Written by: Varda Nisar
Posted on: June 13, 2018 | 
| 中文
Untitled by M Azeem Iqbal
Come Ramzan, calligraphy exhibitions tend to be a staple event in all the cultural institutions and art galleries. It is almost as if this historical art form has been restricted to the domain of these 30 days, and fails to be recognized as art worthy of exhibition, exploration and inquiry beyond this month. Due to this attitude, there is a lack of appreciation for calligraphy among our public, and it features rarely in our artistic consciousness.
Lok Virsa, however, has managed to bring forth calligraphy as a non-static art form, which is constantly evolving, with explorations by new practitioners. Art enthusiasts in Islamabad can visit the “Exhibition of Traditional Calligraphy” at Lok Virsa, to view the works of artist M. Azeem Iqbal, on display till the 14th of June.
The works are, simply put, spectacular. By choosing to display one artist’s work to the public, the gallery has done justice to the diversity and vitality of his calligraphy. Most of the works are in mixed medium; and the wide variety of materials used, has allowed for a depth of field as well as a unique blend. “Traditional Calligraphy,” though the show is titled, moves beyond the reach of a simple definition. Everything is employed to assert the artist’s vision, from canvas material to simple paper, from jute to wood, from symbols to paints – everything extends beyond its limitations.
A number of key elements repeatedly occur in the works. For example, many of the works remind you of the early illuminated Qurans, donned with Kufic Script in a gilded technique. Framed as singular pages within various frames, the works give you the impression of having been taken from ancient Qurans. With the usage of natural and rudimentary materials, such as a jute canvas stretched like an animal skin manuscript prepped for work, the viewer is once again pushed to make a connection with a forgone era. In this way, the artist is able to provide his works with multiple layers of meaning. Another common element in the works is the usage of religious symbolism. The palm trees, the Holy Black Stone, the Kaaba, the Prayer Mat, prayer beads – these are just some of the symbols that one can see in the works. Used quite subtly, the inclusion of these images forces you to look closely at each work, observing how they have been rendered by the artist to convey his meaning.
The way the works had been hung, left much to be desired. Instead of a coherent theme or pattern, which would have made each work more meaningful, the curation was seemingly done at random. Exhibitions like these should be used as an opportunity, not only to bring forth the works of new artists, who are challenging traditional norms, but also to educate the public. Some learning material could have educated the visitors regarding the history of calligraphy and its evolution. Considering that Lok Virsa already has such research available, the exhibition could have been presented in a far more holistic manner. Moreover, just basic information placed next to each work, including title, date of creation and material used, would have allowed the viewer to understand the complexity of each piece.
Furthermore, the various institutes within Islamabad such as Pakistan National Council of the Arts (PNCA) and Lok Virsa, could also collaborate while putting on such exhibitions. Just imagine a juxta-positioning of Sadequain and Gulgee’s calligraphic works with this exhibition, which would have allowed for a unique contrast, as well as provided an opportunity for the inhabitants of this city to explore the richness of their institutions. Nevertheless, the exhibition should be visited, simply to appreciate and encourage the talented M. Azeem Iqbal.
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