Azeem Iqbal began learning calligraphy as a child, and honed the craft at the Rawalpindi Arts Council before teaching calligraphy for eight years. He has designed the Turkey link passage at the National Monument Museum in Lok Virsa as well as the Azadi Train, a Pakistan Railways project that represents the culture of the four provinces, Azad Kashmir and Gilgit-Baltistan.

Mr Iqbal, who holds a diploma from Japan for designing museums, also designed the Hafiz Shirazi corner at the National Book Foundation with the coordination of the Iranian Cultural Consulate.

Dawn sat down with him to discuss his work in reviving the art of calligraphy and his work as a teacher and designer.

Q: What caused you to take up calligraphy and what sets your work apart?

A: I did not receive formal calligraphy training, but started writing the names of Almighty Allah in grade nine. My mother wanted me to become a [great] calligrapher, so I took up the work and learnt new forms while writing the names of Allah on leather and stone.

I have also done calligraphy using powdered gemstones on paper – coloured powdered gemstones can be used on paper to create different dimensions. I have done calligraphy on deerskin, and adorned my work with gemstones as well.

I have also taken the design on the boundary walls of the Khaana-i-Kaaba, which kept changing with time, and I have replicated it in my frames.

Since minarets enjoy significance in Islamic architecture, I have also used minarets in my art pieces and frames.

Q: Are young people interested in learning the old art of calligraphy?

A: Most of the people turning toward this form of art are young people. I used to teach more than 50 students at a time at the RAC, where children came to learn the basics of calligraphy. Young people also come up with new ideas after seeing work from artists in Iran and the Middle East, and they experiment with new forms.

But the government needs to act as a patron to artists so they can teach art without any obstacles.

Q: Is there a difference between old and new forms of calligraphy?

A: In the older form of calligraphy, the artist would observe the work of the masters and tried to copy it, but in the new forms, the younger generations observe things around them and make their own patterns. One could say the new generations are doing better work and combining Turkish, Iranian and Middle Eastern techniques.

Published in Dawn, December 8th, 2016