Art Facts: Fusion of traditional and modern calligraphy

15 Jun, 2013

I know Atif Ali for a long time since his appointment as an Assistant Director Culture in the early 90s. I used to go to Frere Hall where I met him occasionally to have long conversations on art and culture at tea. We discussed various events especially Sadequain Awards. Gradually Atif develops interest in calligraphy and the most renowned teacher in calligraphy Ustad Abdul Rauf becomes his mentor in calligraphy.
For the last few months Atif has been regularly discussing with me his calligraphic work as he prepares for a solo exhibition of his calligraphic artworks. In his current calligraphy he has changed his style of work.
Following in the footsteps of his mentor, Atif gives form to signs in an expressive, harmonious and skillful manner while transcribing the Holy Qura'n in his calligraphic paintings. He tries to work within its boundaries and sometimes by borrowing from other sources, in order to make the artwork more relevant to modern tastes and life conditions, and also to express his aesthetic experiences. Atif Ali like a few previous artist calligraphers tries his own unique way to advance the tradition of calligraphy. He presents his recent calligraphic artworks at Citi Art Gallery, Karachi today.
As compare to his previous work Atif's recent calligraphic works appears differently using artistic symbols like pyramids, mountains, triangles, squares and circular , highlighted by Islamic motifs in bright colours - red, orange, green, blue, ochre and cloudy white that are eye catching and results in an artistic form of calligraphy.
His calligraphic works are highly mannered and excessively cursive and very much structured with its letters un-dotted and unconventionally joined together he uses no vowel marks. The intertwining of its letters from top to bottom punctuated and decorated to appear as one piece. His work is vivacious because of his strong gestured strokes and vibrant colours. It is his concept of beauty which results in the manifestation of such works.
He uses bold colours and his strokes are gestured and free flowing. He has used calligraphic writings and colours strokes in an aesthetical manner while balancing the composition thoughtfully. The symmetry in the compositions is remarkable. The Qura'nic verses along with the beauty of colour enhanced with the splendour of Islamic motifs enrich his artwork to provide visual pleasure. Strictly following the traditional style of calligraphy he draws and paints elements freely and creatively along with words.
In the system of Islamic calligraphy most letters change in form according to whether they are at the beginning, middle or end of the word. The fact that each letter can be written in many different forms created a wealth of variety and made it possible to develop endless patterns in writing.
The artist is well-versed in Kufi style he loves squared and foliated Kufi with rich ornaments. He likes to give the dark colours to the background that enhance the words and make them appealing and attractive. The effect of such calligraphy is eye catching, graceful and dignified. After all the words of Allah ought to be written in grand style and Kufi is its rightful heir.
It must be reminded that there are more than twelve basic forms of Kufi and this field is a very uphill task. He has to put much more heart and soul in Kufi than any other form. He is a devoted and patient calligrapher. Lastly it must also be said that Atif Ali's calligraphy is attractive, subtle and delicately skillful.
He creates more beautiful and charming letters and words in innovative handwriting. In short, one has to try to discover the mysterious beauty and elegance of the different decorative designs, skilfully used in presenting Kufic script by Atif Ali.
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