Calligraphy, in Arabic “art of the hat,” is one of Morocco’s richest cultural artifacts.
Over time, enthusiastic calligraphers have worked tirelessly to save the tradition from extinction. These efforts have doubled since December last year, when UNESCO added Arabic calligraphy to its list of intangible cultural heritage.
Since the Islamic conquest, Moroccan calligraphers have worked tirelessly in their craft, although there was a lack of schools to teach these skills and there was a lack of raw materials.
Moroccan calligrapher Mohamed Serghini works in his office every day and uses various materials to create inscriptions. His work may consist of a verse from the Koran or famous sayings or lessons.
The type of calligraphy Serghini creates appeared in the country in the first Hijri century, when it was used by the Berbers both to memorize the Holy Quran and as a means of communication. According to Serghini, there are various types of Moroccan calligraphy today.
“There is the Maghrebized Mashreqi script, which is called the Moroccan Thuluth script, and there is the Moroccan Mabsut script, in which the Korans are written. Then there is another Moroccan script called Mujawhere script. Manuscripts and letters are written in this script, and the royal divans also specialize in them,” he explains.
Moroccan calligraphy and Arabic Kufi script
Moroccan calligraphy is derived from the old Arabic Kufi script. It then developed into the so-called Kairouan Kufic script, which appeared during the Islamic conquests in the seventh century AD.
The Andalusian Mabsut script followed in the eighth century AD, after which, according to researchers in this field, the Moroccan Mabsut script appeared. Thanks to efforts and innovations, Moroccan calligraphy is still evolving. Instead of having calligraphy schools, most learn through practices that have been passed down from generations.
Serghini began learning calligraphy as a child. But he didn’t go to school and lacked the materials he needed, such as pens and papers.
“Every calligraphy has its own pen tip. This information was missing and was not provided. Then there was a paper-level scarcity. Now we have a very large amount and variety of paper. The paper that calligraphers use is not ordinary paper, it is called press paper because of the phases it goes through. It is a special paper for writing, it is suitable for writing and erasing and makes work easier. All of this was rare,” says Serghini.
Moroccan and Arabic calligraphy is very successful
“The Maghrebized Mashreqi script or the Moroccan Thuluth script used to be written with a sharp tool called a compass. In the past, marble was drawn in wood, Zellij, and it was also drawn in manuscripts, then it was filled in and marked with a border, and now it is written with an ordinary Arabic calligraphy pen. So that’s a development,” says Serghini.
A small workshop was founded in the town of Fez in northern Morocco to teach Moroccan and Arabic calligraphy to children and younger people. The creation of such schools is seen as an important initiative to preserve this heritage.
Morocco has made attempts to revive this art by setting up two educational institutions in Casablanca and in Fez.
Inclusive practice in Morocco
Fatima Azzahra Sennaa studies Moroccan calligraphy at the Sarhrij School of Calligraphy in Fez. She has loved calligraphy since childhood and was inspired by her father, who is also a calligrapher and teaches at the same school. Azzahra’s father promotes her passion and gives her advice.
“Since I was a child, I’ve always seen my father writing and painting. That is what drew me to this calligraphy. I also enjoyed learning calligraphy. That’s why I always sat near him and learned little by little. I started drawing and then calligraphy,” says Fatima.
Azzahra uses both modern and traditional methods, metal and wooden pens. It uses pressed paper, which is thick. Calligraphy is considered a particularly integrative practice in Morocco and has become increasingly popular among women in recent years.
Calligraphy, in Arabic “art of the hat,” is one of Morocco’s richest cultural artifacts.
Over time, enthusiastic calligraphers have worked tirelessly to save the tradition from extinction. These efforts have doubled since December last year, when UNESCO added Arabic calligraphy to its list of intangible cultural heritage.
Since the Islamic conquest, Moroccan calligraphers have worked tirelessly in their craft, although there was a lack of schools to teach these skills and there was a lack of raw materials.
Moroccan calligrapher Mohamed Serghini works in his office every day and uses various materials to create inscriptions. His work may consist of a verse from the Koran or famous sayings or lessons.
The type of calligraphy Serghini creates appeared in the country in the first Hijri century, when it was used by the Berbers both to memorize the Holy Quran and as a means of communication. According to Serghini, there are various types of Moroccan calligraphy today.
“There is the Maghrebized Mashreqi script, which is called the Moroccan Thuluth script, and there is the Moroccan Mabsut script, in which the Korans are written. Then there is another Moroccan script called Mujawhere script. Manuscripts and letters are written in this script, and the royal divans also specialize in them,” he explains.
Moroccan calligraphy and Arabic Kufi script
Moroccan calligraphy is derived from the old Arabic Kufi script. It then developed into the so-called Kairouan Kufic script, which appeared during the Islamic conquests in the seventh century AD.
The Andalusian Mabsut script followed in the eighth century AD, after which, according to researchers in this field, the Moroccan Mabsut script appeared. Thanks to efforts and innovations, Moroccan calligraphy is still evolving. Instead of having calligraphy schools, most learn through practices that have been passed down from generations.
Serghini began learning calligraphy as a child. But he didn’t go to school and lacked the materials he needed, such as pens and papers.
“Every calligraphy has its own pen tip. This information was missing and was not provided. Then there was a paper-level scarcity. Now we have a very large amount and variety of paper. The paper that calligraphers use is not ordinary paper, it is called press paper because of the phases it goes through. It is a special paper for writing, it is suitable for writing and erasing and makes work easier. All of this was rare,” says Serghini.
Moroccan and Arabic calligraphy is very successful
“The Maghrebized Mashreqi script or the Moroccan Thuluth script used to be written with a sharp tool called a compass. In the past, marble was drawn in wood, Zellij, and it was also drawn in manuscripts, then it was filled in and marked with a border, and now it is written with an ordinary Arabic calligraphy pen. So that’s a development,” says Serghini.
A small workshop was founded in the town of Fez in northern Morocco to teach Moroccan and Arabic calligraphy to children and younger people. The creation of such schools is seen as an important initiative to preserve this heritage.
Morocco has made attempts to revive this art by setting up two educational institutions in Casablanca and in Fez.
Inclusive practice in Morocco
Fatima Azzahra Sennaa studies Moroccan calligraphy at the Sarhrij School of Calligraphy in Fez. She has loved calligraphy since childhood and was inspired by her father, who is also a calligrapher and teaches at the same school. Azzahra’s father promotes her passion and gives her advice.
“Since I was a child, I’ve always seen my father writing and painting. That is what drew me to this calligraphy. I also enjoyed learning calligraphy. That’s why I always sat near him and learned little by little. I started drawing and then calligraphy,” says Fatima.
Azzahra uses both modern and traditional methods, metal and wooden pens. It uses pressed paper, which is thick. Calligraphy is considered a particularly integrative practice in Morocco and has become increasingly popular among women in recent years.