The Artist Talks

Artist at his workplace.

Artist: Ibn-e-Kaleem Ahsan Nizami (IK) (Calligrapher, Artist, Inventor of new Islamic Calligraphic script Khat-e-Ra’ana. Master of seven styles of Islamic Calligraphy)

Questions by: Syed Asghar Javed Shirazi (SAJS)

SAJS: When did you start Calligraphy?

IK: I was a child when my father taught me how to hold the calligrapher’s pen in my hand. My father has always been my mentor and my guide to the world of art. I still draw inspirations from the works of my father and my grandfather.

SAJS: Which is your favorite script?

IK: Khat-e-Ra’ana

SAJS: What is calligraphy for you, a “hereditary” art or a career?

IK: initially I selected it as a career. Now I practice it as an art through which I communicate and express my self.

SAJS: what mediums do you use?

IK: I started with the takhti, a forgotten device these days. Now I write on anything from canvas to skin and other hard surfaces provided they do not distort the colour and resolution of my writing.

SAJS: What are the methods of your calligraphy?

IK: Adopting, expanding and changing with the times.

SAJS: What are your views on the methods of today versus these of the past?

IK: Today, a calligrapher can use a wide range of modern instruments (and techniques) that were not available before. Still, I find that most of the new methods and techniques are either continuations or refined forms of the old methods.

SAJS: What would you describe as the major turning point in the field of calligraphy?

IK: definitely when Ibn-e-Muqla Bezavi evolved the rules for six basic scripts during the period of Mustansar Billah. They are still being followed today. After Bezavi, many calligraphers tried to add new aesthetic dimensions and individual styles but none was ever accepted as a new script.

SAJS: what do you think of the works of sadequain and Aslam Kamal?

IK: They both are great artists and calligraphers with their own distinct styles. Still, their styles cannot be called new scripts because they lack the rules of accidence and syntax. Sadquain has used abstract paintings and colours where Aslam Kamal has added geometric motifs, domes and arches while writing in conventional scripts. Their work, however, has done much to popularize conventional calligraphy throughout the world.

SAJS: Do you accept new trends of calligraphy or follow the old traditions?

IK: I accept modern trends; whish is why I have founded Khat-e-Ra’ana. At the same time I don’t violate any tradition.

SAJS: What is the future of calligraphy?

IK: Very bright. Every since Nastaleeq got put on the computer, Urdu has been revolutionized. This, however, does not affect calligraphy which is still a fine and cherished art.

SAJS: How would you enjoy your work?

IK: It is a daunting, exiting and lonely experience. One can only imagine the hours and the agony (as well as the joy) it take to achieve the effect. It can also get very frustrating.

SAJS: What about Quranic Calligraphy?

IK: Quranic calligraphy is one of Islam’s purest fine arts. Over a period of centuries Quranic calligraphy has matured and developed countless, unique and distinctive styles, it is visible record of our heritage, it has a message, it is like no other art.

This interview is already published in a weekly magazine “The Friday Times” on September 10-16, 1999.