View allAll Photos Tagged tuluth
Detail of the Oljeitu mihrab in Masjed-e Jame where tuluth script calligraphy in stucco becomes pure art, and a testament to the conversion from Christianity to Islam of Oljeitu.
* 23 July '07 - #227 on Flickr's Explore.
Hattat Re`fet Efendi'den Bir Yazı-Resim Numunesi
hattatlarsofasi.com
#hatsanatı #hüsnihat #sülüs #türkhattatları #türkhatsanatı #islam #islamicart #tuluth #islamiccalligraphy #calligraphy #calligraphymasters
Şefik Bey'in Sülüs ve Nesih Hadis Kıt`ası.
hattatlarsofasi.com
#hatsanatı #hüsnihat #sülüs #nesih #hattatşefikbey #islam #türkhattatları #türkhatsanatı #islamicart #islamiccalligraphy #calligraphy #calligraphymasters #tuluth #turkishcalligraphers #turkishcalligraphy #naksh
Calligraphie style Tuluth
Calligraphy Tuluth style
This is an extract of the first line of the Mesk Book (tuluth style Calligraphy)
Fouad EA, Artiste Calligraphe, Calligrapher
Tous droits réservés - All rights reserved
2011 (1432)
A section of the entire Quran on green cotton cloth measuring about 10 feet wide and 5 feet high, on display at the Spirit & Life exhibition at the Ismaili center in London.
From the Aga Khan Museum Collection, this piece of work is just amazing. There are five central discs, in this one the writing reads 'In the name of Allah the Most Gracious the Most Merciful'
The scribe, Abd Knani al Qadari prepared this for the Governor of Allahabad (in Mughal India) between the 3rd of Ramadan in 1130AH (1718AD) and the 5th of Ramadan in 1132AH (1720AD). The black Quranic text is in the nashk script and the red text which are chapter headings is in the tuluth script. Each verse starts with a red circled number and each chapter starts with a red and black circled number. And of course the gold colour is gold leaf.
Ismailis are a sect of Islam which fall under the Shia category of Islam.
In addition to the replacement of vellum by paper for production of Qur’an manuscripts during the tenth and eleventh centuries, different types of Arabic calligraphy styles were introduced. Some of the new scripts included naskh, thuluth, and muhaqqaq, which began the replace the angular Kufic script used in the writing of early Qur’an manuscripts. Naskh is simple, supple without any particular emphasis, and highly readable, while Tuluth is wider, more elaborate, and uses elongated verticals. Thuluth was used by Mamluks during the fourteenth and fifteenth centuries and later was refined by Ottoman calligraphers in Turkey. Another script that was highly prized was known as muhaqqaq, which is characterized by its large size, elongated letter endings, and flattened curves that highlight the text.
Hasan Sırrı Efendi'nin Eyüb Sultan Hazretlerine Izafeten Tertiblediği Kufi ve Sülüs Levhası:
Yetişmez mi Bu Şehrin Halkına Bu Ni`met-i Bari
Ceyb-i Ekremin Yari ebû-Eyyub Ensari
#hatsanatı #hüsnihat #sülüs #kufi #türkhattatları #eyüpsultan #türkhatsanatı #islam #tuluth #turkishcalligraphers #islamicart #islamiccalligraphy #calligraphy
The inspirational Oljeitu mihrab in Masjed-e Jame, where the detail seems almost infinite. The closer you get... the more you see...
Hamzeh Karbasi has shot a beautiful detail shot here.
In addition to the replacement of vellum by paper for production of Qur’an manuscripts during the tenth and eleventh centuries, different types of Arabic calligraphy styles were introduced. Some of the new scripts included naskh, thuluth, and muhaqqaq, which began the replace the angular Kufic script used in the writing of early Qur’an manuscripts. Naskh is simple, supple without any particular emphasis, and highly readable, while Tuluth is wider, more elaborate, and uses elongated verticals. Thuluth was used by Mamluks during the fourteenth and fifteenth centuries and later was refined by Ottoman calligraphers in Turkey. Another script that was highly prized was known as muhaqqaq, which is characterized by its large size, elongated letter endings, and flattened curves that highlight the text.
Şeyh Hamdullah'ın Sülüs ve Nesih Kıt'ası
hattatlarsofasi.com
#hatsanatı #hüsnihat #sülüs #nesih #hattatşeyhhamdullah #türkhattatları #türkhatsanatı #calligraphy #islamicart #islam #islamiccalligraphy #calligraphymasters #tuluth #naksh #turkishcalligraphers #turkishcalligraphy
Calligraphie style Tuluth
Calligraphy Tuluth style
Fouad EA, Artiste Calligraphe, Calligrapher
Tous droits réservés - All rights reserved
2011 (1432)
"Derrière la faim du pauvre, il y a la part d'un riche" - Calligraphie Style Tuluth
"Behind the hunger of the poor man, there is a part of a rich man" - Calligraphy Tuluth Style
Fouad EA, Artiste Calligraphe, Calligrapher
Tous droits réservés - All rights reserved
2010
Calligraphy tuluth mix
Fouad EA, Artiste Calligraphe, Calligrapher
Tous droits réservés - All rights reserved
2010
In addition to the replacement of vellum by paper for production of Qur’an manuscripts during the tenth and eleventh centuries, different types of Arabic calligraphy styles were introduced. Some of the new scripts included naskh, thuluth, and muhaqqaq, which began the replace the angular Kufic script used in the writing of early Qur’an manuscripts. Naskh is simple, supple without any particular emphasis, and highly readable, while Tuluth is wider, more elaborate, and uses elongated verticals. Thuluth was used by Mamluks during the fourteenth and fifteenth centuries and later was refined by Ottoman calligraphers in Turkey. Another script that was highly prized was known as muhaqqaq, which is characterized by its large size, elongated letter endings, and flattened curves that highlight the text.
Calligraphie style Tuluth
Calligraphy Tuluth style
Fouad EA, Artiste Calligraphe, Calligrapher
Tous droits réservés - All rights reserved
2010
"Derrière la faim du pauvre, il y a la part d'un riche" - Calligraphie Style Tuluth
"Behind the hunger of the poor man, there is a part of a rich man" - Calligraphy Tuluth Style
Fouad EA, Artiste Calligraphe, Calligrapher
Tous droits réservés - All rights reserved
2010
Ve Üfevvidü emr-i il-Allâh
Innallahe Basirun bi`l-ibad
Işini Allah'a Havale Ediyorum. Zira O Kullarını En İyi Bilendir
Mü'min Suresi, 44.
hattatlarsofasi.com
#hatsanatı #hüsnühat #islam #ayet #türkhattatları #sülüs #hattatmahmudcelaleddin #türkhatsanatı #calligraphy #islamicart #tuluth #turkishcalligraphers #calligraphymasters
Calligraphie style Tuluth - " Les gens naissent libres et égaux"
Calligraphy Tuluth style - "People are born free and equal"
Fouad EA, Artiste Calligraphe, Calligrapher
Tous droits réservés - All rights reserved
2010
Hattat Nazif Bey'in Celi Sülüs Levhası: Ya Miftahü'l-ebvab İftah Lena Hayre'l-bab/Ey Kapılar Açan Allahım, Bana da Hayırlı Kapılar Aç
hattatlarsofasi.com
#hattatlarsofasi #hatsanatı #hattat #hüsnihat #hattatnazifbey #islam #sülüs #türkhattatlarıtürkhattatları #türkhatsanatı #osmanlıhatsanatı #islamicart #calligraphy #tuluth #islamiccalligraphy #turkishcalligraphy #turkishcalligraphers
Calligraphie style Tuluth
Calligraphy Tuluth style
Fouad EA, Artiste Calligraphe, Calligrapher
Tous droits réservés - All rights reserved
2010
Photos retravaillés sur une calligraphie style Tuluth fait au calame
Photos reworked on a calligraphy style Tuluth done with a qalam
Fouad EA, Artiste Calligraphe, Calligrapher
Tous droits réservés - All rights reserved
2012 (1432)
Photos retravaillés sur une calligraphie style Tuluth fait au calame
Photos reworked on a calligraphy style Tuluth done with a qalam
Fouad EA, Artiste Calligraphe, Calligrapher
Tous droits réservés - All rights reserved
2012 (1432)
In addition to the replacement of vellum by paper for production of Qur’an manuscripts during the tenth and eleventh centuries, different types of Arabic calligraphy styles were introduced. Some of the new scripts included naskh, thuluth, and muhaqqaq, which began the replace the angular Kufic script used in the writing of early Qur’an manuscripts. Naskh is simple, supple without any particular emphasis, and highly readable, while Tuluth is wider, more elaborate, and uses elongated verticals. Thuluth was used by Mamluks during the fourteenth and fifteenth centuries and later was refined by Ottoman calligraphers in Turkey. Another script that was highly prized was known as muhaqqaq, which is characterized by its large size, elongated letter endings, and flattened curves that highlight the text.
Photos retravaillés sur une calligraphie style Tuluth fait au calame
Photos reworked on a calligraphy style Tuluth done with a qalam
Fouad EA, Artiste Calligraphe, Calligrapher
Tous droits réservés - All rights reserved
2012 (1432)
Calligraphie style Tuluth
Calligraphy Tuluth style
Fouad EA, Artiste Calligraphe, Calligrapher
Tous droits réservés - All rights reserved
2011 (1432)
De Moskee van de Sjah (Masjid-i-Sjah) of de Koningsmoskee is een moskee in de Iraanse stad Isfahan. De moskee wordt ook wel de Moskee van de imam genoemd. In dit geval verwijst imam naar ayatollah Khomenei. Zij is gelegen aan het plein Meidan Emam.
De bouw van de moskee begon in 1611 op opdracht van sjah Abbas I de Grote. De moskee moest de vrijdagmoskee van Isfahan vervangen. De bouw was klaar in 1630.
De iwan, de ingang, is evenwijdig aan het plein Meidan Emam en wordt geflankeerd door een dubbele galerij. De rest van de moskee ligt daarachter en staat onder een hoek van ongeveer 45 graden met het plein, in de richting van Mekka. Het 'plafond' van de iwan is opgebouwd uit muqarnas.
Het gebouw zelf meet 130 x 100m. Het heeft een binnenplaats van 70 x 70m. Om de binnenplaats bevinden zich kleinere gebedsruimtes en ruimtes voor de madrassa.
De koepel van de moskee is 52m hoog en is lichtblauw van kleur.
Sommige delen van het gebouw zijn bekleed met schitterende mozaïeken. De rest van het gebouw is bekleed met zevenkleurige geglazuurde tegels, die goedkoper zijn dan mozaïek. Het gebouw heeft een band met witte letters met religieuze teksten, uitgevoerd in de tuluth-kalligrafie.
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The Mosque of the Shah (Masjid-i-Shah) or the King's Mosque is a mosque in the Iranian city of Isfahan. The mosque is also called the mosque of the imam. In this case imam refers to Ayatollah Khomenei. She is located at the square Meidan Emam.
The construction of the mosque began in 1611 on the orders of Shah Abbas I the Great. The mosque had to replace the Friday Mosque of Isfahan. Construction was finished in 1630.
The iwan, the entrance, is parallel to the square Meidan Emam and is flanked by a double gallery. The rest of the mosque is located behind it and stands at an angle of about 45 degrees with the square, in the direction of Mecca. The 'ceiling' of the iwan is made up of muqarnas.
The building itself measures 130 x 100m. It has a courtyard of 70 x 70m. Around the courtyard there are smaller prayer rooms and rooms for the madrassa.
The dome of the mosque is 52 meters high and is light blue in color.
Some parts of the building are covered with beautiful mosaics. The rest of the building is covered with seven-colored glazed tiles, which are cheaper than mosaic. The building has a band with white letters with religious texts, executed in the tuluth calligraphy.