Islamic and Chinese Calligraphy: A Meeting of Two Traditions

Master Calligrapher Haji Noor Deen will talk about his upcoming exhibition at UC Berkeley's Institute of East Asian Studies, “Crystal of Collected Wisdom: The Arabic Chinese Calligraphy of Haji Noor Deen."

Traditional Arabic calligraphy in China has been described as the most representative form of Islamic art in China. Calligraphy is part of the daily life of Chinese Muslims, used in homes, Mosques, and elsewhere. Chinese Arabic calligraphy has its own schools, traditions, and techniques all little known in the West. A master calligrapher whose work draws inspiration from, and even transcends this tradition, will be featured in an upcoming exhibition at the Institute of East Asian Studies, “Crystal of Collected Wisdom: The Arabic Chinese Calligraphy of Haji Noor Deen."

Haji Noor Deen Mi Guangjiang, born in 1963 in Yucheng, Shandong Province, China, brings together the Islamic calligraphy of his Muslim heritage with the Chinese calligraphy of his homeland. Both traditions prize the art and poetry in the written word, Islam in the celebration of the sacred, Chinese largely in the secular realm. The Chinese Islamic style of Haji Noor Deen’s work bridges the two traditions. Through exhibitions, lectures, and demonstrations, he brings to world attention work little seen beyond the borders of the Muslim-Chinese community in China.

The Institute of East Asian Studies will host this exhibition of his work beginning November 15. As part of the opening festivities, Haji Noor Deen will offer his thoughts about his work and the traditions of which he partakes, as well as a demonstration of his art.

The following day, November 16, the Center for Chinese Studies hosts a calligraphy workshop.

Haji Noor Deen’s work will be on view at the Institute of East Asian Studies through March 4, 2011.

Co-sponsored by the Institute of East Asian Studies and Center for Chinese Studies.