Arabic calligraphy is a complex practice that integrates several aspects of human existence, including the spiritual. In modern society it is increasingly becoming an aesthetic element. But the inclusion of calligraphy in modern art prevents the threat of its oblivion and disappearance, and leaves it a chance to be revived as an element of worship of the Almighty. Aspiration towards the future - towards eternal sacred truths, based on the experience of the past: this is how the painting “Movement of Eternity” by the Tatar artist Ildar Mustafin represents the development of religious art. For Tatars, as for any Muslim people, Arabic calligraphy serves as an integral part of spiritual culture.
Despite the accessibility and attractiveness of modern technologies that change the thinking of artists, Arabic calligraphy still remains an important religious tradition in the Republic of Tatarstan. An example is the work of the Religious Board of Muslims of the Republic of Tatarstan on the project of the handwritten Quran, in which the local “hattat” (calligrapher) Artur Pisarenko is involved. The professional hattat is a graduate of the An-Namir al-Muhattat Center of Arabic Calligraphy and Islamic Arts at the Russian Islamic University. According to Artur himself, the founder of the arts center Ramil Nasibullov places strict demands on his students. Ijaza - the right to teach, ascending from student to teacher and reaching legendary scientists, is received only by shakirds who correspond to the moral qualities of science.
Of course, the project of the handwritten Quran in Kazan is a vivid symbol of the revival of Islam in post-Soviet Russia. The previous seventy years of Russian history, marked by anti-religious propaganda by the authorities, couldn’t have a positive impact on the development of the science of “beautiful writing”. The opening of the Oriental Faculty at Kazan University, where a course in Arabic calligraphy was introduced in 1843, was one of the last stages in the development of religious art before the revolution. The guest teacher, professional hattat Ali Mahmudov left excellent examples of calligraphy using the styles “nastaliq” (smooth writing and small size of verticals in letters), “shikaste” (letters are written more complexly and ornately) and “naskh” (strict handwriting). The calligrapher showed not only his mastery of science, but also his ability to combine writing style with the content of the text. The few copies that miraculously survived the fire are kept in the State Archive of the Republic of Tatarstan.
Progressive transformations in the mid-19th century influenced all spheres of the spiritual and material life of Tatar society. Against the background of the ideas of religious reformation, calligraphy showed its characteristic features in book art and shamails. Researchers call the first half of the 19th century the classical period of Tatar traditional culture: the national style is formed in ornamentation and the choice of colors. While calligraphy receives unexpected interpretations of handwriting styles in jewelry.
The science of “beautiful writing” is widely used in the designs of bracelets, qurans and plaques. The most widespread were plaques with a calligraphic composition: “Allah does everything. This is a noble, high seal”. Glyptics, the art of carving on solid precious and semi-precious stones, is being developed. Manuscripts from that period show the use of Nastaliq and Naskh scripts by the Tatar hattats, but the first one was preferred due to its fast writing. The "thuluth" was often used in the design of headings, it gave the design some pomp.
The “Tatar Renaissance” would hardly have been possible without the policies of Empress Catherine II, who ascended the throne in the mid-18th century. In Kazan and other cities of the former Khanate, the construction of mosques and madrassas, in which book copying workshops functioned, was allowed. The shakirds did this, because they needed handwritten books for their studies, and calligraphy was one of the compulsory disciplines. But the tradition of “beautiful writing” continued to live among the people long before this, despite the fall of the Kazan Khanate in the 16th century.
Calligraphy, which has come down to us in the labels of the khans Ibrahim and Sahib- Girey, represents an interesting page in the art of the Kazan Khanate. The "thuluth" handwriting used in state records was supplanted by the penetration of the new "diwani" style developed by calligraphers of the Ottoman Empire. Turkey's influence increased at the end of the 15th century after the Crimean Khanate came under its protection. Representatives of the dynasty of Crimean khans sat on the Kazan throne for a long time. In general, the art of handwritten calligraphy during the Kazan Khanate period continued the traditions established in the previous era.
The culture of the Golden Horde, which in the 13th century included the lands of Volga Bulgaria, is characterized by an orientation towards the urban culture of Central Asia and Iran, which also influenced the development of calligraphy. The Turkish style “diwani” first penetrated into the office work of the Ulus of Jochi in the 14th century, when the state maintained close contacts with Egypt, where official acts were drawn up in this handwriting. Calligraphy of diplomatic messages was in close connection with the general culture and skill of book copyists.
The Islamic period of the existence of Volga Bulgaria (X-XIII centuries) fits quite accurately into the framework of the initial stage of the formation of the Seljuk style based on the development of the Arab decorative tradition. During the years of strengthening of the Karakhanid and Seljuk states formed by nomads, the spread of Islam significantly affected the Eurasian steppe inhabitants. Belt decorations with Arabic inscriptions, affirming monotheism and expressing good wishes to the wearers, acted as a call to a new religion. The process of assimilation of foreign calligraphy and the development of own culture of Volga Bulgaria cannot be understood without the relationship with Islamic art in the territory of Transcaucasia, the Black Sea region, Khorezm, Iran, Asia Minor, and the Middle East.
It is absolutely certain that the art of beautiful writing in the culture of the Tatars of the Middle Volga region begins to develop in the 10th century. In 922, Volga Bulgaria converted to Islam and became a diplomatic partner of the Abbasid Caliphate. But dated coins confirm reports of an earlier penetration and spread of Arabic script in Volga Bulgaria. Muslim culture penetrated primarily through trade relations with Central Asia, not related to religious propaganda. Dirhams were works of high culture in the "Kufi" style. In the central field on the front side there was a three-line Arabic inscription: “There is no God but Allah alone, He has no partner”.
GSV "Russia - Islamic World"
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