The Transformation of Individuality in Islamic Calligraphy

Five calligraphy pieces, portraying five eras of individuality transformation, examined here to show different forms and levels of calligraphers’ presence in their artworks. By individuality, we have the immediate meaning of the ways, one projects him/herself in his/her work and makes it identifiable. During the first era (beginning with the 1st century AH), according to the limited numbers of scribes, and the obviousness of their presence, there is almost no trace of the calligrapher in his/her work. It is the absent presence of well-known contemporary scribes. Beginning with the 3rd century AH, the ownership statements, waqf (Islamic donation) statements, and Anjameh (colophons) contain the date and name of scribes, waqifs, and owners. This is the era of Tarqime. From 9th century AH, the era of comprehensive presence initiates by multiskilled poet-calligraphers who write their own poems in single pages gathered in Muraqqa. The next era, beginning with the upscaling of Siyah Mashqs as artistic products, from 11th century AH, represents the pure individuality of calligraphers abstracted to a great extends from the content of the folios. The last era, with no determined start date, characterized by the absolute presence of the calligrapher’s professional life in his/her work. All the process of exercising, elaborating, and finalizing incorporated in the art piece and projects the totality of artistic individuality. This era is the conscious sublation of the first era in sense of contemporality and absoluteness.