In the past, sacred Islamic calligraphies were used strictly in sacred places, whereas profane calligraphies were used in secular spheres. However, the trend now among some Hausa artists is to extend the sacred Islamic calligraphic tradition to the social domain. Some Hausa calligraphers do so by “desacralizing” their Islamic-inspired calligraphies. This article deals with the extension of Islamic decorations to secular social domains in Kano, Northern Nigeria. Such works are produced by calligraphers like Sharu Mustapha Gabari. I show how Hausa calligraphers like Mustapha Gabari creatively extend their arts, talents, and skills to other social domains. These domains include the human body, clothing, houses, and other objects. This article describes the ways in which the sacred and the secular realms overlap, and illustrates some key processes of enrichment the Islamic arts have undergone in sub-Saharan Africa. These processes exemplify the ʿAjamization of Islamic arts in Africa, especially how sub-Saharan African Muslims continue to creatively appropriate and enrich the Islamic calligraphic and decorative traditions to fit their local realities and address their preoccupations.

中文翻译：

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尼日利亚北部豪萨书法和装饰传统：从神圣到社会

过去，神圣的伊斯兰书法严格用于神圣的地方，而亵渎的书法则用于世俗领域。然而，现在一些豪萨艺术家的趋势是将神圣的伊斯兰书法传统扩展到社会领域。一些豪萨书法家通过将他们受伊斯兰启发的书法“去神圣化”来做到这一点。本文讨论了伊斯兰装饰在尼日利亚北部卡诺的世俗社会领域的扩展。此类作品由 Sharu Mustapha Gabari 等书法家创作。我展示了像 Mustapha Gabari 这样的豪萨书法家如何创造性地将他们的艺术、才能和技能扩展到其他社会领域。这些领域包括人体、服装、房屋和其他物体。这篇文章描述了神圣和世俗领域重叠的方式，并说明了伊斯兰艺术在撒哈拉以南非洲经历的一些重要的丰富过程。这些过程体现了非洲伊斯兰艺术的 ʿAjamization，特别是撒哈拉以南非洲穆斯林如何继续创造性地适应和丰富伊斯兰书法和装饰传统，以适应他们当地的现实并解决他们的当务之急。