Ustad Alibaba Awrang

Islamic, to Persian Calligraphy, to Modern Expression.

A Calligraphers Journey:

Islamic calligraphy began in the 7th century, emerging alongside the rise of Islam as a vital means of preserving and transmitting the Quran. Because the Quran is considered the literal word of God, every letter and word had to be recorded with absolute accuracy. Writing the sacred text was not merely a practical task; it was a deeply spiritual act.

Calligraphy quickly became a way to honor the divine, transforming writing into a form of devotion.

The early script, Kufic, is characterized by its angular, geometric shapes, with straight lines and sharp angles that gave it a formal, monumental quality. This style was not only legible but also highly decorative, making it ideal for decorating mosques, palaces, coins, and manuscripts.

Early Islamic societies, religious teachings discouraged the depiction of humans and animals in sacred spaces like mosques or in religious manuscripts. The reasoning was to avoid idolatry (worshipping images instead of God). Because of this restriction, artists could not rely on figurative imagery (pictures of people or animals) to decorate religious texts, architecture, or sacred objects. As a result, the written word itself became the main medium for artistic expression. The letters of the Arabic script were not just functional symbols; they were transformed into art. Artists began experimenting with size, shape, line, and rhythm, creating intricate designs that were both meaningful and visually stunning.

The Dome of the Rock in Jerusalem, Palestine (7th century): The interior is decorated with Kufic inscriptions from the Quran, where the letters themselves form geometric and ornamental patterns. No human or animal images are present, but the space is visually rich and sacred.

The Blue Qur’an (9th–10th century): The Quranic text is written in gold Kufic letters on deep blue parchment. Created during the Abbasid period. Its gold letters are written on indigo-dyed parchment, showcasing the elegance and formality of the Kufic script.

The Blue Qur'an (9th–10th century)

As Islam spread across the Middle East, North Africa, and beyond, the need for standardized, readable texts grew. Kufic served this purpose in monumental inscriptions and luxury manuscripts with the famous Blue Qur’an, yet for everyday writing and copying of the Quran, scribes gradually turned to more practical scripts like Naskh, which were smoother, rounder, and easier to read. Despite these innovations, Kufic remained influential, forming the foundation upon which later Islamic scripts were built.

Calligraphers such as Ibn Muqla (886–940 CE), who formalized the proportions of Arabic scripts, and Ibn al-Bawwab (d. 1022 CE), who refined Naskh and produced some of the most celebrated Qur’ans of his era, played pivotal roles in its development. Later, Yaqut al-Musta’simi (d. 1298 CE) perfected several classical scripts, leaving a lasting influence on Islamic calligraphy.

One famous example is a Qur'an written by Ibn al-Bawwab, a celebrated calligrapher from Baghdad in the early 11th century.

Even after Naskh became dominant for everyday writing, Kufic’s bold, monumental style continued to influence later scripts and modern calligraphers. Its geometric structure laid the foundation for subsequent styles such as Thuluth and Muhaqqaq, and today, artists like Ustad Alibaba Awrang draw inspiration from this rich legacy, blending classical precision with contemporary innovation.

Persian Calligraphy: Nastaʿlīq and the Safavid Era

Persian calligraphy developed its distinct identity in the 14th century with the emergence of Nastaʿlīq, a script celebrated for its elegance, fluidity, and flowing forms.

Unlike the angular rigidity of early Kufic, Nastaʿlīq was designed to be graceful and lyrical, making it particularly suited for Persian poetry, which often relied on delicate rhythms and subtle emotional expression. The script combined elements of earlier Arabic styles, including Naskh, but introduced a distinctive slant, rounded shapes, and long sweeping lines that allowed the words to appear as if they were “floating” across the page.

While Persian calligraphers kept the spiritual and aesthetic foundation of Arabic calligraphy (precision, balance, and proportion) they also innovated to reflect Persian literary culture. Nastaʿlīq became the dominant script for manuscripts of poetry, historical texts, and royal documents, replacing more rigid scripts in artistic and literary contexts. Its emphasis on beauty and visual harmony transformed calligraphy from a functional tool into a refined artistic expression.

By the 16th century, under the Safavid dynasty, calligraphy had evolved into an elite art form. The Safavids, who ruled Persia from 1501 to 1736, elevated calligraphy to the status of courtly art, commissioning master calligraphers to create illuminated manuscripts, decorate palaces, and produce intricate works for private collections. Calligraphy was treated with the same reverence as painting or architecture, often displayed as a centrepiece of cultural sophistication.

The Safavid period also saw the systematization of Nastaʿlīq, with rules about proportion, spacing, and ornamental flourishes being formalized, ensuring the script could be taught and replicated consistently by future generations.

The innovations of Nastaʿlīq, combined with the Safavid patronage, set the stage for centuries of Persian artistic achievement and influenced calligraphy across the Islamic world.

Among the modern masters of this tradition is Ustad Alibaba Awrang, first studied and mastered the traditional style, before expanding the possibilities of contemporary calligraphy.

Born in 1972 in the mountains of Jaghori, Afghanistan, Awrang’s fascination with calligraphy began early. He pursued formal training at the Iranian Calligraphy Association in Tehran, mastering the classical scripts before developing a distinctive contemporary style. His work blends traditional technique with modern abstraction, transforming letters into dynamic compositions that convey both beauty and emotion.

When Ustad Alibaba Awrang trained at the Iranian Calligraphers Association in Tehran, he was learning in a formal, traditional calligraphy curriculum grounded in the major historic scripts of Islamic and Persian calligraphy. That institution is one of the oldest and most respected calligraphy schools in the region and has played a central role in preserving and teaching the art for decades.آموزشگاه بین المللی خط و هنر اسلامی

The Association’s training is not limited to just one style. While Nastaʿlīq (the graceful, flowing script associated with Persian poetry and literature) is the central focus of its curriculum, students also learn other classical scripts as they progress. Beginners usually start with the foundational lessons in Nastaʿlīq, and then, in advanced and master-level courses, they study other major scripts such as Naskh (a clear, rounded script), Thuluth (larger, ornamental script), and Shekasta‑Nastaʿlīq (a more cursive, broken form of Nastaʿlīq).آموزشگاه بین المللی خط و هنر اسلامی

These scripts each have their own historical and aesthetic importance:

Nastaʿlīq is often called the bride of calligraphy because of its elegance and harmony — historically used for Persian poetry and fine manuscripts.آموزشگاه بین المللی خط و هنر اسلامی

Naskh was widely used across the Islamic world for Qur’ans and everyday writing, valued for its readability.آموزشگاه بین المللی خط و هنر اسلامی

Thuluth is bold and ornamental, often seen in architectural inscriptions, headings, and elaborate compositions.آموزشگاه بین المللی خط و هنر اسلامی

Shekasta‑Nastaʿlīq developed later as a more dynamic, faster-to-write variant of classical Nastaʿlīq.Flickr

Because calligraphy is deeply connected to both artistic tradition and formal technique, students not only copy letters and words but also practice exercises called sīāh‑mašq and sar‑mašq (long rows and models of letter combinations designed to train precision and rhythm) These exercises have been part of calligraphy education for centuries.Encyclopaedia Irani ca

Awrang describes his art as "a reflection of my life, my struggles, my joys, my sorrows, my love." Each piece communicates a story, a personal and universal experience expressed through line, color, and form.

His art tells the story of a man displaced, yet undeterred. Of a refugee finding his way in a new world. Of a family building a new life with hope and resilience. Awrang’s wife, Gul Ziwar, and their children, Arman, Arezo, Ali, and Taha, are part of this journey, embodying the strength that pulses through his art.

Resilience and Recognition

In 2021, as the Taliban regained control of Afghanistan, Awrang and his family were forced to flee. Resettled in Connecticut, he continued his practice, receiving his first U.S. commission for the Museum of Islamic Art in Doha, Qatar, a monumental triptych titled Infinite Description.

INFINITE DESCRIPTION, 2022                                                                                                   

149 X 228 inches Gild, silver leaf, Japanese ink, acrylic and watercolor on canvas Collection of Islamic Museum Art in Doha, Qatar

His work has since gained international recognition, appearing at the Sydney Biennale and in prestigious collections such as the World Bank. Through each brushstroke, Awrang bridges the gap between tradition and modernity, offering calligraphy as both an aesthetic and emotional experience.

Classical Islamic calligraphy is defined by balance, proportion, and repetition, each line meticulously calculated. Awrang honours these principles while introducing a new dimension (letters that twist, stretch, and dissolve into vibrant colours) drawing viewers into the emotion behind the text.

For a modern audience, Awrang’s fusion of tradition and abstraction is incredibly captivating. It’s more than beautiful writing, it’s an emotional journey.

Traditional calligraphy, while breathtaking, can sometimes feel distant to those unfamiliar with its cultural or religious significance. Awrang bridges that gap. He invites people in, not just to read, but to feel the art. His bold use of colour and abstract forms draws in art lovers from all walks of life, making calligraphy accessible to a global audience that might not speak the language, but can still understand the message.

Imagine a canvas where the elegance of a centuries old script meets the spontaneity of a Jackson Pollock painting. The result? Something that feels alive. It’s no longer about reading the words, but about experiencing the emotion they carry.

One might wonder how historic masters such as Ibn Muqla or Mir Ali Tabrizi would react to Awrang’s bold reinterpretations. While his expressive abstractions may defy classical rules, they continue the innovative spirit that defined calligraphy’s origins. Calligraphy itself was groundbreaking, an art form that transformed mere writing into something divine. Awrang is doing exactly what they did, pushing the boundaries of what’s possible. In reimagining the art form for today, Awrang honours the tradition while extending its reach, ensuring that this ancient practice remains alive, vibrant, and relevant.

Perhaps, after the initial shock, they’d nod in approval, seeing that Awrang’s art, like theirs, carries the heart of calligraphy. It’s still about communicating something profound, just in a way that speaks to today’s world.

What makes Awrang’s work so special is that it speaks to multiple generations. For those who revere the classical forms of calligraphy, his work still holds the grace and discipline of the tradition. But for those who crave something new and emotionally charged, his use of abstract art opens up a world of possibilities. It’s a balance between honoring the past and embracing the future. With each brushstroke, Ustad Awrang creates something more than calligraphy. He’s creating a dialogue between old and new, tradition and innovation. And in doing so, he’s making sure that this ancient art form not only survives, but thrives in the modern world.