Within the Islamic culture the art of Khatt (calligraphy) is understood as the art of the pen and an expression of the sacred. It’s a practice that has been studied for ages. Since the development of the Arabic language, the progression of calligraphy became one of the major forms of artistic expression. It takes time and dedication to perfect the right script using tools only a serious artist would understand. It’s a form of expression, which is intertwined with oneself thus leading to great results. It’s not difficult to find artists practicing different types of Arabic calligraphy and excelling in them. It’s widely known that the art of Khatt was practiced since the early years after the birth of Islam as calligraphy was used to write the words of the Holy Qur’an.
Scripts were created to serve different purposes such as to write the words of the Qur’an, poetry, official paper work and royal decrees. It’s progressed throughout the years by even combining various aspects in architecture, different floras and using natural sources such as wood, feather and even rock at times. Some stood the sands of time as others died out. One of the more difficult types is Kufi. Yet one young Saudi has proved that it isn’t as difficult as it was once assumed. Youssef Yahya, a senior in the university studying architecture defied the difficulties and incorporated his field of education with his love for calligraphy.
His love for calligraphy started at a young age as he used to mimic his older brother, who was very skilled in calligraphy, but found it difficult to do so because he lacked the tools and support needed to develop the skill. Years later, after enrolling into the Department of Architecture at the Faculty of Environmental Design, this young man found the missing link between architectural geometric designs and Kufi calligraphy as they both refer back to grid modules and reference lines.
“Beginnings are always challenging. The first challenge laid in not finding sources and references to teach me the basics. My main source became the visual feeds of the pioneers of the Kufi art. I started studying and analyzing them and therefore concluded what I learnt throughout this research,” said Youssef. He believed that experience is the best inspiration and teacher.
Calligraphy is the soul of cultures and civilizations. Like anything in life, there are times where certain art is forgotten. However, today, there is a global interest in calligraphy and developing it in a way that serves countries, organization and youth alike. The relationship between the calligrapher and the script goes beyond the art piece canvas, it’s an unexplainable state of mind that the calligrapher and the calligraphy live in.
Kufi is still a common script, geometrically constructed with a compass and ruler. It needs very accurate planning, its calligraphers were and still are more like architects of the layout, the lettering and decoration. When calligraphers in training start training in the art of Kufi, the writing will flow quickly and easily, but the training could take years to perfect. In the case of Youssef, architecture has made it easier understanding the elements. Kufi Murabba (square) is very much intertwined with architecture, the lines and measurements are necessary to create balanced lines. Kufi script is known to be a very old form of script, and Kufi Murabba is the latest of its kind and the most simplified. The term “murabba” dictates a display of crafty arrangements in its square like, cubic or checkered nature. It doesn’t flow like written cursive script, but instead it is planned, arranged and constructed to conform into specific shapes.
As far as inspiration goes, the calligrapher gets it from different well-known historic artists such as Ali Toy from Turkey, Abdullah Zuhdi, who is known as a master calligrapher who created the calligraphy script on the Qibla walls of the Prophet’s (peace be upon him) Holy Mosque in Madinah, as well as the great Mustafa Haleem. As for inspiration from contemporary artists, there is Ibrahim Al-Orafi, who is the calligrapher of Makkah’s Holy Mosque. There are also young calligraphers who inspire him such as Mohammed Jamal Al-Rabeia, son of Jamal Rabeia and architect Naser Al-Salem.
Twenty-four-year-old Youssef has displayed his work in the latest Behans Exhibition in Jeddah and was ranked third among the artists displaying their work. He plans to continue his art and is also planning on future collaborations with the Emirati jewelry designer, Bodour Hashem, through applying the Kufi calligraphy in jewelry pieces and diamonds. There is also work in progress in applying the Kufi Murabba in furniture design.
“Sheikh Ali Abu Al-Hasan once said: The writer chooses his script, in the calligrapher’s case however, it is the script that chooses him. This quote really touched me. What relates me to my writings is way more than just a canvas. I see myself practicing Kufi calligraphy now and in the future, since I live with it in my work and studies.”
Be sure to follow Youssef Yahya in his journey of exploring Kufi calligraphy on his Instagram page UCFyahyart.
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Exploring the meticulous art of Kufi Murabba
Exploring the meticulous art of Kufi Murabba
Sale of Saudi artist Safeya Binzagr’s work sets record at Sotheby’s auction in Riyadh
RIYADH: A painting by Saudi artist Safeya Binzagr sold for $2.1 million at Sotheby’s “Origins II” auction in Riyadh on Saturday, emerging as the top lot of the evening and setting a new auction record for a Saudi artist.
The work, “Coffee Shop in Madina Road” (1968), sold for $1.65 million before the buyer’s premium, the additional fee paid by the purchaser to the auction house on top of the hammer price.
The result nearly doubled the previous auction record for a Saudi artist and became the most valuable artwork ever sold at auction in the Kingdom. It also ranks as the third-highest price achieved for an Arab artist at auction.
It was presented as part of “Origins II,” Sotheby’s second auction staged in Saudi Arabia, comprising 62 modern and contemporary lots and bringing together Saudi artists alongside regional and international names.
Collectors from more than 40 countries participated in the auction, with around one-third of the lots sold to buyers within Saudi Arabia.
The sale totaled $19.6 million, exceeding its pre-sale estimate and bringing the combined value of works offered across “Origins” and “Origins II” to over $32 million.
Saudi artists were central to the evening’s results. All nine Saudi works offered found buyers, achieving a combined total of $4.3 million, well above pre‑sale expectations.
Ashkan Baghestani, Sotheby’s head of contemporary art for the Middle East, told Arab News at the auction that “Safeya made more than any other artist tonight, which is incredible.”
He said the results demonstrated Sotheby’s broader objective in the Kingdom.
“The results tonight show exactly what we’re trying to do here. Bring international collectors to Saudi Arabia and give them exposure to Saudi artists, especially the pioneers.”
All nine works by Saudi artists offered in the sale found buyers, generating a combined $4.3 million. Additional auction records were set for Egyptian artist Ahmed Morsi and Sudanese artist Abdel Badie Abdel Hay.
An untitled work from 1989 by Mohammed Al-Saleem sold for a triple estimate of $756,000, while a second work by the artist, “Flow” from 1987, achieved $630,000.
The sale opened with the auction debut of Mohamed Siam, whose “Untitled (Camel Race)” sold for $94,500. Also making his first auction appearance, Dia Aziz Dia’s prize-winning “La Palma (The Palma)” achieved $226,800.
The sale coincided with the opening week of the Contemporary Art Biennale in Riyadh, reinforcing the city’s growing role as a focal point for both cultural institutions and the art market.
Baghestani added that Saudi modern artists are now receiving long‑overdue recognition in the market.
“There’s so much interest and so much demand, and the price is where it should be,” he said.
International highlights included works by Pablo Picasso, Roy Lichtenstein, Andy Warhol and Anish Kapoor, underscoring Saudi Arabia’s growing role as a destination for major global art events and collectors.
Picasso’s “Paysage,” painted during the final decade of the artist’s life, sold for $1,600,000, becoming the second most valuable artwork sold at auction in Saudi Arabia.
Seven works by Lichtenstein from the personal collection of the artist and his wife, including collages, prints, works on paper and sculptures, all found buyers. Warhol was represented in the sale with two works: “Disquieting Muses (After de Chirico),” which sold for $1,033,200, and a complete set of four screenprints of “Muhammad Ali,” which achieved $352,000.
Baghestani said the strength of the results was closely tied to the material’s freshness. “These were not works from the trade. Some of them had not been seen since the 1970s,” he said.
