The development of Islamic calligraphy has an expansive history marked by calligraphers who have excelled in scripting the holy Quran, among other written materials, and creating the monumental calligraphy plates made of wood, stone or other materials. Indeed, apart from its expected usage in scriptures and secular writings, Islamic calligraphy also functioned as an architectural tool, replacing other styles of ornamentation such as the frescoes of Christian liturgical architecture. Calligraphy had a third function in the early Islamic period: to spread written Arabic across the conquered lands. As Arabic became the official language in many territories annexed by the Islamic Empire under the Umayyad and Abbasid dynasties, the empires themselves and the powerful elite in various regions, whether they spoke Arabic or not, would sponsor talented calligraphers to communicate the magnificence of their power under the word of God.

Islamic calligraphy did not develop in a linear manner. As the Islamic Empire widened its territory, more and more artists began to contribute to the art of Islamic calligraphy. At the center were the schools of Kufa, Baghdad and Cario, which had a relationship with early Arab dynasties. These schools of calligraphy were responsible for the production of the well-known "six scripts," the Kufic, Thuluth, Naskh, Muhaqqaq, Riq’a and Tawqi styles. All six scripts have survived the test of time and thousands of calligraphers still create beautiful pieces of art using the assortment of styles. Yet, the Mashriq (East) and Maghreb (West) schools of calligraphy also put their own unique touches on the development of the art. For instance, the famous Mushaf al-Azraq (the Blue Quran), which belongs to the Maghreb though some scholars argue it originated in Tunisia or Muslim Iberia, was written in the style of Kufi with silver and gold ink on parchment paper that had been dyed blue. Similarly, Iranian Islamic calligraphy used scripts to create more figurative images while calligraphy samples from China reflect the context there.

Another important development in the history of Islamic calligraphy was the rise of the Ottoman school of calligraphy, founded by Sheikh Hamdullah (15th and 16th centuries) and perfected by Hafız Osman (17th century). The Ottoman interest in Islamic calligraphy is thought to have revived the art centuries after the fall of the Baghdad calligraphy school due to the barbaric Mongol invasion.

Life story

Hafız Osman was born in 1642 in Istanbul to Ali Efendi, who was the muezzin of Haseki Sultan Mosque. His name "Hafız" comes from the fact that he memorized the Holy Quran at a very early age. He became interested in the art of calligraphy during his education at the court of Köprülü Fazıl Mustafa Pasha, who was the grand vizier to Ottoman Sultan Suleiman II from 1689 until 1691.

Hafız Osman learned calligraphy from Dervish Ali and Suyolcuzade Mustafa Eyyubi. He received a mastership at 18 before he continued his studies under the supervision of another master, Nefeszade Seyyid Ismail Efendi, to learn the Sheikh Hamdullah style. He copied the holy Quran scripted by Sheikh Hamdullah in order to develop his calligraphy skills.

Hafız Osman visited many cities including Cairo, Mecca and Medina, Bursa and Edirne, leaving behind manuscripts and murals of calligraphy. He would sign his work, including the date and location, which helps art historians determine his exact movements.

In 1695, Hafız Osman was assigned to teach calligraphy to Sultan Mustafa II, who ascended to the throne the very same year. He was then appointed to a position in the lower levels of government for which he received a regular salary. Hafız Osman also taught calligraphy to Sultan Mustafa II’s brother Ahmed III, when he was a şehzade (a sultan’s son/prince).

Hafız Osman was a Sufi belonging to the Sunbuliyye order. He lived in peace and humility despite his position in the government and close relationship with the Ottoman dynasty. He suffered a severe stroke three years before his death on Dec. 3, 1698. His body was buried in the private cemetery of the Sunbiliyye order in Istanbul.

His style

Hafız Osman began his career as a remote disciple of Sheikh Hamdullah. Until the end of the 1670s, he strove to excel in the "six styles." Later, his style would become more personal and specialized. The main distinction between the great master’s style and that of Hafız Osman is that the letters scripted by Hafız are more independent and simple.

Hafız Osman minimized the Naskh letters at the end of the 1680s, the decade in which he really propelled to fame before his death. He was a diligently hard-working calligrapher. Even on his voyage to the holy lands in Hejaz, his pen never left his side and he continued to practice his craft, mostly working on sketches and chapters from the Quran, some of which are now on display at national museums.

Hafız Osman scripted many copies of the holy Quran as well as his remarkable Hilya plates, called the Hilye-i Şerif in Ottoman Turkish. He also put together a piece of writing describing the Prophet Muhammad's appearance and characteristics. His other plates feature short verses of poetry or excerpts from the Quran. The great calligrapher raised more than 50 disciples and left a great impact on Ottoman calligraphy. Indeed, the calligraphy to come in later centuries was shaped around Hafız Osman's style. His masterpieces were in the Thuluth, Naskh and Riq’a styles.