An Interview with Elinor Aishah Holland
by Najia Shuaib
Sept/Oct 25
In the world of Islamic calligraphy, where every line is a testament to devotion, dedication, and precision, New York-based calligrapher Elinor Aishah Holland plays her part to strengthen the connection between faith and artistic expression. For Holland, spiritual text is enough for the mind and the heart. “It supports the faith, and the faith supports the practice,” she said. In an exclusive interview with Islamic Horizons, Holland offered a glimpse into her inspiring path by revealing the intricacies of her craft.
Holland’s journey into Islamic calligraphy began with a deeply personal quest for meaning. As a young person, she yearned for meaning in her life, and among many different paths of spirituality, she heard about Sufism. This interest took her to Istanbul, a city where calligraphy is woven into the very fabric of its architecture and culture. “I went to Istanbul and saw calligraphy everywhere,” she said. An inherently artistic soul, she was drawn to it immediately. Unaware of the formal training opportunities available at the time, she immersed herself in Latin script calligraphy.
It wasn’t until later that she learned of Mohamed Zakariya, the first American to receive the honor of ijazah – a certificate of expertise and permission to teach calligraphy – from Istanbul’s Research Center for Islamic Art, History, and Culture in 2013. Zakariya is also the artist behind the “Eid Greetings” issue of U.S. postage stamps. Holland, who has an undergraduate degree in religious studies from Temple University, said connecting with him was a fortunate opportunity.
“I heard about him through friends, and called directory assistance for his phone number,” she recalled. “I called him and asked if he would take me as a student.” Under Zakariya’s instructive guidance, she earned an ijazah in Thuluth and Naskh scripts. “He is beyond inspiring! His influence extends far beyond calligraphy, encompassing woodwork, metalwork, illumination, and translation,” Holland said. She admires her mentor’s “open and wide” outlook, emphasizing, “He is a scholar as much as a calligrapher.”
From Student to Teacher
Since starting her mentorship, Holland’s goals were rooted in continuous practice and sharing her knowledge. Now, teaching has become a cherished part of her artistic journey, a role she enjoys “immensely.” And while she grew up in the West, her love for Islamic artistic expression never faltered. “I never saw myself as [being] from a different background than other Islamic traditional artists,” she said.
Holland’s creative process is like a poetic revelation that approaches her in a deliberate manner. It all begins with a piece of writing whose meaning resonates with her and compels her to write it. The initial phase involves “playing with the wording with ink with no expectation of anything that would be a final piece.” This exploratory stage transitions into a meticulous compositional process, often in pencil. “One might rearrange the words many, many times before being happy with a final composition or placement of letters and words,” she said. Once a rough composition is established, she meticulously copies it onto well-prepared paper multiple times until she is satisfied with the final piece.
Calligraphic pieces are often embellished with different design techniques around them. The designs may vary from Illumination (Arabesque designs) to Marbling, Geometric patterns, Chainwork, or making gold lines around the calligraphy. But Holland also conducted another intriguing experiment, incorporating Latin script with Arabic, forming a fusion of her initial and latter calligraphic studies.
Faith in Islamic Art
Translation: Powerful is the wise one, knowledgeable / with knowledge, the old heart becomes young. Shahnameh Ferdowsi)
Holland believes Islamic art holds immense power in fostering understanding and unity. “When people see Islamic calligraphy, they see the softness and beauty in Islamic culture and the souls of Muslims,” she said. “[This] more feminine aspect of all Islamic cultures is not always emphasized, but when people learn of the mesmerizing beauty of calligraphy and other Islamic arts, it has a direct effect.” To promote Islamic art in North America, she advocates for education and cultural awareness.
She said while highlighting the profound spiritual impact of calligraphy, “This type of art allows the viewer to have a glimpse of the infinite beauty of God’s creation.” She realized this through a meaningful experience about 20 years ago when she delivered a keynote lecture at an international calligraphers’ conference primarily attended by Latin script calligraphers.
“A young woman spoke to me about having not wanted to attend that evening because she didn’t like ‘those people’ [referring to Muslims],” she recounted, saying the lecture transformed the woman’s perspective. “She was thrilled by the lecture and amazed and surprised to come to know that there is a rich calligraphic tradition amongst Muslims.” A convert herself, that single moment made all of Holland’s years of practice worthwhile.
“In my quest for truth and meaning as a young person, God chose Islam as my path,” she said.
The intertwining of her faith and artistic practice is a profound aspect of Holland’s life. Her initial attraction to calligraphy was visceral, a response that came from within. She found the practice inherently soothing to her soul. The progression to writing Quranic and other spiritual texts became deeply satisfying. “It supports the faith, and the faith supports the practice,” she said, underscoring the central theme of her artistic journey, spirituality.
An Artform Rooted in Patience and Tradition
As artistic tools evolve and become digitized, Holland’s work remains rooted in tradition. “I know nothing about the new devices. I am content with the old ones,” she said. While she believes that calligraphy has a potential place in contemporary art, she humbly acknowledges that she hasn’t yet “been able to envision it.”
Holland was, however, optimistic about the future of Islamic calligraphy as a burgeoning art form in North America. “Islamic calligraphy is an essential part of Islamic culture and heritage everywhere and needs to be and is being developed in North America,” she said.
For aspiring young artists, Holland offers invaluable advice: “Patience is the first skill to be developed in calligraphy.” Beyond patience, a genuine love for the effort is essential, as the art demands practice and patience. “It is not for everyone, nor should it be.” However, she promises a unique reward: “Know that if you pursue this art, you will be enriched in a way that is unlike many other pursuits. Practice and time are required, but if it speaks to you, those things become easy.”
Looking ahead, Holland will continue to dedicate herself to teaching. She will be teaching at Zaytuna College this summer and offers continual classes on Zoom every Saturday alongside numerous workshops at various institutions. Students interested in learning from her can reach out via email, text, or phone. She expresses a heartfelt desire to promote Islamic art appreciation more broadly. And while she cherishes working with young people at Zaytuna College, she aspires to develop an Islamic Art program accessible to everyone. “I teach as much as I can and accept anyone interested,” she said.
Holland’s life and work are a powerful illustration of how the rigorous discipline of traditional art can merge seamlessly with the spiritual. Through her exquisite calligraphy, teaching, and advocacy, she not only preserves an ancient art form but also builds bridges of understanding, proving that the beauty of Islamic art truly has the power to open eyes and hearts.
Najia Shuaib is a freelance writer, visual artist, calligrapher, and Arabesque designer with a deep passion for Islamic traditional art. Her work highlights North America’s Muslim artists and the rich Islamic art collections present across the continent. najiashuaibsyed@gmail.com