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Islamic
calligraphy is considered sacred art. |In its initial phase it
performed the heroic task of preserving the Qur'an. Its earliest
formations were simple but from the 9th century onwards it became
progressively ornate and usually abstract in manner. After its first
application pious inscriptions began to assume a symbolic character.
It was addressed to God rather than men and its function became that
of a beautiful affirmation of faith, no longer intended to be
deciphered by worshippers or passers by, word by word. Its aesthetic
aspect became dominant with a preference of appearance over sense.
In present times while new trends and developments continue to
emerge, in Pakistan terms like calligraphic paintings, abstract
calligraphy, calligraphic art, and sculptured calligraphy have been
coined to describe various artistic as well as modelling approaches
to this age old art form. Recently, among the few calligraphy
exhibitions on in Karachi, two were outstanding in appearance and
content. Persian artist Yousef Rezaei, especially invited by Kunj
Art Gallery, exhibited his most recent work and at Chawkandi Art
Gallery, Rashid Arshad, now residing in USA brought down his latest
pieces titled "In Letter and Spirit", for display.
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by a rhythmic but asymmetrical style, Iranian artist Yousef Rezaei
indulges in dramatic sweeps of shapes and colours to emblazon his
calligraphic strokes across the canvas surface. Though he paints
with the skills of a khushnawis , his idiom is thoroughly modern. He
confesses, "I express myself in calligraphy which I have
borrowed from my ancestors, but as I breathe in a new atmosphere, I
resort to innovation so that I myself and my art remain alive and
new". Painting stylised versions of Thuluth, Kufic and Mohaqaq
scripts in the gouache/acrylic medium, his expression is graphic,
hard-edged and flat toned. In the 60's jargon it could be called
post painterly. His experimental techniques show reflections of
optical illusions and in the context of Op art some dizzyingly
complex pieces can be termed Op classics.
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Trained in
the art of calligraphy, illumination and miniature, Rezaei works
with a deft and sure hand moulding his contours at will. Broad
banded, ribbon-like cords of colour, his calligraphic strokes swing
with the flow of rhythm and movement. Rezaei's entire philosophy of
art revolves around harkat or movement. An inhabitant of a sea
resort, he spends a considerable amount of time on the sea shore.
Utterly fascinated by surging waves he equates their majestic
escalade with the very act of living. To him movement personifies
energy, hence life. These inspiring environs motivate him to write
and he scripts and scribbles repeatedly on the wet sand honing his
craft and composing his rhythms. This is where his paintings are
born. Perhaps it is this act of "constant rejuvenation"
that has motivated him to paint verses from Allama Iqbal's poetry.
Iqbal was the apostle of Muslim renaissance and the ideological
inspirer of Pakistan. He described life as a forward assimilative
movement, its essence being the continual creation of desires and
ideals. Yousef Rezaei has tried to impart the same vigour and
spirited motion to his flowing strokeplay. Dash and élan typify his
work, perked by vibrant colouration. |
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Rashid
Arshad's display at Chawkandi, though just as invigorating emits a
different ethos altogether. As far back as 1970, his name has been
synonymous with abstract calligraphy, but actually the script is only a
central motif in his work. Essentially Arshad is an artist grappling
aesthetic problems in a painterly manner. He is a bold and daring
colourist with a keen eye for abstract composition and textured nuances.
His approach is somewhat geometric; horizontal and vertical spaces are
marked out with an ovoid or circle here and there. The Arabic script in a
variety of mannerisms is imprinted or woven through these spaces as a
unifying decorative pattern. Texture is evoked through pecks, points,
scrawls, scratches and surface hatching. Clever use of colour harmonizes
these diverse elements into a lively integrated whole. Diversity in style
and approach speak of the artist's wide range. It could also be due to
varied exposure as resident of a foreign country vis a vis the insular
outlook of local artists.
A
1960 graduate of NCA with advanced studies at Parsons School of Design, NY
and Centre of Innovate Printmaking Rutgers, the State University of New
Jersey, Arshad has exhibited extensively at home and abroad. His most
recent showing was a retrospective exhibition of his work sponsored by the
University of New Jersey.
Rashid
Arshad's paintings have always carried historical relevance in some form
or the other. His use of rectangular grids or forms could have affinity to
the thakhti or stone or clay tablets of yore. Think of Sumerian or
Egyptian clay tablets on which laws were inscribed or the Ten
Commandments, which Moses brought down from the mountains.
Then "Manuscripts", "Proclamation",
"Charter", "Resolution", etc are not just mere titles
of paintings. Arshad explains that, "Literally , the titles suggest
link with the written word or documents of spiritual and historical
content. Philosophically the titles are indicative of artistic endevours:
documented, revealed, defined or stated."
Thought
the element of calligraphy is common to both editions, these two artists
have presented two very singular approaches to this genre. Yousef Rezaei
plays entirely with the swaying flow of the Arabic script whereas Rashid
Arshad's imagery banks on spatial distribution, motif and texture as
embellishment. Both artists have a robust color palette, but Arshad's
work is markedly textured whereas Rezaei's never goes beyond flat color application. Both exhibitions typify specifically individual styles worthy
of visual engagement and contemplation and both shows are a visual
delight.
Courtesy:
Salwat Ali, Socialpages.com |
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Caligraphy