Pulsating calligraphy
Fayza Haq
Samples of calligraphy work at Shilpakala Academy

                  Despite the recent lull in cultural activities in and around Dhaka, Shilpakala Academy has an ongoing Islamic calligraphy exhibition sponsored by the Iranian Embassy. This may not be as gorgeous as some of the Arabic calligraphy exhibits in the earlier years in the city, but it has a formidable and fine character of its own. Muted in presentation it focuses on the letterings and attempts to present the various samples of Arabic script, viz, the Toghra, Nastaliq, Shikastah, Kufic and Naqsh. It is in countries like Saudi Arabia, Iran, Turkey, and Pakistan that Islamic calligraphy is most apparent.

In the centuries old mosques and monuments of Bangladesh too one finds admirable samples of our Islamic roots as recorded for all generations by the Mughals and other Muslim rulers. 

In focus was the script done by Asadullah Keyani, who has had 11 solos in Iran, USA, Russia, China and various European countries like France and Germany. The calligraphy is a conventional style, with measured spaces and careful lines and loops. It is done in black and grey.

Shedaghat Jabbbari Kalkheran's work is the most flamboyant and eye-catching. His calligraphy is in lapis lazuli hues, touched with emerald and royal blue. The interlacing lettering appear like the entwined wings of birds or rings of scattered flower petals seen with their setting of scattered leaves. Shedaghat has exhibited in Iran, Europe and Saudi Arabia.

Shiabbas Latifi's work appears like some lettering on a pendant held by a large starburst of interlacing, gray geometrical designs. Shiabbas has had over 60 exhibits in different parts of Iran.

Hamid Nirumanda, who has five exhibitions to his credit, has intertwining wordings in large dramatic lettering in black on a white backdrop.

Apart from the work of the four masters, there is a black calligraphy work surrounded by a floral frame. This contains miniscule flowers and leaves in orange, royal blue and flamingo pink. This is outlined by black, while the basic setting is a backdrop of flat pinkish-orange.

The writings on tiles in stylised black, with large lettering interlaced with medium and small ones, is offset with stars of gold at the bottom, frames of black hold up the work. The calligraphy on tiles is seen once again on a rectangular creation of writing that appears mingling and mixing. This is set in an ovular frame of pale pink and once again surrounded by shades of flecked orange.

Toghra work is seen in a peacock or dove with a trailing tail and fluttering wings. It is complete with delicate legs, tiny beak and scalloped crown. The bird appears to be perched on white waves of more calligraphy in burnt -sienna and pale orange. Similar style of handwriting is seen in the billing and cooing doves done with lettering in blue with a backdrop of scintillating orange. This is again surrounded by a frame of neat squares. Once again, this work is set off by a larger encasing of more doves in gray, blue and white, along with interweaving calligraphy of a subtle nature.

The exhibition is certainly worth a visit in the present dearth of art displays.