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<span class="vector-toc-numb">2</span> <span>Brief history and philosophy</span> </div> </a> <button aria-controls="toc-Brief_history_and_philosophy-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Brief history and philosophy subsection</span> </button> <ul id="toc-Brief_history_and_philosophy-sublist" class="vector-toc-list"> <li id="toc-Evolution_of_hurufiyya" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Evolution_of_hurufiyya"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.1</span> <span>Evolution of hurufiyya</span> </div> </a> <ul id="toc-Evolution_of_hurufiyya-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Types_of_hurufiyya_art" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Types_of_hurufiyya_art"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Types of hurufiyya art</span> </div> </a> <ul id="toc-Types_of_hurufiyya_art-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Examples" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Examples"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Examples</span> </div> </a> <ul id="toc-Examples-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Schools_of_Hurifiyya" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Schools_of_Hurifiyya"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>Schools of Hurifiyya</span> </div> </a> <ul id="toc-Schools_of_Hurifiyya-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Notable_exponents" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Notable_exponents"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>Notable exponents</span> </div> </a> <ul id="toc-Notable_exponents-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Exhibitions" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Exhibitions"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>Exhibitions</span> </div> </a> <ul id="toc-Exhibitions-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>See also</span> </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a 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vector-appearance-pinnable-header vector-pinnable-header-pinned" data-feature-name="appearance-pinned" data-pinnable-element-id="vector-appearance" data-pinned-container-id="vector-appearance-pinned-container" data-unpinned-container-id="vector-appearance-unpinned-container" > <div class="vector-pinnable-header-label">Appearance</div> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-pin-button" data-event-name="pinnable-header.vector-appearance.pin">move to sidebar</button> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-unpin-button" data-event-name="pinnable-header.vector-appearance.unpin">hide</button> </div> </div> </div> </nav> </div> </div> <div id="bodyContent" class="vector-body" aria-labelledby="firstHeading" data-mw-ve-target-container> <div class="vector-body-before-content"> <div class="mw-indicators"> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Art movement drawing upon Islamic calligraphy</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">Not to be confused with <a href="/wiki/Hurufism" title="Hurufism">Hurufism</a>.</div> <p>The <b>Hurufiyya movement</b> (<a href="/wiki/Arabic_language" class="mw-redirect" title="Arabic language">Arabic</a>: <span lang="ar" dir="rtl">حروفية</span> <span title="DIN 31635 Arabic (Arabic language) transliteration"><i lang="ar-Latn">ḥurūfiyyah</i></span> adjectival form <span title="DIN 31635 Arabic (Arabic language) transliteration"><i lang="ar-Latn">ḥurūfī</i></span>, 'of letters' (of the alphabet) is an aesthetic movement that emerged in the second half of the twentieth century amongst artists from <a href="/wiki/Muslims" title="Muslims">Muslim</a> countries, who used their understanding of traditional <a href="/wiki/Islamic_calligraphy" title="Islamic calligraphy">Islamic calligraphy</a> within the precepts of <a href="/wiki/Modern_art" title="Modern art">modern art</a>. By combining tradition and modernity, these artists worked towards developing a culture-specific visual language, which instilled a sense of national identity in their respective nation-states when many of these states were shaking off colonial rule and asserting their independence. They adopted the same name as the <a href="/wiki/Hurufism" title="Hurufism">Hurufi</a>, an approach of Persian <a href="/wiki/Sufism" title="Sufism">Sufism</a> which emerged in the late 14th–early 15th century. Art historian <a href="/wiki/Sandra_Dagher" title="Sandra Dagher">Sandra Dagher</a> has described Hurufiyya as the most important movement to emerge in <a href="/wiki/Arabic_art" class="mw-redirect" title="Arabic art">Arabic art</a> in the 20th century. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Definition">Definition</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Hurufiyya_movement&action=edit&section=1" title="Edit section: Definition"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The term <i>Hurufiyya</i> is derived from the Arabic term <span title="DIN 31635 Arabic (Arabic language) transliteration"><i lang="ar-Latn">huruf</i></span> (<span title="Arabic-language text"><span lang="ar" dir="rtl">حروف</span></span>), the plural form of <i>harf</i> (حرف), which means 'letter'. When the term is used to describe a contemporary art movement, it explicitly references a Medieval system of teaching involving <a href="/wiki/Political_theology" title="Political theology">political theology</a> and Lettrism. In this theology, letters were seen as primordial signifiers and manipulators of the cosmos.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Thus, the term is charged with Sufi intellectual and esoteric meaning.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>The Hurufiyya art movement (also known as the Al-hurufiyyah movement<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> or the Letrism movement<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup>) refers to the use of calligraphy as a graphic element within an artwork, typically an abstract work.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> The pan-Arab hurufiyya art movement is distinct from the <a href="/wiki/Letterist_International" title="Letterist International">Letterist International</a>, which had an Algerian section founded in <a href="/wiki/Chlef" title="Chlef">Chlef</a> in 1953 by <a href="/wiki/Hadj_Mohamed_Dahou" title="Hadj Mohamed Dahou">Hadj Mohamed Dahou</a>. </p><p>The term <i>Hurufiyya</i> has become somewhat controversial and has been rejected by some scholars, such as <a href="/wiki/Wijdan_Ali" title="Wijdan Ali">Wijdan Ali</a>, Nada Shabout and Karen Dabrowska. An alternative term, <i>al-madrassa al-khattiya fil-fann</i> ('calligraphic school of art'), has been proposed to describe the experimental use of calligraphy in modern Arabic art.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Brief_history_and_philosophy">Brief history and philosophy</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Hurufiyya_movement&action=edit&section=2" title="Edit section: Brief history and philosophy"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Amir_Khusraw_Dihlavi_-_An_Old_Sufi_Laments_His_Lost_Youth_-_Google_Art_Project.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/07/Amir_Khusraw_Dihlavi_-_An_Old_Sufi_Laments_His_Lost_Youth_-_Google_Art_Project.jpg/220px-Amir_Khusraw_Dihlavi_-_An_Old_Sufi_Laments_His_Lost_Youth_-_Google_Art_Project.jpg" decoding="async" width="220" height="322" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/07/Amir_Khusraw_Dihlavi_-_An_Old_Sufi_Laments_His_Lost_Youth_-_Google_Art_Project.jpg/330px-Amir_Khusraw_Dihlavi_-_An_Old_Sufi_Laments_His_Lost_Youth_-_Google_Art_Project.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/07/Amir_Khusraw_Dihlavi_-_An_Old_Sufi_Laments_His_Lost_Youth_-_Google_Art_Project.jpg/440px-Amir_Khusraw_Dihlavi_-_An_Old_Sufi_Laments_His_Lost_Youth_-_Google_Art_Project.jpg 2x" data-file-width="7728" data-file-height="11310" /></a><figcaption><i>An Old Sufi Laments His Lost Youth,</i> page from a Sufi manuscript, 13th century. Sufi art served as part of the inspiration for the al-hurufiyya movement.</figcaption></figure> <p>Traditional calligraphic art was bound by strict rules, which, amongst other things, confined it to devotional works and prohibited the representation of humans in manuscripts.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> Practising calligraphers trained with a master for many years to learn both the technique and the rules governing calligraphy. Contemporary hurufiyya artists, however, broke free from these rules, allowing Arabic letters to be deconstructed, altered and included in abstract artworks.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p><p>The use of traditional Arabic elements, notably calligraphy, in modern art arose independently in various Islamic states; few of these artists working in this area had knowledge of each other, allowing for different manifestations of hurufiyya to develop in different regions.<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> In Sudan, for instance, the movement was known as the <i>Old Khartoum School</i>,<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> and assumed a distinctive character in which both African motifs and calligraphy were combined, while media such as leather and wood replaced canvas to provide a distinct African style.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> In Morocco, the movement was accompanied by the replacement of traditional media for oils; artists favoured traditional dyes such as henna, and embraced weaving, jewellery and tattoo as well as including traditional Amazigh motifs.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> In Jordan, it was generally known as the <i>al-hurufiyyah</i> movement, while in Iran, a similar approach was formed which was called the <a href="/wiki/Iranian_modern_and_contemporary_art#Saqqakhaneh_movement" title="Iranian modern and contemporary art">Saqqa-Khaneh movement</a>.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p><p>Some scholars have suggested that <a href="/wiki/Madiha_Omar" title="Madiha Omar">Madiha Omar</a>, who was active in the US and Baghdad from the mid-1940s, was the pioneer of the movement, since she was the first to explore the use of Arabic script in a contemporary art context in the 1940s and exhibited hurufiyya-inspired works in Washington in 1949.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> However, other scholars have suggested that she was a <i>precursor</i> to Hurufiyya.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> Yet other scholars have suggested that the hurufiyya art movement probably began in North Africa, in the area around Sudan, with the work of <a href="/wiki/Ibrahim_el-Salahi" class="mw-redirect" title="Ibrahim el-Salahi">Ibrahim el-Salahi</a>,<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> who initially explored Coptic manuscripts, a step that led him to experiment with Arabic calligraphy.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> It is clear that by the early 1950s, a number of artists in different countries were experimenting with works based on calligraphy, including the Iraqi painter and sculptor, <a href="/wiki/Jamil_Hamoudi" title="Jamil Hamoudi">Jamil Hamoudi</a> who experimented with the graphic possibilities of using Arabic characters, as early as 1947;<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> Iranian painters, Nasser Assar (b. 1928) (<a href="https://fr.wikipedia.org/wiki/Nasser_Assar" class="extiw" title="fr:Nasser Assar">fr:Nasser Assar</a>) and <a href="/wiki/Hossein_Zenderoudi" title="Hossein Zenderoudi">Hossein Zenderoudi</a>, who won a prize at the 1958 Paris Biennale.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> </p><p>Hurufiyya artists rejected Western art concepts, and instead grappled with a new artistic identity drawn from within their own culture and heritage. These artists successfully integrated Islamic visual traditions, especially calligraphy, into contemporary, indigenous compositions.<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> The common theme amongst hurufiyya artists is that they all tapped into the beauty and mysticism of Arabic calligraphy, but used it in a modern, abstract sense.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> Although hurufiyya artists struggled to find their own individual dialogue with nationalism, they also worked towards a broader aesthetic that transcended national boundaries and represented an affiliation with an Arab identity in the post-colonial period.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p><p>The art historian, Christiane Treichl, explains how calligraphy is used in contemporary art:<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> </p> <dl><dd>"They deconstruct writing, exploit the letter and turn it into an indexical sign of calligraphy, tradition and cultural heritage. As the sign is purely aesthetic, and only linguistic in its cultural association, it opens hitherto untravelled avenues for interpretation, and attracts different audiences, yet still maintains a link to the respective artist's own culture... Hurufiyya artists do away with the signifying function of language. The characters become pure signs, and temporarily emptied of their referential meaning, they become available for new meanings."</dd></dl> <p>The hurufiyya art movement was not confined to painters, but also included important ceramicists such as the Jordanian, <a href="/wiki/Mahmoud_Taha" title="Mahmoud Taha">Mahmoud Taha</a>, who combined traditional aesthetics, including calligraphy, with skilled craftsmanship,<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> and sculptors, such as the Qatari, <a href="/wiki/Yousef_Ahmad" title="Yousef Ahmad">Yousef Ahmad</a><sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> and the Iraqi sculptors, <a href="/wiki/Jawad_Saleem" title="Jawad Saleem">Jawad Saleem</a> and <a href="/wiki/Mohammed_Ghani_Hikmat" title="Mohammed Ghani Hikmat">Mohammed Ghani Hikmat</a>. Nor, was the movement organised along formal lines across the Arab-speaking nations. In some Arab nations, hurufiyya artists formed formal groups or societies, such as Iraq's <i>Al Bu'd al Wahad</i> (or the <a href="/wiki/One_Dimension_Group" class="mw-redirect" title="One Dimension Group">One Dimension Group</a>)" which published a manifesto,<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> while in other nations artists working independently in the same city had no knowledge of each other.<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> </p><p>Art historian, Dagher, has described hurufiyya as the most important movement to emerge in the Arab world in the 20th-century.<sup id="cite_ref-Dagher_28-0" class="reference"><a href="#cite_note-Dagher-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> However, the <i>Cambridge Companion to Modern Arab Culture,</i> while acknowledging its importance in terms of encouraging Arab nationalism, describes hurufiyya as neither "a movement nor a school."<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Evolution_of_hurufiyya">Evolution of hurufiyya</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Hurufiyya_movement&action=edit&section=3" title="Edit section: Evolution of hurufiyya"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Art historians have identified three generations of hurufiyya artists:<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> </p> <dl><dd><i>First generation</i>: The pioneers, who were inspired by the independence of their nations, searched for a new aesthetic language that would allow them to express their nationalism. These artists rejected European techniques and media, turning to indigenous media and introducing Arabic calligraphy into their art. For this group of artists, Arabic letters are a central feature of the artwork. First generation artists include: the Jordanian artist, <a href="/wiki/Wijdan_Ali" title="Wijdan Ali">Princess Wijdan Ali</a>, the Sudanese artist, <a href="/wiki/Ibrahim_el-Salahi" class="mw-redirect" title="Ibrahim el-Salahi">Ibrahim el-Salahi</a>; the Iraqi artists, <a href="/wiki/Shakir_Hassan_Al_Said" title="Shakir Hassan Al Said">Shakkir Hassan Al Sa'id</a>, <a href="/wiki/Jamil_Hamoudi" title="Jamil Hamoudi">Jamil Hamoudi</a> and <a href="/wiki/Jawad_Saleem" title="Jawad Saleem">Jawad Saleem</a>; the Lebanese painter and poet, <a href="/wiki/Etel_Adnan" title="Etel Adnan">Etel Adnan</a> and the Egyptian artist, Ramzi Moustafa (b. 1926).</dd></dl> <dl><dd><i>Second generation</i>: Artists, most of whom live in exile, but reference their traditions, culture and language in their artworks. The artist, <a href="/wiki/Dia_Azzawi" title="Dia Azzawi">Dia Azzawi</a> is typical of this generation.</dd></dl> <dl><dd><i>Third generation</i>: Contemporary artists who have absorbed international aesthetics, and who employ Arabic and Persian script occasionally. They deconstruct the letters, and use them in a purely abstract and decorative manner. The work of <a href="/wiki/Golnaz_Fathi" title="Golnaz Fathi">Golnaz Fathi</a> and <a href="/wiki/Lalla_Essaydi" title="Lalla Essaydi">Lalla Essaydi</a> is representative of the third generation.</dd></dl> <p><br /> </p> <div class="mw-heading mw-heading2"><h2 id="Types_of_hurufiyya_art">Types of hurufiyya art</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Hurufiyya_movement&action=edit&section=4" title="Edit section: Types of hurufiyya art"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Hurufiyya art involved a very diverse range of "explorations into the abstract, graphic, and aesthetic properties of Arabic letters."<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> Art historians, including Wijdan Ali and Shirbil Daghir, have attempted to develop a way of classifying different types of hurufiyya art.<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> Ali identifies the following, which she describes as <i>schools</i> within the <i>movement</i>:<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> </p> <dl><dt></dt> <dt>Calligraphy in sculptural works</dt> <dd><figure typeof="mw:File/Thumb"><a href="/wiki/File:Parviz_Tanavoli.jpg" class="mw-file-description"><img alt="Parviz Tanavoli and his Lovers Heech" src="//upload.wikimedia.org/wikipedia/commons/thumb/9/92/Parviz_Tanavoli.jpg/159px-Parviz_Tanavoli.jpg" decoding="async" width="159" height="239" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/92/Parviz_Tanavoli.jpg/238px-Parviz_Tanavoli.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/92/Parviz_Tanavoli.jpg/317px-Parviz_Tanavoli.jpg 2x" data-file-width="1748" data-file-height="2632" /></a><figcaption><a href="/wiki/Parviz_Tanavoli" title="Parviz Tanavoli">Parviz Tanavoli</a> and his Lovers Heech</figcaption></figure><a href="/wiki/Parviz_Tanavoli" title="Parviz Tanavoli">Parviz Tanavoli</a>, the Iranian pioneer of <a href="/wiki/Iranian_modern_and_contemporary_art" title="Iranian modern and contemporary art">modern and contemporary art</a>, initiated the use of Persian calligraphy in modern and contemporary sculpting. His famous Heech sculptures have become iconic representations within Islamic art and the <a href="/wiki/Greater_Iran" title="Greater Iran">Persianate world</a>. Additionally, Tanavoli incorporates pre-Islamic inscriptions and movable-type letters in his renowned Wall sculptures.</dd> <dd></dd> <dt>Pure calligraphy</dt> <dd>Artworks in which calligraphy forms both the background and the foreground.<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup></dd> <dt>Neoclassical</dt> <dd>Works that adhere to the rules of 13th-century calligraphy. An example of this is the work of <a href="/wiki/Khairat_Al-Saleh" title="Khairat Al-Saleh">Khairat Al-Saleh</a> (b. 1940)<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup></dd></dl> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Dia-Al-Azzawi-Portrait-Picture.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/15/Dia-Al-Azzawi-Portrait-Picture.jpg/160px-Dia-Al-Azzawi-Portrait-Picture.jpg" decoding="async" width="160" height="177" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/15/Dia-Al-Azzawi-Portrait-Picture.jpg/240px-Dia-Al-Azzawi-Portrait-Picture.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/15/Dia-Al-Azzawi-Portrait-Picture.jpg/319px-Dia-Al-Azzawi-Portrait-Picture.jpg 2x" data-file-width="800" data-file-height="887" /></a><figcaption>Artist, Dia-Al-Azzawi, exhibits the style of the Calligraphy Combinations School of Hurufiyya art</figcaption></figure> <dl><dt>Modern classical</dt> <dd>Works that blend pure calligraphy with other motifs, such as repeating geometric patterns. Ahmad Moustaffa (b. 1943) is representative of this style<sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup></dd> <dt><a href="/wiki/Calligraffiti" title="Calligraffiti">Calligraffiti</a></dt> <dd>Artwork, employing script, but which follows no rules and where artists require no formal training. Calligraffiti artists employ their own ordinary handwriting within a modern composition. Artists may reshape letters, or simply invent new letters that reference traditional Arabic scripts. Artists that belong to this school include: Lebanese painter and poet, <a href="/wiki/Etel_Adnan" title="Etel Adnan">Etel Adnan</a>; Egyptian painter, Ramzi Moustafa (b. 1926) and the Iraqi artist and intellectual. <a href="/wiki/Shakir_Hassan_Al_Said" title="Shakir Hassan Al Said">Shakir Hassan Al Said</a>.<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup></dd> <dt>Freeform calligraphy</dt> <dd>Artworks that balance classical styles with calligraffiti.<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup></dd> <dt>Abstract calligraphy</dt> <dd>Art that deconstructs letters and includes them as a graphic element in an abstract artwork. In this style of art, letters may be legible, illegible or may use pseudo-script. Rafa al-Naisiri (b. 1940) and <a href="/wiki/Mahmoud_Hammad" title="Mahmoud Hammad">Mahmoud Hammad</a> (1923-1988) are notable examples of this style of artist.<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup></dd> <dt>Calligraphy Combinations</dt> <dd>Artworks that use any combination of calligraphy styles, often employing marginal calligraphy or unconscious calligraphy. Artist, <a href="/wiki/Dia_Azzawi" title="Dia Azzawi">Dia Azzawi</a> is a representative of this style in the Arab modern art and <a href="/wiki/Hossein_Zenderoudi" title="Hossein Zenderoudi">Hossein Zenderoudi</a> is the most important example in Iranian modern and contemporary art.<sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup></dd></dl> <div class="mw-heading mw-heading2"><h2 id="Examples">Examples</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Hurufiyya_movement&action=edit&section=5" title="Edit section: Examples"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul class="gallery mw-gallery-traditional"> <li class="gallerybox" style="width: 155px"> <div class="thumb" style="width: 150px; height: 150px;"><span typeof="mw:File"><a href="/wiki/File:Ceiling_of_Frere_Hall.jpg" class="mw-file-description" title="Roof of Frere Hall, Karachi, Pakistan, c. 1986. Pakmural by artist, Sadequain Naqqash, integrates calligraphy into a contemporary artwork"><img alt="Roof of Frere Hall, Karachi, Pakistan, c. 1986. Pakmural by artist, Sadequain Naqqash, integrates calligraphy into a contemporary artwork" src="//upload.wikimedia.org/wikipedia/commons/thumb/6/60/Ceiling_of_Frere_Hall.jpg/120px-Ceiling_of_Frere_Hall.jpg" decoding="async" width="120" height="79" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/60/Ceiling_of_Frere_Hall.jpg/180px-Ceiling_of_Frere_Hall.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/60/Ceiling_of_Frere_Hall.jpg/240px-Ceiling_of_Frere_Hall.jpg 2x" data-file-width="4839" data-file-height="3205" /></a></span></div> <div class="gallerytext">Roof of <a href="/wiki/Frere_Hall" title="Frere Hall">Frere Hall</a>, Karachi, Pakistan, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1986</span>. Pakmural by artist, <a href="/wiki/Sadequain" title="Sadequain">Sadequain Naqqash</a>, integrates calligraphy into a contemporary artwork</div> </li> <li class="gallerybox" style="width: 155px"> <div class="thumb" style="width: 150px; height: 150px;"><span typeof="mw:File"><a href="/wiki/File:Ceiling_of_Frere_Hall_(1).jpg" class="mw-file-description" title="Roof of Frere Hall, Karachi, mural, c. 1986 by Sadequain Naqqash"><img alt="Roof of Frere Hall, Karachi, mural, c. 1986 by Sadequain Naqqash" src="//upload.wikimedia.org/wikipedia/commons/thumb/0/01/Ceiling_of_Frere_Hall_%281%29.jpg/120px-Ceiling_of_Frere_Hall_%281%29.jpg" decoding="async" width="120" height="79" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/01/Ceiling_of_Frere_Hall_%281%29.jpg/180px-Ceiling_of_Frere_Hall_%281%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/01/Ceiling_of_Frere_Hall_%281%29.jpg/240px-Ceiling_of_Frere_Hall_%281%29.jpg 2x" data-file-width="4864" data-file-height="3221" /></a></span></div> <div class="gallerytext">Roof of Frere Hall, Karachi, mural, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1986</span> by <a href="/wiki/Sadequain" title="Sadequain">Sadequain Naqqash</a></div> </li> <li class="gallerybox" style="width: 155px"> <div class="thumb" style="width: 150px; height: 150px;"><span typeof="mw:File"><a href="/wiki/File:Ceiling_of_Frere_Hall_(3).jpg" class="mw-file-description" title="Detail from roof of Frere Hall by Sadequain Naqqash, illustrating Arabic letters"><img alt="Detail from roof of Frere Hall by Sadequain Naqqash, illustrating Arabic letters" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Ceiling_of_Frere_Hall_%283%29.jpg/120px-Ceiling_of_Frere_Hall_%283%29.jpg" decoding="async" width="120" height="80" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Ceiling_of_Frere_Hall_%283%29.jpg/180px-Ceiling_of_Frere_Hall_%283%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Ceiling_of_Frere_Hall_%283%29.jpg/240px-Ceiling_of_Frere_Hall_%283%29.jpg 2x" data-file-width="3368" data-file-height="2245" /></a></span></div> <div class="gallerytext">Detail from roof of Frere Hall by <a href="/wiki/Sadequain" title="Sadequain">Sadequain Naqqash</a>, illustrating Arabic letters</div> </li> <li class="gallerybox" style="width: 155px"> <div class="thumb" style="width: 150px; height: 150px;"><span typeof="mw:File"><a href="/wiki/File:Art_de_rue_Djerba_quartier_Er_Ryadh_Calligraphie_orange.JPG" class="mw-file-description" title="Art installation, Rue Djerba, Er Ryadh quarter, Tunisia, by el Seed, the calligraffiti artist"><img alt="Art installation, Rue Djerba, Er Ryadh quarter, Tunisia, by el Seed, the calligraffiti artist" src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7e/Art_de_rue_Djerba_quartier_Er_Ryadh_Calligraphie_orange.JPG/120px-Art_de_rue_Djerba_quartier_Er_Ryadh_Calligraphie_orange.JPG" decoding="async" width="120" height="80" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/7e/Art_de_rue_Djerba_quartier_Er_Ryadh_Calligraphie_orange.JPG/180px-Art_de_rue_Djerba_quartier_Er_Ryadh_Calligraphie_orange.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/7e/Art_de_rue_Djerba_quartier_Er_Ryadh_Calligraphie_orange.JPG/240px-Art_de_rue_Djerba_quartier_Er_Ryadh_Calligraphie_orange.JPG 2x" data-file-width="1280" data-file-height="853" /></a></span></div> <div class="gallerytext">Art installation, Rue Djerba, Er Ryadh quarter, Tunisia, by <a href="/wiki/El_Seed" class="mw-redirect" title="El Seed">el Seed</a>, the calligraffiti artist</div> </li> <li class="gallerybox" style="width: 155px"> <div class="thumb" style="width: 150px; height: 150px;"><span typeof="mw:File"><a href="/wiki/File:National_Museum_of_Ethnology,_Osaka_-_Islamic_calligraphy_%22Ecstasy%22_(Al-Wajd)_-_Paris_in_France_-_Made_by_Hassan_Massoudy_in_2001.jpg" class="mw-file-description" title="Al Wajd [Ectasy], painting by Hassan Massoudy, 2001. Now in the National Museum of Ethnology, Osaka"><img alt="Al Wajd [Ectasy], painting by Hassan Massoudy, 2001. Now in the National Museum of Ethnology, Osaka" src="//upload.wikimedia.org/wikipedia/commons/thumb/d/df/National_Museum_of_Ethnology%2C_Osaka_-_Islamic_calligraphy_%22Ecstasy%22_%28Al-Wajd%29_-_Paris_in_France_-_Made_by_Hassan_Massoudy_in_2001.jpg/90px-National_Museum_of_Ethnology%2C_Osaka_-_Islamic_calligraphy_%22Ecstasy%22_%28Al-Wajd%29_-_Paris_in_France_-_Made_by_Hassan_Massoudy_in_2001.jpg" decoding="async" width="90" height="120" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/df/National_Museum_of_Ethnology%2C_Osaka_-_Islamic_calligraphy_%22Ecstasy%22_%28Al-Wajd%29_-_Paris_in_France_-_Made_by_Hassan_Massoudy_in_2001.jpg/135px-National_Museum_of_Ethnology%2C_Osaka_-_Islamic_calligraphy_%22Ecstasy%22_%28Al-Wajd%29_-_Paris_in_France_-_Made_by_Hassan_Massoudy_in_2001.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/df/National_Museum_of_Ethnology%2C_Osaka_-_Islamic_calligraphy_%22Ecstasy%22_%28Al-Wajd%29_-_Paris_in_France_-_Made_by_Hassan_Massoudy_in_2001.jpg/180px-National_Museum_of_Ethnology%2C_Osaka_-_Islamic_calligraphy_%22Ecstasy%22_%28Al-Wajd%29_-_Paris_in_France_-_Made_by_Hassan_Massoudy_in_2001.jpg 2x" data-file-width="3096" data-file-height="4128" /></a></span></div> <div class="gallerytext"><i>Al Wajd</i> [<i>Ectasy</i>], painting by <a href="/wiki/Hassan_Massoudy" title="Hassan Massoudy">Hassan Massoudy</a>, 2001. Now in the National Museum of Ethnology, Osaka</div> </li> </ul> <p><br /> </p> <div class="mw-heading mw-heading2"><h2 id="Schools_of_Hurifiyya">Schools of Hurifiyya</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Hurufiyya_movement&action=edit&section=6" title="Edit section: Schools of Hurifiyya"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Iranian_modern_and_contemporary_art#Saqqakhaneh_movement" title="Iranian modern and contemporary art">Saqqa-Khaneh school</a>, Iran</li></ul> <ul><li>Khartoum School, Sudan</li></ul> <ul><li><a href="/wiki/One_Dimension_Group" class="mw-redirect" title="One Dimension Group">One Dimension Group</a>, Iraq</li></ul> <p><br /> </p> <div class="mw-heading mw-heading2"><h2 id="Notable_exponents">Notable exponents</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Hurufiyya_movement&action=edit&section=7" title="Edit section: Notable exponents"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Iraqi painter, <a href="/wiki/Madiha_Omar" title="Madiha Omar">Madiha Omar</a>, is recognised as a pioneer of the hurufiyya art movement, having exhibited a number of hurufist-inspired works in Georgetown in Washington as early as 1949.<sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> and publishing <i>Arabic Calligraphy: An Inspiring Element in Abstract Art</i> in 1950.<sup id="cite_ref-Ahram_42-0" class="reference"><a href="#cite_note-Ahram-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Jamil_Hamoudi" title="Jamil Hamoudi">Jamil Hamoudi</a> was also a pioneer, active from the 1950s. Both Omar and Hamoudi joined the <a href="/wiki/One_Dimension_Group" class="mw-redirect" title="One Dimension Group">One Dimension Group</a> when it was founded by <a href="/wiki/Shakir_Hassan_Al_Said" title="Shakir Hassan Al Said">Shakir Hassan Al Said</a> in 1971 since its principles were based on the importance of the Arabic letter.<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> The artist and art historian, <a href="/wiki/Wijdan_Ali" title="Wijdan Ali">Princess Wijdan Ali</a>, who developed the traditions of Arabic calligraphy in a modern, abstract format and is considered a pioneer of the movement in Jordan, has been able to bring hurufiyya to the attention of a broader audience through her writing and her work as a curator and patron of the arts.<sup id="cite_ref-Talhami_44-0" class="reference"><a href="#cite_note-Talhami-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> </p><p>Notable exponents of hurufiyya art include:<sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> </p><p><b>Algeria</b> </p> <ul><li><a href="/wiki/Rachid_Koraichi" class="mw-redirect" title="Rachid Koraichi">Rachid Koraichi</a> (b. 1947)</li> <li><a href="/wiki/Omar_Racim" title="Omar Racim">Omar Racim</a> (1894-1959)</li></ul> <p><b>Egypt</b> </p> <ul><li><a href="/wiki/Omar_El-Nagdi" title="Omar El-Nagdi">Omar El-Nagdi</a> (b. 1931)<sup id="cite_ref-46" class="reference"><a href="#cite_note-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup></li> <li><a href="/wiki/Ghada_Amer" title="Ghada Amer">Ghada Amer</a> (b. 1963) active in Egypt and France</li></ul> <p><b>Iraq</b> </p> <ul><li><a href="/wiki/Firyal_Al-Adhamy" title="Firyal Al-Adhamy">Firyal Al-Adhamy</a> (also known as Ferial al-Althami) (b. 1950)</li> <li><a href="/wiki/Shakir_Hassan_Al_Said" title="Shakir Hassan Al Said">Shakkir Hassan Al Sa'id</a> (1925-2004)</li> <li><a href="/wiki/Mohammed_Ghani_Hikmat" title="Mohammed Ghani Hikmat">Mohammed Ghani Hikmat</a> (1929-2011)</li> <li><a href="/wiki/Madiha_Omar" title="Madiha Omar">Madiha Omar</a> (1908 – 2005)</li> <li><a href="/wiki/Jamil_Hamoudi" title="Jamil Hamoudi">Jamil Hamoudi</a> (1924-2003)</li> <li><a href="/wiki/Hassan_Massoudy" title="Hassan Massoudy">Hassan Massoudy</a> (b. 1944)</li> <li><a href="/wiki/Dia_Azzawi" title="Dia Azzawi">Dia Azzawi</a> (b. 1939) active in Iraq and London</li> <li><a href="https://ar.wikipedia.org/wiki/%D8%B3%D8%B9%D8%AF%D9%8A_%D8%A7%D9%84%D9%83%D8%B9%D8%A8%D9%8A" class="extiw" title="ar:سعدي الكعبي">Saadi Al Kaabi</a> (b 1937)<sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup></li> <li>Ismael Al Khaid (b. abt 1900)<sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup></li> <li><a href="/wiki/Rafa_al-Nasiri" title="Rafa al-Nasiri">Rafa al-Nasiri</a> (b. 1940)</li></ul> <p><b>Iran</b> </p> <ul><li><a href="https://fr.wikipedia.org/wiki/Nasser_Assar" class="extiw" title="fr:Nasser Assar">Nasser Assar</a> (1928-2011)<sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup></li> <li>Nasrollah Afjei (b. 1933)</li> <li><a href="/wiki/Parviz_Tanavoli" title="Parviz Tanavoli">Parviz Tanavoli</a> (b. 1937)</li> <li><a href="/wiki/Faramarz_Pilaram" title="Faramarz Pilaram">Faramarz Pilaram</a> (1937–1983)</li> <li><a href="/wiki/Hossein_Zenderoudi" title="Hossein Zenderoudi">Charles Hossein Zenderoudi</a> (b. 1937)</li> <li><a href="https://fa.wikipedia.org/wiki/%D8%B5%D8%A7%D8%AF%D9%82_%D8%AA%D8%A8%D8%B1%DB%8C%D8%B2%DB%8C" class="extiw" title="fa:صادق تبریزی">Sadegh Tabrizi</a> (1938-2018)</li> <li><a href="https://fa.wikipedia.org/wiki/%D8%A8%D9%87%D8%B2%D8%A7%D8%AF_%DA%AF%D9%84%D9%BE%D8%A7%DB%8C%DA%AF%D8%A7%D9%86%DB%8C" class="extiw" title="fa:بهزاد گلپایگانی">Behzad Golpayegani</a> (1938-1985‌)</li> <li><a href="https://fa.wikipedia.org/wiki/%D9%85%D8%AD%D9%85%D8%AF_%D8%A7%D8%AD%D8%B5%D8%A7%DB%8C%DB%8C" class="extiw" title="fa:محمد احصایی">Mohammad Ehsai</a> (b. 1939)</li> <li><a href="https://fa.wikipedia.org/wiki/%D8%B1%D8%B6%D8%A7_%D9%85%D8%A7%D9%81%DB%8C" class="extiw" title="fa:رضا مافی">Reza Mafi</a> (1943-1982)</li> <li><a href="/wiki/Golnaz_Fathi" title="Golnaz Fathi">Golnaz Fathi</a> (b. 1972)</li> <li>Mehrdad Shoghi (b. 1972)</li></ul> <p><b>Jordan</b> </p> <ul><li><a href="/wiki/Wijdan_Ali" title="Wijdan Ali">Wijdan Ali</a> (b. 1939) painter, art historian, curator and patron of the arts</li> <li><a href="/wiki/Mahmoud_Taha" title="Mahmoud Taha">Mahmoud Taha</a> (b. 1942) ceramicist</li></ul> <p><b>Kuwait</b> </p> <ul><li>Farah Behbehani (b.1981)<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup></li></ul> <p><b>Lebanon</b> </p> <ul><li><a href="/wiki/Etel_Adnan" title="Etel Adnan">Etel Adnan</a> (1925-2021) poet and visual artist</li> <li><a href="/wiki/Saloua_Raouda_Choucair" title="Saloua Raouda Choucair">Saloua Raouda Choucair</a> (1916-2017)</li> <li>Samir Sayegh (b. 1945)<sup id="cite_ref-51" class="reference"><a href="#cite_note-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup></li></ul> <p><b>Morocco</b> </p> <ul><li><a href="/wiki/Lalla_Essaydi" title="Lalla Essaydi">Lalla Essaydi</a> (b. 1956)</li></ul> <p><b>Pakistan</b> </p> <ul><li><a href="/wiki/Sadequain" title="Sadequain">Sadequain Naqqash</a> (1930-1987)</li></ul> <p><b>Palestine</b> </p> <ul><li><a href="/wiki/Kamal_Boullata" title="Kamal Boullata">Kamal Boullata</a> (1942-2019) active in Palestine</li></ul> <p><b>Saudi Arabia</b> </p> <ul><li><a href="/wiki/Ahmed_Mater" title="Ahmed Mater">Ahmed Mater</a> (b. 1979)</li> <li>Nasser Al Salem (b. 1984)<sup id="cite_ref-52" class="reference"><a href="#cite_note-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup></li> <li>Faisal Samra (b. 1955) multi-media visual and performing artist, active in Saudi Arabia and Bahrain<sup id="cite_ref-53" class="reference"><a href="#cite_note-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup></li></ul> <p><b>Sudan</b> </p> <ul><li><a href="/wiki/Ibrahim_el-Salahi" class="mw-redirect" title="Ibrahim el-Salahi">Ibrahim el-Salahi</a> (b. 1930)</li> <li><a href="/wiki/Osman_Waqialla" title="Osman Waqialla">Osman Waqialla</a> (1924-2007)</li></ul> <p><b>Syria</b> </p> <ul><li><a href="/wiki/Mahmoud_Hammad" title="Mahmoud Hammad">Mahmoud Hammad</a> (b. 1923)</li> <li>Khaled Al-Saai (b. 1970) active in Syria and UAE<sup id="cite_ref-54" class="reference"><a href="#cite_note-54"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup></li></ul> <p><b>Tunisia</b> </p> <ul><li><a href="/wiki/Nja_Mahdaoui" title="Nja Mahdaoui">Nja Mahdaoui</a> (b. 1937)</li> <li><a href="/wiki/EL_Seed" title="EL Seed">eL Seed</a> (b. 1981) street artist/ calligraffiti artist</li></ul> <p><b>Qatar</b> </p> <ul><li><a href="/wiki/Yousef_Ahmad" title="Yousef Ahmad">Yousef Ahmad</a> (b. 1955) active in Doha, Qatar</li> <li>Ali Hassan Jaber (b.?) Qatar<sup id="cite_ref-55" class="reference"><a href="#cite_note-55"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup></li></ul> <p><b>United Arab Emirates</b> </p> <ul><li><a href="/wiki/Abdul_Qader_Al_Rais" title="Abdul Qader Al Rais">Abdul Qadir al-Raes</a> (b. 1951) active in Dubai</li> <li>Mohammed Mandi (b. abt 1950)<sup id="cite_ref-56" class="reference"><a href="#cite_note-56"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup></li></ul> <div class="mw-heading mw-heading2"><h2 id="Exhibitions">Exhibitions</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Hurufiyya_movement&action=edit&section=8" title="Edit section: Exhibitions"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Individual hurufiyya artists began to stage exhibitions from the 1960s. In addition to solo exhibitions, several group exhibitions showcasing the variations in hurufiyya art, both geographically and temporally, have also been mounted by prestigious art museums. </p> <ul><li><i>Word into Art: Artists of the Modern Middle East,</i> 18 May- 26 September 2006, curated by <a href="/w/index.php?title=Venetia_Porter&action=edit&redlink=1" class="new" title="Venetia Porter (page does not exist)">Venetia Porter</a>; the British Museum, London; travelling exhibition also at the Dubai Financial Centre, 7 February – 30 April 2008)<sup id="cite_ref-57" class="reference"><a href="#cite_note-57"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-58" class="reference"><a href="#cite_note-58"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup></li> <li><i>Hurufiyya: Art & Identity,</i> exhibition featuring selected artworks 1960s - early 2000s, curated by <a href="/w/index.php?title=Karim_Sultan&action=edit&redlink=1" class="new" title="Karim Sultan (page does not exist)">Karim Sultan</a>; Barjeel Foundation, 30 November 2016 - 25 January 2017, Bibliotheca Alexandrina, Alexandria, Egypt<sup id="cite_ref-59" class="reference"><a href="#cite_note-59"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-60" class="reference"><a href="#cite_note-60"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup></li></ul> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Hurufiyya_movement&action=edit&section=9" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Art_movement" title="Art movement">Art movement</a></li> <li><a href="/wiki/Baghdad_School" title="Baghdad School">Baghdad School</a> - influential 13th-century school of calligraphy and illustration</li> <li><a href="/wiki/Calligraffiti" title="Calligraffiti">Calligraffiti</a></li> <li><a href="/wiki/Hurufism" title="Hurufism">Hurufism</a></li> <li><a href="/wiki/Iraqi_art" title="Iraqi art">Iraqi art</a></li> <li><a href="/wiki/Islamic_art" title="Islamic art">Islamic art</a></li> <li><a href="/wiki/Islamic_calligraphy" title="Islamic calligraphy">Islamic calligraphy</a></li> <li><a href="/wiki/Jordanian_art" title="Jordanian art">Jordanian art</a></li> <li><a href="/wiki/List_of_art_movements" title="List of art movements">List of art movements</a></li> <li><a href="/wiki/Modern_art" title="Modern art">Modern art</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Hurufiyya_movement&action=edit&section=10" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">Mir-Kasimov, O., <i>Words of Power: Hurufi Teachings Between Shi'ism and Sufism in Medieval Islam,</i> I.B. Tauris and the Institute of Ismaili Studies, 2015</span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">Flood, F.B. and Necipoglu, G. (eds) <i>A Companion to Islamic Art and Architecture,</i> Wiley, 2017, pp 1294-95; Treichl, C., <i>Art and Language: Explorations in (Post) Modern Thought and Visual Culture,</i> Kassel University Press, 2017 p. 115</span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Ali, W., <i>Modern Islamic Art: Development and Continuity,</i> University of Florida Press, 1997, p. 16</span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">Issa, R., Cestar. J. and Porter,V., <i>Signs of Our Times: From Calligraphy to Calligraffiti,</i>New York, Merrill, 2016</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">Mavrakis, N., "The Hurufiyah Art Movement in Middle Eastern Art," <i>McGill Journal of Middle Eastern Studies Blog,</i> <a rel="nofollow" class="external text" href="https://mjmes.wordpress.com/2013/03/08/article-5/">Online:</a> ;Tuohy, A. and Masters, C., <i>A-Z Great Modern Artists,</i> Hachette UK, 2015, p. 56</span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">Shabout, N.M., <i>Modern Arab Art: Formation of Arab Aesthetics,</i> University of Florida Press, 2007, p.80; Shabout, N., "Huroufiyah" in: <i>Routledge Encyclopedia Of Modern Art,</i> Routledge, 2016, DOI: 10.4324/9781135000356-REM176-1; Ali, W., <i>Modern Islamic Art: Development and Continuity,</i> University of Florida Press, 1997, pp 166-67</span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">Schimmel, A., <i>Calligraphy and Islamic Culture,</i> London, I.B. Taurus, 1990, pp 31-32</span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">Treichl, C., <i>Art and Language: Explorations in (Post) Modern Thought and Visual Culture,</i> Kassel University Press, 2017 p. 3</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Dadi. I., "Ibrahim El Salahi and Calligraphic Modernism in a Comparative Perspective," <i>South Atlantic Quarterly,</i> 109 (3), 2010 pp 555-576, <a rel="nofollow" class="external text" href="https://doi.org/10.1215/00382876-2010-006">DOI:</a>; Flood, F.B. and Necipoglu, G. (eds), <i>A Companion to Islamic Art and Architecture,</i> Wiley, 2017, p. 1294</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">Reynolds, D.F., <i>The Cambridge Companion to Modern Arab Culture,</i> Cambridge University Press, 2015, p. 202</span> </li> <li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">Flood, F.B. and Necipoglu, G. (eds), <i>A Companion to Islamic Art and Architecture,</i> Wiley, 2017, p. 1298-1299; Reynolds, D.F., <i>The Cambridge Companion to Modern Arab Culture,</i> Cambridge University Press, 2015, p. 202</span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Reynolds, D.F., <i>The Cambridge Companion to Modern Arab Culture,</i> Cambridge University Press, 2015, p. 202</span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">Flood, F.B. and Necipoglu, G. (eds) <i>A Companion to Islamic Art and Architecture,</i> Wiley, 2017, p. 1294</span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">Treichl, C., <i>Art and Language: Explorations in (Post) Modern Thought and Visual Culture,</i> Kassel University Press, 2017 pp 115-119</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">Anima Gallery, "Madiha Omar," [Biographical Notes], <a rel="nofollow" class="external text" href="https://www.meemartgallery.com/art_resources.php?id=89">Online:</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20180509151308/https://www.meemartgallery.com/art_resources.php?id=89">Archived</a> 2018-05-09 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a></span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">Mavrakis, N., "The Hurufiyah Art Movement in Middle Eastern Art," <i>McGill Journal of Middle Eastern Studies Blog,</i> <a rel="nofollow" class="external text" href="https://mjmes.wordpress.com/2013/03/08/article-5/">Online:</a>;Tuohy, A. and Masters, C., <i>A-Z Great Modern Artists,</i> Hachette UK, 2015, p. 56; Dadi. I., "Ibrahim El Salahi and Calligraphic Modernism in a Comparative Perspective," <i>South Atlantic Quarterly,</i> 109 (3), 2010 pp 555-576, DOI:<a rel="nofollow" class="external free" href="https://doi.org/10.1215/00382876-2010-006">https://doi.org/10.1215/00382876-2010-006</a></span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">Ali, W., <i>Modern Islamic Art: Development and Continuity,</i> University of Florida Press, 1997, p. 156</span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text">Inati, S.C., <i>Iraq: Its History, People, and Politics,</i> Humanity Books, 2003, p.76; Beaugé, F. and Clément, J-F., <i>L'image dans le Monde Arabé,</i>CNRS Éditions, 1995, p. 147</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text">Ali, W., <i>Modern Islamic Art: Development and Continuity,</i> University of Florida Press, 1997, p. 156</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text">Lindgren, A. and Ross, S., <i>The Modernist World,</i> Routledge, 2015, p. 495; Mavrakis, N., "The Hurufiyah Art Movement in Middle Eastern Art," <i>McGill Journal of Middle Eastern Studies Blog,</i> <a rel="nofollow" class="external text" href="https://mjmes.wordpress.com/2013/03/08/article-5/">Online:</a>; Tuohy, A. and Masters, C., <i>A-Z Great Modern Artists,</i> Hachette UK, 2015, p. 56</span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text">Treichl, C., <i>Art and Language: Explorations in (Post) Modern Thought and Visual Culture,</i> Kassel University Press, 2017, p. 117</span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text">Flood, F.B. and Necipoglu, G. (eds) <i>A Companion to Islamic Art and Architecture,</i> Wiley, 2017, p. 1294</span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text">Treichl, C., <i>Art and Language: Explorations in (Post) Modern Thought and Visual Culture,</i> Kassel University Press, 2017 p. 3</span> </li> <li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text">Asfour, M., <a rel="nofollow" class="external text" href="http://nabadartgallery.com/?q=node/429">"A Window on Contemporary Arab Art,"</a> NABAD Art Gallery</span> </li> <li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text">Anima Gallery, "Yousef Ahdmad," [Biographical Notes], <a rel="nofollow" class="external text" href="http://www.animagallery.com/artists/yousef-ahmad/">Online:</a></span> </li> <li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text">"Shaker Hassan Al Said," Darat al Funum, Online: <a rel="nofollow" class="external free" href="https://web.archive.org/web/20120707071823/http://www.daratalfunun.org/main/activit/curentl/anniv/exhib3.html">https://web.archive.org/web/20120707071823/http://www.daratalfunun.org/main/activit/curentl/anniv/exhib3.html</a>; Flood, F.B. and Necipoglu, G. (eds), <i>A Companion to Islamic Art and Architecture,</i> Wiley, 2017, p. 1294</span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text">Ali, W., <i>Modern Islamic Art: Development and Continuity,</i> University of Florida Press, 1997, pp 165-66; Dadi, I., "Ibrahim El Salahi and Calligraphic Modernism in a Comparative Perspective," <i>South Atlantic Quarterly. </i> Vol. 109, No. 3, 2010, pp 555-576, DOI: 10.1215/00382876-2010-006</span> </li> <li id="cite_note-Dagher-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-Dagher_28-0">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFDagherMahmoud2016" class="citation book cs1">Dagher, Charles; Mahmoud, Samir (2016). <i>Arabic Hurufiyya: Art and Identity</i>. Milan: Skira Editore. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-8857231518" title="Special:BookSources/978-8857231518"><bdi>978-8857231518</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Arabic+Hurufiyya%3A+Art+and+Identity&rft.place=Milan&rft.pub=Skira+Editore&rft.date=2016&rft.isbn=978-8857231518&rft.aulast=Dagher&rft.aufirst=Charles&rft.au=Mahmoud%2C+Samir&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHurufiyya+movement" class="Z3988"></span></span> </li> <li id="cite_note-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-29">^</a></b></span> <span class="reference-text">Reynolds, D.F., <i>The Cambridge Companion to Modern Arab Culture,</i> Cambridge University Press, 2015, p. 200</span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text">Issa, R., Cestar. J. and Porter,V., <i>Signs of Our Times: From Calligraphy to Calligraffiti,</i>New York, Merrill, 2016</span> </li> <li id="cite_note-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-31">^</a></b></span> <span class="reference-text">Reynolds, D.F., <i>The Cambridge Companion to Modern Arab Culture,</i> Cambridge University Press, 2015, p. 200</span> </li> <li id="cite_note-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-32">^</a></b></span> <span class="reference-text">Shabout, N.M., <i>Modern Arab Art: Formation of Arab Aesthetics,</i> University of Florida Press, 2007, pp 79-85</span> </li> <li id="cite_note-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-33">^</a></b></span> <span class="reference-text">Ali, W., <i>Modern Islamic Art: Development and Continuity,</i> University of Florida Press, 1997, p. 165; Daghir uses a different classification, not canvassed here.</span> </li> <li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text">Ali, W., <i>Modern Islamic Art: Development and Continuity,</i> University of Florida Press, 1997, p. 165</span> </li> <li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text">Ali, W., <i>Modern Islamic Art: Development and Continuity,</i> University of Florida Press, 1997, p. 165</span> </li> <li id="cite_note-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-36">^</a></b></span> <span class="reference-text">Ali, W., <i>Modern Islamic Art: Development and Continuity,</i> University of Florida Press, 1997, p. 165-66</span> </li> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text">Ali, W., <i>Modern Islamic Art: Development and Continuity,</i> University of Florida Press, 1997, p. 167-69</span> </li> <li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text">Ali, W., <i>Modern Islamic Art: Development and Continuity,</i> University of Florida Press, 1997, p. 170</span> </li> <li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text">Ali, W., <i>Modern Islamic Art: Development and Continuity,</i> University of Florida Press, 1997, p. 170-172</span> </li> <li id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text">Shabout, N.M., <i>Modern Arab Art: Formation of Arab Aesthetics,</i> University of Florida Press, 2007, p. 88</span> </li> <li id="cite_note-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-41">^</a></b></span> <span class="reference-text">Treichl, C., <i>Art and Language: Explorations in (Post) Modern Thought and Visual Culture,</i> Kassel University Press, 2017 p. 117</span> </li> <li id="cite_note-Ahram-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-Ahram_42-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://english.ahram.org.eg/NewsContent/5/25/253331/Arts--Culture/Visual-Art/Alexandria-exhibition-celebrates-Hurufiyya-art-mov.aspx">"Alexandria exhibition celebrates 'Hurufiyya' art movement - Visual Art - Arts & Culture - Ahram Online"</a>. <i>english.ahram.org.eg</i><span class="reference-accessdate">. Retrieved <span class="nowrap">18 February</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=english.ahram.org.eg&rft.atitle=Alexandria+exhibition+celebrates+%27Hurufiyya%27+art+movement+-+Visual+Art+-+Arts+%26+Culture+-+Ahram+Online&rft_id=http%3A%2F%2Fenglish.ahram.org.eg%2FNewsContent%2F5%2F25%2F253331%2FArts--Culture%2FVisual-Art%2FAlexandria-exhibition-celebrates-Hurufiyya-art-mov.aspx&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHurufiyya+movement" class="Z3988"></span>; Treichl, C., <i>Art and Language: Explorations in (Post) Modern Thought and Visual Culture,</i> Kassel University Press, 2017 p. 117></span> </li> <li id="cite_note-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-43">^</a></b></span> <span class="reference-text">Ali, W., <i>Modern Islamic Art: Development and Continuity,</i> University of Florida Press, 1997, p. 52</span> </li> <li id="cite_note-Talhami-44"><span class="mw-cite-backlink"><b><a href="#cite_ref-Talhami_44-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTalhami2013" class="citation book cs1">Talhami, Ghada Hashem (2013). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=4ddqaCdZdZ0C&pg=PA24"><i>Historical Dictionary of Women in the Middle East and North Africa</i></a>. p. 24. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0810868588" title="Special:BookSources/978-0810868588"><bdi>978-0810868588</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Historical+Dictionary+of+Women+in+the+Middle+East+and+North+Africa&rft.pages=24&rft.date=2013&rft.isbn=978-0810868588&rft.aulast=Talhami&rft.aufirst=Ghada+Hashem&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D4ddqaCdZdZ0C%26pg%3DPA24&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHurufiyya+movement" class="Z3988"></span>; Ramadan, K.D., <i>Peripheral Insider: Perspectives on Contemporary Internationalism in Visual Culture,</i> Museum Tusculanum Press, 2007, p. 49; Mavrakis, N., "The Hurufiyah Art Movement in Middle Eastern Art," <i>McGill Journal of Middle Eastern Studies Blog,</i> <a rel="nofollow" class="external text" href="https://mjmes.wordpress.com/2013/03/08/article-5/">Online:</a></span> </li> <li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text">Flood, F.B. and Necipoglu, G. (eds), <i>A Companion to Islamic Art and Architecture,</i> Wiley, 2017, p. 1294; Bloom, J. and Blair, S. (eds), <i>Grove Encyclopedia of Islamic Art & Architecture, Vols 1-3, Oxford University Press, 2009; Treichl, C., </i>Art and Language: Explorations in (Post) Modern Thought and Visual Culture,<i> Kassel University Press, 2017 p. 3; Ali, W., </i>Modern Islamic Art: Development and Continuity,<i> University of Florida Press, 1997, pp 156-168; Shabout, N.M., </i>Modern Arab Art: Formation of Arab Aesthetics,<i> University of Florida Press, 2007, pp 79-85</i></span> </li> <li id="cite_note-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-46">^</a></b></span> <span class="reference-text">Gordon, E. and Gordon, B. <i>Omar El Nagdi</i>, London, 1960</span> </li> <li id="cite_note-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-47">^</a></b></span> <span class="reference-text">Eigner, S. (ed), <i>Art of the Middle East: Modern and Contemporary Art of the Arab World and Iran,</i> Merrell, 2010, pp 281-283; Jabra, I.J., <i>The Grass Roots of Art in Iraq</i>, Waisit Graphic and Publishing, 1983, <a rel="nofollow" class="external text" href="http://artiraq.org/maia/archive/files/1983-jabra-grass-roots_1ba63885c8.pdf">Online:</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160817004926/http://artiraq.org/maia/archive/files/1983-jabra-grass-roots_1ba63885c8.pdf">Archived</a> 2016-08-17 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a></span> </li> <li id="cite_note-48"><span class="mw-cite-backlink"><b><a href="#cite_ref-48">^</a></b></span> <span class="reference-text">Barjeel Foundation, "Ismail al-Kahid", [Biographical Notes), <a rel="nofollow" class="external text" href="https://web.archive.org/web/20220309035415/https://www.barjeelartfoundation.org/artist/iraq/ismael-al-khaid/">Online:</a></span> </li> <li id="cite_note-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-49">^</a></b></span> <span class="reference-text">Ali, W., <i>Modern Islamic Art: Development and Continuity,</i> University of Florida Press, 1997, p. 156</span> </li> <li id="cite_note-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-50">^</a></b></span> <span class="reference-text">Idliby, E.T., <i>Burqas, Baseball, and Apple Pie: Being Muslim in America</i>, pp 55-56</span> </li> <li id="cite_note-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-51">^</a></b></span> <span class="reference-text"><i>Contemporary Art by Arab American Artists</i>, Arab American National Museum, 2005, p. 28</span> </li> <li id="cite_note-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-52">^</a></b></span> <span class="reference-text"><i>Edge of Arabia</i>, <a rel="nofollow" class="external text" href="http://edgeofarabia.com/artists/nasser-al-salem">Online:</a></span> </li> <li id="cite_note-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-53">^</a></b></span> <span class="reference-text">Eigner, S., <i>Art of the Middle East: Modern and Contemporary Art of the Arab World and Iran</i>, Merrell, 2010, p. 102 and p. 226</span> </li> <li id="cite_note-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-54">^</a></b></span> <span class="reference-text">Treichl, C., <i>Art and Language: Explorations in (Post) Modern Thought and Visual Culture</i>, Kassel University Press, 2017, p.117</span> </li> <li id="cite_note-55"><span class="mw-cite-backlink"><b><a href="#cite_ref-55">^</a></b></span> <span class="reference-text">Farah, M-A., "The Top Contemporary Artists In Qatar You Should Know", <i>Culture Trip</i>, 23 December 2016 <a rel="nofollow" class="external text" href="https://theculturetrip.com/middle-east/qatar/articles/5-contemporary-artists-in-qatar-you-should-know/">Online:</a></span> </li> <li id="cite_note-56"><span class="mw-cite-backlink"><b><a href="#cite_ref-56">^</a></b></span> <span class="reference-text">Shah, P., <i>Sheikh Zayed Grand Mosque</i>, ArtByPino, 2017, [E-book edition], n.p.</span> </li> <li id="cite_note-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-57">^</a></b></span> <span class="reference-text">British Museum, "Word into Art" Online: <a rel="nofollow" class="external free" href="http://www.britishmuseum.org/the_museum/london_exhibition_archive/archive_word_into_art.aspx2006">http://www.britishmuseum.org/the_museum/london_exhibition_archive/archive_word_into_art.aspx2006</a></span> </li> <li id="cite_note-58"><span class="mw-cite-backlink"><b><a href="#cite_ref-58">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://universes.art/en/nafas/articles/2008/tips/word-into-art">"Word into Art in Dubai"</a>. <i>universes.art</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2024-06-09</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=universes.art&rft.atitle=Word+into+Art+in+Dubai&rft_id=https%3A%2F%2Funiverses.art%2Fen%2Fnafas%2Farticles%2F2008%2Ftips%2Fword-into-art&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHurufiyya+movement" class="Z3988"></span></span> </li> <li id="cite_note-59"><span class="mw-cite-backlink"><b><a href="#cite_ref-59">^</a></b></span> <span class="reference-text">Elsirgany, S., "Alexandria exhibition celebrates 'Hurufiyya' art movement," <i>Ahram,</i> 18 December 2016, Online:<a rel="nofollow" class="external free" href="http://english.ahram.org.eg/NewsContent/5/25/253331/Arts--Culture/Visual-Art/Alexandria-exhibition-celebrates-Hurufiyya-art-mov.aspx">http://english.ahram.org.eg/NewsContent/5/25/253331/Arts--Culture/Visual-Art/Alexandria-exhibition-celebrates-Hurufiyya-art-mov.aspx</a> and Barjeel Foundation, Online: <a rel="nofollow" class="external free" href="http://www.barjeelartfoundation.org/exhibitions/hurufiyya/">http://www.barjeelartfoundation.org/exhibitions/hurufiyya/</a></span> </li> <li id="cite_note-60"><span class="mw-cite-backlink"><b><a href="#cite_ref-60">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBarjeel2016" class="citation web cs1">Barjeel (2016-10-26). <a rel="nofollow" class="external text" href="https://www.barjeelartfoundation.org/exhibitions/hurufiyya/">"Hurufiyya: Art & Identity"</a>. <i>Barjeel Art Foundation</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2024-06-09</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Barjeel+Art+Foundation&rft.atitle=Hurufiyya%3A+Art+%26+Identity&rft.date=2016-10-26&rft.au=Barjeel&rft_id=https%3A%2F%2Fwww.barjeelartfoundation.org%2Fexhibitions%2Fhurufiyya%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHurufiyya+movement" class="Z3988"></span></span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Hurufiyya_movement&action=edit&section=11" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a rel="nofollow" class="external text" href="https://artsandculture.google.com/exhibit/JwIyX6N5OaEYLA">Google Arts and Culture "Hurufiyya"</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Hurufiyya_movement&action=edit&section=12" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Sharbal Dāghir, <i>Arabic Hurufiya: Art and Identity,</i> (trans. Samir Mahmoud), Skira, 2016, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/8-8572-3151-8" title="Special:BookSources/8-8572-3151-8">8-8572-3151-8</a></li></ul>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Hurufiyya_movement&oldid=1254435932">https://en.wikipedia.org/w/index.php?title=Hurufiyya_movement&oldid=1254435932</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:Arabic_art" title="Category:Arabic art">Arabic art</a></li><li><a href="/wiki/Category:Art_movements" title="Category:Art movements">Art movements</a></li><li><a href="/wiki/Category:Islamic_art" title="Category:Islamic art">Islamic art</a></li><li><a href="/wiki/Category:Sufi_art" title="Category:Sufi art">Sufi art</a></li></ul></div><div id="mw-hidden-catlinks" class="mw-hidden-catlinks mw-hidden-cats-hidden">Hidden categories: <ul><li><a href="/wiki/Category:Webarchive_template_wayback_links" title="Category:Webarchive template wayback links">Webarchive template wayback links</a></li><li><a href="/wiki/Category:Articles_with_short_description" title="Category:Articles with short description">Articles with short description</a></li><li><a href="/wiki/Category:Short_description_is_different_from_Wikidata" title="Category:Short description is different from Wikidata">Short description is different from Wikidata</a></li><li><a href="/wiki/Category:Articles_containing_Arabic-language_text" title="Category:Articles containing Arabic-language text">Articles containing Arabic-language text</a></li></ul></div></div> </div> </main> </div> <div class="mw-footer-container"> <footer id="footer" class="mw-footer" > <ul id="footer-info"> <li id="footer-info-lastmod"> This page was last edited on 31 October 2024, at 00:01<span class="anonymous-show"> (UTC)</span>.</li> <li id="footer-info-copyright">Text is available under the <a href="/wiki/Wikipedia:Text_of_the_Creative_Commons_Attribution-ShareAlike_4.0_International_License" title="Wikipedia:Text of the Creative Commons Attribution-ShareAlike 4.0 International License">Creative Commons Attribution-ShareAlike 4.0 License</a>; additional terms may apply. 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