TRANSLATION AND ARABICIZATION UNIT - UNESCO

University of Khartoum r.,Jo~IALG~

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Khartoum - Sudan.- PO.Box: 321 -Tel: 0153986188

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I densification list of the Arabic Calligraphy Arts

1 -Defining the element of intangible cultural heritage.

1.lThe name of the feature as used by the local community

The Art of Arabic calligraphy is the general name used to describe this artistic

element, whether in the practice of members of society or in the academic field,

specially in t he Fine Arts colleges where Arabic calligraphy is taught..

1.2Short title oflCH component (includes reference to the ICH field or domains(

"The Art of Arabic Calligraphy: Skills, Practices and l<nowledge"

1.3Community or communities concerned

2.Academic community studying Arabic cal ligraphy.

2.community of amateurs practicing Arabic calligraphy.

3The ca lligraphers' community in the markets who practice the Arabic ca lligraphy

profession.

4.Students and pupils of religious and 'l<ha lawi' institutes for teaching the Noble

Qur'an.

5. Community of Sudanese Calligraphers Association.

6.Sudanese Artists Union.

1.4The physical location of the element or its locations/ areas of propagation and

the frequency of its practice.

It spreads in l<halawi for teaching the Qur'an and is considered to be the or igin of

the Arabic calligraphy long before the establishment of the regular general and

higher education in Sudan and it is spread in all cities and villages of Sudan with its

different geographical locations and environments; as well as in primary and

secondary schools in cities and villages in Sudan's states in addition to the College of

Fine and Applied Arts in Khartoum and in the illustration design, advertising arts,

billboards and informative signs in all states of Sudan in cities and rural areas.

University of Khartoum

Faculty of Arts TRANSLATION AND ARABICIZATION UNIT

Khartoum - Sudan - P.O.Box: 321 -Tel: 0153986188

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\, 0 - Brief description of the intangible cultural heritage component (preferably not

more than 200 words).

Arabic calligraphy is practiced using the hand with the help of simple traditional tools

such as pencil and black ink that are made from soot (housing or carbon on the

su rface of the pots in which food is cooked) and has an aesthetic value intended for

itself. It is also practiced by academics and talented students alike.

The art of Arab ic calligraphy is part of the curricula in the general education stages;

there are also some talented people who take it as a profession and a source of

livelihood and they have well- known shops in the markets, as well as practiced by

the court writers ( available outside the courts) and they are authorized to write

presentations of cases (i.e. petitions) and problems of those who have a case fo r

the court in a clear handwriting . Therefore, we find some of them have the talent

and practice the art of Arabic calligraphy. Also, religious schools or l<halawi as

traditional community educational institutions have a role in this regard. As for the

College of Fine Arts, it is the academic body entrusted with teaching the art of

Arabic ca lligraphy, and it has a department for specia lization in th is field. It draws

specialists in the art of Arabic calligraphy and ls_lamic decoration in an integrated

scientific way and awards them the bachelor's degree and contribute to enrich ing

th is art to serve society. This represents a functional aspect as it develops the visual

taste.

' - Characteristics of the element

\ ,, _ Practitioners/ performers directly concerned with the performance and

practice of the intangible cultural heritage component (including name, age, gender,

occupational category, etc.).

Its practice is not related to a specific age, gender, or group.

It is practiced by academic calligraphers graduates from the colleges of the Fine and

Applied arts, and non-graduates who are practicing amateurs, men, women, youths,

children, the elderly and calligraphers in the markets who practice the profession of

Arabic ca lligraphy.

'I', 'I' - A group of the local community is concerned with the element, but is less than

,=~~~ ~ pr,av.j91 LS eroup...and contributes to practicing, faci litating and transferring the

Un~ elemen t; (s t1dumth e who prepare the place of performance (for example, theater

,,tm/ashlts>r,).or thos ho are training or supervision ). r-

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Khartoum - Sudan - P.O.Box: 321 - Tel: 0153986188

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The talented segment of the calligraphers in the markets who practice for the

material return, as well as t he writers of the courts who write the grievances of the

applicants for the judiciary (this is as an application called in the courts" 'Ardh hal" (

i.e.display case), as well as the ca lligraphers who write the formulas of invitations to

at t end the wedding occasions; as well as the vendors of the tools that are used in

ca lligraphy.

'I', 1 - Language, languages or related registry language.

Classical Arabic.

'I',~ - Physical elements associated with the practice or transfer of the element (such

as tools, equipment, special costumes, location, places, and ritual tools (if any)

The' Dawaia" (pot of pottery in which the ink is placed), Al-Amar (ink soot that is

stuck to the pot of cooking food), black ink and wooden plate, linen 'boos' pen,

parchment, leather patches, paper and peel-off fabrics, paint, manufactured colors,

and special calligraphy pens.

0, "- Other non-material elements (if any) associated with the exercise and

t ransmission of the intangible cultural heritage component.

Lectures with the aesthetic contents of Arabic ca lligraphy and the rules for writing

Arabic ca lligraphy of its various types and styles in academic institutions and in

schools, galleries of exhibitions of different art forms, associations specializing in

ca lligraphy, museums, and private homes.

", 1 - Customary practices, (if any), that govern the use of the ICH or some of its

aspect s.

practices in Kha lawi teaching the Holy Qur'an are accompanied by writing

calligraphy decorations, cosmetic framing the edges of the plate as there is a

trad it ion practiced in the khalawi and it is when the student completes memorizing

a prescribed part of the Qur'an he circulates his wooden plate in the village and

rece ives approval and gifts, there are also customary practices related to beliefs

which are writing on wood planks on the plates of memorizing the Qur'an and

erasing it with water and drinking it by some of the disciples for the purpose of

blessing a_nd treatment of some diseases, such as writing the Qur'anic verses on a

pape01c:tllfl::l:t::~~~ Hijab) is made from the skin and this practice is ca lled' hirz'

for the purpo~Di p c-ul v ,"'• .-''\ ,

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ection from the evil eye and other forms of protection .

mission to others in the loca l communit ,



Khartoum - Sudan - P.O.Box: 321 - Tel: 0153986188

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Apprenticeship is the most present in practicing calligraphy for commercial

purposes, transfer status, in addition to the method of teaching students involved in

general education in schools and higher education in the faculties of Fine art.

",i\ Relevant organizations (community-based organizations, NGOs, etc.) (if any)

1/ Sudanese Calligraphers Association.

"I Sudanese Artists Union.

3- Element Status: Survival and Sustainability (see comment below)

3.1- Threats (if any) faced by the exercise of the element of intangible cultural heritage within the community or the local communities involved. 1 / Ignoring approaches in establishing the values and beauty of Arabic calligraphy.'

2 / Often relying on a computer for practicing Arabic calligraphy instead of handwriting and linen. 3.2- Threats (if any) that impede the transmission of an element of cultural heritage

other than material within the community or communities involved. Discontinuation of the apprenticeship style at the popular level. The lack of official and popular interest in supporting the maximization of the aesthetic and moral va lues of Arabic calligraphy, especially when it is entrusted with the transfer of spiritua l and religious values of the Holy Quran·. 3.3 Threats to the sustainable use of the material and resource elements (if any)

associated with the intangible cultural heritage component. Increased use of computers electronic font operations instead of manual font ..

3.4 Sustainability of other intangible elements (if any) associated with the intangible cultural heritage component. Specialized exhibitions and support for relevant associations and federations. 3.5 Conservation measures or other measures (if any) to address any of these threats, and to encourage t he practice of the intangible heritage component and its transmission to future generations. 1. Supporting current forms of practices by providing raw materials for writing. 2 Adopting rewarding prizes.

3. Holding festivals, exhibitions and contests. 4. Offering free workshops to teach Arabic calligraphy. 5. Develop plans to support educational programs.

6. Teaching Arabic ca lligraphy in general education schools. 7. Teael=l+A al] igraphy and Islamic decoration at the College of Fine and

App lied Ar!s, ~ rJiversity of Science and Technology since the 1960s. ci ,An fil-wi}~,i:b ibitions t-Jeld by the College of Fine and Applied Arts to graduate

1• _stud: t . ~rnm~~i7 r T departments, including the annual work of graduates of the

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4- Restrictions and permissions regarding data collection and use. 1.4 Consent of the local community or concerned communities to collect data and participate in its col lection. Written and videotaped approvals. 'I' .4 Restrictions, if any, related to the use and making use of the data collected.

There are no restrictions.

3.4 The person or persons who are the source of the information: name, status or

affiliation.

1- Dr. Asaad Abdulrahman Awad Allah. Secretary General of the National Council for

Cultura l Heritage and protection of National Languages.

2- Professor Omar Darma. Professor of Arabic calligraphy, College of Fine Arts.

3- Dr. Abu Al-Hassan Ali. President of the Sudanese Calligrapher Union.

4- Or. Omar Ahmed AI-Khalifa, Dean of the College of Fine and Applied Arts.

f, f Data col lection dates and locations:

Collected from 1/1 until the end of January 26, 2020 AD.

0- .References on the intangible heritage component (if any)

.1 °- \ Literature (if any).

1. Asaad Abdulrahman Awad Allah, commercia l signage in the city of Karima and its

folklore connotations; unpublished bachelor's degree research, Col lege of Arts and

Human ities, Dongola University, Department of Folklore, 1998.

2. Omar Darma, Aesthet ics of the Thuluth Ca ll igraphic style, History and Anatomy,

PhD, Turkey Istanbul, Turkey 1999.

3. Kha lid Hamzah Idris, Deduction of Decorative Units from Traditional Arabic

Ca lligraphy and their Possibility of being Applied in Innovative Designs

(Unpublished Master Research), College of Fine and Applied Arts, Sudan University

of Science and Technology, Khartoum 2009.

~ Saad Eddin Abde l Hamid, Arabic letter print design for computer systems based on

l<ufic scqpt,~ ptJ i ed Master Thesis, College of Fine and Applied Arts, Sudan

cul~~i~~~-1i~y~of S~ en and Technology, Khartoum, 2006 .

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University of Khartoum rfo~14AA½-

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Khartoum - Sudan - P.O.Box: 321 - Tel: 0153986188 • , oro.A, \AA, u,...t - n, '·Y·<>"' - 0 1.).,....i1 - rfap.JI

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5. Abdulrahman Abd Allah Abdu lrahman, Explanatory Values of Arabic Calligraphy

(being readable), Unpublished Ph.D, Faculty of Fine and Appl ied Arts, Sudan

University of Science and Technology, Khartoum, 2009 .

6. Abdel Mohsin Hussein Abdel red a, the decorative function of the Arabic character

as an experimental entrance to the teaching of design in artistic education, Faculty of

Fine and App lied Arts, Sudan University of Science and Technology, Khartoum, 2009.

7. Hisham Ibrahim Ezz El-Din, Arabic calligraphy between linguistic and technical

perspectives, conceptua l and terminology problems, Ph.D. thesis, Sudan University

of Science and Technology, Khartoum, 2010.

0 , 'I' Audio-visual materials, record ings, etc. in archives, museums, and private

collect ions (if any).

1- Archive of the Institute of African and Asian Studies, University of Khartoum.

2- Archives of the Nat ional Council for Cultural Heritage and the Protection of

National Languages.

3-Archive of the Al-Fi hail Center for Media, Documentary and Cultural Production

(Heritage House).

4- Arch ive of the College of Fine and Applied Arts.

5- Archives of the National Archives - Khartoum

6- Archive of the National Council for Literature and Arts, Ministry of Culture and

Information, Khartoum.

0 , 1 Documentary materials and tools in archives, museums and private collections

(i f any).

1- Open Heritage Exhibition at AI-Fihai l Center for Cultura l, Media and Documentary

Production in Khartoum.

2- The family of the late ca lligrapher Professor Osman Waqi Alla ..

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1c1zation Unit

late artist, Professor Ahmed M ohamed Shibreen.

r brahim EI-Salahil .


Faculty of Arts TRANSLATION AND ARABICIZATION UNIT Khartoum - s8ctM1.!P.{")\:mk 9Hfl-er~9~~~~~uncil for

6- National Archives of Khartoum.

6- Data regarding the inventory process:

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6.1 The person or persons who compiled, collected, and included the information in

the inventory.

1- Dr. Asaad Abdulrahman Awad Allah .

2- Professor Ahmed Mohamed Hamdto.

3- Dr. Mazin Osman Mohamed Abdallah.

·1, ' Evidence that t he concerned community or local services have agreed to (a)

Item inventory and {b) provide information to be included in the inventory list.

Written and videotaped approvals.

1, r The date the data was entered into the inventory.

January 28, 2020

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TRANSLATION AND ARABICIZATION UNIT - UNESCO