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Celebrating Calligraphy Day: The Art of the Written Word Across Cultures
Every August, Calligraphy Day offers a moment to reflect on the beauty, precision, and spiritual depth of the written word. Calligraphy, as both art form and devotional practice, connects cultures and traditions across centuries. On this occasion, we highlight a unique chapter of Islamic art: the evolution of Arabic calligraphy in China and the work of Haji Noor Deen. His masterful fusion of Chinese and Arabic aesthetics opens new perspectives on the shared reverence for script in both traditions.
Arabic Calligraphy in China and the Work of Haji Noor Deen
In 2023, just before our museum’s temporary closure, we presented an exhibition on the works of Chinese calligrapher Haji Noor Deen (Mi Guangjiang). The extraordinary theme of Islamic art in China captivated visitors interested in cultural diversity and intercivilizational dialogue. Through the artworks of Haji Noor Deen, the exhibition explored the fusion of Islamic and Chinese traditions and shed light on the long-standing history of Islam in China.
Islam in China
Today, China is home to around 20 million Muslims. The largest communities include the Turkic-speaking Uyghurs in Xinjiang and the Chinese-speaking Hui, who live throughout the country. The Hui are believed to be descendants of Muslim merchants and scholars from West and Central Asia who settled in China as early as the 8th century. A larger wave of Muslim immigration occurred during the Mongol rule. After the fall of the Yuan dynasty (1271–1368) and the rise of the Ming dynasty (1368–1644), a distinctive Chinese-Muslim subculture emerged. In areas such as Arabic calligraphy, Islamic literature in Chinese, and mosque architecture, Islamic beliefs blended with Chinese aesthetics and customs.
Sini-Kalligraphie
Sini calligraphy is a unique style of Arabic script shaped by Chinese writing traditions. The name Sini is derived from the Arabic word for "China." Characterized by fluid, curved lines and tapered strokes, this style is often used for religious phrases such as the Shahada or Allah. It can be found not only in manuscripts and artworks but also on wood or stone inscriptions in mosques and on objects like ceramics and metalwork.
Practiced by Hui Muslims for centuries, Sini calligraphy dates back to the Yuan dynasty. Qur’ans and gravestones from the 14th century already bear the hallmarks of the style. Sini pieces are typically written on fine rice paper using broad brushes or wooden spatulas and are often accompanied by Chinese elements like flowers, fans, or fruits to visually enhance the Arabic text.
Haji Noor Deen – Preserver and Innovator
While Sini calligraphy has a centuries-old tradition among Chinese Muslims, Haji Noor Deen Mi Guangjiang stands out as one of its most accomplished contemporary masters. He seamlessly integrates East Asian tools—such as brush, Chinese ink, rice paper, and seal—with classical Islamic calligraphy instruments like the reed pen and iron gall ink. His mastery of thick and thin lines, fast and slow strokes, and controlled contrasts of strength and delicacy creates a visual harmony of emptiness and fullness within the script.
Writing Traditions Reflected in Noor Deen’s Work
Both Islamic and East Asian cultures share a deep respect for the written word. A prominent element in Noor Deen’s works is the use of a seal, a tradition in Chinese art that reflects the artist’s identity and personal expression. The seal not only personalizes the work but also contributes to the overall balance and originality of Chinese-Arabic compositions.
The ink spreads quickly on rice paper, requiring the calligrapher to move with confidence and intention. In Chinese aesthetics, ink is traditionally divided into five color tones, offering a wide spectrum between black and white. While Arabic calligraphy favors dense black ink, Chinese techniques often use dry brushes and allow for textured effects. One particularly notable visual feature is the appearance of white gaps in the center of brushstrokes—known as withered brushstrokes—a phenomenon rarely found in other Arabic styles.
Spiritual Meaning: The Fusion of Word and Image
Noor Deen’s calligraphic compositions can be seen as visual meditations. They invite viewers on a spiritual journey, evoking inner peace and contemplation. The Qur'anic verses he selects often reinforce this message. In one work, he illustrates the verse: “And thus We have made you a community of the middle way” (Qur’an 2:143). The horizontal script line symbolizes balance, enhanced by a heart-like form in red and black that visually embodies harmony.
The Basmala – Intertwined with Nature
The Basmala (بسم الله الرحمن الرحيم), meaning "In the name of God, the Most Gracious, the Most Merciful", is the most widely known Arabic phrase among Muslims. Noor Deen interprets it through nature-inspired motifs. In one piece, he incorporates elements of plants into the phrase, echoing the verse (Qur’an 31:10): “In the name of the Beneficent God, We send down water from the sky and make every glorious species sprout from it in pairs.” The result is a visual-textual synthesis that draws from the tradition of Chinese flower painting and expresses harmony, beauty, and the divine presence in nature.
About the author
Dr Shunhua Jin conducts research on Islamic material culture in China, including Chinese mosques and manuscripts. She also studies cultural exchanges between East Asia and the Islamic world, with a specific interest in artistic exchanges between China and Iran in the 16th and 17th centuries. She wrote this essay during a research stay as part of the International Fellowship Programme at the Staatliche Museen zu Berlin (2023-2024).
Many thanks to Dr Deniz Erduman-Çalış, Farwah Rizvi and Cornelia Weber.