Calligraphy Thrives in Hyderabad Despite the Digital Age
In today’s world of digitalisation and artificial intelligence, where sleek fonts and automated designs dominate, the ancient art of calligraphy continues to flourish in Hyderabad. This timeless craft, known for its beauty and precision, owes its survival to passionate individuals like Mohammed Abdul Gaffar, a master calligrapher dedicated to preserving and promoting the art.
For Gaffar, calligraphy is more than just creating beautiful writing. It is a harmonious blend of art (“fan”) and knowledge (“ilm”), where each pen stroke gives life to words. “Proper training is essential to refine this skill,” Gaffar explains. “Mastering the techniques and understanding the nuances of handwriting are crucial.” His journey with calligraphy began in his school days, fueled by a deep passion for the intricate art form. Since the mid-1990s, Gaffar has been teaching calligraphy at Idara-e-Adabiyat-e-Urdu in Punjagutta, a respected institute founded in 1931. Over the years, he has trained more than 10,000 students, many of whom now showcase their skills in countries such as Saudi Arabia, Iran, Iraq, Yemen, Dubai, and the United Kingdom.
At the core of Gaffar’s teaching is the Nastaliq script, a vital element of Urdu calligraphy. Mastering this script requires months of dedication, starting with improving hand movements and developing a sharp eye for detail. “Each stroke of the pen or brush tells a story,” Gaffar shares, “reflecting the skill of the calligrapher and the rich heritage of the art.” Beyond its aesthetic appeal, calligraphy has practical applications worldwide. Gaffar notes that skilled calligraphers are in demand in foreign universities for inscribing names on certificates and awards. “This craft is deeply respected abroad, especially in places where the written word is cherished,” he adds.
Gaffar’s teaching extends beyond Urdu scripts to include English roundhand, Gothic, chancery cursive, and draughtboard styles, as well as traditional Arabic and Persian forms. Within Urdu alone, he teaches 108 alphabets, each with intricate variations depending on their position in a word. Prominent styles include Khat-e-Thulth, Khat-e-Naskh, Khat-e-Nastaliq, Khat-e-Diwani, Khat-e-Riqa, and Kufi.
The calligraphy training centre at Idara-e-Adabiyat-e-Urdu is a lively hub, with students sketching designs on drawing sheets and creating intricate patterns using traditional reed pens, known as “khalam.” The institute offers a two-year diploma course in Calligraphy and Graphic Design, supported by the National Council for Promotion of Urdu Language (NCPUL), ensuring that the art is passed on to future generations.
Students showcase their creativity on unconventional canvases, such as eggshells, rice grains, pistachio shells, and lentils. Some even use 24-carat gold to embellish their work. Interestingly, this art form has attracted non-Urdu speakers, highlighting its universal appeal.
Despite its rich history, Urdu calligraphy faces challenges in India. Although the government proposed introducing calligraphy into school curriculums (as per GO 313 in 1990), the initiative has made little progress due to a shortage of instructors. However, efforts by individuals like Gaffar provide hope for the future of this art.
For Gaffar, calligraphy is more than a profession—it is a meditative journey of self-expression that connects the artist to their inner self. Through workshops and demonstrations, he invites people of all ages to experience the joy and tranquility of this timeless craft.
