Posted on September 22, 2017
Salam Maal Hijrah 1439!
To all Muslims around the world, we would like to wish you a blissful New Islamic Year! Let us all move into a new beginning, learn and reflect our past, pave a new space for a beautiful life ahead. Let’s work hard, clean our beliefs, stay strong and righteous to our duties. May all be blessed with the barakah of wisdom, health and wealth in all our pursuits and life journeys. Let’s extend our prayers for a healthy and safe world in the future and after.
Thank you for staying with us. Feel free to browse our galleries with more updated images. Of all, a great thank you for your loyal support!
2017/sep/22 • 1439/muharram/01
Posted on November 15, 2015
The “qalam” is generally an Arabic term for “pen”, a common domestic writing instrument. However, it is notably recognised as a calligraphy pen used in “khat” another Arabic term for calligraphy, an Arabic art of beautiful writing.
To craft a reed or bamboo into a pen is generally not much of a difficulty. A sturdy, hard and straight wooden stick is good to begin with, along with a very sharp knife (the sharper the better), which is (critically) the pen’s best friend. This is considered as a form of traditional art of crafting a pen.
However, fine-tuning or detail operations in crafting of the pen for certain aesthetic and functional levels may require a good amount of time to train the eyes, hand-skills and the ability to feel the fibres of the material in order to understand how and what can it work for. This may take a good amount of 3 years, of regular carving experiments and training on different materials.
Category: Koramudo Tagged: arabic calligraphy, arabic pen, arabic-jawi, art, bamboo pen, calligraphy, calligraphy practise, carving, craft, culture, custom pen, documentary, hand-made, kalemtras, khat, khatarabi, makta, pen, pen demonstration, pen-making, qalam, qalam crafting, reed pen, traditional pen, video
Posted on October 23, 2015
Faddho has been working hand-in-hand with As-Souq Arabic Academy for a while now, which we have collaborated together in variety of courses and programmes. Apart from looking into the world of language, upholding and preserving the arts and culture of the Arabic world has taken into our concerns. And so, we decided to form and launch the ACAC, knownly as As-Souq Calligraphy and Arts Circle.
ACAC is a special club formed to provide space for practising of Arabic calligraphy and arts. This club would love to invite all calligraphy students of As-Souq to join this space where one can practice Arabic calligraphy and arts with the assistance of our facilitators. We also would like to extend our welcome to any Arabic art enthusiasts and practitioners, or even those who are totally new to As-Souq and our programmes. All are welcome to join!
What do you do at ACAC?
Category: Events Here! Tagged: ACAC, arabic art, arabic calligraphy, arabic culture, art, art circle, art sessions, arts, As-Souq, as-souq arabic academy, As-Souq Calligraphy and Arts Circle, Bright Centre, calligraphy, calligraphy practise, calligraphy workshop, craft, faddho, islamic art singapore, islamic craft, khat arabi, khat practise, singapore arabic calligraphy, singapore art, singapore khat, studio hours, telok kurau
Posted on December 24, 2014
Participants will learn the alphabetic fundamentals of the Classical Nasakh Script, which is one of the important foundations to the other grand classical family scripts.
This workshop aims to introduce participants to the fundamentals and basics of Arabic calligraphy. Participants will learn how to write the basics of Nasakh script, which is the fundamental to all other forms of cursive Arabic scripts. Nasakh is one of the prime classical master-script, and also the foundation for 6 classical master pens. For about 300 years, the majestic Kufi script has been dominating the transcription of the Holy Quran, as the official Mushaf script. Thence, Nasakh script took over and its styles has been the dominating script to this date.
Nasakh, which means: transcribing, evolved in Baghdad, which was the early capital of Islam and centre of Arab. The foundation of Nasakh script can be traced back to as early as 750 AD or even earlier. In the 10th-11th century AD, master calligraphers perfected this Nasakh script and it grew to become official script till today. In this modern day, the fundamentals of Arabic calligraphy, and advance typography still refers to Nasakh script as a standard guide to develop the Arabic alphabet writing/typing system.
Apart from understanding the art and culture of Arabic calligraphy, this experience will not only allow a person to express themselves beautifully through writing, but also in various aspects of discipline, therapeutic thinking and understanding, exploration and discovery of oneself, and many other forms of personal development. At the end of the workshop, this programme aims to get participants to understand and appreciate Arabic calligraphy not only in various perspectives and depths, but importantly going through the door to the beauty of Arabic and Islamic arts in its most authentic way.
For direct contact, you can look for Ms Nuriah @ tel 6365-6911. Please keep and share the following details!
Course Title: Arabic Calligraphy – Nasakh Basic Course
Dates: 17, 24, 31 Jan and 07 Feb – 2015, (4 Saturdays)
Time: 10.30 am – 12.30 pm (2hrs x 4 Sessions)
Venue: Fuchun Community Club. 1 Woodlands Street 31, Singapore 738581.
Age/Levels: 15 years and above, all levels. No Arabic knowledge required. Non-Muslims are welcomed!
Materials: Will be provided. Material fees included.
Fees: SGD$100.00 (M) SGD$110.00 (NM)
This programmes are organised and supported by People’s Association and brought to you by Faddho. 2015.
Posted on September 9, 2014
When all the students have finally gathered, Dr Gul went to the computer to warm up the class for the calligraphy session. Earlier, she was seen preparing a page from the YouTube site. The cover of the video seemed to be an image of a worn-out page of an archaic Quran, written in Hijazi or Neo-Nabatean script. When she clicked play, the title which appeared to be like “Yasin Suresi” was finally found, and she opened another window in the computer screen which she had prepared the Romanised transcription of that Surah Yasin. So she played a short opening recitation of the first 10 verses of the Surah Yasin, along with the Roman transcripts to guide the students. Indeed it was a beautiful way to begin. Dr Gul then proceeded with few revision slides and some Persian poems that enlighten the philosophies of “The Pen” before handing over to us.
Looking at a class full of designers, inevitably, it is within this wishful thoughts that everyone of them could have probably be good calligraphers if they want to. Nevertheless the old culture of graphic design goes back to classical practise of manuscripts, calligraphy and illuminations, way before keyboards and mouses started to dominate. Not only because they’re designers but, they do really follow the worksheets well, and copied well. However actually, to sit and join them together in their course seems to be much more exciting than presenting scripts to them.
So we had about a good 3 hours of calligraphy session. Apart from trying out the basic fundamentals and guides, we had the students trying out tiny bits of important scripts like Kufi Mushafi, Nasakh, Thuluth, Ta’liq, Riq’ah and Diwani. The idea to introduce them the system of Checkered Kufi was an initial intention, however, we would need another good 2 hours just to have fun with that. Of all, special thanks to Dr Gul Inanc and Prof Peer Mohideen Sathikh for the kind invite. It was truly an honour and a pleasure. We would be pleased to have these sessions again.
Category: Events Here! Tagged: arabic calligraphy, bamboo pen, calligraphy lecture, calligraphy practise, calligraphy workshop, design students, Gul Inanc, history of scripts, ink, ink well, khat, khat workshop, Nanyang Technological University, Peer Mohideen Sathikh, School of Art Design and Media, sharing session
Posted on May 28, 2014
We were looking at a figure of 30 participants or optimally, 25 at its maximum. Personally 15, is the best figure. However, of course Esplanade would like to cover even more participants if it could. In the past 2 years (2012-2013), our free open workshop-cum-trial booth for Arabic calligraphy has been a successful hit of an estimated 500 over participants over 3 days within limited hours. Since it was an open session, we had participants rooted to their seats for more than 3 hours, some stood around for a good 40 minutes, some dropped by for quick minutes of trials, some just picked up a handful of worksheets for their family and friends, and some passed by and passed by again. It was fantastic. We met artists, teachers, tourists, not to mentioned, religious people and few calligraphers themselves apart from the locals. Fellow calligraphy enthusiasts hanged around having fun with pen and ink and crafting letters. This year, Esplanade decided to have a closed session under its Bitesize programme. For a session of only 2 hours, we truly hope we could give the best.
So they opened it up for 50 maximum participants on tickets. Within the first month out of the 3-month publicity, they called us to spread more words on this programme cause they managed only to hit around 20. We felt that it was good enough to keep that way as we were concerned on managing and giving a substantial amount of attention to the participants individually and as a whole. We had booklets, worksheets and visual slides all prepared. In less than half month before the event, we hit 50. Full house.
Our hope for extension of hours could probably give more fruitful attention to the participants. That didn’t happen. The space provided was in a rehearsal studio, full of tall-glass-wall windows, at the top-most of the building, giving a cosmic feel to practicing calligraphy. Probably, a dream of every calligrapher to afford that kind of (expensive) atmosphere to have an intimate session with the pen crafting sacred verses. But in real history, calligraphers danced their hearts through their pen and ink, crouching solemnly in a quiet corner of walls full of books, away from people, away from the world. Then, the teacher attended to students one at a time. But here, its a duty to share and uphold it to the public.
We hoped for a better projection on our visual lesson slides to amplify the content to participants spread out to about over two basketball courts of space. We could see how much a participant yearned to feel the pen during the demonstration where 49 others crowded over one person demonstrating letters over a piece of A3 paper. And if we could, we would love to be able to equally attend to at least 10 individual participants at a time whenever they raised their hands for help and questions. One hour of theoretical history and visual lessons, and one hour of practice. Unfortunately, but fortunately, that’s all we could afford.
Learning calligraphy doesn’t work like technical software crash courses. Most of fresh students we knew, could never get over understanding the pen and its first dot even over their first two weeks practice. Nowadays, the culture of clicking and sliding with fingers is more overwhelming than the art and grace of handling pen and letters. Time spent for economical productivity is different from time spent for spiritual productivity. Nevertheless, the people in Esplanade has created great efforts to support traditional arts such as calligraphy for the betterment of the society.
Be it a dot, or long strokes, we hope this effort would be a blessing to everyone. Thank you for acknowledging our presence. We hope to see you all again.
Posted on October 13, 2013
It was on a relaxed Saturday morning at the Asian Civilisations Museum (ACM) where we gathered for another exciting session. It was truly a humbling opportunity to have a calligraphy session with a special group of people who are docents from Friends of the Museums (FOM). This private workshop is an exclusive session which begins with a visual lecture of exploring the history of Arabic scripts from semantics, concepts to theories of evolutions and reformations of letterforms which encompasses within a time span of more than 2000 years. Visual characteristics of the scripts were explored through visual specimens of The Holy Quran and various folios from different time and parts of the world.
The practical session followed on with an introduction to the pen, paper and ink; creating the first dot. The first dot, or technically creating the perfect rhombus is an essential fundamental step in developing a letterform. This includes the discipline and handling habits of a calligraphy practitioner. After trying out a series of practicing dots and lines, participants were introduced to try out the basic alphabetic bodies of Nasakh script. The momentum of constant dipping of the reed or bamboo pen into the ink well and writing continued through experiencing the practitioner’s drill. Here, participants will make an attempt to copy simple words such as “Salam”, “Hoob” and “Hikmah”, over and over again until it is close to clone perfection. The last practice was trying out the word “Salam” in 3 different scripts, namely: Riqah, Diwani and Kufi Mushafi. Through these, participants explored the various styles of writing techniques being used on different scripts to write the same word.
So there it goes, a fruitful Saturday morning, with wonderful theoretical sparring exchange and discussions with such a special audience. Thank you Arundhati Sundar for such a wonderful opportunity. We will be pleased to have more of these again!
Category: Events Here! Tagged: arabic calligraphy, Arundhati Sundar, Asian Civilisations Museum, calligraphy lecture, calligraphy practise, calligraphy workshop, Docent Ongoing Training, Friends of the Museums, history of scripts, ink, khat, khat workshop, perfect dot, practitioner's drill, public workshop