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A digital rendering of the Bismillah in an 18th-century Islamic calligraphy from the Ottoman region, Thuluth script Thuluth was developed during the 15th century and slowly refined by Ottoman Calligraphers including Mustafa Râkim , Shaykh Hamdallah , and others, till it became what it is today.
Indonesian Arabic (Arabic: العربية الاندونيسية, romanized: al-‘Arabiyya al-Indūnīsiyya, Indonesian: Bahasa Arab Indonesia) is a variety of Arabic spoken in Indonesia. It is primarily spoken by people of Arab descents and by students ( santri ) who study Arabic at Islamic educational institutions or pesantren .
It is used in over half of the constitutions of countries where Islam is the official religion or more than half of the population follows Islam, usually the first phrase in the preamble, including those of Afghanistan, [2] Bahrain, [3] Bangladesh, [4] Brunei, [5] Egypt, [6] Iran, [7] Iraq, [8] Kuwait, [9] Libya, [10] Maldives, [11] Pakistan ...
Naskh [a] is a smaller, round script of Islamic calligraphy.Naskh is one of the first scripts of Islamic calligraphy to develop, commonly used in writing administrative documents and for transcribing books, including the Qur’an, because of its easy legibility.
Islamic honorifics are not abbreviated in Arabic-script languages (e.g. Arabic, Persian, Urdu) [64] given the rarity of acronyms and abbreviations in those languages, however, these honorifics are often abbreviated in other languages such as English, Spanish, and French.
Many scripts in Unicode, such as Arabic, have special orthographic rules that require certain combinations of letterforms to be combined into special ligature forms.In English, the common ampersand (&) developed from a ligature in which the handwritten Latin letters e and t (spelling et, Latin for and) were combined. [1]
Kalimat aṭ-Ṭayyibah (Word of Purity) لَا إِلَٰهَ إِلَّا ٱللَّٰهُ مُحَمَّدٌ رَّسُولُ ٱللَّٰهِ There is no deity but Allah (God), Muhammad is the messenger of Allah (God). [4] [5] lā ʾilāha ʾillā -llāh u muḥammadur rasūlu -llāh i: 2. كَلِمَاتْ اَلشَّهَادَة ...
Taking Shape: Abstraction From the Arab World, 1950s-1980s, a 2020 installation at New York University's Grey Art Gallery, explored how Arabic calligraphy, with its ancient presence in visual art, influenced abstract art in the Arab world. [20]