Calligraphy - the decorative writing is one of the highest art forms of the Arab world. This is partly because strict Muslims disapprove of art which represents humans or living things.A contemporary definition of calligraphic practice is "the art of giving form to signs in an expressive, harmonious and skilful manner."
Classical calligraphy differs from typography and non-classical hand-lettering, a classical calligrapher create characters that are historically disciplined yet fluid and spontaneous, improvised at the moment of writing. There are a few classical calligraphers in Pakistan as calligraphic painting has become more popular among the artists; one of them is Mahfoz Ahmed. Born in 1980 Mahfoz is a young promising calligrapher of the time. He has worked in all Khat (Styles) of calligraphy but the much appreciated was his work in Khat-e-Deewani Jali.
The basis of Islamic art has always been calligraphy. Arabic script, after all, was used to transcribe the Holy Qura'n and was therefore considered the noblest of all art forms.
But during its centuries-long heyday, with representational, or figural, art largely discouraged by Islam, this calligraphy became increasingly decorative and ornate.
In addition to being considered the greatest of the Turkish sultans, Suleman was also an influential patron of the arts. Under Suleman I the Magnificent (1520-1566), the Turks developed their own highly elaborate form of calligraphy, called Deewani, known for its complex and intricate beauty.
It was labelled the Deewani script because it was used in the Ottoman diwan and was one of the secrets of the sultan's palace. The rules of this script were not known to everyone, but confined to its masters and a few bright students. It was used in the writing of all royal decrees, endowments, and resolutions. Few scribes were able to master the art form, and those who did spent their lives perfecting it.
Deewani is rich, majestic, and imposing. It is considered the most difficult to master, and therefore, can serve as the best criteria in reflecting the artistic ability or a well-rounded calligrapher. The structure of this script, and the way it is laid out demand higher qualities and better aesthetic treatments. Mehfoz has managed all these rules and prove as a calligrapher of par excellence.
Indeed, calligraphy truly deserves such illuminations, and such a reverence; its masterpieces, when framed and set upon walls, bear all the attraction of great paintings, affecting even foreigners. Thus many of them are now lovingly collecting items of Calligraphy.
Deewani script is an Ottoman development parallel to Shikasteh (broken style). The script was largely developed by the accomplished calligrapher Ibrahim Munif in the late 15th century from the Turkish/Persian Ta'liq. Deewani reached its zenith in the 17th century.
Deewani became a favourite script for writing in the Ottoman chancellery as this script is highly mannered and rather difficult to read. Deewani is excessively cursive and highly structured with its letters undotted and unconventionally joined together. It uses no vowel marks. Deewani also developed an ornamental variety called Deewani Jali which also was known as Humayuni (Imperial). The development of Deewani Jali is credited to Hafiz Uthman. The spaces between the letters are spangled with decorative devices which do not necessarily have any orthographic value. Deewani Jali is highly favored for ornamental purposes.
The Deewani script is divided into two types:
-- The Riq`a Deewani style, which is devoid of any decorations and whose lines are straight, except for the lower parts of the letters.
-- The Jali Deewani or clear style. This kind of handwriting is distinguished by the intertwining of its letters and its straight lines from top to bottom. It is punctuated and decorated to appear as one piece. The Deewani handwriting is known for the intertwining of its letters, which makes it very difficult to read or write, and difficult to forge. But still much popular among the art lovers. That's why Mehfoz have achieved a mastery in it.
He has achieved many national and international awards in calligraphy in such a short span of time. In 2001 he has won International Calligraphy Competition Award arranged by OIC in Turkey. In 2003 he won 1st prize in Sadequain Award in Calligraphy, In 2007 he won 1st prize in International Calligraphy Competition held in Lahore. The roof of KPT Officers Lounge is decorated with a calligraphy mural in gold by Mehfoz.
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