Few paragraphs from a book entitled:

Stone-Inscriptions with Kufic Script

The Global Cultural Heritage
Including 207 high quality images from different ancient objects
Authors:
Mousavi Jazayeri SMV,
Mousavi Jazayeri SMH, Christian LM

Date of publication: Summer 2012

Number of pages:
145 pages in English + 107 pages in Farsi

Email of authors: kuficpedia@gmail.com

 ‫• به گزارش خبرگزاری کتاب ایران (ایبنا)‪ ،‬جلسه نقد و‬
‫بررسی کتاب «سنگ نوشته‌های کوفی‪ ،‬میراث فرهنگ‬
‫جهانی» اول شهریور با حضور بهرام کلهرنیا‪ ،‬پاتریک‬
‫رینگن‌برگ‪ ،‬حمیدرضا قلیچ‌خانی و سید محمدوحید موسوی‬
‫جزایری‪ ،‬نویسنده کتاب‪ ،‬در سرای اهل قلم برگزار شد‪ .‬‬
In November 2010, we had reached the mid-point of our preparation for
this book and were fortunate enough to visit an ancient place which
is thought to have been built and designed more than 600 years ago.
‫• دکتر پاتریک رینگن‌برگ‪ ،‬استاد دانشگاه لوزان‬
‫سوییس و محقق در زمینه هنرهای اسالمی‬
‫درباره کتاب گفت‪« :‬سنگ نوشته‌های کوفی‪،‬‬
‫میراث فرهنگ جهانی» کتاب قابل توجهی است‬
‫که به زمینه‌های کمتر شناخته شده‌ای در هنر‬
‫اسالمی پرداخته است‪ .‬‬
‫• وی افزود‪ :‬از نگاه تصویرشناسی این کتاب‬
‫بسیار غنی است و من فکر می‌کنم این بسیار‬
‫مهم است که ما این آثار را به عنوان آرشیو‬
‫نگاه داریم‪ ،‬چرا که متاسفانه عموم آثار فرهنگی‬
‫و هنری باقیمانده از اعصار قبل‪ ،‬اکنون در‬
‫ایران در حال از بین رفتن است و معلوم نیست‬
‫چرا کسی از این نابودی جلوگیری نمی‌کند‪ .‬‬
The site itself was said to have been destroyed by the
“keeper committee”, in a place called Zewareh,
which is located in Iran. The legend of the ancient
sites at Zewareh reports that the destruction actually
took place before the very eyes of the town people.
And, even now as I look back in reflection, it seems
a shame that such a glorious place was destroyed,
so easily!

Here is a question: if the people understood and valued

the merits of an ancient place, would they still cause
and carry out the same destruction?
• Kufic inscriptions
on brick
 Calligraphic objects

• One of the major problems for

contemporary researchers of
calligraphy has been noted during their
attempts to catalogue objects that
belong to a specific (or particular)
collection of works. In fact, the
different categorization labels that have
been given to items known as
“calligraphic objects” have made it
even more difficult to interpret what
were at their time of creation were
complicated methods of writing Above image: Stone-
communication. seal with kufic
inscription
 …Calligraphic objects
Typically, calligraphic objects are separated on the
basis of their physical and material appearances, but it is
fair to say that this method of cataloging has in the past
been at fault for causing some of the most serious
research errors and issues of this nature have been
addressed in other books in this series. For instance,
calligraphic objects such as, manuscripts, the
inscriptions on the stonework or potteries and coins
were produced using materials such as stones, metals or
wood. It has already been noted that calligraphic objects
varied with regard to their styles, methods and
decorative finishes, but it is also worth noting that the
industries providing calligraphic inscriptions of this
Above image: Coin
kind would also have used their preferred materials, with kufic
artisans and design formats [and this would have made inscription
their method of calligraphy different to any others,
irrespective of whether they conformed to their
traditional writing conventions].
 …Calligraphic objects
From the collections of calligraphic works that are
currently available for viewing, it is clear that
the ancient calligraphic objects were developed
using creative methods and they also described
some very clear visual differences that perhaps
conveyed regional and provincial writing
formats. There is no doubt however, that some
of these distinguishing characteristics concern
the types of materials that were being used and
it can therefore be assumed that some styles
and performing methods may be appropriate to
specific material. However, the controversy and
debate amongst researchers in this field
emerges again, as some objects with
calligraphy writing show that they had a direct
Above image: The word
relationship with the technical capacities of the Mohammad was repeated
calligraphic object. 5 times in kufic inscription
 …Calligraphic objects
One needs only to look closely at the calligraphic
inscriptions on parchments, tiles and woods (in
one of the calligraphy styles, such as Kufic or
Naskh) to notice that objects created during these
eras were also designed to convey additional
messages. It is speculated that these ‘messages’
within the inscriptions were guided perhaps by the
actual period of time in which they were created,
or even the circumstances that they were aiming to
address. The study and use of calligraphy is [in our
opinion] able to fascinate those wishing to
research its performing techniques and can also
inform those who are interested in assessing and
documented the changes in writing communication Above image: Brass-made
that occurred throughout history (providing some globe with kufic inscription
additional clues as to why those changes were Date: 1140 A.D.
National Museum of Iran
made).
Kufic stone-inscriptions are
among the most merited
heritage of human beings.
They can be found in North
Africa and all around India
and China.

Many Kufic stone-inscriptions

speak out about history,
language, religion and many
other social aspects that
influenced the different
countries and territories over
the centuries.

Stone-inscriptions have also

manifested themselves in the
development of calligraphy,
architecture, carving and other
arts that were crafted during
specific periods of history.
 Image:
Historical kufic
inscription on
stone

The details that were included in works by the Kufic calligraphers and
designers can in some respect be considered to be a “renaissance in art of
writing”.
However, it is probably fair to remember that much of what was outlined
within the work is still hidden or ‘unrevealed’. An even greater misfortune
is the fact that presently there is still not enough research interest in this
particular area of science. Perhaps this lack of interest can be summed up
by academic anxiety, which may have resulted simply from the difficulty
that exists when trying to interpret these ancient texts, script and writings.
Understanding the technical and cultural elements of that period in history is
hard enough, and nowadays, there are few who are able to correctly
translate Kufic script [which was of course in those days, more widely
used].
 Part of a Decorative Kufic inscription on chalk.
Date: 445 Hegira (about 1053 A.D.). Jame (Great) mosque, Shoushtar, Iran.
Kufic text: ‫منب ینا یدیهم س دا‬
 Current methods of calligraphic research
Most published books containing research on calligraphy, aim to distinguish
the different methods of just one calligraphic style (such as Eastern Kufic
vs. Western Kufic). Incidentally, these methods were by nature related in
terms of their physical written appearance and visual elements. Moreover,
the results of previous studies within this field indicate that there are in fact
many issues regarding how and when the creation of new methods of
calligraphy emerged. For instance, the results of the studies suggest that
the newer styles of calligraphy and their role with regard to their methods
were not found to be analyzed in a comprehensive and replicable manner.
Such findings therefore raise question as to whether the newer styles of
calligraphy are synonymous with the earlier Kufic methods.
 … current methods of calligraphic research
Unfortunately, most of the main research
sources for journals and text books on
ancient calligraphy have tended to
report only the information that was
available from either manuscripts or
documents outlining the existing
methods of the different styles [in a
simplistic way that refers to the date
of manuscript, the name of its
method, style and its place or origin
of writing]. Furthermore, it can also
be suggested that this type of data
information is to some extent based
on undocumented theories and
hypotheses [thus highlighting a
degree of controversy as to whether
the current evidence available is
correct]. Image: Historical kufic inscription on a
pottery
 … current methods of calligraphic research

Despite this obvious need for further research investigating the methods, uses
and value of these ancient “scripts”, there are presently very few reputable
reports which either highlight or address scientific studies on calligraphy that
provide fundamental evidence with regard to how these styles vary and agree
with one another.
 The value of the Kufic style of calligraphy
Prior studies on the various
methods of Kufic style of
calligraphy [such as Primary,
Western and Eastern methods
of Kufic] appeared on various
types of materials. These
materials include artifacts
such as manuscripts,
buildings, potteries and coins,
and they are of greater
importance to future research
for understanding calligraphic
methods in comparison to the
other styles created after the
Kufic-era [such as Naskh and
Thulth styles of calligraphy].
 

Above image: kufic inscription on ancient

bricks
 … The value of the Kufic style of calligraphy

Many researchers believe that it is of

fundamental importance to study the
Kufic style of calligraphy, not only
because of its varied methods of writing,
but also because its style renders the
scope for use in “varied applications”
which are both feasible and practical for
a number of situations that are
experienced during everyday life.

The Kufic style of calligraphy was over

time developed both in quality and
quantity. Even today, many respected
and published researchers agree that this
particular style of calligraphy is
unprecedented. Above image: kufic inscription on
  an ancient coin
 …The value of the Kufic style of calligraphy
Kufic calligraphy is by large most
famous for its different
technical capacities and
variations. The style has been
widely used throughout time
and has proven repeatedly to
have the application ability to
meet the needs of a broader
range of collection conditions
in comparison to the later
styles. Generally, collections of
objects and pieces using the
Kufic style [such as
manuscripts, coins, potteries
and buildings] were usually
accompanied by exclusive and
amazing “writing tendencies”.
Above image: kufic
inscription on a manuscript
 …The value of the Kufic style of calligraphy
These techniques were used in conjunction with
other creative crafts by artisans like blacksmiths,
architects, potters or papermakers for forming
and decorating a range of objects [such as
manuscripts, golden and silver coins, or
potteries and buildings]. This inter-fusion of
crafts was considered by artists and elite
members of society at the time when they were
crafted with acute interest, and even now a Kufic
collection or object inspires a similar effect.
It is therefore fair to note that even though the
historical conditions accompanying the other
more modern styles of calligraphy had the
potential to provide a greater degree of visual
capacity in comparison to the “varied methods of
Kufic style of calligraphy”. The Kufic style could
and did create a renaissance in the history of
calligraphic writing amongst a wide and varied
range of societies. Image: Historical kufic inscription on a pottery
 
• Kufic
inscription on
brick.

• Chehel
Dokhtar (40
girls) Tower,
Damghan,
Iran.
 Writing of Miss Fatemeh Danesh Yazdi, author of the book
entitled “Islamic Inscriptions of Yazd” about current book
All of the manuscripts, stone-inscriptions, coins, metal plates, potteries, clothes,
carpets and other historical objects not only have aesthetic values, but also
manifest the culture and civilization of the corresponding nation and country.
Inscriptions were written by ancient artists on different objects such as, stones,
coins, metals and plates to leave behind historical documents about religious
believes, social movements and many other subjects.
Unfortunately, many of the historical reports that were written by the rulers and
kings of the time tended usually to have many political intentions attached. Often
the works show inaccurate reports and modifications of the real stories and
events.
The ancient narrators of history reported events like wars, famines and changes in
law. But, over course of history there were so many victories and defeats, it is
difficult to systematically fit all events together in their correct place. So, most of
the works left behind by the historical narrators are subject to their own social
and religious changes. Documents like the historical inscriptions and ancient
coins release the identity of the ancient societies and solve many of the questions
investigated by the contemporary researchers.
 ….writing of Miss Fatemeh Danesh Yazdi, author of the book
entitled “Islamic Inscriptions of Yazd”
Inscriptions that were either written on portable cultural chattels (such as coins
and potteries) or non-portable cultural chattels (such as historical buildings)
complete our knowledge by removing our historical doubts in a scientific manner.
The art of ancient and contemporary calligraphy show a strong and
inseparable conjunction with the cultural changes of countries and nations. This
glorious art has an especially important role in highlighting the efflorescence of the
different kinds of art that have been done by different civilizations, particularly in
countries located in the Central and Western areas of Asia and North of Africa.
Seyed Mohamad Vahid Mousavi Jazayeri is a master of the calligraphy
techniques, who is a capable astute researcher. His love and interest in the art has
promoted and encouraged many other researchers and people who are interested in
this very specialist art form. In this series of books you can see the results of his
continuous years of researchers, which were completed by him and his faithful
research team. The contents of this book extend upon his former artistic pieces [his
calligraphic manuscripts and potteries] and earlier publications. I hope the readers
enjoy the books as much as I do, as they provide inspiration for further thought.
Mihrab-stone with Decorative Kufic
inscription.
- Date: 11th century A.D.
- Meymeh, Isfahan, Iran.
- Dimensions: 85 × 140 cm.
- National Museum of Iran. Reg
No.: 3286.
- Part of a gravestone with
Decorative Kufic and
decorations on its
background.
- Date: 14th century A.D.
- Place: Bordaj, Shiraz,
Iran.
- Dimensions: 39 × 50 cm.
- Hafttanan Museum,
Shiraz, Iran. Reg No.:
155.
- Text:
] ‫کل نفس ذائقه المو [ ت‬
- English Translation:
Every being shall taste the
Cup of Death,
Stone-Inscriptions with Kufic Script, the Global Cultural Heritage. 2012
Stone-Inscriptions with Kufic Script, the Global Cultural Heritage. 2012
Stone-Inscriptions with Kufic Script, the Global Cultural Heritage. 2012
Other publications by this group
of independent researchers
Stone-inscriptions with Thulth script of Istanbul, Turkey: A comparison between
Thulth script with Kufic and Naskh styles of calligraphy over history. 2011.
Script and calligraphy: 1st volume: Kufic script. 2nd volume: Naskh and Thulth styles
of calligraphy. 3rd volume: Typography. 2010.
Kufic Encyclopedia: 1st volume: How to write the
Primary method of Kufic style of calligraphy.
2005.
• Treasury of coins: the mirror of History and Art (an album about coins
of Heidarzadeh’s museum), 2011,
 Email of authors:
kuficpedia@gmail.com