Variations on M. C. Escher’s Name in Arabic Script
by Mamoun Sakkal

Variation 13

This design is based on sketch 2 in Escher’s Sketchbook of “Abstract Motifs” of 1941 [Schattschneider, p. 83]. The Arabic name design is similar to that of variation “5” but with the final tail of the letter Re extended to complete the triangle and turned up in a “hook” shape.

Variation 14

The general shape of the repeated name in variation “1” already analyzed above, was determined by the necessities of symmetry and calligraphy and eventually fit into the shape of a simple, regular rectangle. All the other variations in this portfolio were designed to fit into a pre-determined shape, a triangle or a variation on a triangle, except for the last two (“15,” and “16”), which have a free, calligraphic form. Variation “14” is also designed to fit a pre-determined shape, this time, a more complex outline, which produces a tessellation of tiles based on squares, and eight point stars. This is a pattern executed in stucco on the walls of the Sala de los Reyes in the Alhambra palace in Granada, which Escher recorded in his pencil sketch dated May 26, 1936 [Schattschneider, p. 17]. I felt that using this pattern to write Escher’s name was particularly fitting because it represented to me a completion of a circle of influence where he was inspired by the Moorish geometries of the Alhambra and transposed them into the realm of figurative patterning, in turn, I was inspired by his work and transposed it into the realm of calligraphic patterning.

Making the name fit the distinct outline of the repeat unit was especially challenging in this design. The first letter had to be lowered so its top matched the second letter, and its bottom extended and looped to the left. Both of these modifications are not usual for the shape of the letter Alef and make it similar to the shape of the letter Re. On the other hand, the letter Re at the end of the name had to be extended to fill the last portion of the repeat unit’s outline, and thus could be confused with the shape of the Arabic letter Ye. These modifications make this a less successful design. To match the lines thickness I shifted the pattern one step, which caused a progression in the repeats’ positions and provided a more dynamic overall composition.

Variations No. 15 and 16

While all the previous variations are based on Square Kufic calligraphy which lends itself readily to producing geometric compositions of tilings, it is also possible to produce Escher-esque compositions using cursive Arabic calligraphy. But to completely fill the space with the calligraphy requires subjecting the letter forms to modifications and distortions. If we relax the rules by which these compositions are designed and do not require that the words completely fill the space without any gaps, but rather only partially fit with each other, the range of possible variations increases dramatically while using traditional calligraphic forms.

Two such compositions are variations “15” and “16.” In variation “15” I used simple and elegant Nastaliq calligraphy and rotated the name in order to match the curves of the same letters in a symmetry that gives the impression of a positive negative duality reminiscent of several works by Escher. In variation “16” I used the more flamboyant Diwani calligraphic style of the Ottoman Sultans and also rotated the name to create the symmetric design. But here, I matched the curves of different letters and nested them inside and next to each other lovingly in a simple arrangement that changes in little steps as the name is repeated. This quality is present in the last four variations in the portfolio. It provides another layer of interest in the pieces and injects some energy into the work to counteract the monotony of perfect repeats.

It is interesting to note that despite the use of Square Kufic to cover complete surface with calligraphic tilings since the thirteenth century, Arabic and Islamic cursive calligraphy was never used in this manner. My pieces in this portfolio inspired by M. C. Escher’s work present a new development in the rich heritage of the art of Arabic calligraphy, and complete a full circle of influence and enrichment. While the patterns of Alhambra sparked Escher’s interest in exploring new worlds of visual expression, his work in turn provided my inspiration to recognize the possibilities for new visual expressions of familiar calligraphic elements.

M. C. Escher often described this domain of artistic activity as a wilderness and a garden that is entered through the gate of mathematics [Schattschneider, pp. 21, 29]. He wondered why he was working alone in this domain and the only one captivated by it [Schattschneider, p. 40]. I too wonder now why others do not yet share in the enjoyment of the wonderful garden of visual delights of combining symmetry and Arabic calligraphy. I certainly wish more artists and calligraphers would join in this fantastic journey.

Mamoun Sakkal