Arabic Calligraphy in Qatar: A Renewed Presence in Culture, Architecture, and Education

Qatar News Agency (QNA) Report as part of the Cultural File of the Federation of Arab News Agencies (FANA)

Doha, October 24 (KUNA) -- Arabic calligraphy in Qatar is no longer confined to exhibitions, artworks, or calligraphy competitions. It has become an integral part of the country’s cultural, educational, and urban landscape, with efforts from cultural, educational, and governmental institutions converging to preserve this art form and enhance its presence as a key component of national and cultural identity.

These efforts are evident in the application of Arabic calligraphic aesthetics in museums, cultural centers, public spaces, architectural projects, and artistic endeavors, alongside its presence in schools, universities, and student initiatives, accompanied by related educational, training, and talent-discovery programs.

Projects and initiatives by institutions such as the Ministry of Culture, the Ministry of Education and Higher Education, the Ministry of Endowments and Islamic Affairs, Qatar Museums, Qatar Foundation for Education, Science and Community Development, the Public Authority for "Katara" Cultural District, Qatar University, and the Public Works Authority (Ashghal), among others, have expanded the scope of Arabic calligraphy, moving it beyond its traditional framework into the fields of design, art, architecture, and daily life.

This landscape reveals a comprehensive approach that treats Arabic calligraphy as a living heritage capable of continuity and renewal. While institutions preserve manuscripts and support specialized competitions and programs, the aesthetics of Arabic script are integrated into walls, tunnels, parks, mosques, and architectural facades, ensuring its transmission from one generation to the next through education, practice, and artistic activities.

The following paragraphs outline Qatar’s experience in nurturing Arabic calligraphy and enhancing its local and global presence, as well as its efforts to join the Arabic calligraphy file, which was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity on December 14, 2022, through a joint submission by 16 Arab countries. The report also highlights key cultural, urban, and educational initiatives and the role of institutions in transforming calligraphy from a heritage element into a visual language prominent in Qatar’s landscape.

Given the importance of Arabic calligraphy, the Ministry of Culture has sought to join the Arabic calligraphy file on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity.

Regarding this, Mr. Mubarak bin Abdullah Al Khalifa, Assistant Undersecretary for Cultural Affairs at the Ministry of Culture, stated in exclusive comments to the Qatar News Agency (QNA) that Qatar’s accession to the Arabic calligraphy file reflects the participation of Gulf and Arab countries in enhancing the significance of this element as a shared link in Qatari and Arab cultural identity. It also places Qatar’s experience within a broader Arab and international context, enabling the presentation of its authentic practices and expertise.

He clarified that the Arabic calligraphy file views this art form as a comprehensive system encompassing knowledge, skills, and various calligraphic styles, including Naskh, Thuluth, Ruq’ah, and Kufic, alongside traditional tools such as qalam pens, inkwells, and carving tools, as well as materials and surfaces used. It also highlights its presence in communities, architecture, arts, and contemporary practices.

Al Khalifa affirmed that the inscription of Arabic calligraphy brings multiple cultural and intellectual benefits to Qatar, most notably strengthening the national, Arab, and Islamic identity linked to language and memory, ensuring the continued transmission of knowledge and skills to new generations, and transforming heritage into a living resource for creativity in the fields of arts and contemporary design.

He noted that preserving this element in the future requires working to ensure its sustainability and documentation, documenting its practitioners, and updating their data within the national inventory of intangible cultural heritage, alongside supporting calligraphers, organizing workshops and competitions, and leveraging modern technologies while preserving the fundamentals and traditions of Arabic calligraphy. Mr. Mubarak Al Khalifa, Assistant Undersecretary for Cultural Affairs at the Ministry of Culture, explained that the sustainability of Arabic calligraphy requires transforming its inclusion into a cultural and educational project by expanding programs aimed at children and youth, integrating it into schools and universities, and enhancing its international presence through exhibitions, forums, research, and digital documentation. He affirmed the Ministry’s commitment to building an integrated documentation and education system, which includes preparing a database of calligraphers and practitioners, documenting works and collections, inscriptions, conducting studies and interviews with senior practitioners, and promoting digital transformation. He pointed out that one of the Ministry’s key initiatives in this field is the “Al-Akhlaq Award – International Competition for Arabic Calligraphy.”

Mr. Mubarak bin Abdullah Al Khalifa, Assistant Undersecretary for Cultural Affairs, clarified that the objective of the award is to revive the art of Arabic calligraphy according to its authentic traditional rules, while highlighting the value of noble character (“akhlaq”) as a central idea and main theme of the competition. The award also aims to achieve an integrated artistic and value-based vision by targeting several goals, including reinforcing values and enhancing the status of ethics in the fields of culture and arts, emphasizing the close link between the nobility of ethics and the refinement of Arabic calligraphy, preserving heritage, and caring for and safeguarding authentic classical Arabic calligraphy as a human aesthetic heritage. Furthermore, it seeks to enhance community awareness, spread artistic consciousness, and cultivate and deepen aesthetic appreciation among the public through educational and creative ties, while supporting creators, encouraging, and attracting calligraphic creativity from around the world to exchange expertise and develop individual skills.

He emphasized the role of the Al-Akhlaq Award in supporting the calligraphy movement in the State of Qatar, as it includes Qatari creators and provides them with the opportunity to interact with world-renowned calligraphers, in addition to the intensive workshops the Ministry periodically organizes in Arabic calligraphy, aiming to position Qatar as a host platform for all Arab creators in this field. The Assistant Undersecretary for Cultural Affairs at the Ministry of Culture explained that the Ministry places utmost importance on a locally developed script known as “Qatar Script,” which was designed to represent the country’s national identity and is adopted by the Ministry of Culture in its correspondence and in its magazine, Doha. He noted that this script is inspired by old Qatari writings, most notably those of the founder, Sheikh Jassim bin Mohammed Al Thani (may God have mercy on him), and the manuscripts of Sheikh Ahmed Al-Murikhi, owner of the oldest handwritten Quran in Qatar. He stated that this script is distinguished by its integration of the sharp (dry) and fluid (soft) styles of calligraphy.

Among the most prominent international competitions sponsored by the State of Qatar in the field of Arabic calligraphy is the Qatar International Calligraphy Competition “Al-Raqim,” organized by the Ministry of Endowments and Islamic Affairs in collaboration with the Museum of Islamic Art.

In this regard, Dr. Saleh bin Ali Al-Akhna Al-Maari, Director of the Sheikh Abdullah bin Zaid Al Mahmoud Islamic Cultural Center and Chairman of the Organizing Committee for Qatar’s International Arabic Calligraphy Competition “Al-Raqim,” told the Qatar News Agency (QNA) that “Al-Raqim” is a renewed cultural project aimed at harnessing the art of Arabic calligraphy as a civilizational medium that combines the aesthetics of letters with the depth of Islamic values, thereby enhancing its presence in the global cultural context and contributing to highlighting Qatar’s role in supporting Islamic arts and consolidating the status of the Arabic language. He noted that “Al-Raqim” is grounded in a vision that seeks to balance preserving the authentic rules of Arabic calligraphy arts with a measured openness to contemporary creative experiments, thus providing a professional space for artistic expression while maintaining the identity and reference framework of this art form.

Dr. Saleh Al-Maari emphasized that the prize money, exceeding one million Qatari riyals, reflects the level of interest Qatar attaches to supporting Arabic calligraphy arts and attracting creative talents from around the world. He pointed out that the competition has become an international platform contributing to the building of a specialized knowledge- and art-based community dedicated to developing Arabic calligraphy and anticipating its future. He stated that “Al-Raqim” is part of a system of cultural initiatives focused on serving and preserving the Arabic language as the vessel of the Holy Quran and as one of the key pillars of Islamic identity, alongside its role in enhancing cultural communication among peoples through the language of art.

Al-Maari added that the “Al-Raqim” prize falls within the framework of supporting distinctive initiatives that combine creativity and knowledge, and harness civilizational values derived from the Holy Quran and the Prophetic Sunnah to present a contemporary cultural discourse, thereby strengthening Qatar’s position as a host of cultural and creative projects with human impact. He noted that this year’s edition features developments in its axes and mechanisms, raising the level of competition and creativity, while expanding the scope of cultural and knowledge partnerships and enhancing Qatar’s presence as a platform supporting Islamic arts and creative knowledge.

Arabic calligraphy’s presence in Qatar’s cultural landscape is no longer confined to manuscripts and historical collections; it has become part of a broader vision that treats Arabic letters as a living element in visual culture, capable of transitioning from the pages of Qur’ans and manuscripts to museums, exhibitions, contemporary artworks, and public spaces. In this context, the efforts of Qatar Museums integrate the preservation, study, and public awareness of this heritage with enabling its practice and reusing its aesthetics in contemporary artistic works.

Ms. Sheikha Nasser Al-Nasser, Director of the Museum of Islamic Art, told QNA in a special statement that the museum’s collections allow for an understanding of the evolution of calligraphy and its schools across different eras and regions. These include a page from a Qur’an in Hijazi script dating to 650–733 CE, a Qur’an in Kufic script dating to 900–925 CE, and a Qur’an from Zubarah dating to 1806, written in Naskh script and copied by Sheikh Ahmed bin Rashid bin Juma bin Khamis bin Hilal Al-Marri. This connects the history of calligraphy with Qatar’s cultural memory. She explained that the interest in Arabic calligraphy at Qatar Museums extends to programs and workshops, including the “Creating Art with Arabic Calligraphy” workshop, which enables the transformation of samples from the museum’s collection into artworks, alongside the international “Al-Raqim” Arabic calligraphy competition organized by the Sheikh Abdullah bin Zaid Al Mahmoud Islamic Cultural Center under the Ministry of Endowments and Islamic Affairs, in collaboration with the Museum of Islamic Art.

The competition is held biennially. Its second edition included the Thuluth, Naskh, Nastaliq, Diwani Jali, and Muhaqqaq scripts.

In a parallel development, Arabic calligraphy is moving from museum halls into public spaces, in line with the Qatar Museums vision that treats calligraphy as an artistic medium open to reconfiguration and reinterpretation. In this regard, Her Excellency Sheikha Reem Al Thani, Vice President of Public Art and Public Space at Qatar Museums, told Al Rayyan and Qatar Quartet that the Public Art Program has helped shift Arabic calligraphy from its traditional frame into murals, sculptures, and artistic installations, thereby presenting the craft within contemporary artistic practices. Among the most prominent works is “Wisdom of a Nation” by artist Ali Hassan Al Jabr, located in front of the National Museum and inspired by a poem by Sheikh Jassim bin Mohammed bin Thani; “Infinite Love” by artist Bashaer Al Badri; and “Caligrafitti” by artist El Seed, which comprises 52 murals along Salwa Road, drawing on various aspects of life in Qatar. She added that another key example is the work “Alpha” by artist Jean-Michel Othoniel, which draws on the aesthetics of Arabic calligraphy in a sculptural installation consisting of 114 fountain sculptures in front of the National Museum in Qatar, developed in collaboration with Kuwaiti calligrapher Jassim Al-Nassar. She emphasized that these initiatives demonstrate the expanding presence of Arabic calligraphy in Qatar, spanning from manuscripts and museums to workshops, murals, sculpture, and public space, thereby reinforcing its status as a living, evolving art form and a component of the country’s visual and cultural identity. The presence of these works in open spaces allows children, youth, and visitors to interact with them directly, without the need to visit a specialized exhibition. Moreover, Arabic calligraphy possesses a unique quality that unites word, meaning, and form, enabling artists to reframe the letter and present it in ways that viewers may engage with visually before recognizing the text or its meaning.

Calligraphy and Aesthetic Space

Arabic calligraphy also occupies a significant place in the aesthetic landscape of public projects. This has been reflected by the Public Works Authority (Ashghal), which has prioritized the integration of Arabic calligraphy into its projects and public facilities as an artistic and cultural element that enhances Qatar’s visual identity and merges art with urban space. Among the most notable works executed by Ashghal are the solidarity tunnel mural by artist Fatima Al-Sharshani, alongside another mural in the Post Office Garden by artist Ibrahim Al-Muharbi. Additionally, the “Watan” (Homeland) mural near the Shura Council presents a tripartite work that combines stone carving, contemporary Arabic calligraphy, and the integration of letters with Qatar’s architectural and historical landmarks.

At the pedestrian tunnel near the Museum of Islamic Art–Corniche, artist Saleh Al-Obaidli presented the series “Sculptures from Letters and Stones,” which merges limestone with metallic Arabic letters. He also executed the “Garden of the Rival” mural in Raudat Al-Khail Garden, using the Thuluth script in compositions that harmonize with the surrounding vegetation.

Arabic calligraphy is also prominently featured in the “Iqra” Square next to the Qatar National Library, where the word “Iqra” (Read) is integrated into the square’s flooring in a design that allows visitors to interact with it visually. Furthermore, murals on water tanks employ letters and phrases in compositions that wrap around towers and decorative walls, utilizing square Kufic script to impart an aesthetic and cultural character to infrastructure elements.

The Minaret Mosque: An Icon of Calligraphic Creativity

The Qatar Foundation for Education, Science and Community Development places significant emphasis on Arabic calligraphy as a component of the nation’s visual and cultural identity, and has been keen to incorporate it into public space, architecture, and the arts—not merely as a decorative element, but as a creative work that strengthens the Arabic language. The Education City Mosque, known as “Al Minaret,” serves as a prime example, with calligraphy becoming an integral part of its architectural design, thereby enhancing its presence in the urban landscape and linking heritage with contemporary identity.

Qatar Foundation clarified that among its most prominent projects in this field is the employment of Arabic calligraphy in the design of the “Al-Minaratayn” (The Two Minarets) mosque at Education City, using the Thuluth and Ijaz scripts, alongside hosting exhibitions and works by specialized calligraphers, and organizing workshops and interactive activities within community and national events. The Foundation emphasized that its experience is rooted in treating Arabic calligraphy as a living art form capable of renewal, able to shape public space and strengthen national identity while inspiring new generations to innovate based on their heritage. Among the institutions supporting Arabic calligraphy in Qatar, the Public Authority for Cultural Quarter “Katara” stands out, having keenly integrated it into its visual identity, public spaces, events, exhibitions, and publications, thereby combining authenticity with innovation. In this regard, Mr. Salem Al-Mari, Director of Public Relations and Communications at the Public Authority for Cultural Quarter “Katara,” explained that the Cultural Quarter Foundation contributed to transforming Arabic calligraphy from a mere decorative element into a fundamental component of its visual and cultural identity by employing it in architecture, murals, artistic works, events, exhibitions, publications, hosting renowned calligraphers, and organizing specialized exhibitions that enhance the presence of this art in public space. He noted that Katara has organized, over the past years, a series of initiatives, exhibitions, and workshops that supported the spread of Arabic calligraphy culture, including the exhibition “On the Shoulders of Letters” by Iraqi artist and calligrapher Diaa Al-Jazaeri, which opened in February 2026 and featured 28 paintings inspired by the Mu’allaqat (Hanged Odes), alongside the exhibition “Qibsat” by Syrian artist Dr. Wasim Muhammad Nour Al-Hamdo, and the exhibition “Absolute Justice,” held in cooperation with the Embassy of the Republic of Turkey and the Yunus Emre Cultural Center, among others. He added that these initiatives also included an Arabic calligraphy art exhibition featuring Syrian calligraphers, and the “Dialogue of Letters between Qatar and China” exhibition, held in April 2025 in cooperation with the Chinese Calligraphers Association, with participation from 37 calligraphers from Qatar and China, including nine Qatari calligraphers. Mr. Al-Mari affirmed that Katara continues to support Arabic calligraphy through exhibitions, workshops, and cultural partnerships, driven by its vision to establish it as a living art that combines authenticity and innovation, serving as a bridge for cultural dialogue and inspiring new generations. The efforts of educational institutions complement those of cultural institutions in Qatar to enhance the presence of Arabic calligraphy among students, with a focus on its sustainability to ensure its transmission from one generation to another. Among the most prominent institutions supporting Arabic calligraphy as both a creative and educational element are the efforts of the Ministry of Education and Higher Education. Regarding these efforts, Mr. Fayez Abdul Latif Al-Khateeb, an Arabic language guidance specialist at the Ministry of Education and Higher Education, stated in comments to the Qatar News Agency (QNA) that the Ministry believes Arabic calligraphy is one of the most important components of Arab and Islamic cultural identity and a primary driver for strengthening students’ connection to their language and civilizational heritage. Therefore, the Ministry is keen on consolidating its presence in curricula, educational activities, and enrichment programs, with this interest beginning within classrooms, particularly in primary and preparatory stages, where curricula include practical exercises on correct writing and calligraphy improvement. Schools also provide diverse opportunities for practicing it through in-class and extracurricular activities.

The ministry highlighted the launch of several specialized initiatives and competitions for Arabic calligraphy, including the “Al-Raqim” competition, conducted in collaboration with the Ministry of Endowments and Islamic Affairs, and efforts to encourage student participation to master the art of Arabic calligraphy and engage in creative competition across its various styles. The second edition of the competition saw the participation of 479 students from 24 public and private schools. The ministry also noted schools’ involvement in events for Arabic Language Month, in partnership with the Qatar National Commission for Education, Culture and Science, which includes Arabic calligraphy competitions and diverse cultural and artistic activities. Additionally, the ministry supports organizing art exhibitions, workshops, and cultural events that highlight the aesthetics of Arabic calligraphy and introduce students to its different styles and schools.

Qatar University’s initiatives also play a key role in promoting Arabic calligraphy. Abdullah Hamed Al-Mulla, Director of Student Activities at Qatar University, emphasized the university’s strong commitment to Arab cultural identity and, consequently, to Arabic calligraphy, aiming to strengthen students’ connection to their language and heritage. The directorate provides an environment that introduces students to the beauty of Arabic calligraphy and encourages its practice by enhancing its presence in university events and occasions, thereby familiarizing generations and enthusiasts with the art form. This presence is evident in cultural and artistic activities, intensive training workshops, competitions, and exhibitions.

Al-Mulla stated that the most prominent initiative in this regard is the establishment of the “Madad” Arabic Calligraphy Club at the university, one of the 120 clubs affiliated with the Student Activities Directorate. The club serves as a destination for students interested in Arabic calligraphy and in developing beginners’ skills. The university also offers educational workshops to develop calligraphy skills for both beginners and advanced students across several calligraphic styles.

In the field of education, Qatar Foundation for Education, Science and Community Development provides workshops and classes in Arabic calligraphy through the Al-Manaratayn Center at the College of Islamic Studies, Hamad Bin Khalifa University, alongside interactive educational programs and platforms such as “Rasekh” and “Siraj,” which contribute to strengthening the connection of new generations with the Arabic language and its arts.

At Virginia Commonwealth University (VCU) in Qatar, Basma Hamdy, Professor of Graphic Design and founder and director of the “Type Araby” research lab in the College of Arts and Design, noted that the university treats Arabic calligraphy as part of a broader, more advanced visual language. She highlighted students’ engagement with the graphic design program through letterform design, image making, artistic printing, digital media, fabrication, and experimental design. Hamdy also pointed to the university’s encouragement of students to carefully study the structure, rhythm, proportions, meanings, and cultural connotations of Arabic letters, and to experiment with them through contemporary practices and procedures. She mentioned the course “Typographic Archaeology,” in which students explore the history, characteristics, and forms of Arabic letter design, and investigate design models.

Basma Hamdy praised the “Type Araby” initiative at the university, a research lab dedicated to studying Arabic letterform design, which offers students and emerging designers opportunities to work with it, pushing beyond the boundaries of traditional letter design and printing. She emphasized that the university’s educational practices provide students with opportunities to explore historical materials using contemporary methods that combine archives and manuscripts with digital font design, printing, computer numerical control (CNC) fabrication, and other technologies. These experiments are crucial for discovering designers who possess a distinctive sensibility toward Arabic letterforms.

Creativity, training, and the graduation of new calligraphers play a pivotal role in discovering talents in the art of Arabic calligraphy, developing their skills, and providing a supportive environment that contributes to preparing a new generation of calligraphers. In this context, Huda Al-Yafai, Director of the Visual Arts Center under the Ministry of Culture, stated in an interview with the Qatar News Agency (QNA) that the center pays attention to various art fields, including Arabic calligraphy, as one of the elements of Arab and Islamic cultural identity. This is achieved through a specialized department that offers continuous training and educational programs in various Arabic calligraphy styles, alongside organizing exhibitions, workshops, and community events.

She explained that the training programs follow an integrated path, starting with teaching the fundamentals, rules, and tools of Arabic calligraphy, followed by practical training on different calligraphy styles, culminating in the production of complete artistic works. She noted that these programs have contributed to discovering and refining numerous talents, some of whom have emerged in the Qatari artistic scene, continued their professional careers, and participated in exhibitions and events both within Qatar and abroad.

Al-Yafai emphasized that Arabic calligraphy programs continue to attract participants from various age groups, with a notable presence of women. She highlighted the center’s commitment to supporting talents through training and qualification, involving them in workshops and exhibitions, and integrating young people with experienced calligraphers to benefit from their expertise. The center has also contributed to qualifying several Qatari female calligraphers who have distinguished themselves in the artistic landscape.

Furthermore, the center hosted numerous exhibitions and workshops, including the “Sutur” (Lines) exhibition as part of the Fereej Art and Design Festival 2025, the Calligraphy and Ornamentation exhibition at the Doha International Book Fair 2024, and the “Arabic Calligraphy” exhibition in its first and second editions, featuring Arab and Turkish calligraphers, among others.

For her part, Rawda Al-Mansouri, Director of the Souq Waqif Arts Center, stated in a similar interview with QNA that the center plays a pivotal role in promoting the culture of Arabic calligraphy, leveraging its location in the heart of Souq Waqif and its status as a cultural destination visited by tourists of various nationalities. She noted that the center has established a comprehensive department dedicated to Arabic calligraphy arts, offering specialized programs in various styles, including Andalusian and Ruq’ah scripts. The department includes a select group of specialists holding international and global certifications, contributing to transmitting this art to new generations according to academic foundations.

Al-Mansouri pointed out that workshops and training courses have contributed to preparing a new generation of calligraphers through a progressive program that begins at the elementary level, then intermediate, and finally advanced, allowing trainees to develop their artistic and technical skills professionally. These efforts have resulted in the graduation of several calligraphers, including Qatari nationals who have become prominent names in the country’s artistic scene.

She added that Arabic calligraphy workshops attract participants throughout the year from young men and women, due to the connection they foster with the Arabic language, the development of writing skills, artistic and aesthetic sensibility, as well as the opportunity to produce artistic works that can be displayed and participated in various events. Al-Mansouri emphasized the center’s commitment to nurturing outstanding talents from workshop graduates, providing them with opportunities to display their works in the center’s halls, organizing special exhibitions for them, and encouraging their participation in events both inside and outside the center.

She also highlighted the role of the Arabic calligraphy workshop in graduating a large number of Qatari female calligraphers who have proven their presence in the artistic and cultural landscape, with many of their works featured in exhibitions and events outside the center.

She added that the center provides a comprehensive educational and artistic environment, including tools and materials, instruction on various calligraphy styles, and specialized academic supervision. The courses and workshops conclude with the organization of periodic exhibitions of students’ and trainees’ works, which encourage them to continue their creativity and contribute to supporting, sustaining, and promoting the art of Arabic calligraphy. (End) QNA