Reinventing calligraphy

An ongoing exhibition at The Metropolitan Museum of Art in New York explores Japanese art along three verticals. ‘The Three Perfections' is an immersive experience featuring 1,000 years of Japanese art across poetry, calligraphy and of course, art. Parallel to this, the Museum also features works by the legendary Taiwanese calligrapher Tong Yang-tze. Two large works, by the 82-year-old, celebrating Chinese literature can be seen in the museum's Great Hall. There is poetry in the excerpts, but there is also rhythm in the brush strokes. The juxtaposition between the two exhibits the ancient art form and the new-found ways to explore it are fascinating yet sublime.

Calligraphy as a form of writing has been part of most ancient civilisations. But there is a stark difference between functional writing for aesthetics. Calligraphy literally means beautiful writing, based on the two Greek words ‘kalyos’ and ‘graphein’. A form of expression, calligraphy is found in art, ancient manuscripts, historic buildings and decorative items today.

The origins of calligraphy are highly debated from the possibility of it being part of the ancient Egyptian scripts to Buddhist and Islamic scripts taking credit for its origin. There are even traces of calligraphy in ancient Mesopotamia, showing markings on wet clay tablets.

However, today, in a world where typing on a digital screen has taken over the good old art of writing with pen and ink—and soon artificial intelligence may even negate the keyboard—this cursive art form is being reinvented and revisited through a fresh, new lens. Countries are recognising the importance of the art and the need to protect and promote it for the next generation.

In March this year, Istanbul’s Rami Library opened an exhibition titled, ‘Mushafs of the Sultans’. A testament to the legacy and cultural heritage of the Ottoman Empire, the exhibition features a rare collection of Qurans, spanning eleven centuries from the private collection of the Ottoman Sultans. Master calligraphy artists such as Sheikh Hamdullah and Ahmed Karahisari’s splendid works of art can be seen during this exquisite display. The level of detailing, intricacy and opulence in each brittle, fragile page is a treat to the eyes.

Last month, in April, Starbucks Korea, in light of National Liberation Day, exhibited handwritten calligraphy by Independence fighters. Eleven historic pieces were featured in the show ‘Calligraphy That Becomes a Shining Star: The Second Light.’

There is obviously a movement globally, where calligraphy is getting the much-needed attention it deserves. Prime Minister Narendra Modi praised Firdousa Bashir in his Mann Ki Baat speech for her remarkable contributions in keeping the legacy of calligraphy alive. Unfortunately, in India ever since the decline of the Mughal rule, the number of calligraphers has been dwindling. The once bustling streets of Old Delhi now have a handful of artists still taking their generational craft legacy forward. Qamar Dagar is one such artist who frequently hosts workshops to sensitise locals and tourists to this dying art form. The Nari Shakti Awardee is not only a practising calligrapher but also the founder of Qalamkaari Creative Calligraphy Trust. An organisation that provides a platform for artists to showcase their work with a larger audience.

Similarly, Muqtar Ahmed is taking the art form forward by training youngsters at the Indo-Islamic Art and Culture Centre in Bengaluru. The artist, who has won several accolades on a global scale, has now trained over 500 students so far.

The versatile manner by which calligraphy is being explored now is testament that it serves a larger, deeper meaning of self-expressionism rather than just writing. The Bombay Lettering Company, a boutique calligraphy studio, works with individuals and luxury brands, creating handwritten personalised invitations each carefully, painstakingly written in calligraphy.

Contemporary artists are reinventing calligraphy as not merely an art form fit for a script but also one that can be explored on the canvas. Shahbaz Yousafzai, a Pakistani artist seamlessly blends calligraphy in his art. In ‘Persian Horse’, an acrylic work on canvas by him, the artist uses bold brush strokes with gold leaf to depict a bold, majestic horse. Kevyan Shovir, the Iranian artists’ work, ‘Echoes of Love’, explores the multilayered meaning of love. The canvas features the word ‘love’ written in Persian in calligraphy using various colours.

While contemporary artists are featuring calligraphy in their works, how many of them are knowledgeable enough to read the ancient scripts written in calligraphy? Perhaps the fate of this ancient writing form is the evolution of it becoming an exquisite art form. But if the number of expert calligraphers dwindles, who will read the ancient, ornate scripts of the masters of yesteryears and how will we learn and decipher history?