Hamid Aytac [Azmi, Musa; al-Amidi, Hamid] (1891-1982)
(b Diyarbakir, 1891; d Istanbul, 10 May 1982). Turkish calligrapher. Originally called Musa Azmi, he was the grandson of Seyyid Adem, a famous calligrapher of Diyarbakir. He practised writing in Diyarbakir with his school teacher Mustafa Akif Tütenk and others, and in 1908 went to Istanbul to continue his education, first at the School of Law and then at the Fine Arts Academy. However, he was soon forced to give up his studies to earn a living. In 1910 he became a writing teacher at the Gülsen school in Istanbul, where he taught the calligrapher Halim Özyazici. He went on to direct the Rusumat press and then worked at the press of the Military Academy in Istanbul. During World War I he worked for one year in Germany, where he prepared military maps. After the war he resigned his job and began to work independently. He changed his name to Hamid Aytaç, and in the early years of the Turkish republic made labels and calling cards. As a calligrapher he practised the jali-thuluth (Turk. celi-sülüs) style with Mehmed Nazif (1846–1913), the naskh and thuluth styles with Kamil Akdic (1862–1941) and the ta`liq style with Mehmed Hulusi (1869–1940). He worked on a number of magnificent manuscripts, including Korans. He also worked at the Sisli Mosque in Istanbul and on other buildings in Istanbul and Ankara.
source: http://calligrapher.wordpress.com
The Islamic Art of Calligraphy
The premier form of Islamic Art is calligraphy, which is derived from the French word calligraphie and Greek word kalligraphia, meaning "beautiful handwriting." One of the main reasons that the calligraphy is given a pedestal status in Islam is the Muslim belief that Allah (SWT) used the Arabic language to narrate his divine message to the Prophet Muhammad in the form of Holy Quran. This makes it sacred for Muslims all over the world.
Secondly, Islamic Art cannot be depicted by the use of pictures; therefore, using words as creativity avoids this problem as well. With the invention of the printing press in European countries, the art of calligraphic writing mostly vanished.
The prohibition of picture images spurred Calligraphy in the Muslim world to new heights. It is used to enhance the aesthetic senses in architecture, decorative arts, coins, jewelry, textiles, weapons, tools, paintings, and manuscripts. Thus Calligraphy has been embedded in each and every aspect of the Islamic society.
Calligraphy - The Beautiful Art
The art of making beautiful and elegant handwriting is called Calligraphy which requires skilled penmanship.
The literal meaning of the word calligraphy is beautiful writing. Books were written in calligraphy up until the invention of printing machines. Using quill and ink the handwriting was written onto materials like parchment or vellum. There are three main styles of calligraphy which are prevailing now. Arabic, Chinese – known as oriental style and Western or Roman are most popular modern calligraphy styles.
The range of calligraphy includes simple hand lettering to fine art pieces where the expression of the handwritten mark may take precedence over the legibility of the letters. Typography should not be confused with calligraphy.
Digital Islamic Calligraphic Models
Calligraphy is the art of beautiful penmanship or handwriting. Calligraphy has been popular in western, Arabic and Chinese / oriental domains. Within Islamic culture, Islamic Calligraphy has usually involved the beautiful penmanship of Quranic verses. Muslims from all over the world have produced Islamic artists that have produced quality Islamic calligraphic works.
The following profiles Islamic calligraphic works of Ricardo Panizza who has produced various digital Islamic calligraphic models.
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