#naskh

[tanween]

The Timeless Elegance of Arabic Calligraphy.

What skill would you like to learn? Arabic calligraphy is a fascinating and intricate art form that combines both visual aesthetics and the rich tradition of the Arabic language. This ancient practice involves writing Arabic script in a highly stylized and artistic manner. It holds immense cultural and historical significance in the Islamic world and beyond. Arabic calligraphy has evolved into…

[hindisoup]

Are any of the other North Indian languages mutually intelligible with Hindi?

(other than Urdu)

Boy, did this ask take me down a rabbit hole. I have only studied Hindi and some Urdu, and my exposure to other Indian languages is mostly through fusion film songs that mix various languages. So if I make a mistake here, please feel free to expand and correct me!

India is home to a diverse range of languages, many of which share roots with Hindi in the Indo-Aryan language family. While some are highly mutually intelligible, others are more distinct but still share structural and lexical similarities.

When comparing languages with common roots, it's often helpful to look at the words that are probably the oldest, such as those for home, food, or basic verbs. Here's a comparison of Hindi and Urdu to six other Indian languages with three example sentences.

What we can see here:

Shared vocabulary: Words like घर, किताब and खाना are mostly consistent across the board and would likely be understood by many speakers of these languages. Words like पुस्तक, छोरी and भोजन are also familiar to Hindi speakers, though they might be considered more formal, regional or specific.

Grammar: all these languages follow the Subject-Object-Verb (SOV) sentence structure. Even if you encounter an unfamiliar word, this consistent syntax helps understanding and contextually deducing its meaning. Knowing where nouns, verbs and adverbs are likely placed in a sentence can be a huge advantage when learning or comparing these languages.

Script: Hindi uses Devanagari, Urdu uses Nastaliq or Naskh, Punjabi uses Gurmukhi in India and Shahmukhi (Perso-Arabian script similar to Urdu) in Pakistan. Gujarati has its own script, and others, like Maithili and Bhojpuri, also use Devanagari with minor regional tweaks.

So the answer to your question is: well yes, but actually no.

You can test how much you understand by listening to these songs! Some of them have a bit of Hindi influence or shared vocabulary mixed into them:

Punjabi

Rajasthani

Bhojpuri

Maithili

Marathi

Gujarati

[thebeautifulbook]

QUR’AN (17th Century)

A large size (51x37cm) illuminated copy of the QUR’AN made in Turkey. Ink and pigments on laid, non-European with flyleaves of Italian, pink tinted paper covered with leather. ‘This polychrome manuscript is penned in a number of scripts, including Muhaqqaq, Thuluth, Naskh, and Ttawqi’.

Previously owned by Sultan Ahmad (reigned 1703-1730). Held by the Walters Art Museum.

[u-mspcoll]

An outstanding icazetname in Isl. Ms. 438

First part of a calligraphy license or diploma (icazetname) in naskh (nesih) script, mounted in fol.17b in Isl. Ms. 438, Islamic Manuscripts Collection 

Second part of a calligraphy license or diploma (icazetname) in naskh (nesih) script, mounted as a separate piece in fol.21a in Isl. Ms. 438, Islamic Manuscripts Collection 

Enjoy this post by Sumeyra Dursun, 2023 Heid Fellow, from her research in the Islamic Manuscripts Collection. Sumeyra is a doctoral candidate in the history of Islamic arts at Yildiz Technical University in Istanbul.

Read more!

[ottoman-empire]

Art of Illumination and Naskh Scrip by Hafez Osman Nuri (II Abdülhamid Collection, nr 173)

[tawakkull]

SPIRITUALITY IN ISLAM: PART 2: THE ORIGIN

As the history of Islamic religious sciences tells us, religious commandments were not written down during the early days of Islam; rather, the practice and oral circulation of commandments related to belief, worship, and daily life allowed the people to memorize them.

Thus it was easy to compile them in books later on, for what had been memorized and practiced was simply written down. In addition, since religious commandments were the vital issues in a Muslim’s individual and collective life, scholars gave priority to them and compiled books on them. Legal scholars collected and codified books on Islamic law and its rules and principles pertaining to all fields of life. Traditionists established the Prophetic traditions (hadiths) and way of life (Sunna), and preserved them in books. Theologians dealt with issues concerning Muslim belief. Interpreters of the Qur'an dedicated themselves to studying its meaning, including issues that would later be called “Qur'anic sciences,” such as naskh (abrogation of a law), inzal (God’s sending down the entire Qur'an at one time), tanzil (God’s sending down the Qur'an in parts on different occasions), qira'at (Qur'anic recitation), ta'wil (exegesis), and others.

Thanks to these efforts that remain universally appreciated in the Muslim world, the truths and principles of Islam were established in such a way that their authenticity cannot be doubted.

While some scholars were engaged in these “outer” activities, Sufi masters were mostly concentrating on the Muhammadan Truth’s pure spiritual dimension. They sought to reveal the essence of humanity’s being, the real nature of existence, and the inner dynamics of humanity and the cosmos by calling attention to the reality of that which lies beneath and beyond their outer dimension. Adding to Qur'anic commentaries, narrations of Traditionists, and deductions of legal scholars, Sufi masters developed their ways through asceticism, spirituality, and self-purification in short, their practice and experience of religion.

Thus the Islamic spiritual life based on asceticism, regular worship, abstention from all major and minor sins, sincerity and purity of intention, love and yearning, and the individual’s admission of his or her essential impotence and destitution became the subject matter of Sufism, a new science possessing its own method, principles, rules, and terms. Even if various differences gradually emerged among the orders that were established later, it can be said that the basic core of this science has always been the essence of the Muhammadan Truth.

The two aspects of the same truth the commandments of the Shari'a and Sufism have sometimes been presented as mutually exclusive. This is quite unfortunate, as Sufism is nothing more than the spirit of the Shari'a, which is made up of austerity, self-control and criticism, and the continuous struggle to resist the temptations of Satan and the carnal, evil-commanding self in order to fulfill religious obligations. While adhering to the former has been regarded as exotericism (self-restriction to Islam’s outer dimension), following the latter has been seen as pure esotericism. Although this discrimination arises partly from assertions that the commandments of the Shari'a are represented by legal scholars or muftis, and the other by Sufis, it should be viewed as the result of the natural, human tendency of assigning priority to that way which is most suitable for the individual practitioner.

Many legal scholars, Traditionists, and interpreters of the Qur'an produced important books based on the Qur'an and the Sunna. The Sufis, following methods dating back to the time of the Prophet and his Companions, also compiled books on austerity and spiritual struggle against carnal desires and temptations, as well as states and stations of the spirit. They also recorded their own spiritual experiences, love, ardor, and rapture. The goal of such literature was to attract the attention of those whom they regarded as restricting their practice and reflection to the “outer” dimension of religion, and directing it to the “inner” dimension of religious life.

Both Sufis and scholars sought to reach God by observing the Divine obligations and prohibitions. Nevertheless, some extremist attitudes occasionally observed on both sides caused disagreements. Actually there was no substantial disagreement, and it should not have been viewed as a disagreement, for it only involved dealing with different aspects and elements of religion under different titles. The tendency of specialists in jurisprudence to concern themselves with the rules of worship and daily life and how to regulate and discipline individual and social life, and that of Sufis to provide a way to live at a high level of spirituality through self-purification and spiritual training, cannot be considered a disagreement.

In fact, Sufism and jurisprudence are like the two schools of a university that seeks to teach its students the two dimensions of the Shari'a so that they can practice it in their daily lives. One school cannot survive without the other, for while one teaches how to pray, be ritually pure, fast, give charity, and how to regulate all aspects of daily life, the other concentrates on what these and other actions really mean, how to make worship an inseparable part of one’s existence, and how to elevate each individual to the rank of a universal, perfect being (al-insan al-kamil) a true human being. That is why neither discipline can be neglected.

Although some self-proclaimed Sufis have labeled religious scholars “scholars of ceremonies” and “exoterists,” real, per-fected Sufis have always depended on the basic principles of the Shari'a and have based their thoughts on the Qur'an and the Sunna. They have derived their methods from these basic sources of Islam. Al-Wasaya wa al-Ri'aya (The Advices and Observation of Rules) by al-Muhasibi, Al-Ta'arruf li-Madhhab Ahl al-Sufi (A Description of the Way of the People of Sufism) by Kalabazi, Al-Luma’ (The Gleams) by al-Tusi, Qut al-Qulub (The Food of Hearts) by Abu Talib al-Makki, and Al-Risala al-Qushayri (The Treatise) by al-Qushayri are among the precious sources that discuss Sufism according to the Qur'an and the Sunna. Some of these sources concentrate on self-control and self-purification, while others elaborate upon various topics of concern to Sufis.

After these great compilers came Hujjat al-Islam Imam al-Ghazzali, author of Ihya’ al-‘Ulum al-Din (Reviving the Religious Sciences), his most celebrated work. He reviewed all of Sufism’s terms, principles, and rules, and, establishing those agreed upon by all Sufi masters and criticizing others, united the outer (Shari'a and jurisprudence) and inner (Sufi) dimensions of Islam. Sufi masters who came after him presented Sufism as one of the religious sciences or a dimension thereof, promoting unity or agreement among themselves and the so-called “scholars of ceremonies.” In addition, the Sufi masters made several Sufi subjects, such as the states of the spirit, certainty or conviction, sincerity and morality, part of the curriculum of madrassas (institutes for the study of religious sciences).

Although Sufism mostly concentrates on the individual’s inner world and deals with the meaning and effect of religious commandments on one’s spirit and heart and is therefore abstract, it does not contradict any of the Islamic ways based on the Qur'an and the Sunna. In fact, as is the case with other religious sciences, its source is the Qur'an and the Sunna, as well as the conclusions drawn from the Qur'an and the Sunna via ijtihad (deduction) by the purified scholars of the early period of Islam. It dwells on knowledge, knowledge of God, certainty, sincerity, perfect goodness, and other similar, fundamental virtues.

Defining Sufism as the “science of esoteric truths or mysteries,” or the “science of humanity’s spiritual states and stations,” or the “science of initiation” does not mean that it is completely different from other religious sciences. Such definitions have resulted from the Shari'a-rooted experiences of various individuals, all of whom have had different temperaments and dispositions, and who lived at different times.

It is a distortion to present the viewpoints of Sufis and the thoughts and conclusions of Shari'a scholars as essentially different from each other. Although some Sufis were fanatic adherents of their own ways, and some religious scholars (i.e., legal scholars, Traditionists, and interpreters of the Qur'an) did restrict themselves to the outer dimension of religion, those who follow and represent the middle, straight path have always formed the majority. Therefore it is wrong to conclude that there is a serious disagreement (which most likely began with some unbecoming thoughts and words uttered by some legal scholars and Sufis against each other) between the two groups.

When compared with those who spoke for tolerance and consensus, those who have started or participated in such conflicts are very few indeed. This is natural, for both groups have always depended on the Qur'an and the Sunna, the two main sources of Islam.

In addition, the priorities of Sufism have never been different from those of jurisprudence. Both disciplines stress the importance of belief and of engaging in good deeds and good conduct. The only difference is that Sufis emphasize self-purification, deepening the meaning of good deeds and multiplying them, and attaining higher standards of good morals so that one’s conscience can awaken to the knowledge of God and thus embark upon a path leading to the required sincerity in living Islam and obtaining God’s pleasure.

By means of these virtues, men and women can acquire another nature, “another heart” (a spiritual intellect within the heart), a deeper knowledge of God, and another “tongue” with which to mention God. All of these will help them to observe the Shari'a commandments based on a deeper awareness of, and with a disposition for, devotion to God.

[artifacts-archive]

Jug (Mashraba) with Human-Headed Inscription and Zodiac Signs

Persian, 12th-early 13th century

The Arabic inscription around the neck of this jug is written in a naskh script that terminates in human heads and reads, “Glory, success, dominion, safety, happiness, care, and long life to the owner.” The inscription on the foot reads, “Glory, success, dominion, happiness, safety, intercession, and long life to the owner.”

[hana9870]

Archäologische Sammlerstücke erzählen die Geheimnisse der ägyptischen Geschichte.

Diese Tradition steht im Zusammenhang mit den Bemühungen der Museen, ihre kulturelle und pädagogische Rolle zu stärken und das archäologische Bewusstsein in allen Teilen der Gesellschaft zu schärfen. Sie können die besten Reisen buchen, indem Sie ÄGYPTEN-REISEPAKETE empfehlen, Ägypten-Websites zu besuchen.

Die am meisten ausgewählten Stücke in den Museen Ägyptens:

Museum für islamische Kunst - Bab al-Khalq: Zeigt einen Krug und eine mit Gold und Silber überzogene Kupferschale, die dem Mamlukenprinzen tabtaq gehören und mit Inschriften in Naskh-Schrift und den Titeln des Prinzen verziert sind. Buchen Sie jetzt Ihre Tour 2 Tage Kurzurlaub in Kairo, um die bekanntesten monumentalen Sehenswürdigkeiten Ägyptens zu besuchen.

Koptisches Museum-altes Ägypten: Präsentiert eine Sammlung von Töpferöfen, die zur Konservierung von Wasser verwendet wurden, Mohammed Ali Palace Museum-Al-maneel: Hebt die Salsabil-Halle hervor, in der sich Marmorbrunnen mit prächtigen geometrischen Mustern befinden, die die Architektur des XIX. Jahrhunderts widerspiegeln. Verbringen Sie Ihren Urlaub mit Ihrer Familie, indem Sie einen 3-tägigen Zwischenstopp in Kairo buchen, um einen fantastischen Urlaub zu verbringen.

Nationales Polizeimuseum - Zitadelle: Zeigt ein hölzernes Modell eines Bootes mit zehn Seeleuten, das die Flusspolizei im alten Ägypten darstellt. Sie können Ägypten durch ÄGYPTEN-TOUREN besuchen, die von Kairo Top Touren angeboten werden.

Das Museum für königliche Fahrzeuge - Boulak: Es umfasst ein Ölgemälde von Prinzessin Fawzia, Tochter von König Ahmed Fouad I., die eine Krone und ein Netzset trägt, das vom Pariser Haus "Van Cleve & erpels" entworfen wurde. Sie können die besten Ausflüge durch 3 Tage Kairo Kurzurlaub buchen, um diesen großartigen Ort zu erkunden.

Gayer Anderson Museum-Frau Zeinab: Zeigt die Krone einer Steinsäule mit einer Statue der Göttin Hathor, einem Symbol für Liebe und Mutterschaft im alten Ägypten. Buchen Sie jetzt Ihre Tour von Kairo Städtereise 2 Tage, um die große Statue zu sehen.

Emhotep Museum-Sakkara: Zeigt eine Sammlung von chirurgischen Bronzeinstrumenten, die die Entwicklung der Medizin im alten Ägypten widerspiegeln. Sie können Ägypten durch Städtereisen in Kairo 3 Tage besuchen, um die alten architektonischen Entwürfe zu sehen.

Kairo International Airport Museum-Terminal 2: präsentiert eine hölzerne Ikone der Heiligen Cosmas und Damian, der ältesten christlichen Ärzte, die sich durch heilende Krankheiten auszeichneten. Sie können die besten Reisen durch ÄGYPTEN KLASSISCHE TOUREN mit den besten Preisen von Kairo Top Tours buchen.

Alexandria Nationalmuseum: Eine seltene Statue von Königin Hatschepsut mit weißer Krone und falschem Bart sticht hervor und spiegelt ihre einzigartige Position als erste Frau wider, die Ägypten mit voller Autorität regierte. Königliches Schmuckmuseum-Alexandria: Königin Faridas Blumenkrone aus Platin, die mit einzigartigen Diamanten besetzt ist, ist ausgestellt. Sie können Ägypten durch 4 Tage Kairo Städtereise besuchen, um diese großen Paläste zu sehen.

Griechisch-römisches Museum-Alexandria: Es umfasst eine Marmorstatue des Gottes Asklepios, das Symbol der Medizin bei den Griechen und Römern, die einen Stock hält, der von einer Schlange umwickelt ist, die nicht Sie ist auch heute noch ein Symbol der Medizin. Buchen Sie jetzt Ihre Tour Kairo Kurzurlaube Pakete, um das schöne Wetter in Ägypten zu genießen.

Luxor Museum für altägyptische Kunst: Zeigt ein Steinfragment, das Königin Hatschepsut darstellt, die dem Gott Amun Opfergaben darbringt , Mumifizierungsmuseum-Luxor: Beherbergt eine Sammlung chirurgischer Werkzeuge, die beim Mumifizierungsprozess verwendet werden, wie z. B. Meißel und Löffel, die beim Reinigen von Organen verwendet werden Innenraum. Buchen Sie jetzt Ihre Tour mit Städtereise nach Kairo in 5 Tagen, um diese erstaunliche Stätte zu erkunden.

Nubia Museum-Assuan: zeigt eine Granitstatue von Prinzessin Amunardis I., Tochter von König Kashta und Schwester von König Baankhi, der eine prominente Figur in der fünfundzwanzigsten Dynastie war. Sie können die besten Ausflüge von Kairo Kurzurlaub in 4 Tagen buchen, um diesen großartigen Ort in Assuan zu erkunden.

@cairo-top-tours

[fontfamily56]

The Beauty and Importance of Arabic Fonts in Design

Typography is a fundamental element of design, and Arabic fonts play a vital role in visual communication, branding, and cultural representation. With their intricate curves and diverse styles, Arabic fonts offer a unique aesthetic that balances tradition and modernity. Whether for digital platforms, print media, or branding, Arabic typography enhances readability and artistic appeal.readmore.

What Are Arabic Fonts?

Arabic fonts are typefaces designed for writing in the Arabic script, which is used in languages such as Arabic, Persian, and Urdu. Unlike Latin-based fonts, Arabic script flows from right to left and often incorporates calligraphic elements, making font design a complex and artistic process.

Types of Arabic Fonts

Naskh – One of the most commonly used Arabic fonts, known for its readability and elegant simplicity. It is widely used in books, newspapers, and digital content.

Thuluth – A decorative and artistic script used in calligraphy, mosques, and architectural inscriptions.

Diwani – A highly decorative style with flowing curves, often used in formal invitations and royal decrees.

Kufi – A geometric and structured font style, frequently seen in logos, modern branding, and architectural design.

Ruqʿah – A casual and fast-writing script commonly used for handwriting and informal texts.

Modern Arabic Fonts – Contemporary fonts that blend traditional elements with modern design principles for branding and digital media.

Why Arabic Fonts Matter in Design

Cultural Authenticity – Proper use of Arabic typography ensures cultural and linguistic accuracy in branding and communication.

Readability and Accessibility – Well-designed Arabic fonts improve legibility, especially for digital content and print media.

Brand Identity – Many companies incorporate Arabic fonts into their logos and branding to establish a strong connection with Arabic-speaking audiences.

Artistic Expression – Arabic calligraphy and typography are integral to Middle Eastern art, providing a balance of tradition and innovation.

Popular Arabic Fonts for Branding and Design

Dubai Font – A modern Arabic-Latin typeface designed for branding and corporate communication.

Cairo Font – A highly readable, contemporary font used in web and graphic design.

Geeza Pro – A professional and widely used font for digital interfaces and publishing.

Amiri – A classic Arabic font based on traditional Naskh calligraphy, ideal for editorial design.

Tahoma Arabic – A widely used font that offers clear readability for digital content.

Choosing the Right Arabic Font

When selecting an Arabic font, consider:

Purpose – Is it for branding, editorial, or digital use?

Readability – Can it be easily read at different sizes and resolutions?

Aesthetic Appeal – Does it align with the design theme and cultural context?

Compatibility – Does it work well with Latin script if needed?

Conclusion

Arabic fonts are an essential part of modern design, offering both artistic and functional benefits. From traditional calligraphy to modern typography, Arabic fonts enhance communication, brand identity, and cultural appreciation. Whether for business, art, or media, choosing the right Arabic font can significantly impact the effectiveness and beauty of a design.t

visit our website more content.

[maiega]

Exploring the Beauty of Arabic Writing Styles

Arabic calligraphy is an art form that has evolved over centuries, shaping the visual and cultural identity of many regions. More than just a method of writing, it carries historical depth, aesthetic appeal, and spiritual significance. The diversity of Arabic writing styles reflects the artistic and functional needs of different periods and cultures. From ancient manuscripts to modern digital designs, these styles have played a crucial role in communication and artistic expression.

The Origins of Arabic Calligraphy

The Arabic script developed from the Nabataean and Aramaic scripts, gradually taking on its own unique form. Early Arabic writing was simple and functional, but as Islam spread, calligraphy became a respected art. It was widely used for religious texts, particularly the Quran, which led to the refinement of various scripts over time. Artists and scholars worked meticulously to create styles that balanced readability with artistic beauty.

Major Arabic Writing Styles

1. Kufic

One of the oldest Arabic scripts, Kufic is known for its geometric, angular shapes. It was widely used in early Quranic manuscripts and architectural inscriptions. Over time, different variations of Kufic emerged, including floral and interwoven designs that adorned mosques and coins.

2. Naskh

Naskh is a more fluid and readable script that became popular for everyday use. Its rounded letters and clear structure made it ideal for copying books, legal documents, and religious texts. Today, it remains one of the most common fonts for Arabic printing and digital typography.

3. Thuluth

Thuluth is an elegant, decorative script characterized by elongated verticals and curved letters. Often seen in mosque decorations and official inscriptions, it requires a skilled hand to execute properly. This style is still favored for artistic calligraphy and ceremonial purposes.

4. Diwani

Developed during the Ottoman Empire, Diwani is a highly stylized and intricate script. Its letters intertwine gracefully, making it difficult to read but visually stunning. It was traditionally used for royal decrees and official state documents.

5. Ruq’ah

Ruq’ah is a simple and practical script commonly used in everyday handwriting. It is the preferred style for informal writing due to its ease and speed. Unlike more elaborate scripts, Ruq’ah does not have complex flourishes, making it ideal for quick notes and business correspondence.

6. Maghrebi

This style developed in North Africa and Spain, distinguished by its rounded and looping forms. It is often seen in old manuscripts and Quranic texts from the region. The Maghrebi script stands out due to its unique letter shapes, which differ from those of the eastern Arabic scripts.

Arabic Calligraphy in the Modern World

Despite advancements in digital typography, Arabic calligraphy continues to thrive. Designers and artists incorporate traditional styles into contemporary works, blending history with modern aesthetics. Calligraphy is used in branding, architecture, and digital media, ensuring its continued relevance in today’s world.

The beauty of Arabic writing styles lies in their ability to merge function with artistry. Whether in ancient manuscripts or modern designs, these scripts continue to captivate and inspire, preserving a rich cultural heritage for generations to come.

[fasalquran]

Dawn of Divine Understanding: Quranic Science and Quranic Science

Selamat datang ke video kami yang menganalisis Al-Quran sebagai sumber panduan dan hikmah mendalam tentang sifat Allah dan tujuan hidup kita. Dalam video ini, kami akan membincangkan pentingnya Ulumul Quran dalam memahami makna, konteks, dan kepentingan Al-Quran. Kami akan menjelaskan cabang-cabang utama Ulumul Quran seperti Asbabun Nuzul, Naskh, dan Tafsir. Contoh Surah Al-Anfal, ayat 8, akan menunjukkan bagaimana konteks sejarah mempengaruhi pemahaman dan aplikasi ajaran Al-Quran. Ketahui juga bagaimana konsep Naskh memperlihatkan kebijaksanaan ilahi dan pentingnya bahasa Arab serta tafsir dalam memahami Al-Quran. Jangan lupa untuk like dan share video ini untuk manfaat bersama!

#AlQuran

#UlumulQuran

#Tafsir

#Naskh

#AsbabunNuzul

#IslamicKnowledge

OUTLINE:

00:00:00

Unveiling the Depths of the Quran

00:03:03

Fajar Pemahaman Ilahi

00:42:42

Illuminating the Context of Revelation

00:44:28

Understanding the Abrogation of Verses

00:47:24

The Art and Science of Quranic Interpretation

[ebelal56-blog]

MIND-BLOWING Islamic Inventions You Never Knew Existed!

Islamic civilization represents one of the most vibrant threads in the vast tapestry of human history, shaping the world through profound contributions to arts, literature, architecture, science, and mathematics. This enduring legacy transcends geographical and cultural boundaries, illustrating the interconnectedness of human achievement and the richness of shared heritage. In the arts, Islamic civilization left an indelible mark with its distinctive calligraphy and geometric designs. Arabic calligraphy, exemplified by Kufic and Naskh scripts, elevated writing into an art form, adorning mosques and manuscripts with intricate designs that convey both beauty and meaning. Geometric patterns and arabesque motifs, characterized by mathematical precision, symbolize the infinite nature of the divine. These artistic creations invite viewers into a spiritual realm where art transcends physical boundaries. Literature flourished within Islamic civilization, particularly during the Abbasid period. Poets like Al-Mutanabbi, Rumi, Ferdowsi, and Hafez explored themes of love, mysticism, and philosophy, leaving a timeless impact. Works such as One Thousand and One Nights combined moral lessons with imaginative storytelling, while philosophical texts by Ibn Sina and Al-Farabi bridged Greek and Islamic thought, laying the foundation for future intellectual inquiry. Islamic architecture stands as a testament to innovation and spirituality. Iconic structures like the Alhambra in Spain, the Dome of the Rock in Jerusalem, and the Great Mosque of Córdoba exemplify the harmonious blend of functionality and beauty. Urban planning also saw remarkable advancements, with cities like Baghdad reflecting sophisticated designs that integrated commerce, education, and community life. Islamic gardens, inspired by the Qur'anic vision of paradise, embodied tranquility and symmetry, fostering moments of reflection. Scientific and mathematical achievements were transformative, shaping the trajectory of global knowledge. Al-Khwarizmi, known as the father of algebra, introduced systematic solutions to equations, revolutionizing mathematics. Trigonometry advanced through scholars like Al-Battani, while the adoption of the Hindu-Arabic numeral system streamlined calculations. Astronomical observatories in Baghdad and Samarkand yielded detailed celestial charts, and tools like the astrolabe facilitated navigation and exploration. In medicine, Islamic civilization established bimaristans (hospitals) that advanced patient care and medical education. Al-Zahrawi’s Kitab al-Tasrif became a cornerstone of surgical knowledge, and Islamic pharmacists pioneered pharmacology. Groundbreaking works like Ibn al-Haytham’s Book of Optics laid the foundation for modern optical science, while Jabir ibn Hayyan’s experiments revolutionized early chemistry. Islamic civilization also served as a bridge between cultures, preserving and translating Greek texts that fueled the European Renaissance. Centers like Cordoba and Toledo became hubs of intellectual exchange, and the Mughal Empire in India blended influences to create masterpieces like the Taj Mahal. The legacy of Islamic civilization is a testament to humanity's shared past, enriching cultures and disciplines across time. Its contributions remind us of the interconnectedness of human progress, inspiring appreciation and respect for the complexity and beauty of global heritage.

[hindisoup]

Hiii, I've been following your blog since some time. And I've been very fascinated and impressed by your journey. I'm sure at this point you know hindi better than me (I'm not proud of this, I'll focus better on Hindi from now). And I've always had this question, I'm not sure if I asked you or if you have already answered it or not. But how did you start learning Hindi? Are you Indian or indian origin? And how has your journey been? Did you find difficulties? What was easy for you and what did you like/dislike about the culture as you continued learning the language? I'm very curious.

Hi and thank you so much for such a nice ask!

Here's my previous answer to how I got into Hindi in the first place.

In short, I am just a Finnish linguaphile with no connection to India or South Asia whatsoever. I have loved learning about different languages since childhood but Hindi (and Urdu on the side) has been my passion for the past six to seven years now.

I got into the language very typically through Hindi cinema but more than just the aesthetics I'm fascinated by the history, art, socio-political fabric, nature and just all of it. I love learning new things in general and there's always something new about Indian people or culture that draws my interest. Looking at things - whether political, religious or whatever - from a distance, I try to observe and form an understanding more than form opinions - it's not my place and all I have is endless respect for Indian people. I've never been to India but believe me I have long to-do and to-see lists when I eventually one day get to go there.

My language journey has been very enjoyable. I've done some online courses, had iTalki tutors, done some videos to practice pronunciation, made a huge Anki deck and done lots of reading, podcast listening and film watching. I was making great progress but my learning has been on somewhat hiatus since last autumn when I got a new job that took all my energy. Since January I've been writing a PhD thesis proposal that has taken all my spare time and my Hindi learning has diminished to scrolling Tumblr poems and listening to film songs while commuting. The passion is still there and I intend to return to my routines as soon as possible.

What I love most about Hindi as a language is the logic of it. It's - for me at least - very easy to 'get' Hindi, as in understanding the grammar rules - why things are the way they are. Hindi is a very learner-friendly language that way. A bigger issue is the immense vocabulary and understanding of the historical and cultural roots around borrowing sounds and words from Sanskrit, Persian and other languages - how they play together and how they do not etc. When learning Hindi you are never just learning Hindi!

I had some trouble learning Devanagari at first and learning to differentiate all the sounds (and produce them from my mouth). It took time, but one day they clicked. I'm not perfect and there's a lot of room for improvement but seeing the progress I've made is very encouraging and helps me keep on learning. Learning Nastaliq and Naskh is another story - and another journey altogether!

[mariberlajarbersama]

Halaqah 22 - Beramal, Ridha Dan Berserah Diri Dengan Hukum-Hukum Yang Belum Dihapus (Naskh) Di Dalam Kitab-Kitab Allāh

Halaqah yang ke-22 dari Silsilah ‘Ilmiyyah Beriman Dengan Kitab-kitab Allāh adalah tentang “Beramal, Ridha Dan Berserah Diri Dengan Hukum-Hukum Yang Ada Di Dalam Kitab-Kitab Allāh”. Diantara cara beriman dengan kitab-kitab Allāh; ⑷ Beramal, ridha dan berserah diri dengan hukum-hukum di dalam kitab-kitab tersebut, baik yang kita ketahui hikmahnya atau tidak. Allāh Subhānahu wa Ta’āla berfirman:

وَمَا كَانَ لِمُؤْمِنٍ وَلَا مُؤْمِنَةٍ إِذَا قَضَى اللَّهُ وَرَسُولُهُ أَمْرًا أَنْ يَكُونَ لَهُمُ الْخِيَرَةُ مِنْ أَمْرِهِمْ وَمَنْ يَعْصِ اللَّهَ وَرَسُولَهُ فَقَدْ ضَلَّ ضَلَالًا مُبِينًا

“Dan tidak pantas bagi seorang yang beriman laki-laki dan wanita, apabila Allāh dan RasūlNya sudah menetapkan sebuah perkara, kemudian mereka memiliki pilihan yang lain di dalam urusan mereka. Dan barangsiapa yang memaksiati Allāh dan rasulNya, maka sungguh telah sesat dengan kesesatan yang nyata.” (QS Al-Ahzāb: 36) Dan Allāh berfirman:

فَلَا وَرَبِّكَ لَا يُؤْمِنُونَ حَتَّى يُحَكِّمُوكَ فِيمَا شَجَرَ بَيْنَهُمْ ثُمَّ لَا يَجِدُوا فِي أَنْفُسِهِمْ حَرَجًا مِمَّا قَضَيْتَ وَيُسَلِّمُوا تَسْلِيمًا

“Maka demi Rabbmu, mereka tidak beriman sampai mereka menjadikan engkau wahai Muhammad sebagai hakim di dalam perkara yang mereka perselisihkan. Kemudian mereka tidak menemukan rasa berat di dalam hati-hati mereka terhadap apa yang engkau putuskan dan mereka menerima dengan sebenarnya.” (QS An Nisā: 65) Adapun hukum yang sudah dihapus, maka tidak boleh diamalkan, seperti: • ‘Iddah 1 tahun penuh bagi wanita yang ditinggal mati suaminya. ⇒ Sebagaimana di dalam surat Al-Baqarah ayat 240. Maka telah dihapus dengan ayat 234 dari Surat Al-Baqarah yang isinya bahwa: ✓Masa ‘iddah wanita yang ditinggal mati suaminya adalah 4 bulan 10 hari. Dan semua kitab yang terdahulu secara umum hukum-hukumnya telah dihapus dengan Al-Qurān. ⇒ Artinya, tidak boleh seorangpun baik jin maupun manusia mengamalkan hukum-hukum yang ada di dalam kitab-kitab sebelumnya, setelah datangnya Al-Qurān. Allāh Subhānahu wa Ta’āla berfirman:

وَأَنْزَلْنَا إِلَيْكَ الْكِتَابَ بِالْحَقِّ مُصَدِّقًا لِمَا بَيْنَ يَدَيْهِ مِنَ الْكِتَابِ وَمُهَيْمِنًا عَلَيْهِ فَاحْكُمْ بَيْنَهُمْ بِمَا أَنْزَلَ اللَّهُ وَلَا تَتَّبِعْ أَهْوَاءَهُمْ عَمَّا جَاءَكَ مِنَ الْحَقِّ لِكُلٍّ جَعَلْنَا مِنْكُمْ شِرْعَةً وَمِنْهَاجًا

“Dan Kami telah menurunkan kepadamu Al-Kitāb (yaitu Al-Qurān) dengan haq yang membenarkan kitab-kitab sebelumnya dan muhaymin kitab-kitab sebelumnya. Maka hendaklah engkau menghukumi diantara mereka dengan apa yang Allāh turunkan. Dan janganlah engkau mengikuti hawa nafsu mereka dengan meninggalkan kebenaran yang datang kepadamu bagi masing-masing dari kalian telah kami jadikan syariat dan juga jalan.” (QS Al-Māidah: 48)

Bahkan Nabi Mūsā sekalipun yang diturunkan kepadanya Taurat harus berhukum dengan Al-Qurān, seandainya beliau masih hidup ketika Al-Qurān turun. Rasūlullāh shallallāhu ‘alayhi wa sallam bersabda:

وَالَّذِي نَفْسِي بِيَدِهِ لَوْ أَنَّ مُوسَى كَانَ حَيًّا مَا وَسِعَهُ إِلَّا أَنْ يَتَّبِعَنِي

“Demi Zat yang jiwaku ada di tangannya, seandainya Mūsā hidup, niscaya tidak ada pilihan baginya kecuali mengikuti aku.” (HR Ahmad dan dihasankan oleh Syaikh Al-Albāniy rahimahullāh) Oleh karena itu Nabi ‘Īsā ‘alayhissalām salam yang diturunkan kepadanya Injīl di akhir zaman, ketika beliau turun akan berhukum dengan hukum Islam yang dibawa oleh Nabi Muhammad shallallāhu ‘alayhi wa sallam. Itulah yang bisa kita sampaikan pada halaqah kali ini dan sampai bertemu kembali pada halaqah selanjutnya.

[panicinthestudio]

Water Vessel, ca. 1580-1600 (made)

Probably Lahore, Mughal Empire

Brass, cast and engraved

Diameter: 15.4cm, Height: 12.3cm

Brass vessel of compressed spherical form with short neck and everted rim. Cast with engraved decoration, the hatched ground filled with the black decoration. Mughal empire, c. 1580-1600.

All the inscriptions on this vase, both on the outside and covering the interior surface, are in a bold, finely engraved naskhi script. The outside bears invocations to the 'Panj ahl-e beyt', or 'five Members of the House of Muhammad' and the inside has Koranic suras. The vessel seems originally to have had a spout. It is one of the earliest examples of metal wares so far known to have a form strongly characteristic of the Indian subcontinent but combined with purely Iranian decoration. It was bought for six guineas (£6. 6s. 6d) from F. Headen Cope, Esqre, Principal of C. J. College, Lahore, and placed in the Metal Room in the museum, 15th July, 1889. This acquisition information reflects that found in the Museum records (Asia Department registers and/or Central Inventory) as part of a 2023 provenance research project.

This water vessel was made within the Mughal empire, probably between about 1580 and 1600. All the inscriptions on the outer and inner surfaces are in a bold, finely engraved naskh. The outside bears invocations to the Panj Ahl-e Beyt, or 'Five Members of the House' of the Prophet Muhammad, and the inside Koranic verses. The decoration is based on Safavid designs of the period of Shah Tahmasp of Iran, but the form is characteristic of the Indian subcontinent. Collection of the Victoria & Albert Museum

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Price: [price_with_discount] (as of [price_update_date] - Details) [ad_1] Akbarnāma, or The History of Akbar, by Abu’l-Fazl (d. 1602), is one of the most important works of Indo-Persian history and a touchstone of prose artistry. Marking a high point in a long, rich tradition of Persian historical writing, it served as a model for historians across the Persianate world. The work is at once a biography of the Mughal emperor Akbar (r. 1556–1605) that includes descriptions of his political and martial feats and cultural achievements, and a chronicle of sixteenth-century India. The fifth volume details the bellicose seventeenth to twenty-second years of Akbar’s reign, including accounts of the conquest of Gujarat, the capture of Rohtas fort from rebel Afghans, and the invasions of Patna and Bengal. The Persian text, presented in the Naskh script, is based on a careful reassessment of the primary sources. Publisher ‏ : ‎ Harvard University Press; Bilingual edition (31 March 2019) Language ‏ : ‎ English Hardcover ‏ : ‎ 400 pages ISBN-10 ‏ : ‎ 0674983955 ISBN-13 ‏ : ‎ 978-0674983953 Item Weight ‏ : ‎ 898 g Dimensions ‏ : ‎ 13.34 x 4.06 x 20.32 cm Country of Origin ‏ : ‎ India [ad_2]