When Allah is our Wali i.e protector, we don’t have any reason to be worried about anything because Allah will take care of it one way or another, In Sha Allah. The writing in white represents the pureness of Allah. The blue represents the vastness of Allah’s never ending, ultimate, unlimited power. The golden designs represent Allah’s superiority and dominion over all creation.
The Thuluth Maghribi Script is the exaggerated form of the Maghribi Script usually written bigger and ornamented with traditional Arabic calligraphy ornamentation as well as Kufic Ornamentation. It's a beautiful style that mesmerizes with its continuous flow of letters. It is traditionally written in a brownish gold ink which starts off dark and slowly turns a bright yellow.
The is a cursive form of the Arabic letters evolved from the traditional handwriting at the time "Kufi." Developed in Morocco and later in the Andalusian Islamic State, it was made to make handwriting smoother and quicker than its Kufic counterpart. The Maghribi Script can be divided in five other subscripts:
Maghribi Mabsout used to write the Quran.
Maghribi Mojawhar, mainly used by the king for law making purposes.
Mosnad Script mainly used by courts and notaries in writing marriage contracts.
Being the more festive manifestation of the Diwani script, Diwani Jali is a script utterly mesmerizing. Used in Ottoman council courts (the diwan) during the 19th century, not many Diwani Jali works can be found, implying that its usage was kept only for the Sultan's decrees that were of the highest precedence. It was written only by palace scribes and against the law to teach to commoners. After the fall of the sultanate, Arabic calligraphers were able to put the effort in making this script more public.
The letters of Jali Diwani are intertwined and the minimal gaps between its letters are filled with small and delicate ornaments, making Diwani Jali difficult to forge, and relatively impossible to add any letters after a piece has been written and completed. This is exceptionally important so that nothing can be added to the Sultan's decree.
“Riq‘a” is derived from the noun ruq’a, meaning “a patch or piece of cloth” because it was written on small scraps of paper. Originally devised to write Turkish for the late Ottoman bureauocracy, it was used broadly across the Arab and Ottoman world for personal correspondence and handwriting. It was developed in second half of 18th century and it is still in use today. This script is a simplification of the diwani script constructed from short strokes. The letters are more straight than rounded and easier to learn and write than other scripts. This is a good script for beginners.
The Diwani script is a script which exudes sovereignty. It was developed during the reign of the early Ottoman Turks during the 16th to the early 17th century.
It was the formal calligraphy style of the Ottoman court, written in gold paint and used for the most significant documents such as the diplomatic decrees (Ferman) and legal documents (Berat). It was present in the Ottoman diplomatic correspondence until the 20th century.
Diwani is the most decorative script and difficult to read, especially when it comes to its more festive manifestation called Jali Diwani. Masters of Diwani include Sami Efendi, an Ottoman Turk calligraphy extraordinare of the 19th century.
Diwani's beauty lies within its complexity and harmony between the letters; thus it is no wonder that it holds a high artistic value till this very day.
Shaykh Belaid Hamidi is one of Muhammad Kaddoura's teachers.
He was born on January 1, 1959 in the Kingdom of Morocco. He graduated from the Faculty of Teachers (1977-1979). He then taught in different stages of primary education.
He was the Supervisor and instructor of Arabic calligraphy in the Cairo-based Al-Halqa Fondation for the Revival of Heritage and Local Development, which welcomes Al-Azhar University students from different countries worldwide. Belaid's class was concerned with reviving the time-honoured tradition of studying and teaching Arabic calligraphy locally and globally.
He is a jurist in the International Calligraphy Competition in Istanbul (since its 7th edition) and a chairman of the Society of Unique Arts and Calligraphy in the Kingdom of Morocco. He is a member of the Egyptian Society of Calligraphy and the founder of the World Calligraphers Union in Istanbul, Turkey.
Belaid Hamidi was taught by Iraqi researcher and celebrated calligrapher Youssef Thannoun Al-Mouseli in 1990. His teacher encouraged him to travel to Turkey to broaden his skills and gain more knowledge of this unique art. Belaid fulfilled his ambition when, in 1994, he entered the Research Centre for History, Art and Culture in Istanbul (IRCICA).
Holds a diploma in the the Thuluth and Neskh script given by Hajj Hassan Celebi in Istanbul in November 1997.
Hold a diploma in the Jali Diwani and Diwani script given by Professor Dr. Ali Alp Arslan in Istanbul in October 2000.
Hold a diploma in the Naastaliq script at the hands of Prof.Dr. Ali Alp Arsalan in Istanbul in November 2005.
Belaid Hamidi scripted the text of eight holy books of the Qur'an and supervised the printing of two copies in 1999 and 2008.
Belaid is the first Moroccan calligrapher to script Al-Hilya Al-Sharifa in the Maghribi-Andalusian style since 1996. More than 20 of these works are in art museums and private collections in different countries.
He is the author of two textbooks on Mabsout Maghribi calligraphy, published in 2006 and 2008.
Belaid's career, technique and achievements were the chief content of the television programme ‘Calligraphers in the Bright Light’ in 2008. The programme, which was planned to shed light on celebrated calligraphers of the Muslim holy book, was broadcast by several religious television channels.
Exhibitions & Awards:
Belaid Hamidi has exhibited his Arabic calligraphy in several local and international competitions:
Istanbul, 1994 & 2001
Kuwait, 2006 & 2013
Hungary and South Africa, 2009
The Saudi Kingdom, 2011
Indonesia & Singapore, 2015
Received the King Mohamed VI Award for Moroccan Calligraphy in 2010.
Received the honor award from IRCICA in Istanbul 2014
He gave a documented presentation, including a slideshow, during the cultural activities organized by the King Fahd Complex Forum to highlight individual experiments by famous calligraphers of the Holy Qur’an in 2011.
He opened the door of his family home in Rabat in 1996 for admirers of Arabic calligraphy to learn more about and hone their skills in this unique art. His students have included calligraphers from Morocco, Japan, Korea, Spain, Turkey, the USA, Mali and Puerto Rico. Many of his students have obtained diplomas in Arabic calligraphy in Istanbul, as well as winning top prizes in competitions organized in this Turkish city.
Belaid has also held workshops for Arabic calligraphy in Morocco, France, Egypt, Britain, Hungary, South Africa, China, Indonesia and Singapore . He decided to settle permanently in Jakarta, Indonesia in 2018 after retirement, devoting himself to a great project for upgrading Islamic arts and heritage, with particular emphasis on Arabic calligraphy.
His students all from different countries all around the world; Egypt, Indonesia, Thailand, Malaysia, Singapore, China, Tunisia, France, Palestine, Afghanistan , USA, Cambodia, Nigeria, Pakistan, Russia, Mali & South Africa were awarded 245 diplomas from December 2011 - February 2015.
May Allah preserve him and his knowledge. Ameen