Khat Farisi calligraphy
Khat farisi is a calligraphy writing style that is rarely used by artists. Because the writing of the khat requires very high skills in making it. Usually there are long curved lines at the end of the calligraphy arrangement in each sentence. And making this calligraphy difficult to read. This Khat Once upon a time was a legacy from the ancestors of the Saman people who before Islam wrote the Khat Pahlevi. This style is a ratio to Pahle, an area between Hamadan, Isfahan and Azerbaijan. When Islam conquered Persia, Iranians embraced Islam as their new religion. Through association with Arab Muslim communities, the Iranians replaced Pahlevi’s writings with Arabic script which they later called khat Ta’liq. In later times other khat styles such as Nasta’liq and Syikasteh were born. Especially the first two writings, often referred to as the Pharisees, remember their origins from Persia.
Some Khat Farisi Style
1. Khat Ta’liq or Khat Farisi Ta’liq
The Iranian community processes the Khat Ta’liq from the Khat which is used to copy the Qur’an at that time, which is called khat Firamuz. Initially the methods of writing were copied from the words of Tahrir, Khat Riqa, and Tsulus. The beauty of the Pharisee Ta’liq khat is in the flexibility of its rotation, its upright letters which are slightly inclined to the right, thick long strokes, and thick-thin serrated waves are varied.
2. Khat Nasta’liq or Khat Farisi Nasta’liq
Khat Nasta’liq is the result of Iranian calligraphers Mir Ali al-Harawi, processed from the khat Ta’liq which is entered by a little element of Naskhi so that it becomes a combination of Naskhi-Ta’liq or Nasta’liq. Nasta’liq which is now often called Farisis as Ta’liq, was developed and beautified by Iranian society. Its extensive use of daily script writing places it in the same position as Naskhi in other regions. Because of this, it is very possible that this style is the Ta’liq style which functions as an expanded script after being modified by Mir Ali.
3. Khat Syikasteh
Next to the Ta’liq khat, the Iranians also created a new style of calligraphy which they called khat Syikasteh, taken from the khat TA’liq and khat Diwani. Syikasteh means messy, because the final streaks of letters are left so that they seem messy or chaotic. This Khat is used only in the Persian region and does not spread to all areas of the Arab Islamic region like other styles. That is because Syikasteh is difficult to read.
4. Khat Farisi Mutanazhir
Khat this type is associated with a mutually reflective and balanced appearance. The mutually reflected elements in the Pharisee Mutanazhir’s vision lie in their horizontal strokes or in their vertical letters such as the alif and lam that are mutually harmonious.
5. Khat Farisi Mukhtazal
This style is born as a reaction to the similarity of the forms of the Pharisees and the possibility of one letter having more than one function. Thus, one stroke can function as a mukhtazal to summarize a few letters so that they have some reading. This style often complicates khattat and readers. Khattat had difficulty because in some circumstances crossing khat was not easy to make. As for the reader, the difficulty is because they suffer from difficulties in reading and understanding their intentions, so there is a presumption that this kind of vision is a puzzle. From here a proverb says “Khairul khat ma quri’a (as best as you can read).
6. Khat Farisi Mir’at
Mir’at or mirror that serves to reflect the image appears in the style of calligraphy when the right side bounces to the left side (same as the thought of Tsulus Mutanazhir), so often also called khat Farisi Mutanazhir.