Calligraphy continues to be one of the key symbols and most fascinating aspects of Islamic culture and identity. It began with the writing of the Quran in the Kufic script. Later, classical and contemporary calligraphic styles evolved, and Islamic calligraphy expanded and developed to an unparalleled level of sophistication and usage.
Traditionally, calligraphy relied on the qalam [pen] and ink. But, with the passage of time, it expanded to encompass other mediums, as it was incorporated into architecture and in objects made of wood, metal, glass, ceramic, stones, fabric etc.
A visual representation of this creativity, beauty, and the aesthetic of formation and ornamentation was recently on display at the Ocean Art Gallery in Lahore. The gallery invited viewers to explore different calligraphic art forms immaculately presented by Shakil Ismail, a Karachi-based artist.
In his series of geometric-shaped calligraphic sculptures, Ismail has used scripts crafted out of rigid metallic surfaces, depicting the word ‘Allah’ in a repetitive manner. Drawing inspiration from the work of the old master Ibn Muqalla, Ismail has used a total of four different khat [calligraphy styles], with the most dominant being Khat-i-Sals. The flow and fluidity of the calligraphy is undeniable, exuding a certain grace.
Metal, glass and semi-precious stones are fused with calligraphic elements in Shakil Ismail’s singular creations
According to the artist, after repeated trials with electroforming techniques on metal, he developed his unique style of moulding metal surfaces through cold-welding with ice cubes and chemical currents. To enhance the beauty of these pieces, Ismail incorporated cast-glass intertwined with semi-precious stones in a range of beautiful colours.
The strength of the sculptures lies in the integration of metallic elements, which imbue the work with a sense of permanence. Unlike paper, which can age and fade, metal retains its integrity, preserving the elegance of the calligraphy in its original form. The use of metal in the calligraphy also symbolises timelessness, strength and durability.
Ismail’s other artistic expression is his use of the cast-glass technique for wall hangings. Ismail creates the glass material by recycling pharmaceutical and beauty product bottles, melting them at temperatures of around 1,400 degrees Celsius. The brown glass, for example, is made from crushing and melting children’s cough syrup bottles. Numerous brightly coloured calligraphic canvases were also exhibited, showcasing a blend of spirituality and artistic brilliance.
For his handcrafted wearable art, Ismail drew inspiration from the ancient tradition of wearing naqsh or taweez — amulets or talismans — that were, and in some cases still are, worn for protection and blessings. He designed immaculate and contemporary jewellery pieces — including bracelets, rings and pendants — crafted from gold-plated bronze and silver. Each piece is studded with semi-precious stones such as marjan, jade, zircon, amethyst, ruby, agate, glass crystals, tourmaline and topaz.
The pendants, in particular, feature semi-precious stones caged in metal wiring. One pendant showcases an intricately chequered design carved from gold-plated metal and studded with a large, round topaz stone. The artist’s work seems to be inspired by Greek and Roman jewellery designs.
Through his innovative use of materials and his mastery of calligraphy, Ismail not only honours the rich traditions of Islamic art, but also pushes the boundaries of contemporary artistic expression.
‘Sculpting Words, Adorning Souls’ was on display at the Ocean Art Gallery in Lahore from December 3-7, 2024
The writer is an art critic and artist based in Lahore. She can be reached at ayeshamajeed2015@gmail.com
Published in Dawn, EOS, December 22nd, 2024
