ISLAMABAD: In honour of the auspicious month of Ramazan, Satrang Gallery held an inauguration of Hurouf, its third Annual Calligraphy Exhibition. Masters Ahmad Khan and Rasheed Butt, whose paintings can be found in international collections and museums, were displayed alongside the widely popular Bin Qulander and Arif Khan.
Director of the Gallery Asma Rashid Khan said: “We are bringing to our clientele Pakistani art at its diverse and creative best and devoting the space to Islamic art, particularly appropriate in Ramazan.”
While the works on display were all thematically similar, each of the four artists had a unique approach to the subject, resulting in an eclectic collection.
Mamoona Riaz, a teacher at the National College of Arts, said: “This show is a nice blend of differing genres of calligraphic paintings by master calligraphers and popular calligraphers who are well on their way to becoming masters.”
Ahmad Khan explains his work as a prayer for peace, harmony and light. In his 80s the master calligrapher has a distinctive style with immense depth and lacquered finishes. His work has found its way to Sotheby auctions and received much acclaim.
Ranjana Raghavan, wife of the Indian high commissioner, said: “Ahmad Khan’s work seems to have Chinese influence in the strokes and colours.”
Rasheed Butt draws his inspiration from a classical Arabic metaphor, “calligraphy is music for the eyes”. His works are exquisite classical renditions of established scripts and he says, “beautiful writing – calligraphy – celebrates the sounds and meanings of the sacred text, the Quran.”
Dhoofishan Raza Naushahi, who works at Satrang, said: “In my opinion Rasheed Butt has no equal in the art of calligraphy. His paintings are true to the original form of Islamic art down to the detailing of the borders.”
Bin Qulander had presented beautiful stylised calligraphies, some very large pieces and others on circular canvases. His exploration of colour and style shows immense potential. He says, “My work is my communion with the Almighty.”
He adds, “As I studied Arabic calligraphy I learnt that each letter has its own identity and I try to capture that hidden truth in my work. Calligraphy is an art form not just a craft.”
Humaira Munir and Nazi Iftikhar, who had come to the exhibition to try to add to their art collections, were particularly enamoured by Bin Qulander’s work.
Humaira said: “I love collecting calligraphies and would like one of Qulander’s pieces in my home.” Arif Khan took the opportunity to explain some of his calligraphies, which he says, “run in low keys, smoothly, and suddenly they move to a higher pitch.”
He added, “I subtly divide space by writing small pieces around the focal point and fill the focal point with a large word.”
Interestingly enough, many of the calligraphists liken their work to symphonies which may well have to do with the fact that the art of calligraphy preserved Quranic phrases – phrases which are recited frequently – and spread them beyond paper and book form.
The diversity and range of the calligraphic art is such that there are over 300 styles of writing in South Asia alone and much like dialects and accents there are myriad variations of each style.
Calligraphy is the most highly regarded and most fundamental element of Islamic art and while the employment of calligraphy had a definite aesthetic appeal it always has an underlying religious significance.
Published in Dawn, July 6th, 2014