17 P Role of Calligraphy

Journal of Islamic Thought and Civilization (JITC)
Volume 12 Issue 2, Fall 2022

ISSN(P): 2075-0943 ISSN(E): 2520-0313
Homepage: https://journals.umt.edu.pk/index.php/JITC
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The Role of Arabic Calligraphy in Displaying the Aesthetics of

Title:
Linear Configurations in the Kiswah of Kaaba
Author (s): Duaa Mohammed Alashari
Affiliation (s): Universiti Teknologi Malaysia, Skudai, Malaysia
DOI: https://doi.org/10.32350/jitc.122.17
Received: June 04, 2022, Revised: November 20, 2022, Accepted: November 26, 2022,
History: Available Online: December 25, 2022
Alashari, Duaa Mohammed. “The Role of Arabic calligraphy in displaying the
Citation: aesthetics of linear configurations in the Kiswah of Kaaba.” Journal of
Islamic Thought and Civilization 12, no. 2 (2022): 242−254.
https://doi.org/10.32350/jitc.122.17
Copyright: © The Authors

Licensing: This article is open access and is distributed under the terms of
Creative Commons Attribution 4.0 International License
Conflict of
Interest: Author(s) declared no conflict of interest
A publication of
Department of Islamic Thought and Civilization, School of Social Science and Humanities,
University of Management and Technology, Lahore, Pakistan
The Role of Arabic Calligraphy in Displaying the Aesthetics of Linear
Configurations in the Kiswah of Kaaba
Duaa Mohammed Alashari
Academy of Islamic Civilisation, Faculty of Social Sciences and Humanities,
Universiti Teknologi Malaysia, Skudai, Malaysia
Abstract
The Kiswah of the Kaaba, in the Saudi era, is adorned with Arabic calligraphy, executed in the
complex Thuluth calligraphy. These calligraphic formations are compatible with the aesthetic and
spiritual function of the Kiswah of Kaaba. In addition, the contribution of these formations and
Arabic calligraphy creates formative elements of a distinctive aesthetic nature that glorifies the
kiswah with a special kind of spiritual beauty associated with the writing of Qur’ānic verses. Arabic
calligraphy, especially the Thuluth script, is one of the essential Arabic fonts that express the aesthetic
values of Arabic calligraphy in the covering of the Kaaba. Therefore, this study aims to reveal the
role of Arabic calligraphy and the characteristics of the Thuluth line, which have enhanced in
highlighting the aesthetics of the linear formations of the Kiswah. The study also aims to discuss the
aesthetic features and patterns that characterize the linear formations. The method used in this study
is the content analysis method, bearing in mind that the primary tool used is inference based on
observation. The study concluded that the Thuluth font possesses several aesthetic and technical
characteristics compared to the rest of the other Arabic fonts. Moreover, these technical
characteristics gave this line an evident prominence in decorating and beautifying the covering of the
Kaaba with the appearance of the single letter in several bodies through the morphological diversity
of the character drawing.
Keywords: Arabic calligraphy, aesthetics, Kiswah of Kaaba, linear configurations, Thuluth script.
Introduction
The art of Arabic calligraphy has been closely linked to the codification of Qur’ānic texts; and
the expressions of monotheism in linear formations and compositions decorated with the covering of
the Holy Kaaba further adds an aesthetic and spiritual character to it. The main role played by the
calligraphic formations in the Kiswah is to enhance the sense of Arabic calligraphy's aesthetic,
artistic, plastic and spiritual values through the diversity of patterns and styles of the formations. In
the covering of the Kaaba, the forms of linear formations and compositions carried out with the
complex Thuluth line were varied.
The Thuluth calligraphy, in general, is considered one of the most beautiful Arabic calligraphies
that have emerged in the field of creativity and artistic formation because of its characteristics and
features that distinguish it from the rest of the other Arabic calligraphy. Yet on the other hand, it is
considered one of the most attractive in terms of beauty and perfection in its linear structure
formations.1 Its output bodies have multiplied and varied through distinctive design structures in the
treatment of spaces within the bodies prepared for the covering of the Holy Kaaba. All these
calligraphic formations executed in the complex Thuluth Al-Jali )‫ (الجلي‬script are considered a
prominent sign and symbol in the aesthetic and uniqueness of the Kaaba's covering; and considered

Correspondence concerning this article should be addressed to Dr. Duaa Mohammed Alashari,
Academy of Islamic Civilisation, Faculty of Social Sciences and Humanities, Universiti Teknologi
Malaysia, Skudai, Malaysia at [email protected].
1
Jarmat Hussein, “Adapting Textual Structure to Visual Rhetoric in Arabic Calligraphy
Formations,” Journal of the College of Basic Education 92, (2016).
DEPARTMENT OF ISLAMIC THOUGHT AND CIVILIZATION

243
Alashari The Role of Arabic Calligraphy…
as a qualitative shift in the development of the art of Arabic calligraphy throughout the Islamic ages.
Thuluth calligraphy is described as “the master of Arabic calligraphy,” as a calligrapher is not
considered skilled unless he controls and masters this type. Moreover, it is the sole calligraphy book
that calligraphers are held accountable far more than others. The Thuluth script was written in the
ancient Qur'an and was derived from the Kufic script at the end of the Umayyad era and the beginning
of the Abbasid era. However, the calligraphers of the Abbasid era excelled in this line and added
some formations to it that gave it a kind of beauty.2
Thuluth calligraphy is known as one of the soft Arabic scripts, and it is called a Thuluth because
the width of the pen with which it writes is equal to one-third of the width of the pen. Ahmed Benin
says, “It is a line invented by the Abbasid calligrapher, Minister Ibn Al-Muqla )‫(ابن المقلة‬. This line is
characterized by flexibility, elasticity, durability, ingenuity in composition, and good distribution
within the space of the linear composition structure.”3 The Thuluth pen has two types: the heavy third
pen, which is estimated to have an area of eight hairs and is erect and spread to the extent of seven
points, and the third light pen, which writes in half pieces and a shape that tends to the heavy third
shape, but is more accurate and gentler than it, and is five points. The Abbasid calligrapher, Al-Wazir
Ibn Muqla, set the rules for this calligraphy and was the first to engineer its letters and perfect their
forms. Ibn Al-Bawab followed him, then Yaqut Al-Mustasimi, and they were the ones who actively
contributed to the development and stability of the forms of its letters.4
The Thuluth calligraphy was widely used in the past, so the surahs of the Qur'ān and the facades
of mosques, mihrabs and domes were written with it. The Thuluth calligraphy went through several
stages, including the Muhaqqaq and Al-Rihani (‫ (المحقق والريحاني‬calligraphy, the clear third, the knitted
third, the geometric third, and corresponding to the currently known Thuluth calligraphy.5 As Abd
al-Jabbar Hamidi explained:
The length of the Alif )‫ )حرف األلف أ‬varies in this type depending on the nature of the design needed
for writing, which results in wonderful artistic formations that lie in the ways of installing its letters.
There is a simple structure in which the length of the Alif is between six and seven points; as for the
heavy installation, the length of the Alif )‫ )أ‬ranges between nine and twelve points, and the purpose
of that is to meet the design requirements of the linear painting.6
Arabic calligraphy has a rich vocabulary and can be enriched indefinitely because interlocking
and elegant derivations provide new ancient roots. Furthermore, it is known as one of the fine arts of
Arabic writing, whose alphabetical structure and its flexibility, voluntariness, rotation, parity,
entanglement, overlap, and composition helped to flow gracefully and aesthetically, making its place
among the fine arts. Hussein Iyad Hussein also described Arabic calligraphy as “an art of painting
alphabets and expressing the form and content of decorative geometric origins and bases specific to
its books.”7 The artistic features of Arabic calligraphy have enabled the calligraphers to form
2
Ibid., 13.
3
Ahmed Shawky Benin, and Mustafa Toby, Dictionary of Arabic Manuscript Terms (Rabat: Al-
Hussainiya Treasury, 2005), 34.
4
Abdul Jabbar Hamidi, Arabic Calligraphy and Arabic Islamic Decoration (House of Affairs,
Kingdom of Jordan, 2005).
5
Nahed Abdel-Razzaq al-Qaisi, History of Arabic Calligraphy (Cairo: Curriculum House,
2008).
6
Abdul Jabbar Hamidi, Arabic Calligraphy and Arabic Islamic Decoration.
7
Hussein Iyad Hussein Abdullah, Technical Composition of Arabic Calligraphy according to
the Design Principles (Baghdad: House of General Cultural Affairs, Baghdad, 2003).
JOURNAL OF ISLAMIC THOUGHT AND CIVILIZATION
244
decorative aesthetic compositions.8

The inherited aesthetic and artistic characteristics of Arabic calligraphy has virtuous basic
proportions and rules that helped this art to obtain the highest aesthetic values; in addition to the
obedience of Arabic letters and their ability to extend and rotate, these characteristics gave
calligraphy vitality and gave it a great deal of beauty and elegance. The art of Arabic calligraphy
defines as the art of drawing Arabic letters, whether complex or individual and re-installing them
based on well-established foundations to show the aesthetic and artistic aspect of the Arabic
character. Each Arabic letter possesses its length, shortness, capacity, narrowness, and space, which
creates a sound law that regulates its forms and adjusts the style of its vocabulary. This contributes
in adding elegance and charm to it in order to become a tall building with its splendor and moderation
of letters, a breathtaking beauty to judge the composition and the consistency of the ratio of the
measures adopted in Arabic calligraphy.9
The researcher believes that Arabic letters have artistic characteristics and aesthetic dimensions
formed as formal systems to highlight Arabic calligraphy's intellectual and expressive aspects
through texts employed within linear compositions of functional and aesthetic dimensions embodied
in the Kaaba dress. The aesthetic qualities of Arabic letters lie in the consistency, proportionality,
extensions, and erections manifested in the drawing of vertical letters; and rotation and agility in the
picture of letters. Arabic lines of all types have a high ability to flat, wrought, tide, lie down, and
curvature. In addition, they have an increased ability to overlap, entangle, and rotate. All these
elements are unique to the art of Arabic calligraphy from the rest of the calligraphy lines.
The Arabic calligraphy used in the Kaaba dress is the Thuluth font. Fitouni says,
The importance of the Thuluth line in the history of calligraphy as it is the first clear image we
received of these fonts, as it is technically the essence of the theory of the art form of the Arabic
letters attributed, including the proportionality of their parts in terms of between them and their
pen.10
From this point of view, the researcher explains that the manifestation of the Thuluth line on the
Kiswah of the Kaaba as the most suitable Arabic lines, especially in terms, because it carries values
and aesthetic, artistic and morphological dimensions with it. This line is characterized by the large
letters and its ability to obey and overlap. The proportions of its letters located between large, medium
and small, which occupy a space in the written tapes, linear formations and compositions. In addition,
the areas within the vacant spaces were treated with expressive and decorative marks marked by the
Thuluth line to give a dimension, and aesthetic touch manifested on the gown of the Kaaba.11
Moreover, the Thuluth line is characterized by an aesthetic presence based on its structural
elements and movements. In addition to its ability to create a literal momentum that reduces space
and strengthens the weight of the letters and their control in the linear work and the combination of
letters, they're creative. This study aims to reveal the aesthetic qualities of linear formations of Arabic
calligraphy in the Kiswah of Kaaba.
8
Farman Uday, “Technical Characteristics of Thuluth Calligraphy in Al-Baghdadi School of
Calligrapher Hashem Al-Baghdadi,” Master's Thesis (Baghdad: Department of Arabic Calligraphy
and Decoration, College of Fine Arts, University of Baghdad, 2004), 27.
9
Thanoun Bassem, Creative Calligraphers (Baghdad: National Library, Baghdad, Iraq, 1986),
54.
10
Fitouni Mohsen, Encyclopedia of Arabic Calligraphy and Islamic Decoration (Beirut:
Publications Company for Publishing and Distribution, 2002), 22.
11
Ibid
245
2. Materials and Methods

The analysis phase of the study is a major focus through which the applied aspect of the study
is accomplished, and through it, the information required to analyze the Kaaba gown's virtual content
is obtained. To reach the results that are interpreted in the light of the study literature related to the
current research topic, and thus achieve the goals that the researcher seeks to achieve through the
study. The content analysis method is used in this study to accurately describe the Arabic calligraphy
and the characteristics of the Thuluth line, which enhanced in highlighting the aesthetic of the linear
formations of the Kiswah. The researcher used the (virtual) content analysis approach because the
results presented by this approach are related to the apparent form. This approach is based on accurate
description, and one of its main objectives is to study and analyze from the perspective of form.
Berlson defines it as "one of the research methods used to describe the apparent or explicit content
in an objective, regular and ambush description.”12 Al-Azzawi defines the content analysis approach
as “a research method used by the researcher in various research fields to describe the material to be
analyzed in terms of form and content.”13
The researcher has relied on the observation tool as a key tool in her current study. The
observation tool is one of the most important research tools used by the researcher to obtain
information and facts related to the case of the study to be observed. Through this tool, the researcher
could determine what is required to focus on, analyze and records it. For the accuracy of the
observation, the information must be accurately recorded in addition to photographing it. For the
observation to be done correctly, the researcher must specify what she wants to observe and write
down the information accurately. One of the most important advantages of this tool is the accuracy
of the data and the lack of cost and effort, but the accuracy of the observation requires attention to
the minute details to convert the descriptive observations into information and facts about the
phenomenon studied.14 Based on the aforementioned facts, the methodology adopted by the
researcher to study the role of the art of Arabic calligraphy inherent in the Holy Kaaba dress can
reveal the aesthetic, spiritual, cultural and historical values and dimensions of the kiswah (fabric) of
the Holy Kaaba.
3. Results and Discussion
The diversity of images of single letter forms in the Thuluth line and the flexibility of its rules
led to the formation of its textual construction according to the language's grammar; and the role
played by the expressive and formative movements in supporting this structure of linear formations.
This role is considered to be of great importance. According to the researcher, the linear formations
written in the Thuluth line in the Kiswah of the Kaaba were characterized by qualities built on
symmetry, exchange, and balance. Through the manipulation of the linear mass and the repetition of
letters, their interlacing, the intersection among them, and shorthand.15
The Thuluth line is characterized by aesthetic characteristics unique to the other Arabic lines;
its aesthetic rules and laws determine the possibility of formation, which has crystallized over
hundreds of years. Furthermore, it represents a slow and sober accumulation simultaneously.16 The
12
Nael Al-Awamla, Scientific Research Methods: Theoretical Foundations and their
Applications in Management (Jubaiha: Ahmed Yassin Al-Ghani Center, 1995), 32.
13
Rahim Al-Azzawi, Introduction to Scientific Research Methodology (Amman: Al-Manhal
Series in Educational Sciences, Dar Jallah, 2008), 21.
14
Nael Al-Awamla, Scientific Research Methods: Theoretical Foundations and their
Applications in Management.
15
Daoud Abd al-Ridha Bahia, “Building Rules for Content Semantics in Linear Formations,”
PhD Thesis, (Department of Design, College of Fine Arts, University of Baghdad, Iraq, 1997).
16
Ibid.
246
researcher notes that this line's aesthetic and artistic values manifest through the compound Thuluth
line as an essential element in decorating the honorable Kiswah because it is characterized by high
technical specifications and has unparalleled linear possibilities, as well as its acceptance of the
appearance of the formation by its literal form.
4. The Characteristics of the Thuluth Line
The researcher will briefly review the cognitive and conceptual aspects of the essential
characteristics of the Thuluth line. The elements are represented in several points, including
flexibility and obedience, multiple character drawing form, intersection and overlay, and
reductionism. The totality of these technical characteristics of the Thuluth line has manifested
effectively in the design of the lines and linear formations embodied in the Kiswah.
4.1. Flexibility and Obedience to Thuluth Font Characters
Flexibility means the ability of the letters to shorten, lengthen and bend at a different angle, with
the preservation of the rules and proportions of the line and the aesthetic of the letters, the property
of flexibility and obedience. The stretches of the letters of the Thuluth line are essential qualities that
distinguish this line from the rest of the other Arabic.17 An example of this is evident from model
no. (1) of the Kaaba, which includes a Qur’ānic verse18 ‫شعَائ َِر َّللاه ِ فَإِنه َها مِ ن تَقْ َوى الْقُلُوب‬
َ ‫م ذَلِكَ َو َمن يُع َ ِظ ْم‬
Through this linear configuration it is shown that flexibility have been employed in the stretches,
pulls and curving of the Thuluth line letters. In particular, the plastic art qualities of the Thuluth
calligraphy lie in flexibility and elasticity, and its ability to extend, return, rotate, intertwine, overlap,
and its potential for separation and connection, which are called the plastic components of the Arabic
calligraphy, which is specialized in and unique to its letters in Arabic calligraphy, especially the
Thuluth line.19
Figure. 1 Image of a geometric linear composition of the Kaaba's livery showing the
flexibility and obedience of the letters of the Thuluth line, modified by the researcher
http://www.emadphoto.com/#/makkah
17
Calligrapher Hashem Al-Baghdadi,” Master's Thesis (Department of Arabic Calligraphy and
Decoration, College of Fine Arts, University of Baghdad, 2004).
18
Al Hajj 22:32.
19
Khalil Hatem Abdel Hamid, “Structural Values of Kufic Script and the Possibility of
Employing it in Decorative Paintings,” Master's Thesis (Faculty of Art Education, Helwan
University, Cairo, 1987).
247
4.2. Multiple One-letter Drawing Format for Thuluth Line Characters

One of the advantages of this characteristic is the appearance of the single letter in several
bodies through the morphological diversity of the character drawing. Whether it is connected or alone
within the structure of the linear composition with multiple aesthetic shapes. Moreover, this
characteristic provides many alternatives to the shape of the single letter and facilitates the problem
of the spatial organization of the letters. This characteristic has also allowed calligraphers freedom
of action and given them many opportunities to choose the shape of the letter suitable for designs
with distinct linear structures that accept overlap among them.20 An example of this can be seen from
the form number (2) of the curtain of the door of the Kaaba, which includes a written composition in
َ ‫ق لَتَدْ ُخلُ هن الْ َمس ِْجدَ الْ َح َر‬
which a Koranic verse21 is written ‫ام إِن شَاء َّللاه ُ آمِ نِي َن‬ ِ ‫َّللاُ َرسُولَه ُ الرُّ ؤْ يَا بِالْ َح‬ َ ْ‫ لَقَد‬Through
‫صد َقَ ه‬
this composition, the diversity of the output body of the letter )‫ )حرف ح وحرف خ‬is evident in several
different forms and bodies. Also, the calligrapher of the Kiswah mentioned in the interview
conducted by the researcher that his opinions about Arabic calligraphy, especially the Thuluth
calligraphy, means that
…this calligraphy is characterized by high aesthetic values and the possibility of adapting it in
different places. One of the best Arabic fonts for making calligraphic compositions due to its
special aesthetic. Because Thuluth calligraphy is one of the most beautiful Arabic fonts and has
a high ability to adapt letters and words within the specified space, whether it is square, circular,
oval, or free shapes; in addition to that, Thuluth calligraphy has many forms of letters, as the
single letter of this line has more than six shapes, which gives a great opportunity to twist the
line.22
Figure. 2 A picture of a geometric linear composition from the curtain of the door of the
Kaaba showing the diversity of the output body of the letter ‫ح‬and ‫خ‬http://www.mad
photo.com/#/Makkah/ Photo edited by the researcher
4.3. Intersection and Overlay of the Thuluth Line Letters
The intersection of letters and their overlap is one of the critical characteristics of the Thuluth
line in particular; and added to this line a unique aesthetic character through which the aesthetic style
of the linear structure is manifested. There are several types of overlay, including the whole overlay
on the letter or the partial overlay of the letter, which is based on covering part of the letter at the
expense of the other note, or the intersection in the same or opposite direction to draw the letter,
Daoud Abd al-Ridha Bahia, “Building Rules for Content Semantics in Linear Formations.”
20
21
Al Fatah 48:27.
22
Duaa Muhammad Alashari, “A Personal Interview Conducted with the Calligrapher of the
Covering of the Holy Kaaba” Mr. Mukhtar Alam, on 1/23/2020
248
where horizontal letters intersect with vertical letters or vertical letters with oblique letters to create
the kinetic tension. And at the same time to make sense of two-dimensional space depth in the
structure of the linear formation.23 An example of this can be seen in the form number (3) of the
curtain of the door of the Kaaba, which includes a Qura’nic verse24 ‫ِليَ ْش َهدُوا َمن َافِ َع لَهُ ْم َويَذْكُ ُروا اس َْم َّللاه ِ فِي‬
‫ت َعلَى َما َرزَ قَ ُهم ِمن بَ ِهي َم ِة األَنْع َ ِام فَ ُكلُوا مِ نْ َها‬
ٍ ‫ أَي ٍهام همعْلُو َما‬The extent to which the letters intersect in the same
direction, and also shows the intersection of the letters. And that the superposition and intersection
between the elements of the formation contributed to the events of compaction and unity and the
generation of formal attraction within the formation to reach the expression of the intellectual content
written within the linear formation. And that the property of reproduction and overlapping of the
Arabic letters in the Thuluth script led to the abbreviation of the letters in words. The composition
was organized in a state of overlapping, entanglement, and extension between the letters, despite the
abundance of words. The words appeared balanced while preserving the rules of the Thuluth line.
Through the linear composition, the aesthetic and semantic value was achieved through the clarity of
the words and the aesthetics of the composition.
Figure 3 A picture of a geometric linear composition from the start of the Kaaba door showing
the intersection and overlay of the letters of the Thuluth line.
http://www.emadphoto.com/#/makkah/
4.4. Reductionism (Breeding of Letters for the Thuluth Line)
The reduction property is also one of the critical characteristics of the Thuluth line. This property
is done by interlacing some parts of the letters with the other and merging the letter with the other
letter.25 By reducing the letter with characteristics similar to it in shape, such as the head of) ‫ف‬, ‫و‬
and ‫ )ق‬provide. An example of this is evident from model no. (4) of the curtain of the door of the
Kaaba, where this model includes a Qur’ānic verse26applied to it the property of shorthand to
accommodate the entire Qur’ānic text, written within the composition ‫ق‬ ِ ‫ق َّللاه ُ َرسُولَه ُ الرُّ ؤْ يَا بِالْ َح‬ َ ْ‫[لَقَد‬
َ َ ‫صد‬
]َ‫ام ِإن شَاء َّللاه ُ آمِ نِين‬ ‫ر‬‫ح‬
َ َ َ ْ ‫ال‬ َ ‫د‬‫ْج‬‫س‬‫م‬
ِ َ ْ ‫ال‬ ‫ه‬
‫ن‬ ُ ‫ل‬ ُ
‫خ‬ ْ ‫د‬َ ‫ت‬َ ‫ل‬ And about the similar linear formations in the body of the written
strips (the belt) that surrounded the Kaaba from the four sides. Through the formal analysis, it became
clear to the researcher that the reading sequence, intertwining, reproduction and reduction, and

23
Calligrapher Hashem Al-Baghdadi,” Master's Thesis (Baghdad: Department of Arabic Calligraphy

and Decoration, College of Fine Arts, University of Baghdad, 2004).
24
Al-Haj 22:27.
25
Ibid.
26
Al-Fatah 48:27.
249
inspired movement in different directions characterized the totality of these linear formations. In
addition, these written tapes suggest the power of dignity, poise, richness, and diversity of lines
superimposed on each other in an engineering manner to be a structural and architectural structure
that extends over the horizon.27
Figure 4. A picture of a geometric linear composition from the start of the Kaaba door
showing the reductive property (the reproduction of letters of the Thuluth line)
http://www.emadphoto.com/#/makkah/, the photo edited by the researcher
4.5. Decorative units for Thuluth Line Letters
A large number of letters of the Thuluth line, the many lengths obtained in the structure of its
notes, and its flexibility gave a wide field to accept the decorative units and expressive movements
within the design of the compositions and linear formations. This characteristic is considered as one
of the unique traits of the Thuluth line. In addition to occupying the space surrounding the
composition, it develops a state of equalization and balance between the textual structure; this, in
turn, excites the mind of the viewer and generates an attraction based on the morphological diversity
between the forms of Arabic letters and the expressive and decorative movements at the same time.28
An example of this can be seen from the model number (5) of the Kaaba, which includes a Qur’ānic
verse ‫صا ِلحًا ثُمه ا ْهتَدَى‬
َ ‫َاب َوآ َم َن َوعَمِ َل‬ ٌ ‫ َوإِنِي لَغَفه‬29
َ ‫ار ِل َمن ت‬
This model shows the extent of the aesthetic role played by expressive and decorative
movements within the structure of the linear composition. The Arabic calligraphy is described with
quality and beauty; if its fringes, its limbs turn around, and it seems to you that it is moving while it
is, in fact, static, but by its roundness, softness and curvature, it suggests movement. The researcher
notes that the graceful formations accompanied the Arabic fonts within the structure of the
formations. Which were written with a pen smaller than the width of the pen with which the Arabic
fonts were written within the structure of the calligraphic formations, which added an aesthetic aspect
in terms of the variation in the sizes of the fonts and formations.
27
Iyad Hussein Abdullah, Technical Composition of Arabic Calligraphy according to the Design
Principles, (Baghdad: House of General Cultural Affairs, 2003).
28
Riad Abdel-Fattah, Training in the Fine Arts, (Cairo: Arab Renaissance House, 1974).
29
Taha 20:82.
250
Figure. 5 A picture of a geometric linear composition from the Kaaba shows the role of
expressive and decorative movements within the structure of the linear composition.
http://www.emadphoto.com/#/makkah/ the photo edited by the researcher
Ibrahim says,
The importance of the Thuluth lies in the history of calligraphy, as it is the first clear image that
reached us of these Arabic scripts, and it is also technically the essence of the theory of the art
form of the attributed Arabic letters. Including the proportionality of its parts in terms of between
it and the pen with which it is written; That is why it was the most important line, functionally
and technically.30
From this point of view, the researcher explains that the calligraphy of Thuluth appears on the Kiswah
of the Holy Kaaba as the most suitable Arabic calligraphy in that it carries with it aesthetic, artistic
and formative values and dimensions. To be brief this calligraphy is characterized by the large letters
and its ability to obey, overlap and intertwine, which is not acceptable in other Arabic calligraphies.
This increases the aesthetics of the Kiswah and gives it a unique aesthetic appearance, and it is
possible to notice the proportions of its letters that are between large, medium and small, which
occupy space in the written tapes, calligraphic formations and various compositions. In addition, the
voids within the vacant spaces have been treated with the Arabic and decorative signs that
characterize the Thuluth line to add dimension and aesthetic touch reflected in the total linear
formations in the garment of the Kaaba.
Uday Farman confirms what it means: that the formations of Thuluth calligraphy have several
variables. In addition, what is unique to Thuluth calligraphy on its high ability to be ductile in periods
and long withdrawals for some of its straight. And lying letters and the letters' ability to curvature
and bend according to design necessities while preserving. The aesthetics of the letter and its basic
rules as the extended feature is one of the important artistic phenomena that characterize the letters
of the Thuluth script. It is evident in the letter Alif )‫ (حرف األلف أ‬because of its ability to be longer than
its normal size. In addition to the transmission characteristic that characterizes the Thuluth letters,
which is embodied through the oblique directional structure, which is represented in the letters "‫"و‬,
"‫"ر‬, "‫ "ز‬and " ‫"م‬. Moreover, to the characteristic of the formal closing of the letters of the Thuluth
line, it is intended to link the fragmented details by establishing a perceptual and visual relationship
between the vocabulary of the linear composition in a way that suggests a single mass. 31 The
circumference feature is also considered one of the important characteristics of the Thuluth letters,
and the contour circumference is achieved through the convergence of the elements of the linear
30
Ibrahim Juma, The Story of Arabic Writing (Cairo: Dar al-Maarif, 1968).
31
Daoud Abd al-Ridha Bahia, “Building Rules for Content Semantics in Linear Formations.”
251
composition and its distribution in filling the linear spaces between the elements of the formation.
The Thuluth letters highlight the aesthetic aspect of the calligraphic formations embodied on the
Kaaba cover.32
In the same interview conducted by the researcher with the calligrapher of the Kaaba Kiswah,
Mukhtar Alam )‫ )مختار عالم‬about the role of Arabic calligraphy in the aesthetics of the Kaaba Kiswah,
he indicated that: the line embodied on the Kiswah of the Holy Kaaba is sophisticated and beautiful.
It is the Thuluth line, which is characterized by elements and artistic characteristics. Artistic
aesthetics, as well as decorative formation. These linear compositions embodied on the covering of
the Holy Kaaba are beautiful compositions and selected verses, and they include some elements of
plastic art. In terms of the quality of Thuluth calligraphy and its calligraphic formations, they were
characterized by coherence, unity, and rhythm. Suhaila al-Jubouri confirmed that,
Fonts in our time, with the development and proficiency introduced into it. From this point of
view, that is clear that Thuluth calligraphy was employed in all calligraphic formations and
compositions without evading any letters. Through it, the textual meaning )‫ )النصوص القرآنية‬of
the noble verses was evoked to reflect the extent of the aesthetic and spirituality of the
calligraphic formations.33
Through the analysis process, the researcher believes that the calligrapher invested some letters,
especially Alif )‫)حرف األلف أ‬, and made the latest transformations in its design structure. We find it
difficult to read the text in an analytical reading of some formations on the Kiswah of Kaaba. There
is a diversity in drawing letters through the exchange of accuracy and thickness, as well as the curves,
extensions and swaying of letters. It radiates a sense of stability, constancy, stillness, and movement
at the same time; and defines the aesthetics of the covering of the Kaaba through the superimposed
Arabic lines that were drawn with one type of calligraphy, which is the clear Thuluth line. Since it
resulted in the transformations of not only the design structure formations but it also provides
functional and aesthetic dimensions with deep meaning and sacredness. Employing the elongation
and curvature feature led to the creation of formations with a cohesive and homogeneous texture, in
addition to the decorating signs that permeates the space of the formations, which perform an
inflectional and aesthetic function simultaneously. Thus, enhancing the structure of the linear
formations and the cohesion of their parts until they appear as one block, which gave an aesthetic
sense to the embodied Arabic calligraphy. On the Kiswah of the Kaaba, which is the realization of
the golden ratio, that is, the virtuous ratio )‫(النسبة الفاضلة‬, "the ratio of one-third to two-thirds," between
the syllables of a single letter, word, and line.
5. Conclusion
Based on the previous inferences, the researcher summarises that the Thuluth line has several
aesthetic and artistic characteristics as compared to the rest of the other Arabic lines. These technical
characteristics gave this line an evident prominence in the decoration and beautification of the Kiswah
of the Kaaba with the appearance of the single letter in several bodies through the morphological
diversity of the character drawing. In addition to the ability of high notes needs to be flexible, overlap;
and intersection and acceptance of decorative units as well as the property of shorthand radiates sheer
spirituality of the Qura’nic verses.
Arabic calligraphy is characterized by aesthetic characteristics that make it a decorative element,
as it contains both spatial and aesthetic values, specifically in the complex Thuluth Al-Jali )‫)الجلي‬
calligraphy. The Thuluth calligraphy was employed in all calligraphic formations and compositions
32
Ibid.
33
Suhaila al-Jubouri, Arabic Calligraphy and its Development during the Abbasid Era in Iraq
(Baghdad: Al-Adeeb Press, Baghdad, 1962).
252
without evading any letters. Through it, the textual meaning of the noble verses was interrogated to
reflect the extent of the aesthetics and spirituality of the calligraphic formations. Based on those
observations that has been previously mentioned, the researcher evaluates the totality of the Arabic
calligraphy art drawn in the complex Thuluth calligraphy, as it produced decorative linear formations
with a harmonious rhythm.
The complex Thuluth calligraphy is characterized by the aesthetic and creative values in the art
of Arabic calligraphy, in general, and in the calligraphic composition in particular. In addition to the
diversity of the forms of one letter of the Thuluth calligraphy in the total compositions and
calligraphic structures in the Kiswah of the Holy Kaaba, which gave the Thuluth calligraphy a great
presence compared to the rest of the other Arabic calligraphies.
Finally, this study has shown the importance of Arabic calligraphy in forming calligraphic
formations in the Kiswah of the Holy Kaaba. The compound glaze gave the covering of the Holy
Kaaba a special and unique imprint; thus, making it a piece of art with an unparalleled Islamic artistic
style. The art of Arabic calligraphy, represented through calligraphic formations, had a distinct role
in rooting Islamic art, aesthetics and spiritual values in the covering of the Holy Kaaba.
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Journal of Islamic Thought and Civilization (JITC)

Volume 12 Issue 2, Fall 2022

The Role of Arabic Calligraphy in Displaying the Aesthetics of

Author (s): Duaa Mohammed Alashari

Affiliation (s): Universiti Teknologi Malaysia, Skudai, Malaysia

Copyright: © The Authors

DEPARTMENT OF ISLAMIC THOUGHT AND CIVILIZATION

decorative aesthetic compositions.8

2. Materials and Methods

4.2. Multiple One-letter Drawing Format for Thuluth Line Characters

Farman Uday, “Technical Characteristics of Thuluth Calligraphy in Al-Baghdadi School of

Calligrapher Hashem Al-Baghdadi,” Master's Thesis (Baghdad: Department of Arabic Calligraphy

JOURNAL OF ISLAMIC THOUGHT AND CIVILIZATION

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