© Mamoun Sakkal 2000
There have been many attempts to modify the Arabic script in the 20th century.
The purposes of these attempts were usually stated to be:
1. To make reading Arabic easier by fixing in the written text all vowels and
sounds of the spoken language.
2. To make writing Arabic easier by reducing the number of letter form variations.
This always referred to letter form variations based on the letter position
in the word, but also referred sometimes to the different styles of Arabic calligraphy.
3. To make typesetting Arabic easier by reducing the number of letter form variations.
Different solutions were sought for different technologies.
4. To make Arabic more responsive to expressing new words resulting from inventions,
products, and technologies.
5. To make Arabic more contemporary and modern. This usually included vague
notions of what is modern or contemporary, and in many cases did not include
any notions of these concepts at all, as if they were defined and accepted in
the minds of the writers and readers of such proposals.
Some of the early attempts were initiated by the Academy of Arabic Language in Egypt (Majmaa al-Lughah al-Arabiyyah, Cairo) in 1938 in its desire to solve the problem of typesetting Arabic in an efficient way, that would also allow for accurate rendering and reading of the language. Proposals by Ali al-Jarem, Mahmoud Taimour, and Elias Akkawi, among others, focused on devising a method to incorporate the tashkeel into the writing of the words on a consistent basis, and reducing the number of letter forms to a minimum, which meant getting rid of the different forms of each letter based on its location in the word. Abdul Aziz Fahmi suggested replacing the Arabic script with the Latin script as was done in Turkey a few years earlier.
In the early 1950’s a Lebanese-born architect and artist named Nasri
Khattar designed a simplified script for printing he named the Unified Arabic
(al abjadiah al muwahhadah). His work on this project for more than thirty years
resulted in a Ford Foundation grant to promote his proposal. Khattar described
his project as follows:
Unified alphabet is not a new alphabet. It may be described as a new style,
ehich as such does not exhibit any greater differences than those found among
the traditional and current Arabic styles in use... It does not alter or replace,
but complements the styles of handwriting and the beautiful art of calligraphy,
which ramain in their present form. Arabic, like English, will now have a method
of writing in which the letters of a word are attached to each other, and a
different method for printing in which the letters of a word appear disconnected...
For the non-Arab, as well as for the child or the illiterate, the greatest obstacle
in learning Arabic has been teh complicated script.
The work of Ahmad Lakhdar Ghazal also started in
the 1950’s in Morocco. With the support of the Moroccan government he developed
a Standard alphabet where each letter has one form that can be modified by simple
endings, but remained very close to the forms of traditional Naskh used for
typesetting Arabic books and magazines. Lakhdar Ghazal believes that part of
the problems of Arabic stem from misunderstanding the printing requirements,
and the difference between written and typeset text. His work in adapting the
Arabic script to printing demands was based on four principles:
1. No major changes to the form of traditional Arabic letters.
2. Use of only one shape for each letter in the different positions of the word.
3. Allowing tashkeel (vocalization) marks to be an essential part of the typeset
text.
4. Adapting this reform to all printing technologies from typesetting, to typing,
to wire transres. [Tarabieh 77]
Muhammad Said al Sakkar from Baghdad and my own work in Aleppo, Syria, in the 1970’s also aimed at producing simplified typefaces with a limited number of letter forms. Sakkar’s work retained many qualities of the traditional scripts both in Kufi and Naskhi, and continued to develop his typeface designs until the 1990’s with Diwan of London. My own work started in a minimalist way where all the letters have uniform shapes, the same height, large x-height, separate rather than connected letters. This work developed into my typeface Shilia which is more traditional.
Murad Boutros published an article about his Arabic Simplified Typeface in Apple Magazine in Nov. 1993. Again using one form for each letter, and allowing for either connecting or separating the letters when typeset. His font has a traditional Naskhi character.
In recent years, a number of proposals connected one way or another with computers
have also been advanced. Abdelmalek Bouhadjera,
an Algerian engineer, used Square Kufi to design a printing alphabet with separate
letters he named El-Abdjadia El-Mouwahada which means Standardised or Unified
Alphabet. Although his early work deviated substantially from traditional forms,
his later proposal comes very close to the typical shapes of letters in Sqaure
Kufi calligraphy used mostly to decorate buildings.
Other proposals include Dawud Chalabi’s invitation to use separated letters
in Iraq in 1885, a book published using separated letters in London in 1890
by the Ambassador of Iran to England, and Ibrahim al Yaziji and Kamel Marwa’s
work on simplifying letter shapes. Albashir Bin Salamah
presented a proposal in his book Arabic Language and Writing Problems in 1971,
Afif Bahnasi presented another proposal in his book
Arabic Calligraphy: its Origings, Rise, and Spread in 1984, still another proposal
was made in a book titled Arabic Calligraphy.
Other work related to simplification of Arabic script include:
Proceedings of 8th conference for Standards in the Middle East, Cairo 1/30/1961. Reference from Zain al Din, Naji: Badaii al-Khatt al-Arabi (The Beauties of Arabic Calligraphy), Baghdad 1971.
| Bibliography |
| Arabic Calligraphy |
________________________________________
Author:
Mamoun Sakkal is a calligrapher and
type designer. He lived and worked in Aleppo, Syria, and now resides in the
State of Washington, USA. He teaches courses on Islamic art and architecture
at the University of Washington.
