Art and divinity intertwine in Arabic calligraphy to create magic

A work of art which also doubles up as a devotional supplication? That's what Arabic calligraphy artist Salva Rasool work is. She will be presenting 'Elahiya", her art exhibition curated by Piali Syam who is known for her curation of the Cancer Patients Aid Association's (CPAA) annual art exhibition 'Colours of Life.'

At her Mumbai show which kicks off on March 27 Salva Rasool will be exhibiting 40 works. While 'Allah' is her favorite subject which she has represented using various forms and styles, her works also include common Quranic verses and words. "These have a universal resonance and and visually radiate a positive vibe," explains Rasool whose works are a reflection of her passion and peace that also exudes in her charismatic nature and beaming confidence. "I strongly feels that this form of art transcends religious boundaries due to its universal content and creative expressions. It is my firm belief that all religious scriptures promote love and peace and most of my multimedia work tries to depict this." Rasool will be donating part of the sale proceeds from Elahiya to CPAA as she feels very passionately for the cause.

Her technique involves rendering an ornate or an abstract style to Arabic words and verses. She then layers her paintings with a variety of textures that create a mystical illusion giving her works a 3-D effect. Though specialising in calligraphy, her versatile approach and techniques make no two works look the same. These distinctive compositions not only appeal to the trained eye but also attract art lovers who may not be familiar with traditional calligraphy. No wonder then that she can count among admirers of her work Achyut Palav, the world renowned Devnagiri calligrapher who has said: "She has developed a style that makes art out of language," about Rasool who is alumnus of the Sir J J School of Arts.

This Arabic calligraphist of over 25 years is the only renowned artist in India to work in this genre which is largely prevalent only in the Persian Gulf. By stylising Arabic scripts, Salva has evolved the traditional fonts of calligraphy like Kufic, Thuluth, Devani and others. She blends her signature scripts with contemporary forms, which she very artistically fuses with different textures and hues making every single work a masterpiece bringing together the old and the new.

This paritcipant of several group and solo shows in India, US, Canada and UK who has had the honour of showing her work alongside maestros like SH Raza and MF Hussain explains, "Design is that construct of our perception that defines order, and lays a path that our eyes feel peaceful to trace. It adds up to what clearly distinguishes itself from the mechanical order of things, and what better way to express this inherent sense of design than by incorporating it into the universal means of communication – linguistic script," and adds, "I realised this instinctively when studying in the JJ School of Arts." From earthen pots then to abstract calligraphic paintings now, her magical journey continues. "Whenever conventional tools were a barrier . I simply created my own, until it came to a point where paintings were made entirely without the use of brushes." Materials being a non-deterrent, Rasool has worked with an array of mediums such as terracotta, ceramics, pottery, leather, metal, fabric, beads, sequence and much more, often using them in ways that are unfamiliar yet pleasant.

If one were to watch her work, you would often catch her staring at a blank canvas from a distance, visualizing multiple design variations at a rapid pace, interjecting each with a pre-conceived concept, and virtually overlaying the blank spaces with possible outcomes. Once an idea takes root – she believes in starting with the final product immediately, skipping the oft-considered mandatory rough work. "Art is instinct – and instinct is instantaneous. If I were to postpone just a moment – it would be lost, never to be discovered in that exact form again."

Today, Salva has incorporated her passion with eclectic vision, which is appreciated with unparalleled beauty. She works in tandem with interior

designers and finds it symbolically challenging to create the most sterling vista of synthesized work. The enigmatic and mystical scripts of stylized Arabic calligraphy fused with abstract modern art have been appreciated and collected by art aficionados and are a part of important private collections in India, South Africa, the Middle East, the United Kingdom, Canada and the United States.

For those who grasp the script – the work is exuberant brilliance. For those that are unfamiliar with Arabic, the paintings are pure art. Deflecting from the traditional, Rasool has skilfully managed to exhibit secular and universal elements never seen before in this genre. "The untrained eye relates to the myriad hues and textural vibrancy, while the precise ones catch the subliminally engineered curves and lines," she observes elaborating, "There's a breath of life each artist gives her or his work. A sense of identity corresponding with an ideal that appeals to the innermost constructs of our heart, unabashedly toying with our emotions in an open field full of possibilities. It takes some on a journey of hope and sets others on a path full of discoveries. We often lead our lives mundane on this planet, and yet a window appears in the form of our inner selves – a window on a wall, innocent yet powerful. It reminds us of the good there is, and of a power that binds us all. There are no scholars that can tell a man why something appeals to him. No person that can point out with accuracy why a dash of red can bring some people joy, while a black streak can stir a creative flame in others. This is why we love art – it is inherent. This is why we love text – it is inevitable."

Perhaps Rasool's work weaves its magic, the way it does.