https://sendas.carrd.co 2026-01-19 daily 1.0 https://sendas.carrd.co/assets/images/gallery01/2fe39dbc.jpg Analytical reproduction of a folio from the 9th-century Blue Qur’an. This study focuses on the material constraints of gold chrysography on indigo-dyed parchment. Using geometric decomposition derived from my engineering background, I reconstructed the spe https://sendas.carrd.co/assets/images/gallery01/a2e60792.jpg Engineering meets Art. 📐✨ My submission for the Qatar International Calligraphy Competition. At 1m x 70cm, this piece pushes the limits of classical Kufic geometry. It’s not just about the ink on the page; it’s about the mathematical discipline and the ph https://sendas.carrd.co/assets/images/gallery01/bad2c37f.jpg Technical reproduction of the Kiswa (the Kaaba door curtain). This study focuses on the monumental Thuluth script and the intricate 'Basmala' compositions used in the gold-and-silver embroidery of the Haramain tradition. Beyond the calligraphy, this projec https://sendas.carrd.co/assets/images/gallery01/428746f9.jpg Material study of the Kairouani manuscript tradition. This reproduction utilizes traditional soot ink and reed-pen (qalam) angles specific to the Fatimid and Zirid periods of Kairouan. By deconstructing the mathematical proportions of the letterforms, I mo https://sendas.carrd.co/assets/images/gallery01/f69d403f.jpg Exhibition Piece: Rika and Ottoman Illumination. This work demonstrates the synthesis of two distinct disciplines: the minimalist, rhythmic discipline of Rika calligraphy and the vibrant, mathematical symmetry of Ottoman Tezhip. By integrating gold-leaf ac https://sendas.carrd.co/assets/images/gallery01/e7ebf6c0.jpg Technical study of Early Kufic script on handcrafted Ahar paper. This work represents a practice-led investigation into the physical origins of Islamic paleography. By utilizing self-made Ahar paper—a traditional substrate treated with egg white and alum—I https://sendas.carrd.co/assets/images/gallery01/318a28a2.jpg Experimental Paleography: Rika script on a dried natural leaf. This study serves as a material simulation of early archiving conditions, testing the interaction between organic substrates and soot-based ink flow. Utilizing a hand-cut bamboo pen, I analyzed https://sendas.carrd.co/assets/images/gallery01/bd52f05c.jpg Analytical practice and geometric decomposition of calligraphic letterforms. This study demonstrates my engineering-based approach to mastering script anatomy through repetitive proportional exercises. By mapping the rhythmic distribution of 'nuqtas' (meas https://sendas.carrd.co/assets/images/gallery01/615102c9.jpg Documentary study of Ottoman-era Naskh script and the physical constraints of the scribe's workshop. This photograph captures the materiality of manuscript production, showing the interplay between soot-based ink, hand-cut reed pens (qalams), and the metic https://sendas.carrd.co/assets/images/gallery01/a10cf872.jpg Revitalization of Intangible Heritage: Traditional Gafsa Weaving. This project, managed through my social venture Senda’s, involves the preservation of folkloric symbolic patterns unique to the Gafsa region of Tunisia. By applying engineering-based resourc https://sendas.carrd.co/assets/images/gallery01/d58680f4.jpg Technical study of Thuluth and Naskh scripts featuring a central 'Waw' composition and Ottoman-style geometric illumination. This work focuses on mathematical balance as a prerequisite for legibility, using the 'nuqta' (dot) system to calculate the structu https://sendas.carrd.co/assets/images/image01.jpg https://sendas.carrd.co/assets/images/gallery02/6b34358e.jpg Untitled https://sendas.carrd.co/assets/images/gallery02/4d076f88.jpg UntitledEngineering meets Art. 📐✨ My submission for the Qatar International Calligraphy Competition. At 1m x 70cm, this piece pushes the limits of classical Kufic geometry. It’s not just about the ink on the page; it’s about the mathematical discipline an