africa. The First Arabic Calligraphy Diploma The Institute awards graduates with recognized certificates and diplomas In order to fulfil its objective of reviving the culture of Islamic art among the younger generation, the Foundation established Restu Institue, an Islamic art school. In August 2002, the first group of students graduated with a diploma in Islamic ornamentation and Arabic and Malaysian calligraphy. The Institute is considered the first in Malaysia to offer such programs: courses offered by the Islamic Museum and the Islamic Center are seasonal and do not equip students to become specialized professionals. The Institute, which awards graduates with recognized certificates and diplomas that can assist them in finding employment, intends to expand the Islamic art curricula and introduce various specialties, including architecture. Although Malaysia is a small country, there are noted differences among its states in terms of customs, traditions, art, and culture. For example, the art and culture of states on the western coast, such as Johor and Penang, differ from those along the eastern coasts. These differences have prompted some individuals from states like Penang, Johor, Selangor, and Perak to call for further training of local artists who do calligraphy and ornamentation on projects undertaken by local religious institutions. All Malaysian states endeavor to promote a culture of Arabic and Malay calligraphy in a way that is compatible with their distinct art, culture, and heritage. The Malaysian mushaf project paved the way to the establishment of the Islamic Art Gardens Complex. The government of Selangor, which is adjacent to the nation’s capital, Kuala Lumpur, allocated a prime piece of land for the complex, and the construction, which cost 30 million ringgit (8 million US dollars) was completed in 2002. It is situated in a beautiful district populated mainly by Muslims. Across the road from the complex stands the Shah Alam Mosque, one of the largest mosques in Southeast Asia. The Foundation also intends to build an entertainment center for Muslim families on a large piece of donated land close to Kuala Lumpur. Each “garden” in the Islamic Art Gardens Complex will focus on one aspect of Islamic art. However, the complex as a whole functions as an international Islamic center that aims at supporting initiatives that work towards the restoration of the unique role of Islamic art, promoting Islamic art and culture, and reviving Islamic traditions such as endowments, donations, and the propagation of the Word of Allah Most High. The Light of Invention The project has faced various difficulties and challenges. One of these challenges is that ornamentation and calligraphy require a great deal of patience, an attribute that is lacking among many young people. Zainul-Abideen Abdur-Rahman, the only worker that we met in the gilding department, said that his colleagues’ patience had run out and that they had all left. The Foundation also faced difficulties convincing the government and the public of its ability to carry out its ambitious plans. For this reason, the Foundation published a part of the mushaf as a sample of the envisaged work. Initially, the project did not stir much public interest or attract any media attention. Those in charge of the project did not even approach any government officials. However, after the publication of the first part, news about the project spread quickly and the Prime Minister decided to visit the Foundation. In the wake of his visit, many officials have visited the Foundation and hundreds of visitors currently visit the Foundation every weekend. The filming of a television documentary entitled “The Light of Invention” is currently underway. The documentary, which will consist of 30 half-hour episodes, will take viewers through the various stages of the mushaf project leading up to the completed masterpiece. It will examine historical, cultural, and social subjects that are relevant to the project. Eight years after the mushaf project was launched, the official opening of the complex will be a major turning point for the project. * The Arabic original of this article appeared in islamonline.net (Arabic Section) on November 13, 2002 . http://www.islamonline.org/English/artculture/2003/11/article01.shtml |
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