The Craft of the Reed: A Deep Dive into Islamic Calligraphy Training

Exploring the Traditional Path from Apprenticeship to Artistic Mastery.

Historically and in contemporary practice, Islamic calligraphers’ training process is rigorous and profound, reflecting the art form’s deep cultural and religious significance. This training is not merely about mastering the aesthetics of writing but also involves a comprehensive understanding of the art’s historical, cultural, and spiritual dimensions.

1. Initial Apprenticeship and Foundations:

• Selection of a Master: Traditionally, aspiring calligraphers begin by selecting a master calligrapher for apprenticeship. This master, known as a “ustaad” or “hoca” in many Islamic cultures, is often a respected figure with a deep understanding of Islamic calligraphy and its traditions. Selecting a master is by far the most crucial aspect of this art. A master who is highly skilled and renowned by the artistic community will help one enormously.
• Basic Skills: The apprenticeship starts with learning the basics of penmanship using traditional tools like the qalam (reed pen) and ink. The focus is on developing a steady hand and understanding basic strokes. The students are also introduced to the basic knowledge of cutting and preparing a pen for writing.

• Alphabet Mastery: Students methodically learn the Arabic alphabet, paying attention to the proportions and characteristics of each letter. This stage is crucial as the Arabic script’s beauty lies in its fluidity and interconnectedness. Depending on the script preferred, the letterforms required to learn are covered in practice (mashq) books. Students are expected to go through and copy the letter combinations each week fully to learn the anatomy of the desired scripts over time. This phase is also a very crucial aspect of the learning which takes a quite amount of time. Students are generally advised to take their time and slowly build rather than making quick progress.

Ruq’ah letters and combinations by Halim Efendi (Özyazıcı).

Pages from a Ta’liq practice book where standalone letters and combinations are shown with basic proportions.

A page by Shawqi Efendi which features a Rabbi yassir dua (prayer) and standalone letters up to the letter faa both in thuluth and naskh.

• Classes: In the conventional training approach, it is customary for apprentices to meet with their mentor at least weekly for critique and guidance. Initially, learners focus on replicating specific letter combinations from designated practice texts. The master then reviews these exercises, highlighting areas for improvement.
• Progression to the next line in the practice book is contingent upon the master’s approval of the work’s accuracy. This step-by-step process continues until the entire book is completed. Subsequently, the master assigns various texts and compositions for further practice. This highlights the highly personalized nature of the learning journey, heavily reliant on the individual effort of the student, under the master’s guidance.

Myself getting corrected by master calligrapher Davud Bektaş, back in 2022 in Istanbul. Almost every student-master meeting features a scene like this. You have to be very careful to catch all the details and explanations done by the master otherwise too challenging to learn by yourself.

An example correction page done by Davud Bektaş to a student, featuring standalone letters of Thuluth. Signifies proportions, nuances and detais of each letter and letter parts.

2. Learning Styles and Techniques:

• Different Scripts: Students are introduced to various calligraphic styles such as Naskh, Diwani, Thuluth, Kufic, etc. Each style has its own rules and aesthetics.
• Technique Development: Developing the technique includes understanding the angles of the pen, the pressure applied, and the flow of the ink. The emphasis is on precision and consistency. Different scripts may require different things to master, such as pen angles and proportional nuances.

3. Cultural and Religious Studies:

• Qur’anic Verses and Hadiths: Students often practice writing verses from the Qur’an and Hadiths, which requires them to understand the religious and linguistic nuances of these texts.
• Historical Context: Knowledge of the history of Islamic calligraphy, including its evolution and the contributions of renowned calligraphers, is integral. With historical context, students get a profound insight into the development of letterforms over time, and can compare different styles evolved retrospectively. This adds a big dimension to a calligrapher’s art and makes him/her a chain in the legacy. Understanding prominent figures also contributes greatly.

4. Advanced Studies and Personal Style:

• Developing Personal Style: After mastering the traditional styles, students are encouraged to develop their own unique style while adhering to the fundamental principles of the art form.
• Complex Compositions: Advanced students work on larger and more complex compositions, often incorporating stylistic alternatives of the letterforms. This stage is also important in understanding how to put letters in a balanced, aesthetical and proper way.

Corrections done by Nazif Bey to Hamid Aytaç’s work. This work also features Nazif Bey’s signature on the bottom left corner. Although Hamid Aytaç did not receive any conventional ijazah, he remarked multiple times that his ustaad was Nazif Bey from whom he learned a lot.

5. Spiritual and Ethical Discipline:

• Spiritual Connection: Islamic calligraphy is not just an art but a spiritual practice. Students are often taught to approach their work with humility and reverence, especially when dealing with religious texts. Islam pays great importance in writing Qur’anic texts beautifully, so those who want to master the art should also be aware of the nuances.

An excerpt from the Qasīda al-Alfiyya book by Hasan Riza Efendi. Qasīda al-Alfiyya features praises to prophet Muhammad (pbuh) starting with each letter in the Arabic Alphabet. Apart from Hasan Riza, Mehmed Shawqi Efendi has a very beautiful Qasīda al-Alfiyya.

• Ethical Guidelines: Calligraphers are expected to uphold high ethical standards, reflecting the sacredness of the texts they write.

6. Final Certification — Ijaza:

• After years of training, a student may receive an ijaza (certificate) from their master, signifying their authority and skill in the art. This ceremony marks the student’s transition to a master calligrapher. Having an ijazah marks one’s perseverance and effort through the training and conventionally enables the holder to teach calligraphy and sign his/her artworks with his name.

An ijazah given calligrapher Şefik Bey, approved by Muhsinzade Seyyid Abdullah Efendi.

• It’s also worth noting that having an ijazah does not necessarily mean the high-level quality of the artist. Important to note that ijazah is a vital part of the legacy, but each master has a different approach and expectations for their students. For instance, top-level calligraphers often give ijazah very rarely and in a longer periods today whereas there are quite a number of masters out here who think that a 4 year period should be sufficient.

Contemporary Adaptations:

In modern times, while many elements of traditional training remain, there have been adaptations:

• Institutional Learning: Besides traditional apprenticeships, formal courses are now offered in universities and institutes.
• Technological Integration: Digital tools and online platforms are being used for training, especially in non-Arabic speaking regions.

Myself getting corrected back in May 2022 by master calligrapher Davud Bektaş, together with calligrapher Selami Çimen. Classes take place in the Fine Arts Faculty in Fatih Sultan Mehmed University, İstanbul. Classrooms today feature overhead cameras so that other students can follow during the sessions.

The journey of becoming an Islamic calligrapher is as much about personal and spiritual growth as it is about artistic skill. It’s a lifelong journey of learning, refinement, and, above all, a deep commitment to preserving and enhancing this ancient art form.

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Originally published at https://notesonpaper.substack.com.