ARABIC CALLIGRAPHY is an ancient art form passed down by the most dedicated calligraphers for centuries with its beautiful curves, angles and fine artistic compounds. All forms of Arabic script were the results of dedicated individuals who wanted nothing more than to present the beauty of the Holy Qur’an’s chapters in the written form using different styles created over time. It’s no question that the beauty of all words lay in the forms they’re presented in, from modern calligraffiti to ancient thuluth. Not only has calligraphy been used for the Holy Qur’an, it was used in architecture, decoration, coin design and various other purposes in different periods and locations of the expansive Islamic Empire. It’s no surprise that calligraphy is used on many structures we see today, some dating back to hundreds of years and in the age of technology, calligraphy is still used today as it would be hundreds of years ago.
Calligraphy isn’t a normal art form that is used by a majority or artists, it’s a special kind of art form, private, sacred, exceptional and only those who are sincerely observant, dedicated and willing are able to understand the hidden treasures behind learning the art of calligraphy. Some might say that thuluth is one of the most beautiful types of all Arabic and Islamic calligraphy, the beautiful curved letters by a single reed pen might look like it’s an easy task to perform but it’s more than simple strokes of the reed. Ahmad Jeddawi is a calligrapher in practice, a scribe if you may, whose love for calligraphy goes back to his school days. “I had a good environment surrounding me in school, you’d find me participating in any extracurricular activities related to calligraphy, my teachers were supportive, and so were my friends, I felt that I was able to show my work through the different projects they’d ask me to join. It was then that I found that I can and wanted to continue learning more about calligraphy, it wasn’t easy, but I wanted to grow more through it,” says Jeddawi.
On the process of learning, Ahmad explains that learning the basics takes practice, practice and more practice.
Time is an essential part of each learning process and as a young architect; it’s the way he makes time for it is what is interesting. Just as young Ahmad started to search for his path in life, calligraphy is what lead him to choose his career path and prosper in it at such a young age. It takes a lot of creativity, innovative ideas, practiced lines and precise design to be able to make time for both and as a student his educational path ever so often trumped his love for calligraphy.
“To become a certified calligrapher, you have to always be under the teachings of a calligraphy master. I need to follow up on my progress periodically, correct mistakes made, explain the rules and boundaries of which I can’t stray too far from and help in finding the peace of mind needed to advance myself in Thuluth calligraphy. I had an amazing teacher, a maser in this field, but due to studies at KFUPM in the Eastern Province, I found myself alone and unable to continue with my master, but that still didn’t keep me away. Calligraphy helped me find the 'architect' in me.”
Although without the masterful eye of his teacher, he never let his passion deflate or overcome by an external factor, he did the opposite, and he combined both to excel in both. Combining his trained and practiced concentrated strokes with the straight angular lines of his projects, Ahmad found a way to not only combine two passions, but to effectively bring them to modern times.
He explains that as much as both fields might seem different, they’re actually very much alike. The measurements of the Arabic letters and the guide to proportions follow the same guidelines adopted to regulate the dimensions, proportions or construction of the parts of a building; the core understanding of each field follows the same guiding principles even when each can’t be further apart from one another. From an artistic point of view, science when applied in a balanced format is a form of art in its own way.
As difficult as it may seem, Jeddawi’s artistic eye helped him expand his conception of calligraphy using the skills he learned to become an architect. “Calligraphy is a dedicated field, the level of concentration is evident when a calligrapher succeeds in hand-eye coordination, a level of sensitivity required for that perfect stroke of the pen,” explains Ahmad. “There’s a saying in Arabic that translates to explaining of how one can decipher the secrets to calligraphy depending on himself after requesting the assistance of the Almighty in order to reach precision except for the fact that the need of a teaching master is dire in order to continue practicing and reaching that level of precision. Having been away from my master might’ve helped with the self-teaching, I still need a master to receive my ijazah (license) and become a master myself.”
Thuluth holds a special place in Ahmad Jeddawi’s art form, he is able to see the beauty of thuluth calligraphy in building structures not many notice, such as the Mihrab, the semicircular niche in the wall of a mosque that indicates the qibla as an example. Ahmad told of how thuluth is one type of khat that is not only significant but one of the most widely used in the Islamic world for its clear structure, readability and use of architectural decorations bringing more emphasis to the beauty of the written word.
“I don’t simply want to be a calligrapher; I want to see where it would take me. I want my calligraphy sketches to fill in the spaces in my architectural designs and have it as an important pillar of any interior design I am able to produce. I strive to reach a level where my preserved compositions are on display, to display the beauty of thuluth and be a teaching tool for any starting calligrapher. Calligraphy is the geometry of the spirit, a religious experience rather than esthetic.”
Be sure to follow on more of Ahmad Jeddawi’s journey into the world of calligraphy as he strives to combine his two passions on his Instagram page. Whoever said the written word is boring clearly has never seen a calligrapher at work.
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The mindset behind thuluth calligraphy
The mindset behind thuluth calligraphy
Al-Wadi and Al-Jabal: embracing Ramadan’s cherished traditions
- Villagers, with unwavering devotion, pass down their customs, fostering a strong sense of community and shared experience
- Kitchens come alive with the aromas of local dishes — recipes passed down through generations — prepared with fresh ingredients from their own farms
RIYADH: Al-Wadi and Al-Jabal village in the Taif governorate in the western part of Saudi Arabia exemplifies the enduring power of cherished traditions during the holy month of Ramadan.
The villagers, with unwavering devotion, pass down their customs, fostering a strong sense of community and shared experience.
Throughout the holy month, the village displays a rich tapestry of noble practices, interwoven with the villagers’ daily agricultural work.
At dawn they tend to their fields, harvesting fruit and flowers, maintaining water channels for their ancient trees and livestock, and completing essential tasks such as wall construction and material transport.
Families in Al-Wadi and Al-Jabal village observe Ramadan traditions by thoroughly cleaning their homes, encouraging children to fast, and celebrating the first day with gifts.
Their kitchens come alive with the aromas of local dishes — recipes passed down through generations — prepared with fresh ingredients from their own farms.
Speaking to the Saudi Press Agency, farmer Khalaf Al-Nemri explained how fasting provides a sense of focus for daily tasks.
“My father and I continue the cultural practices passed down from our ancestors, including the tradition of sharing iftar in our rural community,” Al-Nemri said.
“Our village traditions emphasize love and unity with family and friends after Isha and Taraweeh prayers, often held in traditional Ramadan tents,” Al-Nemri added.
“These enduring bonds strengthen solidarity, family unity and neighborly ties, positively influencing children’s behavior during Ramadan.”
World Monuments Fund strengthens its presence to support heritage in Arab countries
- Organization has made significant contributions to the preservation of tangible heritage and has carried out 68 projects in 13 Arab countries since the mid-1990s
- Dr. Elie Flouty: We can now say that the WMF has an official presence in the region, which is rich in world heritage sites
RIYADH: The World Monuments Fund, which celebrates its sixth decade this year, has strengthened its official presence in Arab countries, organizing an exploratory tour in several countries including Saudi Arabia.
The organization has made significant contributions to the preservation of tangible heritage and has carried out 68 projects in 13 Arab countries since the mid-1990s.
At the end of last month, WMF organized an exploratory tour in several countries, including Kuwait, Bahrain and Saudi Arabia.
The delegation, composed of 45 individuals, was led by the fund’s president and CEO, Benedicte de Montlaur, with the attendance of Shaikha Mai bint Mohammed Al-Khalifa, board member of the fund, and Dr. Elie Flouty, the fund’s representative in the Arab countries, along with other members of the organization.
This tour marked the beginning of a stronger official presence of the WMF in the Arab region, coinciding with increasing official and unofficial Arab interest in heritage issues, preservation, and integrating this into economic, tourism and social development plans. This aligns with the WMF’s 60th anniversary celebration.
Dr. Elie Flouty said: “We can now say that the WMF has an official presence in the region, which is rich in world heritage sites. We will work with all Arab governmental and non-governmental entities and international institutions to safeguard our ancient Arab heritage. WMF is currently active in 14 sites across various Arab countries and collaborates with both governments and local communities to implement these projects, providing funding and expertise.”
Among the most significant initiatives of the WMF is the World Monuments Watch, a list of endangered sites issued every two years, which includes 25 historic places.
For the 2025 list, three sites from the Arab region were included — the Jewish heritage in Debdou in Morocco, the historic urban fabric of Gaza, and the water reservoirs (majels) in the Old City of Tunis.
The delegation’s tour in the Gulf region included several stops, starting in Kuwait where it visited the Arab Fund for Economic and Social Development and Dr. Mohamed Al-Rumaihi discussed the history of Kuwait and its major economic and social milestones. The delegation visited the Soof Center for Spinning and the Grand Mosque, designed by architect Mohamed Saleh Makiya.
In Saudi Arabia, it visited the Islamic Arts Biennale in Jeddah, explored the Old City of Jeddah, and toured the home of architect Sami Angawi, which reflects the architecture of Hijaz.
They also visited Madinah and its major religious landmarks and concluded their visit to AlUla, a site rich in human heritage, natural and cultural landmarks.
In Bahrain, the delegation visited the city of Muharraq and the UNESCO World Heritage-listed Pearling Path, the Bahrain National Museum, and several houses within the Sheikh Ibrahim bin Mohammed Al-Khalifa Center for Culture and Research. They also visited Bahrain Fort and its museum, the Dilmun Burial Mounds listed on UNESCO’s World Heritage list.
WMF is the world’s leading non-governmental organization for heritage preservation. Headquartered in New York, the fund has offices in Peru, London, Paris, Spain, Portugal, India and China, with projects in 112 countries. It has worked on more than 700 heritage sites. WMF’s mission is to save the most threatened landmarks, whether from war or climate change.
Saudi filmmaker Ali Kalthami, Kuwaiti photographer Abdullah Alshayji give iPhone photography workshop in Riyadh
RIYADH: Photography enthusiasts in Riyadh had the opportunity to refine their skills at an exclusive iPhone photography workshop on March 5 at Sima Creative Space.
The event, organized in celebration of Ramadan, featured renowned Kuwaiti photographer Abdullah Alshayji and acclaimed Saudi film director Ali Kalthami, offering attendees a unique learning experience.
The workshop explored the advanced features of iPhone photography, equipping participants with innovative techniques to enhance their social media content. The event fostered a dynamic and collaborative environment, bringing together creatives eager to develop their visual storytelling skills.
One of the highlights of the workshop was Kalthami’s talk on his recent experience filming an iPhone advertisement. Speaking to Arab News, he recalled his initial surprise when tasked with directing the project using an iPhone 16 Pro instead of traditional camera equipment.
Kalthami said: “When I was assigned to create the iPhone ad I asked about the camera lenses, and they told me I would be using the iPhone 16 Pro instead.”
He noted that the smartphone’s compact size helped create a more relaxed atmosphere on set, adding: “The actors acted naturally, which made the filming process enjoyable.”
Kalthami — known for his film “Mandoob” and as the co-founder of Telfaz11 — expressed enthusiasm for integrating iPhone technology into future projects, particularly those requiring a raw, immersive feel.
He said: “Using the iPhone is much more convenient than heavy camera equipment as it can be easily placed anywhere. Some projects benefit from an organic feel, which the iPhone can deliver.”
He also shared insights into the preproduction process, revealing that the ad was filmed in the desert during the golden hour to achieve a cinematic aesthetic. To maximize the capabilities of the iPhone, he incorporated professional filmmaking tools such as a large monitor and stabilizer, proving that smartphone technology can deliver high-quality results.
Alshayji led hands-on demonstrations, showcasing the iPhone camera’s features and sharing expert tips on capturing high-quality images. Using models and objects, he guided participants through techniques to elevate their photography skills, ensuring they left the workshop with practical knowledge to apply to their creative pursuits.
REVIEW: Arab Australian debut cultivates hope, solidarity in rural New South Wales
JEDDAH: Escaping personal strife, a Muslim single mother carves a space for herself in the heart of rural Australia in “Translations,” an engrossing debut novel by Australia-born Palestinian-Egyptian writer Jumaana Abdu.
Set in New South Wales in the period just after the COVID-19 era with the threat of bushfires looming, the novel explores one woman’s efforts to cultivate not only the land but also a sense of belonging and identity on foreign soil.
In this story of self-discovery and resilience, Abdu intricately weaves in the broader theme of solidarity between First Nations of Australia and Palestinians — two nations grappling with colonization, dispossession and cultural erasure.
The novel’s title could be a reference to not just the transformation of the land through re-vegetation and restoration, but also the translations that characters undertake to bridge linguistic, cultural and emotional gaps between them — translation in this sense is portrayed as the language of solidarity and resistance.
Hidden within the trope of new beginnings in a small town, Abdu paints a powerful picture of mutual recognition and respect, of shared struggles, and the healing potential of intercultural bonds.
This is unveiled through Aliyah’s interactions with the community into which she slowly, and sometimes reluctantly, begins to integrate, including her conversations with Shep, the reserved Palestinian man from Gaza who she hires as a farmhand, and Billie, the wise and nurturing Kamilaroi midwife.
Love and faith are also focal elements in the story. Love in its many forms — romantic, familial, and communal — acts as a balm to past wounds for the Arab and Aboriginal characters, while faith, both in the divine and in human resilience, guides Aliyah, and her childhood friend Hana, through despair toward hope.
“Translations” is a profound exploration of not just the complex interplay between identity and trauma, but also a look at how love can bridge divides, and how shared histories of resistance can unite different peoples in their quest for peace and understanding.
In one pivotal moment in the story that carries a deep message, Shep discusses displacement and the “chain of loss and expulsion” with Billie’s husband Jack, an Aboriginal character, who poignantly says: “You want to wish for something, wish for the return of the land’s dignity.”
Beirut’s Nuhad Es-Said pavilion aims to ‘unite all Lebanese people’
- Dedicated to memory of Lebanese art connoisseur and curator
- Nation has ‘beautiful’ culture, says heritage expert Lama Salam
DUBAI: The recently inaugurated Nuhad Es-Said pavilion at the National Museum of Beirut is envisioned as a space where Lebanese from all walks of life can unite to celebrate culture and art.
Dedicated to the memory of Lebanese art connoisseur and curator Nuhad Es-Said, it occupies a special area within the museum, creating an environment that encourages artistic and cultural conversations.
“We want to reiterate the museum’s position in society and the pavilion will be viewed as a cultural hub and unite all Lebanese people,” Lama Salam, a member of the National Heritage Foundation in Lebanon, told Arab News.
“As Lebanese people, our culture and heritage unite us. The more we sit down, research and discuss our heritage and see that we have so much to be proud of the more we realize how beautiful our culture is,” she added.
The pavilion features a restaurant and multi-purpose seating area that can be rented out and used for galleries, showcases and events.
Salam said the design of the pavilion features large gates and archways as an ode to the museum’s architecture.
“Gates were already part of the museum’s foundation but we chose to incorporate them more to symbolize something more significant,” said Salam.
“The gates act as symbolic portals from the past leading to the present and hopefully into the future. As you pass through all these gates you walk through the past, the present and, God willing, through to the beginning of the future.”
Salam described visiting the pavilion as a unique experience unlike offerings at traditional museums.
“When you sit in the restaurant, you are surrounded by history, the preserved iron gates, the historic wall, and a beautiful view of Beirut’s green racetrack with pine trees in the background.
“Since this pavilion is an annex to the national museum, which we consider a cultural treasure, it offers a unique experience,” she said.
