DISSERTATION REPORT

ON
CALLIGRAPHY IN CONTEMPORARY INDIA

B. Arch. 1st Year

(2021-22)

Submitted by
Konika verma

Guided by
Dr. Mohammad Saquib
Ar. Salman Amin

DEPARTMENT OF ARCHITECTURE
FACULTY OF ARCHITECTURE & EKISTICS
JAMIA MILLIA ISLAMIA, NEW DELHI – 110025
1
 DEPARTMENT OF ARCHITECTURE
FACULTY OF ARCHITECTURE & EKISTICS
JAMIA MILLIA ISLAMIA, NEW DELHI

1 CERTIFICATE

This is to certify that ‘konika verma’ has worked on the Dissertation titled ‘Calligraphy
in contemporary India’ as a part of the curriculum of Bachelor of Architecture 1st year
course, under my guidance and supervision.

Ar. Salman Amin Dr. Mohammad Saquib

Dissertation Guide Dissertation Guide

Prof. Qamar Irshad Prof. Hina Zia

Head of the Department Dean of the Faculty

External Examiner-1 External Examiner-2

 2 DECLARATION

I, konika verma, hereby declare that the Dissertation titled ‘Calligraphy in

contemporary India’ submitted as a part of the curriculum of Bachelor of Architecture
1st year course, is my original research work, and that the information taken from
secondary sources is given due citations and references.

Date: Konika verma

B. Arch. 1st year
Place: Department of Architecture
Jamia Millia Islamia, New Delhi
 3 ACKNOWLEDGEMENT

First of all, I would like to thank my almighty for giving me the strength to be able to
complete my work in the best possible way.

I express my gratitude to my guide, Dr. Mohammad Saquib and Ar. Salman Amin for her
guidance and encouragement that made this work possible. I am also thankful to my
parents who have been my guiding light throughout the work, and my friends and all those
who helped me in my work, which is the result of mutual cooperation.
Contents
Contents
1 CERTIFICATE ....................................................................................................................... 2
2 DECLARATION .................................................................................................................... 3
3 ACKNOWLEDGEMENT ...................................................................................................... 4
4 Introduction ............................................................................................................................. 1
......................................................................................................................................................... 2
5 Literature Review.................................................................................................................... 5
5.1 History .............................................................................................................................. 5
5.1.1 Origin ........................................................................................................................ 5
5.1.2 Historical Background .............................................................................................. 6
5.2 Social Significance ........................................................................................................... 7
5.3 Cultural significance ........................................................................................................ 8
2.2 Classification Of Calligraphic Art Form........................................................................... 8
5.3.1 Western Calligraphy ................................................................................................. 8
5.3.2 Eastern Asian calligraphy ......................................................................................... 9
5.3.3 Southern Asian Calligraphy ...................................................................................... 9
5.3.4 Islamic Calligraphy ................................................................................................. 10
5.3.5 The Modern Era of Calligraphy Writing ................................................................ 10
5.4 Role Of Calligraphy ....................................................................................................... 11
5.4.1 Calligraphy artworks as Treasures .......................................................................... 11
5.4.2 Kings and Calligraphy ............................................................................................ 11
5.5 Role Of Calligraphers..................................................................................................... 12
5.5.1 Calligraphy as primary Motif.................................................................................. 12
5.5.2 New Calligraphic Movement .................................................................................. 12
6 Tools And Techniques .......................................................................................................... 14
6.1 Materials ......................................................................................................................... 14
6.2 Tools ............................................................................................................................... 14
6.2.1 Pen........................................................................................................................... 14
 6.2.2 Paper ...................................................................................................................... 15
6.2.3 Ink ........................................................................................................................... 16
6.2.4 Other Materials ....................................................................................................... 16
6.2.5 Contemporary Tools ............................................................................................... 16
6.2.6 Techniques .............................................................................................................. 19
6.3 Uses ................................................................................................................................ 20
7 Issues ..................................................................................................................................... 24
7.1 Major Issues ................................................................................................................... 24
7.2 Impact On People ........................................................................................................... 24
7.2.1 Social & Economical issues .................................................................................... 24
7.2.2 Cultural issues ......................................................................................................... 24
7.3 Downfall ......................................................................................................................... 24
7.4 Present Conditions Of Calligraphers .............................................................................. 25
7.4.1 Old Calligraphers .................................................................................................... 25
7.5 Revival Of The Art ......................................................................................................... 27
7.5.1 People Contribution ................................................................................................ 28
7.5.2 Authorities Contribution ......................................................................................... 30
8 Conclusion ............................................................................................................................ 33
9 Bibliography ......................................................................................................................... 35
10 Annexure ............................................................................................................................... 40
LIST OF FIGURE
Figure 1Mind Map of literature review .......................................................................................... 4
Figure 2 The-Art-Calligraphy (source: zul Othman) ........................................... 5
Figure 3 Latin Calligraphy] (source: holoweb.net)....................................................................... 9
Figure 4 Eastern Asian Calligraphy (source: Andrey V., 2016) ................. 9
Figure 5 Indian Calligraphy (source: pinterest) ............................................................................ 10
Figure 6 Islamic calligraphy (source: bp.com) ............................................................................. 10
Figure 7 Modern calligraphy (calligraphy with spray on wall) (source:
tomthebackroadstraveller.com) ..................................................................................................... 11
Figure 8 Mind map of tools and techniques.................................................................................. 13
Figure 9 Qalam pen (source : Ahmed khandi, 2019 ....................................................... 14
Figure10 Khamishpen (source : Arabic calligraphy supplies,2022) .......... 14
Figure 11 Bamboo pen (source : Arabic calligraphy supplies, 2022)........................................... 14
Figure 12 Java pen (source: calligraphy supplies, Arabic 2022) ............... 15
Figure 13 Handam pen (source: Arabic calligraphy supplies, 2022)......................... 15
Figure 14 Celi pen (source: Arabic calligraphy supplies, 2022) .................. 15
Figure 15 Ahar paper (source: Arabic calligraphy supplies, 2022) ....... 15
Figure 16 Broad edged dip nib pens (source: Blick art materials) ............................................... 17
Figure 17 Pilot parallel pens (souce: Teoh yi chie, 2014) ...................................................... 17
Figure 18 Fountain calligraphy pen (source: Madison, 2022) ...................................................... 17
Figure 19 Calligraphy markers (source: aliexpress.com) ............................................................. 18
Figure 20 Pigments (source: Forbestpigment museum. cara giaimo and lilia
kilburn, 2021)................................................................................................................................ 18
Figure 21 Parchment paper (source: unsplash.images, 2019 ........................ 19
Figure 22 Vellum paper (source: craftychicboutique.Etsy, 2022 ......................... 19
Figure 23 Inkstone from Song Dynasty, China (source: Nantoyōsō Collection,
Japan) ............................................................................................................................................ 20
Figure 24 Calligraphy inscription in tajmahal (source: Duststories.DOZRblog ) ........................ 21
Figure 25 Calligraphy on the walls of qutub minar (source: wtclark, 2005) ................................ 21
Figure 26 Calligraphy used as banner/flax board (source: SSR
graphics, 2014) .............................................................................................................................. 21
Figure 27 Calligrapher banner used to encourage calligraphy (source: priyanjanadas, 2017)
....................................................................................................................................................... 21
Figure 28 Calligraphy used to develop visiting card (source:
shantiswaroop.naisarak) ................................................................................................................ 21
Figure 29 calligraphy used on products (source: Bhashaabags, 2015) ............................. 21
Figure 30 calligraphy used in logo of product (source: Prof. R. K. Joshi,Mr. Achyut Palav,Prof.
Santosh Kshirsagar IDC, IIT Bombay (Dsource, 2015)) .............................................................. 21
Figure 31 Calligraphy used in advertising (source: neeha, 2010) ............ 21
Figure 32 Calligraphy used as an art form (source: Prof. R. K. Joshi,Mr. Achyut Palav,Prof.
Santosh Kshirsagar IDC, IIT Bombay(source: Dsource, 2015)) .................................................. 22
Figure 33 calligraphy used in movie poster to make it more attractive. (source:
Cinematerial, 2007)....................................................................................................................... 22
Figure 34 calligraphy used in movie poster. (source: News18, 2018 ...... 22
Figure 35 Mind Map of issues in calligraphy ............................................................................... 23
Figure 36 Mohammad ghalib performing calligraphy at his shop near Urdu bazar, old Delhi
(source: Waseem gashroo, 2017) .................................................................................................. 25
Figure 37 Mohammad tehsin sitting at corner of Urdu bazar with his artwork stationary looking
for clients. (Source: Arkaprava ghosh, 2015) ...................................................................... 26
Figure 38 Katibs Mohammad Yaqub at work in Urdu Bazaar (source: Sangeeta Barooah)
....................................................................................................................................................... 27
Figure 39 Famous calligrapher qamar dagar performing calligraphy (source:
dynaimage,2022) ........................................................................................................................... 28
Figure 40 Irshad hussain farooq with his wooden calligraphic work (source: shiv kumar
pushpakar, 2013) ........................................................................................................................... 28
Figure 41 Anis siddiqui at Jahan-E-Khusrau Craft Mela with some calligraphic artwork
(source : alpan, 2021) .................................................................................................................... 29
Figure 42 glimpse from calligraphy exhibition cum workshop, Srinagar
(source: ANI (timesofIndia), 2021) .............................................................................................. 30
Figure 43 irshad farooq exhibiting his work at hunar haat (a platform to promote craft)
(source: vikas, 2021) ..................................................................................................................... 30
Figure 44 Jash-e-rekhta fest poster (source: anshu, 2020 ........................ 31
Figure 45 calligraphy festival at kerala (katchathappa), (source1: Baiju B, 2019) ...................... 31
Chapter 1

4 Introduction
It is visual art that makes use of linguistic signs to create an aesthetic experience that helps to have
an understanding with a virtual impact it also helps to connect with people of same region.
Calligraphy can be seen as an extension of writing where in the artist or author subjects the form
of linguistic signs to aesthetic modulation.
In the ancient time the calligraphy was the only one way to illustrate and communicate which was
used in many ways like- to ornament, biography, illustration etc. on different (e.g.: pottery, vessels,
different types of papers, clothes, coins etc.) with motifs and natural ornament (flora & fauna) to
decorate it and have a strong visual understanding and connection but in today’s time it is used
just as an art form or writing.

1. Aim
To document the different aspects, impact, and the changing values from ancient to contemporary
time.

2. Objective
 To study about the origin, its form. Hierarchy and the use of calligraphy with respect to
older time.
 To study the importance and the reason behind its extinction and how it revived due to
technology
 To review the raw materials and the process of doing it.
 To study the change of its impact and use.
 To study about the old calligraphers.
 To study about the actions and movements done to encourage the art.

1
 3. Methodology

IDENTIFICATION OF
RESEARCH TOPIC WITHIN
THE REGION
METHODOLOGY

FORMULATION OF
RESEARCH

LITERATURE REVIEW

PREVIOUS
THROUGH INTERVIEWS
DATA COLLECTION RESEARCH
QUESTIONARRIE,
PAPERS LOCAL COLLECTION
CENTERES, RELATED
ANALYSING AND PRIMARY DATA
COMBINING ALL THE DATA VISITS

CONCLUSION AND FROM BOOKS,

RECOMMENDATION SECONDARY DATA
INTERNET, ARTICLES,
JOURNALS, PREVIOUS
INTERVIEWS ETC.

4. Scope
 The study incorporates about the calligraphy art which is long lasted stayed and carry
forward in Delhi, this is the only state having the old calligraphers.
 It covers the transition between the ancient calligraphy and the contemporary calligraphy,
and its social impact.
 It covers the contribution of the religion, rulers and how it had a different aspect at that
time.
 The research covers the situation of old calligraphers and their view towards carrying this
profession.
 It involves the action taken by the government and others to carry forward.
 The research will be done within the span of three to four months.
 The study is conducted in Delhi and a number of visits to older collections at museum and
to the calligraphers would be required.
 5. Limitations
 It more depends on secondary data rather than primary because of the older calligrapher
moreover shifted to other place, so the physical meet and interviews are less.
 It will not possible to go to all famous artist and collections.
 Due to the covid guidelines it will not possible to visit the old calligrapher’s or people who
are taking action towards it.

6. Rationale
The study is conducted to review the importance of this art and to establish a sense of appreciation,
the change in practice and to know the demolition of its use and its importance, also to cultivate
and emphasize the art and now it is been carried in the modern aesthetics to carry on the legacy
but not in the same aspect as it was, to preserve its methods and hard work and to have the
knowledge of this art which is been carried forward through the old calligraphers after facing so
many difficult situations till now, this study revive all this aspect to have the awareness about the
legacy of our region and its history.
Chapter: 2

Figure 1Mind Map of literature review

5 Literature Review
5.1 History
5.1.1 Origin
The word "Саlligrарhy" comes from the Greek word "kаllоs" which means beauty and "grарh"
which means to write. As the name implies, the art of calligraphy is certainly beautiful, neat
and elegant. Саlligrарhy is an ancient self-expression by the design and use of Roman letters, and
is therefore influenced by the style of Honikian and Greek letters.
In the 2nd and 3rd centuries, another style of "shapeless" writing
(using a simple circle instead of the square stroke of calligraphy) was developed and seems to
have replaced calligraphy as the main form of writing. .. However, when Rome entered the Middle
Ages, Caligracy was still preserved by monks in the 4th and 5th centuries. During
this period, many manuscripts were created, painted in gold, paintings and line drawings. In the
11th century, British influences developed "Gothic scripts", which were considered more
compact and allowed more words to fit on one page. This spell was popular in Europe and
was used by Johannes Gutenberg in the mid-15th century (1454), who was responsible for the
development of the first printing press in Germany. Over the next three centuries, other scripts
inspired by Carolingian English texts appeared in Europe.
(Chantella, 2010)

5.1.1.1 Indian Calligraphy

The earliest calligraphy works in India were found in palm leaves in Sanskrit and shipped to
various parts of Southeast Asia, such as Bali. Emperor Humayun brought a Persian calligrapher to
India and worked with local Hindu artists to further promote this form of art. Its influence can be
seen in the beautiful Mughal manuscripts and chronicles.
Later Persian calligraphy was influenced by more Indian traditions
and is expressed in the epics "Mahabharata" and "Ramayana".
Sikhism is also an integral part of the history
of Indian calligraphy. The Sikh scripture, Guru Glance Sahib, is
full of beautiful examples of calligraphy. Qutb Minar's Arabic text is
written in Kufic-style calligraphy. The Moorish emperor Ashoka,
whose proclamation was engraved on the pillar of King Ashoka, was
Figure 2 The-Art-Calligraphy
the patron saint of calligraphy. (Guye, 2019) (source: zul Othman)
5.1.2 Historical Background
5.1.2.1 Chronology Of Calligraphy Art
Pre-Islamic period in India
Strange calligraphy is engraved on the Kailasanasar Temple, built in the 8th century by the
Pallava dynasty ruler Rajasima in the then capital Kanchipuram. The 21 titles of the king are
engraved with elaborate Pallava Gransa letters in the niche around the walls of the
temple. The inscription is said to look like a swan, a peacock, a snake, or a tendril. In
Mahabalipuram, Tamil Nadu, rock caves, monolithic temples, exposed reliefs and structural
temples are filled with inscriptions of Pallava dynasty rulers. During the Chola dynasty, when
Tanjavuru was the capital, Raja Raja I built the monumental Brihadeisvara Temple, which
bears many of the titles of kings with elaborate calligraphy. The Kharosthi and
Brahmi scripts of King Ashoka's time are very calligraphy. Jain manuscripts with Carpastra's
illustrations are much more rigorous than the Persian style, but rich in calligraphy.
(ratandeep banarjee, 2016)

The Islamic bloom

When Islamic rule was established in India in the 12th century, various forms of Islamic
calligraphy were introduced into India from Arabia and Persia. Interestingly, however, during the
reign of Tuglaxlan in Gujarat, India brought a new style of calligraphy to the Islamic
world. This native style is a bold twist with rounded strokes without sharp edges. The Kings of
Bengal Court Secretary has added a new dimension to the existing Thuluth style and created a
unique variant found in Bengal epics. This vertical stroke of coconut is arranged to resemble the
trunk of a coconut tree, which is a regional motif. Art historians call it the "bow and arrow" style
of swans or boats moving along the coast against a backdrop of coconut trees. The
Bihari Quran manuscript was highly regarded and exported from India
to southern Arabia. Exactly 10 years ago, after the earthquake devastated the country, a
torn page of Bihar characters in the 15th century was found in the ruins of a mosque
or madrassa in Darawan in northern Yemen. City ministries. .. This particular script, used
exclusively in India, is called Bihari, but the origin of the name is little known and controversial.
Bihari scripts appeared in the 15th and 16th centuries, and Koran's manuscripts are preserved in
the Villapur Archaeological Museum, the Khalili Collection, and the British Museum.
One of India's earliest exaggerated calligraphy depicts the poems of the Quran's throne in the form
of horses. The text starts with the animal's head. Its nose and mouth form the word Allah, as
if a horse were evoking the name of God from its lips.
(ratandeep Banerjee, 2016)

Opening chapter of Holy Q’uran

When Islamic rule was established in India in the 12th century, various forms of Islamic
calligraphy were introduced into India from Arabia and Persia. Interestingly, however, during the
reign of Tuglaxlan in Gujarat, India brought a new style of calligraphy to the Islamic
world. This native style is a bold twist with rounded strokes without sharp edges. The Kings of
Bengal Court Secretary has added a new dimension to the existing Thuluth style and created a
unique variant found in Bengal epics. This vertical stroke of coconut is arranged to resemble the
trunk of a coconut tree, which is a regional motif. Art historians call it the "bow and arrow" style
of swans or boats moving along the coast against a backdrop of coconut trees. The
Bihari Quran manuscript was highly regarded and exported from India
to southern Arabia. Exactly 10 years ago, after the earthquake devastated the country, a
torn page of Bihar characters in the 15th century was found in the ruins of a mosque
or madrassa in Darawan in northern Yemen. City ministries. .. This particular script, used
exclusively in India, is called Bihari, but the origin of the name is little known and controversial.
Bihari scripts appeared in the 15th and 16th centuries, and Koran's manuscripts are preserved in
the Villapur Archaeological Museum, the Khalili Collection, and the British Museum.
One of India's earliest exaggerated calligraphy depicts the poems of the Quran's throne in the form
of horses. The text starts with the animal's head. Its nose and mouth form the word Allah, as
if a horse were evoking the name of God from its lips.
(Ratandeep Banerjee, 2016)

5.1.2.2 History To Contemporary

It took about 4,500 years for the pronunciation of the voice to be converted into sentences. Over
time, many different scripts and languages have applied decorations to those
sentences. Calligraphy art reflects the aesthetics of past and present societies. The ruins show
a paradigm shift in writing techniques.
Calligraphy was transformed into paper, coins, seals, metal objects, copper
plates, weapons, armor, and even included plant and animal motifs. Artifs were once
decorated using a variety of techniques, including: B. Koftgari (Damashin),
Bidori or Niello (metal inlay), engraving, writing, weaving, embroidery, etc.
At the National Museum in New Delhi, the calligraphy collection
contains many crafts and textiles. Anamika Pathak, curator of the Art Deco Gallery, explains:
Some fabrics, such as tarpoche (cloth), round tablecloths, rectangular daulcans and pardes, or
covered Qasida (Persian couplets) and Spherea Haralam (mysterious poetry), are in the form of
calligraphy. It is written. Masulipatanam (Andhra Pradesh) was once a thriving center of the
Iranian market. (Ratandeep Banerjee, 2016)

5.2 Social Significance

The usage of calligraphy as an normal conversation device changed into dramatically decreased
for the reason that introduction of mass manufacturing and printing. a few trust that conventional
calligraphy has little need in nowadays conversation practices and calligraphers should be worried
in type layout, typography, and format design. This view is based totally on the notion that
handwriting is no longer an efficient approach of communication. It’s been changed with the aid
of printing and electronic technologies.
The “calligrapher continues to be a preference above printing” specifically in e-book-cowl titles,
newspaper titles, posters, and different advertising substances
There’s a call for for cutting-edge day scribes with regards to all types of layout which include
writing memorial scripts, certificates, cyphers, dedications, trademarks, documents for TV and
movie, invites for company events and weddings.
And, like every other artwork form, calligraphy is likewise practised for delight and as a hobby
with the aid of many human beings.
Calligraphers are nevertheless an extremely precious asset to agencies and agencies which can be
involved closely in layout paintings. Some quite remarkable digital fonts and typesets exist that
may be carried out to designs, however sometimes a non-public, bespoke touch is wanted to
actually make a piece come to existence. Here are a number of the places a calligrapher may
discover call for for their offerings nowadays:
· Event organisers like wedding ceremony planners can also hire calligraphers to pen invites
· Instructional our bodies may additionally ask a calligrapher to help create diplomas and ranges
· Graphic layout companies may additionally enlist a calligrapher to assist create new typesets and
fonts
· Shops and eating places might also hire a calligrapher to create their signage
But, most calligraphers will paintings on a contract foundation, supplying their offerings to various
clients as and when they want them. Invitations, posters, formal files and personalized portions of
prose like poems and books may all require the enter of a calligrapher at one level or some other.
[UNESCO-mongolian calligraphy, 2013]

5.3 Cultural significance

There was a bigger goal to this style of language than just to speak with each other. There has been
nobody proper form of communique earlier than this was created, and calligraphy helped to guide
network members to connect in more than one issue of existence, that turned into not simply
language. A wealthy history of calligraphy turned into embraced as this changed into a time earlier
than printing technology was available to Indian counties. This introduced humans nearer together
as they started out to communicate within the same methods. At the same time as it can be used as
an art shape these days, it changed into essential for conversation before the 16th century.
it is a journey started out with birch bark (bhojpatra) to sheets, inks to machines, kalam to brushes,
conversation to artwork and necessity to interest.
in cutting-edge time additionally the calligraphy in India perform its cultural value, there are still
call for of calligraphers for religious works, writing Geeta, Mahabharata, Qur’an and plenty of
greater and for the inscription work in building additionally however the demand is likewise
declining compared to the previous time.

2.2 Classification Of Calligraphic Art Form

5.3.1 Western Calligraphy
Western calligraphy first appeared in the 10th century and continues to evolve to this day. Known
for its strict rules and geometric patterns, this popular style is one of the most famous examples
of calligraphy art. The most well-known usage of Western letters is the Latin alphabet. The Latin
alphabet has undergone dramatic changes over the centuries as dynasty rule changed
places. Renaissance miniature humanists are one of the key moments of this style, alongside 17th
century and 100 year old English literature. Different types of calligraphy require different tools.
Traditionally, Western calligraphy tools included flat or round ballpoint pens, markers, water-
based inks, woodfree or parchment, erasers, and swatches. (Andrey V., 2016)

Figure 3 Latin Calligraphy] (source: holoweb.net)

5.3.2 Eastern Asian calligraphy

Eastern Asian Calligraphy has unique font includes Chinese, Japanese and Korean calligraphy.
Each dynasty that ruled these lands had variations in calligraphy techniques and images. This style
is very straightforward, as it is not difficult to distinguish oriental symbols that are intended solely
for letters. Logically, their manuscripts were much shorter than those found in the
western region. East Asian calligraphy is considered a very important heritage in top
countries, and everyone is working hard to ensure that local calligraphy techniques are well
preserved. Technically, eastern calligraphers use clipboards and sticky notes with common
writing tools. (Andrey V., 2016)

Figure 4 Eastern Asian Calligraphy

(source: Andrey V., 2016)
5.3.3 Southern Asian Calligraphy
This style collection includes practices from the regions of India, Nepal and Tibet. These
manuscripts are used for a variety of Buddhist and secular purposes and can be used in a variety
of situations, from prayer wheels to Dalai Lama letters. .. South Asian calligraphy is one of the
oldest inscriptions ever discovered, although some examples date back to rock inscriptions. Indian
calligraphy is the most influential of the three types of calligraphy, and through its presence it has
used many unique methods such as burnt mud, smoked palm leaves, copper and birch bark.
(Andrey V., 2016)
 Figure 5 Indian Calligraphy (source: pinterest)

5.3.4 Islamic Calligraphy

This style can be found as an essential element of Islamic art. [4] It uses a unique
geometric design, the best example of which is on the wall of the mosque. Islamic
calligraphy evolved with the development of Arabic religion and language, considered by many
to be the best example of writing. It should be noted that Muslims consider calligraphy to be
the best form of art of expression, as it is considered to be the most effective means of
communication with the spiritual world. The Ottoman era is considered to be the pinnacle of
Islamic calligraphy development. Since then, some aspects of the script have changed, especially
in a more conservative society. However, in modern times, many changes have been made to
traditional lettering to create a unique modern Arabic calligraphy. (Andrey V., 2016)

Figure 6 Islamic calligraphy (source: bp.com)

5.3.5 The Modern Era of Calligraphy Writing

After the spread of printing in the 15th century, the production of decorative manuscripts began to
decline rapidly. However, the development of the printing press did not mean the end of calligraphy
and has restrained some practitioners for centuries. The modern renaissance of calligraphy began in the
late 19th century and was influenced by the aesthetics and philosophy of William Morris, who
supported the Arts and Crafts movement. The main character of this Renaissance in calligraphy was
Edward Johnston. He was able to study many manuscripts stored in the British Museum, teach
calligraphy, and share his passion with interested people. Johnston also designed typefaces in his spare
time, many of which are still in use today. In doing so, Edward revived his art of calligraphy and writing
on his own. His efforts influenced future generations of typewriters and scribes, and strongly
influenced the works of Grayley Hewitt, Stanley Morison, Eric Gill, and Anna Simmons.
An interesting feature of modern calligraphy is that the characters are not always intended to be easy to
read. This feature is not based on historical conventions, as all old manuscripts and similar documents
must be understood by at least a particular audience. However, by closing these special doors in the past,
calligraphers have opened new institutions and conducted many experiments in this area.
(Andrey V., 2016)

Figure 7 Modern calligraphy (calligraphy with spray on wall)

(source: tomthebackroadstraveller.com)

5.4 Role Of Calligraphy

5.4.1 Calligraphy artworks as Treasures

Calligraphy has never become an anonymous art form in the Islamic world. Gaur (1994) points
out that "the names, dates and achievements of famous calligraphers have been carefully recorded
and communicated since the 7th century." Some works of calligraphy art are preserved in
museums, mosques and libraries in some international Muslim and Arab places, as well as in the
United States and Europe. The most effective works of calligraphy have not survived, but
the customs of prominent masters, including Hafiz Osman, have survived as works of art. The
king was known for cherishing the calligrapher's pen. For example, the Fatimid Caliph al-
Mustansir has a pen-filled box used by renowned calligraphers such as Ibn Muqla and Ibnal-
Bawwab. (Gaur, 1994).

5.4.2 Kings and Calligraphy

The Arabic quote "al-Khatt [calligraphy] is a prince's decoration, rich perfection and shade
wealth" directly demonstrates the importance of calligraphy in the Islamic
world (Schimmel, 1984). .. Calligraphy has fascinated many calligraphers and Islamic rulers
since the dawn of Islam in the 7th century. Many rulers are known for their excellent handwriting
and calligraphy. For example, Mu'awiya (reigning 661-680 AD) is said to have become a clerk
and instructed the Prophet himself to improve his ability to write Albasmala. Following in the
footsteps of Gaul (1994), almost every monarch in Turkey became a skilled calligrapher
or guardian of calligraphy. Sultan Ahmed III became a skilled calligrapher. Sultan Mahamd II of
the Ottoman Empire (died in 1839) also became a clerk, and from the hands of Mehmet
Vasfi his Ijazah (approval and permission of the clerk to write his name on his work). I received
it. The calligraphy efforts of the Sultan Abdul Medid (1861) can be seen at the mosque in Istanbul.
He received his Ijazah from Master Izzet Effendi in the way of Surus. Indeed, the attention of
rulers and kings has increased the cultural value of calligraphy in Islamic society. (Gaur, 1994).
5.5 Role Of Calligraphers
A calligrapher's position in the way of life that reflects the way society thinks
about his technique. During the development of Islamic civilization, calligraphy masters
were overrated. Often they worked in the offices of rulers, monarchs, non-
secular managers, or business leaders. An untalented calligrapher was hired as an instructor in
the Imperial Faculty. In Ottoman Turkey, many accurate calligraphers have risen to the highest
ranks of established religious orders. For example, the calligrapher Mustafa Rakim (1787-
1825) was Rumelia's Kadia Skull (chief or administrator). A skilled calligrapher is one of
the trendiest and most popular artists. Only calligraphers wrote the Koran because the writing of
the Qur'an demanded splendor and perfection. Calligraphers were highly regarded by the kings
and monarchs of Islamic countries. For example, after World War I, Egyptian King Fard invited
Turkish master Aziz Riffy (1872-1934) to Egypt for calligraphy training. Shortly
thereafter, Aziz Riffy became "a true resurrection of modern classical Egyptian calligraphy"
(Schimmel, 1984). For graduated calligraphers, qudwat alkuttab (scriber's version), qiblat al-
kuttab (point of writer's guidance), or especially in Iran and India, jawahir raqam (decorative
inscription), zarrin qalam (golden) Noble titles such as (pen) are also awarded, such as "Ambarim
qalam" (amber pen) (Mould, 1984), Persian calligrapher Abd al-Haqq moved to India in 1608 with
his skills. The ability was immediately memorable. (Schimmel, 1984).

5.5.1 Calligraphy as primary Motif

Arabic calligraphy is used not only for writing the Quran, but also for elements of normal use such
as wall surfaces, furniture, inside and outside of mosques, seeds and tombs. Calligraphy has also
been incorporated into various materials used in Islamic art, such as carpentry, ceramics, glass and
textiles. For example, the Thuluth and Kufic styles are often performed in wooden and marble
mihrabs (prayer niches). Kufi fashion is often used in architecture because of its magnificent and
ambitious geometry, and sometimes has complex geometric or botanical details (Sakkal, 2002). In
Islam and Arab countries, arabesques (Arabesque decorations) and various forms of art have been
used to decorate mosques, but calligraphy is the most established form of art. Most realistically,
it is used to enhance Alkabas's Alkaiswa protection. Al Kiswah's calligraphy consists
of Qur'anic passages made of gold and is placed in Thuluth's elaborate calligraphy mode. The use
of calligraphy in Al-Kiswah shows that calligraphy is an art form that is considered incredibly
amazing in Islamic tradition. (Schimmel, 1984).

5.5.2 New Calligraphic Movement

It is interesting to note that there may be a whole new interest in calligraphy as a means of artistic
expression and creation throughout the Islamic world. The use of calligraphy
in contemporary painting has been steadily adopted with the help of artists from Iraq, Egypt,
Morocco, Saudi Arabia and many other Arab countries. This new trend and interest in calligraphy
shows that "Muslims are very aware that the Arabic script (Quran script) is their most valuable
heritage." (Schimmel, 1984).
Chapter: 3

Figure 8 Mind map of tools and techniques

6 Tools And Techniques
6.1 Materials
To perform the calligraphy different kind of materials used some are, the very flexible brushes
used in calligraphy were made by cutting animal hair (or, less commonly, feathers) to
a pointed end and tying it to a bamboo or wooden stick. The ink used was made by
the author himself by rubbing a dry cake of animals and plants mixed with minerals
and adhesives on a damp stone. Wood, bamboo, silk (from around 300 BC), and paper
(from around 100 BC) were the most common writing surfaces, but calligraphy can also
appear on everyday objects such as fans, screens, and banners. .. However, the best
material is paper, and the invention of finer paper helped develop a more
artistic style of calligraphy, as its absorbency captured every nuance of brushstrokes.
These early inscriptions were created on the surface of an oracle bone or bronze
mold using sharp,pointed instruments.
In ancient times, calligraphy was performed on sharp materials such as wood, marble,
cloth, and metal. But today, different types of paper and handmade sheets are used to perform
calligraphy by hand or machine. (Mark Cartwright, 2022)

6.2 Tools
6.2.1 Pen
6.2.1.1 Qalam Pen

The most common pen used in Arabic calligraphy is a qalam

pen made from cut, dried reeds. This pen is considered a symbol
of Islamic wisdom. (Jacqueline Holland, 2022) (Katharine Scarfe
Beckett, 2008) Figure 9 Qalam pen
(source : Ahmed khandi, 2019

6.2.1.2 Khamish Pen

Khamish pens, also known as reed pens, are commonly used

by Arabic, Turkish, and Iranian calligraphers. It is
made of reeds that grow along the river, but it requires a long
cure to be used for calligraphy. (Jacqueline Holland, 2022).

6.2.1.3 Bamboo Pen Figure10 Khamishpen

(source : Arabic calligraphy supplies,2022)
The bamboo pen is one of the oldest calligraphy tools in the
world. Bamboo is an ideal material for Arabic calligraphy, as its stiff
edges allow calligraphers to achieve the full range of pen movements, but Figure 11 Bamboo pen
(source : Arabic calligraphy
it also provides some flexibility. (Jacqueline Holland, 2022) supplies, 2022)
6.2.1.4 Java Pen

Java pens are made from a type of Javanese thorn grass. They
are known for their rigidity and ability to create sharp edges in
the shape of letters. This type of pen is
especially suitable for small writing. (Jacqueline Holland,
2022) Figure 12 Java pen
(source: calligraphy supplies, Arabic 2022)

6.2.1.5 Handam Pen

One of the most versatile pens for Arabic calligraphy, the

Handam Pen is available in a variety of sizes, from large
10mm pens to microchips smaller than 1mm. This makes it
suitable for different types of scripts. It also has a high level
of durability. It doesn't need to be cut or sharpened as often as
a Khamish pencil. (Jacqueline Holland, 2022) Figure 13 Handam pen
(source: Arabic calligraphy
supplies, 2022)

6.2.1.6 Celi Pen

The Celi Pen is made for large Arabic calligraphy. The pen tip
is made of bamboo and has an ink tank built-in.
Traditional Arabic calligraphy is usually done with a
pen made of reeds or hard wood. (Jacqueline Holland, 2022)

Figure 14 Celi pen

(source: Arabic calligraphy
6.2.2 Paper supplies, 2022)

6.2.2.1 Ahar Paper

While many different types of paper can be suitable for

calligraphy, there is one paper designed specifically
for this art form. Ahar paper is handmade in central India. It
is coated with a combination of starch and an alum and
egg white based primer. This glossy coating prevents ink Figure 15 Ahar paper
(source: Arabic calligraphy supplies,
from seeping into the paper; instead, the ink sits on top of the 2022)
coating, allowing calligraphers to erase and correct.
(Jacqueline Holland, 2022)

6.2.2.2 Papyrus paper

The papyrus scrolls won a rival as a writing surface in the form of parchment, made from animal
skins. (Jacqueline Holland, 2022)
6.2.3 Ink
Calligraphy ink is soot-based and soluble in water, so you can use a damp cloth to wipe off
mistakes. While black is the most traditional color for ink. In India, squid has been used since at
least the 4th century BC, where it was known as masi, a mixture of several substances.
The carbon black from which Indian printing ink is made, obtained locally by
burning bone, tar, pitch and other substances. (Katharine Scarfe Beckett, 2008)

6.2.4 Other Materials

Palm Leaves ‘In South India they use a leaf-thin palm to write’.

Bhurj Bark ‘In northern and central India, they use a wood called Bhurj to
write. They oiled and polished it to make it hard and smooth.’

Naarayam For writing, a sharp piece of metal called Naarayam was used. A type of palm,
which grows in the coastal region of Malabar, is famous for this. The leaves are harvested,
boiled and dried before writing in Naarayam, held with a palm instead of a tripod.

Bird Feathers In places where bamboo is not available, bird feathers are used as
writing instruments.

Inkstones It is a stone mortar for pounding and storing squid. In addition to stone, ink
is also made from clay, copper, iron and porcelain. The device evolved from a scrubbing tool
used to rub dyes between 6,000 and 7,000 years ago.

The first calligraphic engravings were made on the surface of the elven bone, a bronze, wood,
stone, metal container, with a sharp, pointed tool. (S-K, 2021)

6.2.5 Contemporary Tools

 page: the writing surface (paper, vellum, wall, mug, signpost, your wrist, etc)
 ink: any liquid colour for application
 nib (or brush) on a handle

6.2.5.1 Pens
Brush pens (for modern and brush calligraphy)

 Sakura Koi
 Pentel Fude
 Tombow Fudenosuke (harder, finer tip)
 Tombow Dual Brush (softer, more brush-like tip) (Katharine Scarfe Beckett, 2008)
 Broad-edged dip-nibs

Broad-edged dip-nibs used for all traditional Western calligraphy the

original script would be written in wide nib, including non-numerical
letters, round hands (Carolingian, Humanist, and English cursive), Gothic
inscription, Anglican/Clerical variants, and other italics together.

• Mitchell : quite versatile and useful, often manufactured without a built-

in reservoir.
•Brause : usually stiffer. Usually done with an integrated reservoir.
•Leonard: between Mitchell and Brause for versatility, often
manufactured with an integrated tank. (Katharine Scarfe Beckett, 2008)

. . Figure 16 Broad edged dip nib

. pens (source: Blick art
materials)
Pilot Parallel pens

Pilot Parallel Pen is a fountain pen version of the older "automatic" pen, itself an adaptation
of a dip pen to provide a longer ink flow when
writing large posters etc.

Pilot Parallels have a rigid, folded, metal nib featuring multiple

grooves for good ink-flow, and if turned at 90 degrees will write with
the corner for fine lines. (Katharine Scarfe Beckett, 2008)

Figure 17 Pilot parallel pens

(souce: Teoh yi chie, 2014)

Fountain-pen type calligraphy pens

Some "calligraphic" or "italic" fountain pens have a truncated

nib. These are "semi-wide" nibs with rounded corners, designed to
make your regular writing look more artistic and flowery by giving
it a bit of thick and thin contrast. These pens come with a rather
narrow nib. They should not be confused with fountain-
style calligraphy pens that often come with several
interchangeable nibs of varying widths with right angles.
Figure 18 Fountain calligraphy pen
(source: Madison, 2022)
(Katharine Scarfe Beckett, 2008)
 Calligraphy markers

It can be used to smooth things out at the start, calligraphy markers

(Sharpie, Zig) are a good choice. They are fade-resistant and cost-
effective for shorter projects like greeting cards
or scrapbooks, especially if you handle them with a little care.
(Katharine Scarfe Beckett, 2008)

. Figure 19 Calligraphy markers

(source: aliexpress.com)
6.2.5.2 Inks
Inks range from dark to liquid, washable to permanent, from traditional walnut
to modern fluorescent.
India ink
Indian ink is actually carbon black (very fine soot), water and gum. It clogs the fountain pen. It
is suitable for dip pens and can sometimes be used to refill Pilot Parallel pens.
If you're in doubt, Higgins is good as a standard practice ink for broad calligraphy and will suit
small finishes like greeting cards, if you want to use it. (Katharine Scarfe Beckett, 2008)
Sumi (Japanese stick-ink)
"Sumi" means "ink" in Japanese and refers to a drawing and calligraphy ink similar to the Chinese
stick ink. It is made of soot, collected from pine smoke or burning oil, mixed with animal glue and
other ingredients.
Liquid Sumi or bokuju can be used for calligraphy but is considered an inferior artistic medium
(like children's gouache). (Katharine Scarfe Beckett, 2008)
Chinese stick inks
There are many "Chinese calligraphy sets" for sale containing
a collection of calligraphy tools that are said to represent
the "Four Things": brush, paper, ink, ink stone (for sharpening
ink). Most are of average best quality, like the pen calligraphy
sets in the West.
Remember that Chinese calligraphy is drawn with very soft
brush and the best ink for such a fine brush may not be the
best to use with metal nibs. (Katharine Scarfe Beckett, 2008) Figure 20 Pigments
(source: Forbestpigment museum. cara
6.2.5.3 Colour (paints, pigments) giaimo and lilia kilburn, 2021)
Most artists' gouache and watercolours work well for diluting
colored inks and can be used with a dipping tip. Some traditional colors and some dry pigments
are less predictable for writing. Bead colors like smalt or ruby will hardly bleed from the brush let
alone the nib. (Katharine Scarfe Beckett, 2008)
6.2.5.4 Writing Surface
Paper

 Watercolour paper
 Cartridge paper
 Bleed-proof marker paper
 Layout paper
 Tracing paper
 High-end, smooth office paper such as Conqueror or HP Premium Choice Calligraphy
pads marked with lines
 Handmade papers
 Cotton sheets

Vellum, parchment

Vellum and parchment are materials that are processed from animal skins. Strictly speaking,
vellum is a finer parchment made from calfskin, but the terms have been used interchangeably
since the middle Ages.

In modern usage, the terms parchment and vellum can be applied to a high-quality paper
made primarily from wood pulp and rags and often with a distinctive finish. (Katharine Scarfe
Beckett, 2008) (Encyclopedia britannica, 2014)

Figure 22 Vellum paper Figure 21 Parchment paper

(source: craftychicboutique.Etsy, 2022 (source: unsplash.images, 2019

6.2.6 Techniques
6.2.6.1 Techniques Of Manufacturing Tools
Brushes/Pens

A typical brush consists of a bundle of animal hair (black rabbit hair, white goat hair and
yellow mink hair are all very common) pushed inside a bamboo or wooden tube (although jade is
also sometimes used). Flanges, porcelain and other materials). The hairs are not the same
length; instead, an inner core is surrounded by shorter hairs, which in turn are covered by an outer
layer that tapers to a point. Brushes come in a variety of shapes and sizes, which determine the
type of line to be manufactured. However, what all of these brushes have in common is
their versatility. It is this feature, more than any other that allows calligraphy to be fluid and
expressive. (Grace norman, 2022)

Inks
Ink used in calligraphy is usually made from light bulbs, a soot residue created by
burning turpentine or oil under a fume hood. After collecting the bulbs, they are mixed with glue
and pressed into molds. The resulting hard cakes or sticks can then be ground on a stone and mixed
with water, a process that allows the calligrapher to control the thickness of the ink and the density
of the pigment. Eventually, ink and ink cakes themselves became a decorative art form, and
many famous artisans created designs and patterns for their molds. (Grace norman, 2022) (New
International Encyclopedia. 1905)

Papers
Paper is made from a variety of fibers, such as mulberry, hemp, and bamboo, and provides an
inexpensive alternative to silk as a base material for calligraphy and painting.
Parchment is a very delicate form of leather. The skins of different animals - most commonly
cattle, sheep and goats - are washed and the fur or wool removed. The skin is then stretched over
the frame, scraped to remove further traces of hair and flesh, bleached with chalk and smoothed
with a pumice stone. (Grace norman, 2022)
Inkstones
It is a stone mortar for pounding and storing squid. In addition to
stone, ink is also made from clay, copper, iron and
porcelain. This device evolved from a rubbing tool used to rub dyes.

It is a black stone on which sumiink is made, and is called "suzuri" in

Japanese. Most inks have a flat surface and
a convex edge. Some water is added to the bump and
sumiink is made by grinding a sumi cake (squid cake) with water
on a flat surface.
Figure 23 Inkstone from Song
Dynasty, China
(source: Nantoyōsō Collection,
Japan)
6.3 Uses
Calligraphy transformed from handwritten format to digital on various platforms for different
purposes. India is known for its many different scripts and languages. There
are different languages and cultures in each state of India. India has 22 official languages.
India exhibits a multitude of physical features and cultural patterns. The walls of Indian towns
and villages are home to many multilingual calligraphic artworks. These graffiti drawings are
Indian in nature. The diversity of the country and its cultures allows traditional local artists and
designers to explore endlessly.

Calligraphy has played an important role in the history of many cultures and their languages.
Muslims are among those who appreciate calligraphy not only as an art but also as an ultimate
expression of God's word. Ancient and sacred books of many religions handwritten in
illuminated calligraphy. In ancient times it was used for decoration, writing, landscape painting,
writing (on marble, metal, containers, etc).

Examples can be seen in monuments like tajmahal, qutub minar, etc.

Figure 25 Calligraphy on the walls of qutub

minar (source: wtclark, 2005) Figure 24 Calligraphy inscription in
tajmahal (source: Duststories.DOZRblog )

Today's creative desktop applications like Adobe InDesign draw inspiration from these
traditional writing styles. In fact, some creative fields such as graphic design,
logo design, scholarship certificates, greeting cards, invitations, diplomas, presentations and even
menus have adopted some shapes. Calligraphers make money designing cards for weddings and
other occasions that call out the elegance of calligraphy. And thanks to
graphics tablets like 'Wacom', where the artist can draw directly on the computer system, typing
has not interfered with this way of writing. Some examples of calligraphy (advertising, logo,
cloths, film poster, artwork etc).

Figure 18 Calligraphy used to

develop visiting card
(source: shantiswaroop.naisarak)

Figure 28 Calligraphy used to Figure 26 Calligraphy used as banner/flax Figure 27 Calligrapher banner
develop visiting card board used to encourage calligraphy
(source: shantiswaroop.naisarak) (source: SSR graphics, 2014) (source: priyanjanadas, 2017)

Figure 31 Calligraphy used in Figure 29 calligraphy used

advertising Figure 30 calligraphy used in logo of
product (source: Prof. R. K. Joshi,Mr. on products (source:
(source: neeha, 2010) Bhashaabags, 2015)
Achyut Palav,Prof. Santosh Kshirsagar IDC,
IIT Bombay (Dsource, 2015))
Figure 32 Calligraphy used as an art form Figure 33 calligraphy used in
(source: Prof. R. K. Joshi,Mr. Achyut movie poster to make it more Figure 34 calligraphy used in
Palav,Prof. Santosh Kshirsagar IDC, IIT attractive. movie poster.
Bombay(source: Dsource, 2015)) (source: Cinematerial, 2007) (source: News18, 2018
Chapter 4

Figure 35 Mind Map of issues in calligraphy

7 Issues
7.1 Major Issues
The calligraphy has come to verge that is leading towards extinction of the art, digitalization has
disappears the importance of hand calligraphy due to this the essence of the art, its cultural values
are also vanishing with the art.
Risk to continue the carrier in calligraphy, (costly and the demand of calligrapher is reduced).
No employment or government jobs, payment doesn’t worth the work (negotiation is must).
Old calligraphers leading to leave the profession and doesn’t forward the profession to the other
generation due to the market value and demand (market value is low).

7.2 Impact On People

7.2.1 Social & Economical issues
The difficulties that calligraphers faces are numerous, including a scarcity of developed conditions,
lack of structured marketing strategies, and an overdependency on globalization.
Less demand of art
Calligraphers said that the only few works came towards them only if the person is really intrested
in the art and have much time and patience, due to the vast use of computers which makes the
work easy and quick push the calligraphers and their talent aside, the one with no any knowledge
of calligraphy can also do calligraphy nowadays, due to this the demand of hand calligraphy
decreasing. They have to negotiate and have to do the work on lowest prize which is not even
worth, which automatically in turns affect the economical condition of calligraphers.
Earlier , there were many youngsters who were keen to learns this art form but today there are only
few who know about it and wants to learn it, due to this many calligraphers left their profession
and go back to their villages and start with some other work. Previously the tradition and the talent
were carried by next generation but today they hide their identity, and left itself instead of passing
it.

7.2.2 Cultural issues

Culture value of the art form almost died, no one is intrested to carry their cultural aspects not even
on occasions, or in rituals etc. from this art we got to know the history of our ancentors and the
history of rurals, but now the history almost forgotten as the art, they just see it as an art aspect.
No more calligraphy is used to depict the culture and heritage of the present in future, now its on;y
about typing and printing.

7.3 Downfall
The ink seems to be drying for the centuries-antique artwork of conventional Indian calligraphy.
As calligraphers discover themselves in competition with an more and more digitalized world, it's
far best a matter of time, before the art disappears altogether.
Inside the virtual age, when computer systems have shadowed the whole thing, it is bringing hard
times to the centuries-antique art of conventional Indian calligraphy.
Old Delhi’s iconic Urdu Bazaar, the town’s publishing hub at one time, is now a rundown
mishmash of garment shops and reasonably-priced bistros, where approximately half a dozen of
the city’s remaining calligraphers are the closing practitioners of a death alternate.
In an international bent on frugality and speed with keyboards and keypads dictating the phrases
of the written word, calligraphy is dropping the struggle to downloadable fonts. If calligraphers
have been sought by way of kings within the beyond, politicians, businessmen, advertisers and
everybody who desired to make the written word appearance stunning went to them nowadays but
with the arrival of digital technology, they are dropping ground.
Calligraphy, once a chief supply of income has fallen on bad times and lots of who made a residing
have now switched to other jobs. [Zahid rafiq, 2016][Ahmad adil, 2022][Asra mavad, 2022]

7.4 Present Conditions Of Calligraphers

In the old section of the countrywide capital, New Delhi, where calligraphers were to be had in
masses till some years in the past, the scenario gives a dark image.
Over the years, the wide variety of professional calligraphers has slowly seen a decline within the
capital with just a few artists maintaining the art alive.

7.4.1 Old Calligraphers

7.4.1.1 Mohd. Ghalib

Mohammad Ghalib, 60, who has been a
calligrapher for more than four a long time,
apparently the remaining calligrapher in old
Delhi, informed that he is at the verge of leaving
the career.
"This is no more a career now wherein one can
rely on it for residing. The instances have
changed now because of the arrival of
computers," said Ghalib. "There was a time Figure 36 Mohammad ghalib performing calligraphy at his
when i was extremely busy in the course of shop near Urdu bazar, old Delhi
(source: Waseem gashroo, 2017)
elections or fairs. Now we are able to predict the
times when i would get the paintings."
Referred to as Katibs, Indian calligraphers were usually hired to write down files and even books.
Now, with an exchange in the state of affairs, it has delivered tough instances.
Ghalib, who sits on a shop close to the iconic Jama Masjid, or principal mosque, stated calligraphy
is referred to as the "interest of royals" and became taken into consideration a very noble career.
"But now many have left this career due to the fact it's miles no greater a method of earning," he
said. "Human beings are handiest pursuing now it as an interest." [Nantha Kishore, 2018] [Ahmad
adil, 2022] [Zahid rafiq, 2016][
7.4.1.2 Mohd. Tahsin
antique Delhi’s iconic Urdu Bazaar, the city’s publishing hub at
one time, is now a rundown mishmash of garment stores and
reasonably-priced bistros, wherein approximately 1/2 a dozen of
the city’s remaining calligraphers are the last practitioners of a
dying exchange.
The oldest of them, seventy two-yr-antique Mohammad Tahsin,
sits on a wood bench at the doorway of a slim lane. His assortment Figure 37 Mohammad tehsin sitting at
of pens, inks and other calligraphy paraphernalia lie by way of his corner of Urdu bazar with his artwork
stationary looking for clients.
facet in a canvas bag, ready -- like him -- for increasingly elusive (Source: Arkaprava ghosh, 2015)
clients.
"There has been a time after I had no time to devour or sleep, there has been a lot paintings," says
Tahsin. "Now, there’s a client each or 3 days. Once in a while I wonder if my recollections of
being flooded with paintings are even real."
Tahsin can do calligraphy in four special languages: Urdu, Persian, English and Hindi. However
even this full quiver of languages hasn’t helped his loss of life business.
With the arrival of computer systems and printers -- with their sophisticated myriad of colours and
fonts -- traditional calligraphers found themselves swept to the facet.
Too many years ago, Tahsin recollects, there had been around a dozen calligraphers like him inside
the Urdu Bazaar, maximum of whom had personnel operating for them.
"Now I’m the oldest calligrapher here whilst the youngest is in his mid-50s," he says. "Within the
last many years, no young guys have taken up the alternate due to the fact there isn’t enough
paintings to move round."
Tahsin says its miles handiest his ardour for the art that maintains him going -- and the fact that he
not has any dependents and can therefore live to tell the tale on the little money he nevertheless
makes every month. [S.Ravi, 2016] [Zahid rafiq, 2016][
7.4.1.3 Mohd. Yaqub
Yaqub, 62, a calligrapher for over 30 years, also laments the
lengthy await customers.
Tahseen, Yaqub and the other calligraphers now eke out a dwelling
making receipt books for mosques, imparting calligraphy for
authorities-issued stamps and -- once in a while -- they're sought
out for hand-written marriage documents.
"However it’s rarely any money," says Yaqub. "within some years,
absolutely everyone could be long past." [Sangeeta barooah
pisharoty, 2014]
The trade of script and fashion is a result of the changing
marketplace needs. “in advance, calligraphers in large part relied
on ‘the certificate marketplace’ for remuneration. nowadays, the Figure 38 Katibs Mohammad Yaqub at
marketplace of bodily certificate is nearly lifeless. Weddings work in Urdu Bazaar
(source: Sangeeta Barooah)
(playing cards or invitations) [Zahid rafiq, 2016]

7.5 Revival Of The Art

The virtual age has permeated every element of people's lifestyles and while most
people praise the convenience and convenience it offers, for some it heralds the renunciation of a
Alternative solutions have taken generations. Indian calligraphy dates back to the 2nd century
while Ashoka's rock edicts were carved to spread the Buddha's teachings, but today
the diversity of mankind makes up this historic work of art. is rapidly decreasing. The
few remaining can be spotted in the walled metropolis of Old Delhi, where they fight to keep the
Indian calligraphy tradition alive.Calligraphy has existed for centuries and the
authorities want to keep it alive. Calligraphy, once a major source of income, has fallen
on hard times and many married people have now turned to other occupations. [shireen jamooji,
2017]

The revival of calligraphy in india at the end of the 19th century was part of a broader artistic
reaction against the mechanization of manual crafts. the famous author, socialist, and artist qamar
dagar turned his attention to the ancient practices of scribes and began to experiment with writing.
Using quills, she wrote out and illuminated several manuscripts on parchment and paper, she later
became the founder of qalamkari creative calligraphy trust. Her inquiries into calligraphy and her
patronage of the book arts induced paper and parchment makers, among others, to revive forgotten
manufacturing standards, and her study and collection of manuscripts inspired others to pursue
calligraphy.
Among those who were indirectly inspired by qamar
dagar activities, who explored medieval and Renaissance
techniques and materials relating to manuscript
preparation and writing. Starting with a version of fur
calligraphy with the combination of tradition and modern
script to depict pictographic calligraphy. She became an
influential teacher of a generation of type designers and
calligraphers; his Writing & Illuminating, & Lettering,
was a landmark work for the modern revival of
calligraphy. Figure 39 Famous calligrapher qamar dagar
performing calligraphy
She devoted her 30 years to practice calligraphy, She also (source: dynaimage,2022)
started the first-of-its-kind Qalam-Aatma Calligraphy
Festival which brings together dozens of eminent calligraphers from across the world, once a year,
to the Capital of India.
Qamar Dagar said it took nearly 4,500 years for phonic utterances to get transcribed into a script.
Over time, several scripts and different languages adopted adornments on their scripts. The art of
calligraphy reflects the aesthetics of the then and now society. The epigraphs bear testimony to the
changing paradigm of the art of writing. [ratandeep banarjee,2019]

7.5.1 People Contribution

 In India, the artwork of calligraphy dates returned to the 2d century B C. specific styles of
calligraphic texts range from Devanagari to Islamic patterns. Zaheeruddin, an Urdu faculty
trainer, Armoor who become part of the team that organized the calligraphy e-book for
primary and excessive school students says, “Within the place of track and dance in art and
craft magnificence, calligraphy become included after a representation changed into made
by way of Urdu teachers. Calligraphy helps youngsters to increase true handwriting and
examine persistence”. [TP Venu, 2017]
 Irshad Hussain Farooq practices calligraphy upon wood. Possibly in India, he is the
simplest Islamic calligrapher practicing on wood. Irshad Farooqi practices Arabic sorts of
calligraphy like thuluth, kufi and diwani. He has made particular calligraphic designs of
numerous surrahs of The Holy Quran. Searching returned on his career, he factors out at
how he braved teething troubles and meager budget. he's a countrywide award winner. [FPJ
bureau, 2019]

Figure 40 Irshad hussain farooq with his wooden calligraphic

work (source: shiv kumar pushpakar, 2013)
 Qamar Dagar is an exponent of Arabic calligraphy. In 2012, she carried out an international
workshop in New Delhi showcasing calligraphy forms being practiced in lots of languages.
She loves to behaviour both Urdu and Hindi scripts. Ms Dagar hails from a commemorated
family of Dhrupad singers, whose lineage is going over thousand years. [FPJ bureau, 2019]
 A revival via the initiative has now not just made strides but additionally suggests
remarkable promise nowadays. Dagar works with an own family of 25 katibs. The
assignment has other tremendous calligraphers together with countrywide Award winner
Anis Siddiqui, Afreen Khan who does calligraphy on feathers, Shuaib Shamshari who does
calligraphy on leaves, Shafia Rehman known for her fusion of mandala art and Urdu
calligraphy and plenty of greater. [ht. correspondent,2018]
 Votaries of calligraphy like Anis Siddiqui and Qamar Dagar were running institutes for
teaching calligraphy besides retaining umpteenth workshops. Urdu calligraphy at Ghalib
Academy has churned out illustrious artists. Of overdue, Jamia Millia Islamia too runs a
rigorous course. [FPJ bureau, 2019]
 40 years in the past, Anis Siddiqui revived Indian calligraphy from the throes of stagnation
and popularized it through workshops in different Indian languages. Early on, his strident
strokes were austere, shorn of embellishments. But now he often invokes pictorial
depictions and spectral strokes. Calligraphers are even taking over special mediums,
including mica or wood. The gold filigree and gem inlay of Islamic calligraphy may also
have dwindled into oblivion, but extra diffused artwork is debuting in its
location.[Ratandeep banarjee, 2016]
 Anis Siddiqui is a doyen of Urdu calligraphy. He has made significant contribution in
maintaining, popularizing and coaching the competencies and techniques of calligraphy in
extraordinary languages of India. Anis Siddiqui acquired the tutelage of astute masters like
Khaleeque Tonki at Ghalib Academy in New Delhi. He learned khat-e-Thuluth from the
Syrian grasp calligrapher, Mohammed Alqaaz who turned into himself a student of the
distinguished exponent, Hashim Mohammed Al-Baghdadi. Anis Siddiqui has additionally
learnt Tibetan calligraphy.[FPJ bureau, 2019]

Figure 41 Anis siddiqui at Jahan-E-Khusrau

Craft Mela with some calligraphic artwork
(source : alpan, 2021)
  Bengaluru-based totally calligrapher Muqtar Ahmed is on a project to restore the artwork
of Arabic calligraphy in India. On the Indo-Islamic artwork and tradition (IIIAC) in
Bengaluru, he has educated 500 youngsters to date.
In keeping with him, the artwork in India has been in non-stop decline after the quit of
Mughal rule. He talked about that the calligraphy paintings in India changed into never
acknowledged globally, because it became nowhere close to the international fashionable.
[ht. correspondent,2018]
 Muqtar, who plans to open every other department of the institute in Lucknow, believes
that with extra children evincing hobby in Arabic calligraphy, the art has vivid future inside
the country.
There are a few schools that also specialise inside the artwork however they’re locating it
increasingly difficult to draw college students. Mohammed Saleem Ansari, head of
Calligraphy at Madrasa Zeenat-ul-Quran in Seelampur laments on the empty seats in his
classrooms. [Hindustan times, 2018]
 Ameerul Islam and Abdul Sattar are now coaching calligraphy on the institute’s Hyderabad
branch, which changed into opened these days. The gifted children, who have participated
in competitions in various nations, are schooling greater than 20 students.
[hht.correspondent, 2018]

7.5.2 Authorities Contribution

 The authorities has in the beyond proven interest in its revival and at the same time as that
is clearly a step inside the proper path it is as much as India’s artwork fraternity to drag
collectively to ensure that we don’t lose an problematic and delightful a part of our
historical past in our determined race in the direction of the future. [Runa Mukherjee
Parikh, 2021]
 Their consistent paintings has been recognised at each countrywide and international
ranges with top Minister Narendra Modi lauding their artists and tries at revival at Hunar
Haat (organised underneath the ministry of minority affairs). Today, the people of the
project are convinced that thru some of ways, the antique art shape will survive and thrive.
[Runa Mukherjee Parikh, 2021]

Figure 42 glimpse from calligraphy exhibition

Figure 43 irshad farooq exhibiting his work at hunar
cum workshop, Srinagar
haat (a platform to promote craft)
(source: ANI (timesofIndia), 2021)
(source: vikas, 2021)
  The artwork of calligraphy is on a revival mode in Jammu and Kashmir, after the state's
Academy of art, tradition and Languages started out walking courses to facilitate the
revival of rare calligraphic work.[oneindia.staff, 2009]
The Jammu and Kashmir Tourism improvement company (JKTDC) underneath the Union
Territory administration organised a calligraphy exhibition-cum-workshop in Srinagar to
offer a platform for younger artists within the Valley to show off their skills as well as sell
the vicinity's wealthy history.
"The government has furnished a platform to the students for who have been eager to research the
calligraphic talents [Ani.BW buisenessworld, 2022]
 Kerala's first calligraphy competition aims to promote the splendor of the Malayalam
alphabet
The founding father of Kachatathapa opens up approximately why the calligraphy pageant
is his manner of celebrating Malayalam and the way it objectives to unite calligraphy
fanatics
Narayana Bhattathiri is probably one of the pleasant matters to appear to Malayalam
calligraphy. Or as a minimum, it really is the opinion held by means of the calligraphers
who participated in his brainchild of an occasion, Kachatathapa. Dubbed the national
Calligraphy festival of Kerala, it turned into hung on December nine, 10 and eleven with a
number of exhibitions, workshops, talks, a stay demo and a few right antique dance and
music. [edexlive, 2019]

Figure 45 calligraphy festival at kerala (katchathappa), Figure 44 Jash-e-rekhta fest poster

(source1: Baiju B, 2019) (source: anshu, 2020

 A team of college students from Enactus, Netaji Subhas University of era have set out to
revive the as soon as flourishing and tricky artwork of Urdu and Arabic Calligraphy
through their flagship venture, challenge Kitabat. The team recognized the want to
maintain and foster an vital part of the Indian subculture and history and to uplift these
Katibs from the hapless circumstances. The bustling streets of vintage Delhi have been as
soon as a home to ratings of adroit males and females whose souls reverberated with the
art that that they had inherited thru generations. One such artwork form that flourished at
the Urdu Bazaar road changed into Arabic and Urdu calligraphy, famous by way of the call
of Kitabat. [wajiha wahab. lafaz, 2020]
 Challenge Kitabat helped the Katibs set up stalls at various college fests and cultural gala's.
Stalls installation on the Urdu heritage pageant, Jashn-e-Rekhta and a couple of
 College fests like Ecocracy, Jamia Millia Islamia, have supplied the tons-wanted publicity
and sales to the Katibs, via relatively engaging channels of stay calligraphy and product
income elevated manifold. [wajiha wahab. lafaz, 2020]
 Moreover, Collaborations with various authorities’ establishments and NGOs like Purani
Dilli Walon Ki Baatein have helped to provide a consistent profits supply to the Katibs.
The team’s efforts had been recounted and lauded upon by way of Qamar Dagar, a globally
famend calligrapher who signed up as their venture mentor. [wajiha wahab. lafaz, 2020]
 The authorities, Ministry of Minority Affairs intends to release a brand new scheme
“HamariDharohar” to keep wealthy subculture and background of minority groups of
India.[ http://www.minorityaffairs.gov.in/sites/default/files/HamariDharohar-
SchemeGuidelines_0.pdf]
The scheme might be implemented for curating rich heritage of 6 (five) notified minority
communities beneath country wide fee for Minorities Act 1992 (viz. Muslims, Christians,
Sikhs, Buddhists, Parsis and Jains). (Hamari dharohar (minority affairs))
Chapter 5

8 Conclusion

The art of calligraphy is about to die but it is also somehow refreshing with the contribution of
other people and authorities. Actions have been taken by different people but the results are small
and by looking at the history and the old calligrapher the results should be many in order to recover
properly and everyone knows about it, because that government has to take strong and immediate
action. The act of renewing it. Research also suggests that it improves the standard calligraphy
style to better meet modern communication needs, especially in the computer industry, as well as
compression technology. Conversion should not be construed as destructive or replacing the usual
calligraphy style. Instead, it should be considered as a consideration of traditional calligraphy style
to encourage the creation of new forms that include cultural identity. The idea of changing
traditional calligraphy will contribute to resolving major concerns at risk of losing cultural identity.
The remarkable findings of this study show that in order to preserve the art of calligraphy and to
help develop a deeper understanding of calligraphy, its historical development, and its role in
society are crucial. Understanding can help protect the art and design of writing style from western
influences. Hand calligraphy has its own capability that can effectively beat the completion of
computer calligraphy so that the work cannot be extended to the calligrapher if both computer and
hand work go hand in hand and depend on each other because ink and paper provide freedom of
art. An impossible method in the case of computers.
The study also suggests that there should be government-sponsored institutions run regarding
calligraphy education and encourage, there should be an increase in recruitment so that people
have the idea of choosing calligraphy as a career option. the subject should its value should not be
regarded as a separate or supplementary subject, so that young people know its value and help to
pass on the cultural values of the art form to the next generation.

Yun hi panno me kuch uljhe rhte hain vo,

ungliyaan syahi se rang si gyi hain
kuch roz phle ki baat hai, jo ab unki kahaani kuch gum si gyi hai,
Fakr h bohot uss hunar pr, lekin ab himmat kuch dhal si gyi hai

Jo ek waqt par nawaabon ki shaan reh chuke hain

 Aaj Purani dilli ki galiyon m Bethe, ab kaam ki raah tak rhe hai,

Ek daur vo bhi tha jb unke bina guzara na tha,

shyahi, kalam or baaton ka silsila, unse kuch chipa na tha

takniki duniya mein hunar kuch dhal sa gya h ,

kuch ab bhi vhi masjid ke paas bethe h, to kuch rozgaar k chlte bikhar se gye h

vo kaatib hain sahab jinke taaj kuch utar se gye hain

vo kaatib hain janaab jo iss daur m kuch gum se gaye hain
9 Bibliography

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10 Annexure