Damascus, Oct. 21 (SANA) A discussion in Damascus on Tuesday explored Syrian artist and calligrapher Munir al-Shaarani’s approach to developing Arabic calligraphy and expanding its possibilities as a modern visual art form, drawing on his book A Contemporary Artistic Vision of Arabic Calligraphy.
The event was hosted by Bidayetna Association in the city’s Bab Sharqi neighborhood in cooperation with Atlas and Mamdouh Adwan publishing houses. It was moderated by art critic Muhyi al-Din Malik and attended by people interested in visual arts and Arabic calligraphy.
The discussion examined how Arabic calligraphy can move beyond its traditional linguistic and decorative functions to become an independent form of visual expression. It also explored al-Shaarani’s study of the aesthetic principles of Arabic scripts and his efforts to rediscover historical styles, particularly those that have received limited attention and survive only in a few examples.
Reviving historical scripts through experimentation
Al-Shaarani discussed his research into the Nishapuri script, explaining that he had discovered an old page containing a limited number of examples of its letters. Their visual richness prompted him to study their characteristics and reconstruct the script’s structure according to its underlying principles, making it suitable for use in new artistic works.
He stressed that innovation does not require abandoning one’s roots or breaking with heritage. Instead, he said, a thorough understanding of historical traditions provides a foundation for exploring contemporary forms of artistic and aesthetic expression.
The discussion also addressed al-Shaarani’s treatment of Arabic letters as visual elements, using relationships among space, mass, color and rhythm to create compositions that extend beyond the written word.
His approach to texts with philosophical and Sufi themes was also examined, particularly how their visual reconstruction can invite audiences to interpret them in different ways rather than relying solely on the literal meaning of the words.
Al-Shaarani and participants highlighted the distinction between calligraphy as a craft and as a visual art form based on experimentation and innovation.
Book combines theory and practice
Published in 2025, A Contemporary Artistic Vision of Arabic Calligraphy brings together al-Shaarani’s research into Arabic scripts, their development and the rediscovery of historical forms. It combines theoretical analysis with more than 100 calligraphic artworks demonstrating his exploration of styles including Kufic, Maghrebi and Andalusian scripts.
The book was published in Arabic, with English, French and Spanish translations, as part of a joint publishing project. It presents Arabic calligraphy as an independent art form within the broader field of visual arts.
Speaking to SANA, al-Shaarani said the book summarizes his research and artistic development. He argued that modernity cannot be achieved by severing ties with heritage, but rather by extending it through new approaches to artistic expression.
Arabic letters have considerable potential for renewal, he said, adding that artists can bring this potential to life through a contemporary vision that combines an understanding of historical foundations with new forms of visual expression.
A career dedicated to Arabic calligraphy
Born in Salamiyah in 1952, al-Shaarani began studying calligraphy at an early age under calligrapher Badawi al-Dayrani. He graduated from the Faculty of Fine Arts at Damascus University in 1977, specializing in ornamental design and advertising.
Throughout his career, he has focused on developing Arabic calligraphy and expanding its role in the visual arts. His work treats calligraphy as an artistic structure open to experimentation and development while preserving its essential characteristics, seeking to bridge the heritage of Arabic scripts with the demands of contemporary visual expression.
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