Every artist has their own unique way to look at things and uniquely present them. For Saudi artist, designer and calligrapher Noha Raheem it was combining Chinese, Japanese and Arabic forms of graphics into something even more unique.

She ventured into the world of calligraphy unconventionally, by coalescing her interest in Kanji by using the logographic Chinese characters used in the Japanese writing system — with Arabic calligraphy. What’s the result? An eye-catching work that captures the best of all worlds.

Noha who is fond of Arabic calligraphy and graphics in general built her enthusiasm for Kanji script six years ago. During her young days, she discovered the three famous Japanese written scripts — including Kanji, Katakana and Hiragana. The vertical letters, the way they are formed and their meaningful symbols like a secret code, attracted her the most.

 
As for Arabic calligraphy, writing proceeds from right to left and forms a horizontal line. She developed her love for freestyle Arabic and Kufic calligraphy. Inspired by Hajji Noor Deen in the beginning, she created Arabic calligraphy in the Kanji style to show the beauty and flexibility of this complex yet innovative mix.

The self-taught calligrapher discovered the roles and philosophy behind the beauty of Kanji script. “It is said that the only rule for Japanese and Chinese calligraphy is that it is beautiful, no matter what is written. What matters is how it is written. That’s why I believe the Kanji style can be merged and fitted with our Arabic letters to create a masterpiece for both eye and mind,” she told Arab News.

“They can be shaped in any way, and still keep their form and meaning. Today I wrote my letters in the Kanji style. Later, I might do it in Urdu just to show the world how flexible and beautiful Arabic letters are,” she added.

She also writes Qur’anic verses in Kanji and draws her inspiration from cultures using traditional Sumi ink and off-white, antique-style background colours with a black script, or vice versa, to mirror the essence of the Japanese style. She also makes use of Japanese calligraphy brushes, Xuan rice paper, and Kakejiku, a Japanese hanging scroll used to display and exhibit paintings and calligraphic inscriptions and designs.

With such beautiful amalgamations, the young artist urges other Arab artists to explore the beauty and flexibility of the Arabic language and preserve it through art.