15th edition
Quran calligraphy exhibition in Baghdad showcases Iraq’s rich heritage in Islamic art
BAGHDAD — A special Quran calligraphy exhibition was held Monday evening at the Ministry of Culture building on Haifa Street in Baghdad. Organized under the patronage of the Ministry of Culture in collaboration with the Ibn al-Bawwab Institute for Islamic Arts, the event featured contributions from a select group of Iraqi calligraphers, including one female artist. Each participant wrote one chapter of the Quran using specialized tools, such as high-quality Japanese ink and metal pens that mimic traditional reed pens, which have become increasingly rare.
“This marks the 15th edition of the Quran Calligraphy Exhibition,” said Fadel Al-Badrani, Deputy Minister of Culture, in an interview with 964media. “Last year, 30 senior calligraphers with extensive experience were selected to participate. This year, we brought in younger talents to work alongside them under strict criteria.”
Calligraphy, an integral part of Iraq’s cultural heritage and closely linked to Islamic tradition, has evolved over centuries. However, its practice has declined in recent years as technological advancements have led many designers to rely on digital tools for creating calligraphic work.
Al-Badrani noted that the ministry had received requests from Arab calligraphers eager to join the exhibition, following international events where they exchanged ideas with their Iraqi counterparts. He also revealed plans to expand next year’s exhibition to include more Arabic calligraphers.
One participant, Ali Al-Jubouri, who was responsible for writing the first part of the Quran, explained the careful process involved. “We traditionally use Arabic ink or high-quality alternatives, such as Japanese ink. The pens are either metal or plant-based, made from reeds,” he said. “For professional calligraphy, a reed pen and special ink made from burned tree bark are commonly used.”
Al-Jubouri emphasized the mental challenges of the task. “The psychological pressure is high when writing the Quran because you’re dealing with sacred letters and words. The responsibility feels much greater.”
Mayson Hassan, the only female calligrapher in the exhibition, shared her experience of writing the 22nd chapter of the Quran. “I’ve been practising both drawing and calligraphy for a while, and I started studying Naskh script two years ago. I was invited by Professor Hussein Amin, Secretary of the Ibn al-Bawwab Institute, to participate in this project, which was a great honor,” she said.
Hassan provided technical details of the project, noting that the paper measured 70×50 cm and the ink was sourced from Japan. “The pens are specially designed for Naskh script, with a nib size of 1.5 mm and [paper] line spacing of 26. Initially, writing the Quran was intimidating, but with guidance from our teachers, I completed my part over two months,” she added.
Islamic calligraphy, particularly Quranic calligraphy, is a revered art form deeply rooted in the respect for the written word. This art is not just decorative; it is a spiritual practice where the act of writing becomes an expression of devotion. Scripts such as Kufic, Naskh, and Thuluth have been developed over centuries, each holding cultural and aesthetic significance. Quranic calligraphy emphasizes the beauty and sacredness of the text, employing intricate designs and harmonious proportions to reflect the divine nature of the words, making it a profound symbol of faith and tradition in the Muslim world.