In November 2023, CallFront welcomed Umberto Bongianino, Assistant Professor at the Khalili Research Center in Oxford, in Paris, for a session on praxis focused on the study of the instruments used to write Maghribī mabsūṭ, and the techniques employed in Maghribī thuluth chrysography, as well as issues related to letter forms in epigraphic Maghribī thuluth and potential methods of transposing models. A few months later, in June 2024, Umberto Bongianino, Eloïse Brac de la Perrière, Nuria Garcia Masip and I traveled to Morocco to meet M. Belaïd Hamidi, a Moroccan calligrapher and expert in Maghribī script. Antoine Brendlen, the filmmaker associated with the CallFront project, accompanied and filmed the team throughout this visit, thereby fully documenting this scientific investigation as well as the calligraphic demonstrations performed by the artist.
This meeting took place in Fez, the calligrapher’s hometown and former capital of the Marinid dynasty (1244-1465), and it aimed to continue the documentation of the history of calligraphy in Arabic script in the Maghrib and to further explore the themes raised during the session on praxis and the international workshop. Belaïd Hamidi shared his expertise on Maghribī scripts as well as his professional considerations as a calligrapher regarding some ancient manuscripts and calligraphic inscriptions adorning the city’s monuments.

Belaïd Hamidi, Formation and Career
Belaïd Hamidi is a Moroccan master calligrapher established in Jakarta (Indonesia). A specialist of the Maghribī scripts from a young age, he later obtained ijaza-s in the naskh and thuluth styles from master Hasan Çelebi in Istanbul in 1997, and in the jālī dīwānī and nastaʿlīq from Ali Alparslan in 2000 and 2005. Since 1999, Belaïd Hamidi has copied eight Qur’ans in Maghribī style and continues to produce numerous calligraphic works. He is also considered the first Moroccan calligrapher to write the Hilya Sharif in Maghribī script on a calligraphic panel.
Belaïd Hamidi’s learning of the Maghribī mabsūṭ style was self-taught, nurtured by a “visual immersion from childhood”. Indeed, in the absence of any structured pedagogical framework, this script was long transmitted in an informal and personal manner. Copyists, by imitating ancient manuscripts and through persistent effort, gradually mastered its nuances. This learning process often took place “without knowing the secret of each letter, each word, each taṣarruf, meaning without understanding how each letter behaves depending on its position” says Belaïd Hamidi who follows, in such way, a long tradition of learning based on imitation. Medieval sources also confirm that the acquisition of good handwriting relied on reproducing the style of a scholar or scribe by copying their work, not necessarily under their direct supervision. Writing in the manner of a master (maslak) or according to a particular tradition (ṭarīqa) simply meant following the model set by a recognized master in a certain city, region, field, or professional order. This learning method did not require the application of theoretical frameworks or abstract rules to the act of writing, unlike the principles of proportion and the discussions of calligraphic harmony developed in contemporary Islamic traditions in the East[1]. To address this gap and teach the Maghribī style according to the “right path of calligraphy”, meaning with the guidance of a master and precise rules, Belaïd Hamidi created a manual dedicated to this style. This guide aims to provide beginners with a solid foundation, particularly by teaching them how to determine the height of letters in relation to the writing line (fig. 2).

Photo : Adeline Laclau
Belaïd Hamidi teaches this script to many students around the world. However, he also emphasizes that today’s diversity of practices has led to variations that distort this tradition. For instance, many contemporary calligraphers cut their reed pens, using the mark left by the nib on the paper as a reference unit of measurement. According to him, this deforms the Maghribī script, risking a departure from its roots and the potential disappearance of traditional practice. Because of these changes in practice, he reminds us that ” calligraphy is at the heart of the various Islamic arts. It is our duty to protect this important component of our identity, especially in an increasingly globalized world.”
The Maghribī mabsūṭ : Tools, Techniques, Method
Belaïd Hamidi showed us his working tools, the paper he uses and introduced the black ink made from ox horn. The “likka,” traditionally made from sheep’s wool, is also placed in the inkpot to regulate the amount of ink on the qalam. “Dipping the qalam into the inkpot is like drawing out a letter in liquid form rather than simply taking ink” he says. Next, he showed us his qalam-s, explaining the specific way they are cut (fig.3). Unlike the thin and cylindrical Eastern qalam, which allow for rotation while writing, the Maghribī one is cut from a reed with a relatively large diameter and then split lengthwise. The upper end of the half-reed is sharpened to a fine point. With its flat shape, straight cut, and pointed tip, the Maghribī qalam remains still between the fingers and allows for drawing lines of consistent thickness. The same type of qalam is used by Moroccan children learning to write on wooden tablets coated with a thin layer of clay, which can be rinsed and reused (fig.4). At the end of their studies, these tablets are decorated and serve as a support for the ijazah.

In the practice of Eastern scripts, it is mandatory to lift the qalam between each stroke, even if there is still ink on it. However, in the Maghribī mabsūṭ style, writing is done in a single stroke until the ink runs out, before dipping the qalam again into the inkpot, meaning that one or more words can be copied in a single gesture. Regarding the idea of proportions in the Maghribī mabsūṭ, the calligrapher explains that they differ from those of the Eastern or classical scripts. In the Eastern ones, proportions are measured by the points made with the tip of the qalam, whereas in the Maghribī script, measurements are visual and based on intuition. “It is a form of music, comparable to someone composing a beautiful symphony without having studied at a conservatory” he says. In practice, the Maghribī mabsūṭ is characterized by the length of its letters. The height of the alif and the use of circular forms play a key role in the shaping of each letter (fig. 5). For example, the execution of the letter dāl begins with a horizontal stroke on the line, followed by forming a quarter-circle body, the height of which does not exceed half the length of the alif.

Studying the Ancient Qur’ans in Maghribī mabsūṭ at the Qarawiyyin Library
A visit at the Qarawiyyin Library of Fez gave the team the opportunity to examine several medieval manuscripts in Maghribī mabsūṭ style and to discuss their characteristics together with the calligrapher. The aim of this session was to compare the perspectives of Umberto Bongianino and the calligrapher regarding a 14th-century Qur’anic manuscript (fig.6).

The selected manuscript is the 17th juz’ of a Qur’an copied in 30 volumes and endowed to the tomb of a Marinid princess, located on a hill outside the medina (inv. Qarawiyyin 1966). Written on parchment, this manuscript opens with a magnificent frontispiece featuring geometric designs and closes with a pious formula copied in Maghribī thuluth, marking the end of the juz’. The surah titles are written in Kufic script, while the text is entirely copied in golden Maghribī mabsūṭ (fig.7).

The calligraphy of this Qur’an stands out for its high quality, characterized by a very regular and dynamic writing, with particularly elongated forms both vertically and horizontally. The curves of the letters, such as those of the nūn, are perfectly executed. The fluidity of the strokes and the precise control of the ink reveal a steady hand and the scribe’s great technical mastery. Umberto Bongianino inform us that other volumes of this Qur’an are kept in the Qarawiyyin (Ms.884), the British Library (Or.12808), and in the King Abdelaziz Foundation in Casablanca (no shelfmark); another one was sold at Sotheby’s on 24th October 2018. At least other two Qur’ans, and a volume belonging to a multi-volume Qur’an dated 735 H./1334-35 (Instituto Valencia de Don Juan), can also be attributed to this calligrapher.
The script of this manuscript displays several typical features of the Maghribī mabsūṭ style. For instance, the alif extends below the writing line, and the letters yā, fā, qāf, and nūn consistently bear diacritical points, regardless of their position in the word. Over time, these characteristics tend to fade: the alif ends with a small tail resting on the line, while the diacritical points of the mentioned letters disappear in final or isolated positions because their shape alone makes them recognizable. Additionally, according to the rules of the Maghribī mabsūṭ, short vowels are usually placed between the letter and the diacritic point, but in this Qur’an, as in other ancient manuscripts, the placement of vocalization is inconsistent and can appear either above or below the diacritic point.
To address the “urgencies of composition,” such as filling space at the end of a line, the calligrapher employs two techniques. The first one, which is the most common in both ancient and more recent works, involves using “non-conventional” letter forms. The second technique, inherited from the Kufic tradition, consists of splitting words. This 14th-century Qur’an perfectly illustrates the persistence of certain elements from this ancient tradition in the Maghrib, especially when a large script is used. For example, the diagonal and straight orientation of certain strokes, along with the elongation of letters such as kāf, ṣād, and ṭā/ẓā, are features derived from Kufic script (fig.7).

In summary, the discussion between Belaïd Hamidi and Umberto Bongianino regarding this 14th-century Qur’anic manuscript was particularly insightful, as it deepened the understanding of the copying process. It also highlighted certain developments in the Maghribī mabsūṭ style over time, as well as the persistence of certain elements from the Kufic tradition.
The Maghribī thuluth in the Monumental Inscriptions of the City of Fez
The second theme of this research trip led the team to wander through the narrow alleys of the medina, to discover the inscriptions adorning the monuments of the former capital of the Marinids (fig.8). Belaïd Hamidi acknowledged that, since his childhood, he has been influenced by the architecture of his city, as well as its cultural richness, particularly through the numerous calligraphic works that decorate public spaces and cultural buildings in the former imperial city.

Among the emblematic monuments of this visit are the Attarine Madrasa, built between 1323 and 1325, and the Abū ‘Ināniya Madrasa, erected between 1351 and 1357, both adorned with inscriptions in thuluth and Kufic scripts, engraved in stucco or carved into wood or ceramic. These monuments demonstrate a great diversity in the styles of Maghribī thuluth and the proportions used. In the example below, within the stucco inscriptions, the thuluth is elongated with very tall and parallel shafts, while on the ceramic parts, it is more compact and undulating, often diagonal to the writing line, showing a certain freedom taken by the artisan (fig. 9). As seen in the madrasas of Fez, harmony lies not only in the writing itself but also in its integration with the space, decoration, and overall context. Without this connection to its surroundings, an inscription loses its harmony.

According to Belaïd Hamidi, there were several ways to create these inscriptions. In some cases, the artisans crafted the inscriptions themselves, without the assistance of a calligrapher, drawing inspiration from existing inscriptions or models passed down from generation to generation. In other cases, they called upon a calligrapher to design the model with the correct proportions, but the sculptor altered the letters—either due to clumsiness, an imprecise mental representation, or to fit the available space. Additionally, the analysis of the scripts in the Abū ‘Ināniya Madrasa also shows that the thuluth inscription on ceramic, which runs around the courtyard, was created by different hands (fig. 10). Similarly, the thuluth inscriptions on stucco in the two side classrooms of the madrasa were made by different individuals. However, in this specific case, there is a noticeable logic in the distribution of the work, in order to maintain symmetry between the different parts of the rooms. For instance, the inscriptions placed around the doors were made by the same calligrapher or craftsman, while those on the walls were the work of a different person.

In conclusion, this mission to Fez provided a deeper exploration of Maghribī calligraphic styles while also opening new research perspectives. While significant progress has been made in recent years—particularly on manuscripts from the Maghrib and al-Andalus, thanks to the work of Umberto Bongianino and other scholars—many aspects of these diverse writing traditions remain unclear. A case in point is the wooden inscription adorning the upper part of the courtyard of the Abū ‘Ināniya madrasa, distinguished by its undulating and intricately detailed script (fig.11).

Photos : Adeline Laclau
These observations highlight that the study of Maghribī scripts is far from complete and requires a patient and methodical approach to identify and characterize the various existing styles, understand their creative processes, and potentially uncover dynamics of transmission that remain elusive. Far from being a conclusion, this mission ultimately serves as a stimulating starting point for future research, essential to better grasp the richness and diversity of this calligraphic heritage.
Adeline Laclau
[1] Umberto Bongianino, Manuscript Tradition of the Islamic West. Maghribī Round Scripts and the Andalusī Identity, Edinburgh University Press, 2022, p.361-62.
OpenEdition vous propose de citer ce billet de la manière suivante :
callfront (19 décembre 2024). Experimenting with Maghribī Scripts: Meeting with the Moroccan Calligrapher Belaïd Hamidi. CallFront. Consulté le 23 janvier 2026 à l’adresse https://doi.org/10.58079/12yoo