Admirable display of Islamic calligraphy

Two calligraphy works from the display

The Bangladeshi artists spoke with confidence and sensitivity, explaining the details of their work -- as regards colour, line, content, theme. They explained the verses, words and images on the painting without a pause, and with considerable poise and emotion. Mansoor, who organised the exhibit, also held forth, ad lib, explaining each Bangladeshi display with 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. This was despite the compelling afternoon heat that gripped the city this month. Sure, this exhibit was not as interesting as the early ones at the National Museum, such as the 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 other occasions of Islamic calligraphy exhibits in the city.

The lines were positively lyrical: this was one of the necessary ingredients of Islamic calligraphy, which replaces flora and fauna for many of original Islamic art. There was a departure in presenting human hands and figures, in representing the five pillars of Islam , and the concept that Islamic faith ruled the world. Words and Quranic verses were repeated in manifold ways on the Bangladeshi canvases. The colours used were subtle yet eye-catching and dramatic. The lines were vertical, horizontal and diagonal. These were amalgamated with curls, sweeps and dots. Driven by passionate beliefs and brave in their skilled work, the artists had carried on with their work with admirable mastery.

The Iranian calligraphy was more conventional and done on more minute perspective. The lines of the lettering and the space of the 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 the row of gold chains with delicate, enamel work, seen from some distance.

Considerable effort must have gone into acquiring the different types of Quran -- with their varied types of lettering, languages, origin, shapes and sizes. As one examined each, one found that translations had been given in most of them, along with the original text in Arabic. What was mind-boggling were the Hindi ,Tamil and Coptic tomes. Many were illustrated around the borders and eye-rests had been provided too.

One came away from the veritable treasure trove of Islamic art, surfeit with gain in knowledge.