Course: Pencil Line Work A basic three month course on observation and line formation. (Children 9 years onwards & Adults) Fyza Noon (NCA) Once a week Saturdays 11:00 am to 1:00 pm Starting Saturday 7 Jan 2017
Fyza Noon is a NCA graduate and a miniature student of Bashir Ahmed sahib. She teaches miniature at Hastoneest and is a founding member of the Institute.
Register: Send in 'Title. Name, Cell & Email Address' on firstname.lastname@example.org/03008493170; Venue: 3, Iftikhar Ahmad Malik Road, Shariff Colony, Canal Park, Gulberg II.
We have decreed death among you, and We are not to be outdone
We will change your likenesses and produce you in that [form] which you do not know.
Clearing the basic misunderstanding on the concept of death from a Quranic perspective. Syed Uzair Abdullah Qadri
Saturday 26 November, 5:30 pm
Venue: Hastoneest, 3, Iftikhar Ahmed Malik Road, Shariff Colony, Canal Park, Gulberg II, Lahore
With a post-graduate degree from Punjab University, and the family scholarly tradition of the Qadriyya Sufi Order, Syed Uzair Abdullah Qadri holds special interest in Kalam, Quranic Exegesis, the Science of Hadith, Arabic Language & Poetry.
Lahore Hastoneest Institute of Traditional Studies & Arts
Course: Tarteel or Hymnody of the Quran (Level 1: Tajweed)
(for Children (7 years +) & Adults) with Qari Muzammil Ashraf
Duration: 4 Months
Once a week on Fridays, 5:00 - 6:00 pm (starting Friday 25th November)
Venue: 3, Iftikhar Ahmed Malik Road, Shariff Colony, Canal Park, Gulberg II, Lahore.
Qari Muzammil Ashraf is a student of Qari Syed Sadaqat Ali sahib who stands amongst the renowned qurra of Pakistan.
Outline: - Developing accuracy of the sounds and words of the Quranic language through select, short surahs of the Quran. - Articulation of the 29 letters in the Arabic language; from where they should be pronounced from (Makhaarij) and give them their appropriate attributes (Sifaat). - Differentiating the three modes of recitation: Tahqeeq, precise - methodical; Hadr, rapidity; Tadweer, in between
Register: Send in Title, name, cell number & email address to email@example.com or 0300 8493170.
www,hastoneest.com or email firstname.lastname@example.org.
The Art of Calligraphy & the
Pen Strokes of the Quran
From its simple early examples of the 5th and 6th century
A.D., the Arabic alphabet developed rapidly after the rise of Islam in the 7th
century into a beautiful form of art.
The main two families of calligraphic styles were the "dry styles", generally called the Kufic, and the "moist styles," soft cursive
styles, which include Naskhi, Thuluth, Nastaliq and many others.
Kufic reached perfection in the second half of the 8th century. It superseded
other earlier attempts of improvement of Arabic calligraphy, and became the
only script used for copying the Holy Quran for the next three hundred years.
Abu Ali Muhammad Ibn Muqlah (d. 940), along with his brother, became
accomplished calligraphers in Baghdad in an early age. Ibn Muqlah is credited
with developing the first script to obey strict proportional rules. His system
utilized the dot as a measuring unit for line proportions, and a circle with a
diameter equals to the Alif's height as a measuring unit for letter
proportions. Ibn Muqlah's system became a powerful tool in the development and
standardization of cursive scripts, and his calligraphic work elevated the
previous cursive styles into a place of prominence, and made them acceptable as
worthy of writing the Quran.
Cursive scripts coexisted with Kufic and date back to before Islam, but in the
early stages of their development they lacked discipline and elegance. Court
requirements for correspondence and record keeping resulted in many
developments to the cursive scripts, and several styles were devised to fulfill
When the cursive styles were becoming popular and refined in the 10th century,
Kufic responded by overemphasizing many qualities of the cursive scripts in a
geometrical style called 'Eastern Kufic,' where slender vertical strokes and
oblique strokes animate the more rigid early Kufic. This style was mainly a
book calligraphy rather than architectural calligraphy style, but was very
popular on ceramics.
Course: Art of Illumination - Tezhib Teacher: Azma Salman Duration 3 months; Weekly session on Fridays, 4:00 - 6:00 pm starting Friday, 11 November An introductory course on the art of illumination - tezhib - where students will learn the motifs of the flower stages and how to compose them in the Turkish style of the art form. Flower painting techniques will follow to create a complete work of illumination. Azma Salman has been teaching traditional Islamic art since the last eight years. Her area of specialization is "Tezhib" or Illumination - an art form used to ornament the holy verses of the Quran for which she received training from three present day Turkish masters e.i Ayten Tiryaki, Emel Turkman and Nilofer Kurfeyz.
Currently she is the only illuminator in Pakistan who has a formal degree in this area of Islamic Art. She holds a Masters of Arts in Visual Islamic and Traditional Art from the Princes School of Traditional Arts, London and a Bachelor of Fine Arts from the National College of Arts. She lives and works in Lahore.
Register: Email and send in Title, Name, Cell Number and email address on email@example.com.
For further queries email on firstname.lastname@example.org/0300 849 3170.
Hast o Neest Lahore: 3, Iftikhar Ahmed Malik Road, Shariff Colony, Canal Park, Gulberg II, Lahore
Walk in to Hast o Neest Movies/Documentaries
Viewing & Post-Viewing Discussion
Rumi in the Land of Khusrau
A documentary film by Muzaffar Ali
Ministry of External Affairs, Government of India.
Running Time: 30 Minutes
Wednesday, 9 November 2016 at 6:30 pm
at Hastoneest Lahore
Rumi, the mystic poet, was born in 1207 in Balkh, Afghanistan, which was then a part of the Persian Empire. Amir Khusrau was born in 1253 in Patiali, grew up on the banks of the river Ganges and composed poems of a mystic nature.
The documentary ‘Rumi In The Land Of Khusaru' is based on Tajjali - a Sufi concert where Persian and Indian dancers, musicians and singers perform in tandem with each other. The Indian musicians from regions of Kashmir, Awadh and Delhi render poems and compositions of Khusrau, and the Iranians sing the poems of Rumi. The film inter-cuts the concert with details from the life of Khusrau, and similarities between his poetry and Rumi's. The film also extensively uses the poetry of both the mystics.