January 28, 2006

Islamic calligraphy as sacred text commands an exalted status in the Muslim world, but, the script has an aesthetic dimension also which too enjoys a many splendoured existence. Probably the most typical and widespread art form of Muslim character, the Arabic script is found throughout the Islamic world from Spain to India and from the earliest to the most recent times. At first it was executed in simple ways, but from the 9th century onward in a progressively ornate, yet usually abstract manner. The reason for this development may well lie in the fact that the Holy Quran, the divine book and its message were of paramount importance. Instead of exceptional life experiences and martyrdom of miracle performing prophets, it was the inherent content of the book that was the basis of Islam.

Inscriptions —- and primarily those containing pertinent passages of the Quran - replaced the figural iconography used by other religions. Gradually adornment and embellishment crept in to emphasize and glorify the written word and an extended art form began to grow. Michael Rogers writes in, The Spread of Islam; “But, with the exception of foundation inscriptions or decrees carved on mosques, legibility was rarely a prime requirement in Islamic inscriptions. The Koran was usually known by heart; chancery scribes prided themselves upon their ability to read undotted Arabic; royal decrees, like those of many Western chanceries, often appear all the grander for being not wholly legible; and they are correspondingly more difficult to forge.”

The 240 metres long, monumental inscription in gold mosaic cubes on blue ground, used extensively in the earliest surviving Islamic building, the Dome of The Rock in Jerusalem is a significant example of Arabic writing; and its appearance indicates that it must also have had a decorative function. This aspect became even more apparent when subsequent Muslim architecture and building inscriptions were combined with floral and braided features. Indeed the marriage of calligraphy with the arabesque further augmented its aesthetic potential as the multi form character of Arab calligraphy, its astonishingly rich styles combining the greatest geometrical strictness with the most melodious rhythm was already replete with artistic merit

Today Islamic calligraphy is still pious inscription but in the art world it is also a painterly idiom. Unlike other mediums it carries with it a spiritual aura which accords it another level of regard and esteem. Artists produce calligraphic paintings, viewers appreciate them and buyers purchase them because of their aesthetic appeal and religious significance. These twin attributes are utilized to tasteful advantage by serious discerning artists while at the same time there are many who merely capitalize on sacred sentiments to peddle low quality work.

As an art medium calligraphy paintings are broadly divided into two categories. Some artists favour the use of traditional scripts supported by design elements while others prefer to invent their own style of writing as a design pattern. Likewise legibility and readability is of primary importance to some while others distort at will. We also have trained ‘khatats’ who paint with the zest of an artist and painters who have adopted ‘khatati’ as their motif. Current acknowledged masters like Gulgee, Ahmed Khan and Jamil Naqsh, not forgetting the late Askari Mian Irani, have perfected styles that have spawned a small following. M. A. Bukhari, Chitra Pritam, and Muhammed Asghar Ali are among the younger breed of calligraphy artists whose work was influenced by these stalwarts but is now showing signs of independent innovation.

After successfully cloning Gulgee’s grand, gestural, multihued calligraphy for a number of years, MA Bukhari is now easing into a vibrantly abstract stylization of his own as was evident in the exhibition of his works at the Arts Council recently. Making minimal use of the Arabic script he now diffuses, scratches, scrawls and weaves it into his polychromatic panels rippling with paint. Presently his accent has shifted from the written word to surface treatments on the canvas. He is concentrating on multiple paint application and textural manipulation. This brings into play his individual colour sense, brushwork ability and stroke strength. The emerging format is not only a new technical treatment but also highlights his ability to play with many colours. He paints with confidence and hopefully will continue to exercise control and not fall prey to colour madness.

As a disciple of Jamil Naqsh, Chitra Pritam has painted some exquisite calligraphies in the masters idiom. The text, a scripted scrawl then, was often meshed within an abstract composition. His exhibition at Gul Mohar Art gallery recently however, brings out the calligrapher in him. He has opted for a finely written, entirely legible ‘khat’ with meticulous attention to its alphabetical nuances. Surprisingly this distinct shift in treatment has been maintained without sacrificing his painterly style. His abstract colour play may not be as adventurous as before but the subtle tonalities, distribution of hues and textural markings are pleasing to the eye.

One section of the exhibition was devoted entirely to pen and ink calligraphic patterns. Aesthetically balanced compositions of a delicate but sharply geometric script spotlighted his calligraphic prowess. If this new style carried imprints of Naqsh’s Manuscript series it now also reminded one of Shakir Ali’s calligraphy. Intricately written, almost in the miniature mannerism, and deftly painted this vast body of work was a tribute to Jamil Naqsh, Obaidullah Aleem and Syed Anis Shah Gilanee, three seniors instrumental in supporting and guiding the artist from his humble origins in a village in Larkana to his present standing as an artist.

Calligraph artist Muhammed Asghar Ali displayed his new work at Chawkandi Art, Karachi recently also. Predominantly a mix of various traditional scripts like Kufic, Nastaliq and Thuluth composed in a design format, the paintings carried elemental forms like domes, minarets and arches as well as arabesque patterning diffused and highlighted at will. The antique parchment, scroll or ‘farman’ effect was deliberately maintained throughout the works in aging sepia/bronze tones combined with lavish use of gold and peacock blue. The paintings were reminiscent of Askari Mian Irani’s style with faint imprints of Ahmed Khan’s approach. Asghar Ali has the privilege of being official Naqqash (calligraphy and designing) in Masjid e Nabawi for seven years where he was assigned restoration work on the domes of the mosque in Madinah. At present he indulges in an amalgam of calligraphic writings, motifs, textures and decorative treatments that make for crowded compositions. Some diffusion or elimination of extraneous elements can establish a better sense of spatial distribution to his otherwise rich glowing art works.

Calligraphic paintings enjoy mass appeal and are almost always in demand. Apart from the masters works a considerable amount of ordinary fare exists in the art market and there is a need for quality work. Artists aspiring for excellence can improve quality and help elevate appreciation levels.