People deal with money notes every day without asking themselves an important question: Who is the calligrapher behind the unique writing and font that distinguishes one note from another and gives the paper money its special character?
Abdul Razzaq Khoja, who was born and raised in the holy city of Makkah, is regarded as one of the great artistic calligraphers according to Al-Madina newspaper, having been surrounded by the assorted and vibrant forms of traditional arts of Makkah throughout his life. He could associate his entire life with Saudi’s paper currency and coins, having sketched and written out the Kingdom’s banknotes in the reign of three different Saudi kings, since the appearance of the first Saudi one riyal note and coin in the era of King Faisal in 1387 AH (1967 AD), when he was 22.
Khoja's remarkable talent didn't stop at just designing the currency. He later added to this achievement by working with the press for nearly 50 years, writing memorable headlines and significant banners including the news of the late King Faisal's death in 1395 AH (1975 AD), in addition to hundreds of royal medals, royal decrees and heraldic banners and flags. Moreover, tens of thousands of students from early generations in Makkah first encountered Khoja's distinguished calligraphy within their textbooks. In fact, Khoja's calligraphic art has been carried around in people's pockets for quite a long time.
Arab News has met with the veteran calligraphy artist at his residence in Jeddah, and delved into the details of his life and times with the Saudi currency and the memories of his 50 years’ experience in newspaper headings, in addition to his long journey with Arabic script.
Where did you learn and study the art of Arabic calligraphy?
Well, I first studied calligraphy as a compulsory subject in the intermediate school in Makkah. I was very charmed by the Arabic scripts, especially the "Thuluth" type, which was invented by a renowned Persian calligrapher in the 11th century. Nevertheless, I use the most common type called "Riqah", which is employed in most books. I was inspired by Turkish and Persian figures of calligraphy like Hafiz Osman from Istanbul and Ibn Muqla from Shiraz. In fact, I ended my education at the second grade of intermediate school as my English was quite poor and I was not doing well in the scientific subjects, while I was very distinctive at painting and calligraphy.
The Early Press Experience
What happened after you quit your schooling?
After leaving school, the first opportunity for me to use and practice my calligraphic talent was in 1381 AH (1961 AD) when I joined Al-Nadwah Newspaper, which was published in Makkah and owned by two brothers, Saleh and Ahmad Jamal. I still remember the first headline that appeared on the front page of this daily: "40 million Saudi Riyals for public projects". After my period of work with Al-Nadwah, I moved to Jeddah to work with Dar Al-Asfahani for Publication. During this period I was asked to write some headlines for Al-Bilad newspaper for the first time, while Hassan Gazzaz held the office of editor-in-chief. After that period there was a big shift in the press business as all Saudi newspapers then had to be associated with institutions rather than individuals. As for Al-Madinah daily, it was printed at that time at Al-Asfahani's press in 1382 AH (1962 AD), where I was printing the headings during the era of the editor-in-chief Abdul Ghafour Attar and later with Mohammad Salahuddin. I also worked with Okaz in the 1390s AH (1970s AD), which was headed by Abdullah Khayat at the time.
How did you learn calligraphy? Who was your mentor? And who were your students?
I first learned the principals of calligraphy, as I mentioned, in school. However, after that I worked on my own to enhance my talent without any direct teacher or trainer. I relied on some books and magazines, but my indirect inspiration came through two major contemporary calligraphers: Mohammad Hosni from Egypt and Stephen from Lebanon. I have taught and trained some students from the Air Defense Institution here in Jeddah for many years, and my students have long graduated.
The First Paper Money Experience
When did you inscribe the first Saudi paper and metal money, and how were you nominated to carry out such a job?
The first paper and metal currency I inscribed were during the reign of King Faisal in 1387 AH (1967 AD), when I was at the age of 22 and was still working at Al-Asfahani's in Jeddah. Actually I was nominated by Al-Asfahani's management to do this job as they were the oldest and the best press in the Kingdom specialized in printing books, textbooks, magazines and newspapers.
How did you receive the news of undertaking this very important and monumental task? Did you have any specific demands?
I was very pleased and happy, with the utmost feelings of pride over this very unique national task. I asked them first to include my signature under the inscription on the currency, but this was refused. Later on during the second edition of the banknotes, I requested to be excluded from this task due to some special circumstances. I was asked then if this request had been due to their refusal to put my signature on the currency. They apologized for this explaining that, according to the rules and regulations of the Saudi Arabian Monetary Agency, no name or signature is allowed to be included upon the paper or metal money. Then after that I continued with this prominent task.
Was this task only associated with the reign of the late King Faisal?
No, not really. I also inscribed the currency issued during the era of King Khaled bin Abdul Aziz in 1396 AH (1976 AD), using the same design and type of script used in the King Faisal banknotes. As for the metal money, the name of King Khaled was included though this new currency kept the picture of King Faisal imprinted on it. Following this, I did the inscriptions on the currency issued in King Fahd's reign, where the first 500 riyal note appeared bearing the image of King Abdul Aziz, in addition to the appearance of 20 and 200 riyal notes. There was some debate and discussion over the issuance of a 1,000 riyal note, but this did not transpire in the end.
What was Saudi paper money like before the reign of King Faisal?
There was unofficial Saudi paper money issued at that time, which was mainly used among pilgrims and later on by Saudis. That paper money contained writings in four different languages including Arabic, English, Persian and Urdu. As far as I know, this paper money was being written in India at that time.
Paraphernalia
What about the writing gears and tools you have been using in calligraphy?
I still retain a lot of old tools and equipment dating back to more than 50 years. However, I cannot really remember which is the very tool I had used to write the money. It is very funny to mention that during that time I and some of my colleagues buy the reed musical instrument which was made in Japan for its high quality wood where we used to sharpen one of edges and turn it into a writing tool.
What, in your opinion, has changed in the art of currency inscribing between past and present?
I see no significant change, as most of the currencies — at least in the Arab World — are still designed and inscribed by hand. I believe the same remains true in many countries around the world.
Books and Medals
What were your main contributions in textbooks and medals?
I continued to write the headers and titles of some textbooks, starting from the era of King Faisal in the late 1380s AH until the beginnings of the current century AH in the era of King Fahd. I retired around 4 years ago to mark the end of a very long journey with Arabic calligraphy. I also worked as an associate calligrapher at the Royal Protocol Department in Jeddah, where I was responsible for inscribing a number of ribbons and medals for some presidents and dignitaries, including the former Ja'afar Al-Numairi of Sudan and the former French President Valery Giscard d'Estaing in 1974, as well as the former American President Jimmy Carter. I also worked as a freelancer at the Ministry of Foreign Affairs, where I was in charge of writing the diplomatic passports. I wrote the passports of the late King Khalid and King Fahd, in addition to that of Crown Prince Naif bin Abdul Aziz. Moreover, I used to inscribe the memorial medals for some government organizations, including SAMA, and I was also doing this for special occasions like the opening of the King Fahd Causeway between the Kingdom and Bahrain.
What are the most distinctive countries in producing creative calligraphers?
The most notable states in Arabic calligraphy were and continue to be Turkey, Egypt and Iraq, of which we can still see some of their impeccable and longstanding works written in Thuluth type on the walls and under the roofs of the Two Holy Mosques in Madinah and Makkah. I like the Diwani type of Arabic script that is characterized by beauty and joy — which is why I call it the script of "Happiness". It is recommended for use on cards for special occasions like weddings and parties. I also like Thuluth, which I call the King of Arabic Calligraphy. I consider it as the best measure and standard for showing the capacity and proficiency of the calligrapher due to its professional composition and artistic intricacies.
