the aesthetics of arabic calligraphic embellishment of mosques in kano, nigeria

188 Pages·2016·2.66 MB·English

THE AESTHETICS OF ARABIC CALLIGRAPHIC
EMBELLISHMENT OF MOSQUES IN KANO,
NIGERIA

BY

MUHAMMAD, ALIYU N.D (KANO POLY, 1993) B.A. (ABU 1998), M.I.A.D (ABU 2002),
M.A (ABU 2006),
Ph.D/Env.Des/15013/2007-2008

A DISSERTATION SUBMITTED TO SCHOOL OF POSTGRADUATE STUDIES,
AHMADU BELLO UNIVERSITY, ZARIA
NIGERIA

IN PARTIAL FULFILLMENT FOR THE REQUREMENTS FOR THE AWARD
OF DOCTOR OF PHILOSOPHY IN
ART HISTORY

DEPARTMENT OF FINE ARTS
AHMADU BELLO UNIVERSITY, ZARIA
NIGERIA

2015
DECLARATION

I declare that this dissertation entitled, “The Aesthetics of Arabic Calligraphic
Embellishment of Mosques in Kano, Nigeria” has been written by me as a record of my
own research. It has never been presented previously in any form for the award of a
degree or diploma. The information derived from the literature has been duly
acknowledged in the text and a list of references provided. All quotations are indicated by
quotation marks or indentation.

__________________________ ________________________
Muhammad, Aliyu Date

ii
CERTIFICATION

This dissertation entitled The Aesthetics of Arabic Calligraphic Embellishment of
Mosques in Kano, Nigeria by Muhammad Aliyu meets the regulations governing the
award of the degree of Doctor of Philosophy of Ahmadu Bello University, Zaria and is
approved for its contribution to knowledge and literary presentation.

_____________________________________ Date __________________
Professor Saliu, Ahmed Rufa‟i
Chairman, Supervisory Committee

_____________________________________ Date___________________
Professor Jari, Jacob Jat
Member, Supervisory Committee

_____________________________________ Date___________________
Dr Duniya, Gambo Giles
Member, Supervisory Committee

_____________________________________ Date___________________
Dr Kefas Danjuma
Head of Department

_____________________________________ Date___________________
Professor Hassan Zokwa
Dean, School of Postgraduate Studies

DEDICATION
iii
Dedicated to the less privileged who could not afford to acquire Western education

AKNOWLEDGEMENTS

iv
I am truly grateful to my supervisors: Professor Saliu, A.R, Professor Jari, J.J and
Dr. Duniya G.G for their supervision. I benefited immensely from their guidance and
individual wealth of knowledge.
I am particularly thankful to Ahmed Bello Usman (A.B.U) who always
encourages and encouraged me to pursue my Doctoral Degree. I am also grateful to Ado
Abubakar Bala, my research assistance for all the pains he took in going round the
metropolis for background check of mosques with Arabic calligraphic ornamentation and
also for the photographs he provided. Similar appreciations go to Nura Muhammad
Garba and Babanliya for their assistance. Gausu Nuhu Wali‟s constant prayers and
concern towards the successful completion of this study is highly appreciated.
I also thank the custodians, Mallams and Imams of the Friday mosques visited for
the permission granted to take photographs. Mention must be made of Lawal Bello
(Jauro) who accompanied and introduced me to the Chief Imam of Murtala Muhammad
mosques. I am truly grateful to the Mallams, Imams and Arabic calligraphers that
responded to my questionnaires. Halima (my wife), Muhammad, Musa, Khadija, Umar
and Amina (my children). I say thank you very much for your patience and understanding
for my constant absence from home during the course of this study.

ABSTRACT
v
Attempt is made in this study to investigate the aesthetic embellishment inherent in the
Arabic calligraphy of mosques in Kano, Nigeria. Attention on the research was
stimulated by the way scholars overlooked this expressive art form particularly amongst
the non-Arab speaking Muslim Ummah. In the course of doing that, the study traced the
historical evolution of Arabic calligraphy, the arrival of Islam into Kano, and what
informed its usage on the mosque‟s inner and outer walls. The study also appreciated its
usage within the context of aesthetic. Literature was therefore available on the subject in
such regions within the stated periods and was thus reviewed. This is coupled with oral
interview conducted, visits paid to certain mosques, questionnaire administered on the
artists and Mallams/Imams. Basically, the study adopted and utilized the qualitative and
historical method of research. Data collected for the study were analysed based on
Feldman‟s recommendation to be taken in analyzing artworks. The steps are descriptive,
formal analysis, interpretation and judgment. From the findings it was discovered that out
of the six renown Arabic calligraphic styles, (Kufic, Thuluth, Nasakh, Riq‟a, Farsi and
Deewani) only three of the Arabic calligraphic styles were frequently used by the Arabic
calligraphers within the studied areas. The Arabic styles include Kufic, Farsi and Nasakh.
Based on the findings of the study, recommendations were given as to how Arabic
calligraphic embellishment will be better understood and appreciated, especially among
the non-Arabic speaking Muslim Ummah.

vi
CONTENTS
Page
Title Page----------------------------------------------------------------------------------------------i
Declaration--------------------------------------------------------------------------------------------ii
Certification------------------------------------------------------------------------------------------iii
Dedication--------------------------------------------------------------------------------------------iv
Acknowledgements----------------------------------------------------------------------------------v
Abstract-----------------------------------------------------------------------------------------------vi
Contents----------------------------------------------------------------------------------------------vii
List of Figures--------------------------------------------------------------------------------------ix
List of Plates-----------------------------------------------------------------------------------------x
List of Maps------------------------------------------------------------------------------------------xi
List of Appendices----------------------------------------------------------------------------------xii
Maps------------------------------------------------------------------------------------------------xiii

Chapter 1: INTRODUCTION-------------------------------------------------------------------1
Introduction----------------------------------------------------------------------------------------1
Background to the Study-------------------------------------------------------------------------6
Statement of the Problem--------------------------------------------------------------------------12
Aim and Objectives of the Study-----------------------------------------------------------------13
Justification of the Study------------------------------------------------------------------------14
Significance of the Study------------------------------------------------------------------------15
Scope of the Study-------------------------------------------------------------------------------15
Limitation of the study --------------------------------------------------------------------------15
Conceptual Framework--------------------------------------------------------------------------16
Definition of Terms----------------------------------------------------------------------------- 19

Chapter 2: LITERATURE REVIEW--------------------------------------------------------22
Introduction---------------------------------------------------------------------------------------22
Historical Evolution and Development of Arabic Calligraphy------------------------------ 22
The Arrival and Spread of Islam in Africa-----------------------------------------------------27
Mosque Embellishment----------------------------------------------------------------------------33
Arabic Scripts-------------------------------------------------------------------------------------47
Early Arabic Calligraphers----------------------------------------------------------------------52
Types of Arabic Calligraphy--------------------------------------------------------------------54
Calligraphic Materials---------------------------------------------------------------------------64

Chapter 3: RESEARCH DESIGN AND PROCEDURE----------------------------------66
Introduction---------------------------------------------------------------------------------------66
Source of Data------------------------------------------------------------------------------------66
Pilot Study----------------------------------------------------------------------------------------67
Field Trip------------------------------------------------------------------------------------------67
Population-----------------------------------------------------------------------------------------68
Photographs-------------------------------------------------------------------------------------- 68
Data Analysis--------------------------------------------------------------------------------------- 68

Chapter 4: DISCUSSIONS AND ANALYSIS OF ART WORKS ----------------------70
vii
Introduction---------------------------------------------------------------------------------------70
Discussion on the Historical Evolution of Arabic Calligraphy-------------------------------70
The Intrinsic and Extrinsic Uniqueness of the Artworks--------------------------------------75
Mural--------------------------------------------------------------------------------------------- 76
Plastic--------------------------------------------------------------------------------------------108
Engraving-------------------------------------------------------------------------------------------114
Etching-------------------------------------------------------------------------------------------124
Wood--------------------------------------------------------------------------------------------126
Metal----------------------------------------------------------------------------------------------- 128
Aluminium---------------------------------------------------------------------------------------131

Chapter 5: SUMMARY AND CONCLUSIONS------------------------------------------133
Introduction----------------------------------------------------------------------------------- -133
Summary of Findings--------------------------------------------------------------------------- 133
Discussions------------------------------------------------------------------------------------ -- 135
Findings-----------------------------------------------------------------------------------------137
Recommendations -----------------------------------------------------------------------------140
Notes -----------------------------------------------------------------------------------------------142
References------------------------------------------------------------------------------------------148
Appendices-----------------------------------------------------------------------------------------153

viii
LIST OF LIST OF FIGURES Page

Figure 1: Dome of The Rock----------------------------------------------------------------------3
Figure 2: A mosque Qibla --------------------------------------------------------------------------4
Figure 3: Hagia Sophia--------------------------- --------------------------------------------------5
Figure 4: Topkapi Palace--------------------------------------------------------------------------6
Figure 5: Kufic------------------------------------------------------------------------------------55
Figure 6: Maghribi hand written Qur‟an--------------------------------------------------------56
Figure 7: Thuluth----------------------------------------------------------------------------------58
Figure 8: Nasakh---------------------------------------------------------------------------------59
Figure 9: Rig‟a-----------------------------------------------------------------------------------60
Figure 10: Ta‟aliq--------------------------------------------------------------------------------61
Figure 11: Deewani-------------------------------------------------------------------------------62

LIST OF PLATES Page
ix
Plate I: Zawiyya Sheikh Bashir bin Zayd Friday mosque, Dala-----------------------75
Plate II: Allahu, Jalla Jalaaluhu Tudun Wada Friday mosque, Nassarawa ---------76
Plate III: Jalla Jalaaluhu‟ Tudun Wada Friday mosque, Nassarawa ----------------79
Plate III(c): Tudun Wada main mosque--------------------------------------------------------80
Plate IV: Al-Fattah Tudun Wada Friday mosque, Nassarawa -------------------------81
Plate V: Al-Iklas Dorayi Babba Friday mosque, Gwale---------------- ------------------83
Plate VI: Gairil magzubi alayhim wa laz-zaaliin Jami’u Maulana Sheikh Aliyu
Harazimi Friday mosque, Ungogo------------------------------------------------ ----------86
Plate VII: Bismillaahir- Rahmaanir- Rahim: Jami’u Maulana Sheikh Aliyu Harazimi
Friday mosque, Ungogo ------------------------------------------------------------------------88
Plate VIII: Hasbunallah Wani‟ni‟imal Wakhil‟ Jami’u Maulana Sheikh Aliyu
Harazimi Friday mosque, Ungogo-----------------------------------------------------------91
Plate IX: Sheikh Ja‟afar Mahmud Adam Friday mosque, Kumbotso, -------------------93
Plate X: Allahu: Murtala Muhammad Friday mosque, Kumbotso------- -------------94
Plate XI: Muhammad, Murtala Muhammad Friday mosque, Kumbotso, ------------96
Plate XII: Abubakar: Murtala Muhammad Friday mosque, Kumbotso --------------98
Plate XIII: Umar Murtala Muhammad Friday mosque, Kumbotso -----------------100
Plate XIV: Usman: Murtala Muhammad Friday mosque, Kumbotso ---------------102
Plate XV: Ali Murtala Muhammad Friday mosque, Kumbotso----------------------104
Plate XV(c) Murtala Muhammad main mosque----------------------------------------------105
Plate XVI: La‟illaha illallahu Muhammadu – Rasulullah Ali ibn Abi Talib Friday
mosque, Tarauni-----------------------------------------------------------------------------------106
Plate XVII: Hasbunallahu wa Ni‟nimal-Wakiil, Sheikh Inyass Friday mosque, Gwale
-------------------------------------------------------------------------------------------------------108
Plate XVIII: „Allahu‟, Sheikh Inyass Friday mosque Gwale ---------------------------110
Plate XIX: „Muhammad‟ Sheikh Inyass Friday mosque, Gwale-----------------------112
Plate XIX(c) Sheikh Inyass main mosque----------------------------------------------------113
Plate XX: Bismillaahir- Rahmaanir- Rahim, Umar Farouk Friday Mosque,
Nassarawa ----------------------------------------------------------------------------------------114
Plate XXI: Allahu Muhammad Sharada Central Friday mosque, Municipal -------116
Plate XXII Muhammad Rasulullah Sharada Central Friday mosque, Municipal: -118
Plate XXIII: Sallallahu Alaihi Wasallam Abdulkadir, Sharada Central Friday mosque,
Municipal -----------------------------------------------------------------------------------------120
Plate XXIV: La‟in shakartum Laazi dannakum Sharada Central Friday mosque--------
----------------------------------------------------------------------------------------------------122
Plate XXIV(c) Sharada main mosques-------------------------------------------------------123
Plate XIV: Bismillaahir- Rahmaanir- Rahim------------------------------------------------ 124
Plate XVI: Verse 40, Chapter 143------------------------------------------------------------126
Plate XVII: La‟illaha illallahu Muhammadu – Rasulullah, Tokarawa Friday mosque,
Nassarawa, ---------------------------------------------------------------------------------------128
Plate XVII: Allahu Kamsu Friday mosque, Dala---------------------------------------------131

LIST OF MAPS
x