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Admirable display of Islamic calligraphy

Fayza Haq
If one wanted to whet one's appetite on Islamic calligraphy one had only to sail forth to National Museum's Sufia Kamal section. Here was a grand display of calligraphy on canvas, cloth and paper by Bangladeshi (self-taught and BAFA trained) and Iranian experts. Along with diese calligraphy works was die display of the Quran from40 different countries, published in places like USSR, USA, Europe, Middle East, the Indian subcontinent and the Far East. Titis was indeed a recent, arnbi-
ofvisjtors.. , „ , . ’
The Bangladeshi artists spoke widi confidence
and sensitivity, explaining the details ofdieirwork - as regards colour, line, content, theme. They explained die verses, words and images on die painting without a pause, and with considerable poise and emotion. Mansoor, who organised die exhibit, also held forth, ad lib, explaining each Bangladeshi display widi meticulous care.
The visitors appeared to take great interest in the different entries and asked the organisers a series of relevant questions, which spoke of their intense interest and curiosity. Tills was despite die compelling afternoon heat that gripped die Hiqiyithis,moi)Lh-.Sure,|this exhibit whs rw^ estingas the early ones at die'NadBHal Museum, such as die one by Murtaja Baseer, and the one
held two years back. Yet, since numerous samples of the Quran had been included, the number of visitors far surpassed the turnouts on otiicrocca-sionsoflslamiccaliigraphycxhibitsinthccity.
The lines were positively lyrical: this was one of tile necessary ingredients of Islamic calligraphy. which replaces Dora and fauna for many of original Islamic art. There was a departure in presenting human hands and figures, in representing Die five pillars of Islam, and die concept that Islamic faith ruled die world. Words and Quranic verses were repeated in manifold ways 1 ph the BifiigMMliiicarivasosHiHie nolottrsiusedi were subtle yet eye-catching arid dramatic. The lines were vertical, horizontal and diagonal. These were amalgamated widi curls, sweeps and dots. Driven by passionate beliefs and brave in their skilled work, the artists had carried on wi th theirworkwith admirable mastery.
The Iranian calligraphy was mbre conven- ■ tional and done on more minute perspective. The lines of the lettering and die space of die frames were much smaller. However, the foreign entry too was interesting. It included figurative images and fine calligraphy, arranged in geometrical symmetry - specially the one that appeared like Queen Nefertite's necklace- with die row of gold chains with delicate, enamel work, seen from some distance.
Considerable effort must have gone into acquiringthe different types of Quran - with their varied types oflettering, languages, origin, shapes and sizes. As one examined each, one found that translations had been given in most of diem, along widi die original text in Arabic. What was mind-boggling were die Hindi ,TimiI and Coptic tomes. Many were illustrated around the borders and eye-restshadbecnprovided too.
One came away from die veritable treasure trove of Islamic art, surfeit with gain in knowledge.