The Three Dimensional Art of Calligraphy

Calligraphy, the art of writing has many names in India. Called su-lekhan (su meaning beautiful and lekhan meaning writing), khushan visi, su-lipi, sulekh kala, in Hindi, khushkhati, khush nafisi, kitaabat, suloos, and khattaati in Arabic, Persian or Urdu, they all refer to the beautiful art of writing.

These find a true partner in handmade paper especially when the texture does not soak in too much ink from a pen.

Brushwork, writing with bamboo pens, or even a simple sketch pen gives highly aesthetic and beautiful results when a calligrapher’s sure and thoughtful flourish lights up the paper.

The calligraphy of Japan, China and Korea where a few black brush strokes bring magical art to rich cream-coloured paper.

India’s calligraphy flourished during Mughal times, when Persian calligraphers wrote manuscripts illustrated and illuminated by Hindu painters or vice versa.

Paper making happened in many parts of India at that time, in spite of having 22 official languages, 13 scripts and over 700 identified dialects, Independent India has never been known internationally for its calligraphy.

It has many forms of classical and folk art, but although artistic sensibilities of its creative communities are high and widespread, they never extended to calligraphy.

Perhaps this was largely because the communities that painted or crafted did not value or feel the need for being literate. The skills of writing were left to those upper classes that served temples, kings or governments.

Calligraphers who continued valiantly were all Muslim, as the value of writing was originally attributed to the fact that the Prophet Mohammad’s sacred words needed to be written beautifully, so all holy sayings were inscribed lovingly and artistically on whatever surface was chosen.

Calligraphers practicing in multiple Indian scripts are few, but, in the 21st century, there are a growing number, demonstrating, displaying and selling their art works in galleries, schools and at prestigious international events.

The papers acquired from hosiery waste, elephant and rhinoceros dung and the argeli plant were given to four prominent calligraphers of India, Jamyang Dorjee, Rajeev Kumar, Qamar Dagar and Irshad Farooqi, and Sanjhi paper artist Ram Soni, to enhance the visual and tactile experience of exploring handmade paper with their art.

Irshad Hussain Farooqi is well-known for his finely wrought wooden art and devotion to sacred scripts in his works.

Farooqi walks down the lane in Zakir Nagar in south Delhi leading to his home and workspace.

Farooqi’s work tools are a few brushes, bamboo pens and a large collection of pencils for him to sketch calligraphy designs he will translate into wood.

As calligraphers prefer paper that suits their style, Farooqi uses handmade paper of jute fibre and textile from Sanganer’s famed handmade paper-manufacturer Salim Kagzi with his hand-carved bamboo pen.

He chose to write the many names of Allah to demonstrate his style. He has also calligraphed the Gayatri mantra, an ancient Vedic hymn dedicated to the Sun deity, and created art works in wood amalgamating the icons of major religions.

Some of Farooqi’s works on jute paper made in preparation for the wooden carved version, await transformation into masterpieces.

In old times, the main raw material for papermakers were worn gunny bags made of jute Corchorus capsularis or Corchorus olitorius, bought from the pack animal drivers along trade routes.

Near the master calligrapher’s home is the Moti Masjid, where he goes for Friday prayers along with members of his community.

He works on his calligraphy to write,
'La ilahaillallahMuhammadur Rasulullah' meaning ‘There is only one God, that is Allah, and Mohammad is his Messenger’ which is the shahada, the crux of Islamic belief.

He takes inspiration from the scripts on the wall behind him.

Read more about calligraphy in India:
-Calligraphy in Sikkim
-Rajeev Kumar
-Qamar Dagar