December 11, 2001

The aesthetic dimension of Islamic civilization found its finest expression in its architecture and calligraphy. From Asia to Africa and even some parts of Europe, the terrain is dotted with marvellous buildings and artifacts which are representative examples of the great ideas, positive outlook and the creative ability of the Muslims. Calligraphy was an integral part of Muslim architecture. It served to enhance the elegance of the buildings while highlighting the divine verses of the Quran and the holy utterances of the prophet.

In due course, calligraphy came to be recognized as a craft closely associated with the Muslims. Even today when machine printing has deemphasized the role of calligraphy, Muslim households and offices all over the world continue to display specimens of this art in the form of either Arabic verses or verses from the Holy Book or the hadeeth. In the span of about 1400 years, calligraphy has progressed from a single khat to a variety and multiplicity of khatoot. In the book under review, Professor Mohammed Saleem has traced the evolution of this fine art through the ages.

Tareekh-i-khat-o-khatateen is divided into eight sections with a total of 46 chapters. The last chapter has been contributed by the editor of the book, Syed Aziz-ur-Rehman, and includes those specimens of the art of calligraphy which are his later acquisitions. This has enhanced the value of the book.

The story of calligraphy begins with the invention of writing. Great value was attached to this craft at all times but its significance and status varied among the Muslims from time to time. The development of the Arabic script and the historical evolution of various khatoot, specially naskh and nastaleeq, have had a great impact on calligraphy. A number of schools of calligraphy evolved over the ages, apart from these two. Gulzar, ghubar, rehan, suls, uroosul khutoot and shikasta emerged as considerably important.

Some of these have been used by poets to adorn their poetry. Gulzar and ghubar have been the most popular. Mirza Muhammad Rafi Sauda and Mohsin Kakorvi have referred to khat-i-gulzar while a ghazal writer has lamented the use of khat-i-ghubar by the beloved in a couplet. khat bhee likha hai us nay tau khat-i-ghubar mein. Mir Hasan, the famous masnavi writer, has referred to all these khatoot in his verses.

The history of calligraphy in the Indian subcontinent followed an interesting course. The craft saw a full beginning in South Asia in the Sultanate period and can be traced up to the contemporary calligraphers. With the passage of time, calligraphy as a decorative art lost its significance. As a result the khushnavees lost his standing while the katibs, whose role was more functional, came to enjoy importance.

There was a time when Lucknow was left with one master calligraphist who was also a poet. That was Shamsuddin Aijaz Raqam who was engaged by the famous Navil Kishore press to design the title pages of its books. Shamsuddin poignantly wrote,

Hum siyah naam thay maanind-i-qalam ay Aijaz
Aaey is safhay hasti peh kitaabat kay liyay

The author has thus recorded and preserved the achievements of the great calligraphers of South Asia. But he has succumbed to myths and legends which have grown around the contemporary names. This detracts from the authenticity of his text.

Prof Saleem’s work has great authenticity. He has consulted a number of sources, the first part of the book drawing heavily from Habibullah Faza’ili Isphahani’s historical text Atlas-ul-Khat. Thus valuable historical material has been made available to Urdu readers.

Tareekh-i-khat-o-khatateen is a useful and valuable book. With a preface by the renowned scholar and living saint, Dr Ghulam Mustafa Khan sahib, the book should generate further interest in the fine art of calligraphy.

Tareekh-e-khat-o-khatateen
By Professor Mohammed Saleem
Zawwar Academy Publications, A-4/17 Nazimabad 4, Karachi-74600. Tel: 021-6684790. 
Email: al_seerah@hotmail.com
464pp. Rs450

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