Category Archives: Calligraphers of India (wef. Jan 05th, 2025)

Wasifi family brings Tonk’s calligraphy to the global stage

Arts & Crafts / CraftsPersons (wef. January 14th, 2025), Arts, Culture & Entertainment, Books - Holy Quran, Koran / Translations, Commentaries / by Indian Muslims (wef. February 11th, 2025), Calligraphers of India (wef. Jan 05th, 2025), , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Tonk, RAJASTHAN :

Qari Mutiullah Wasifi with his prize winning work

Qari Mutiullah Wasifi, a calligrapher from Tonk, a city in Rajasthan, won the second prize in the International Islamic Calligraphy Competition, organised by the Islamic Art Society in New York, USA.

This recognition comes amid the rise of digital fonts and artificial designs globally.

Qari Mutiullah Wasifi competed with more than 4000 artists from around the world. On this occasion, Qari said his success at an international forum is not sudden. Over the past four years, India’s presence in this competition has been consistent, and the Wasifi family has made it to the top every time.

In 2022, Qari Mutiullah Wasifi received the first prize. A year later, his son Haris Wasifi secured second place. In 2024, Haris won the first prize.

This year, the first prize was bagged by Egypt, the second by India, the third by Pakistan, and the fourth by Turkey. The award includes a certificate, a memento, and a cash prize. However, for the Wasifi family, the real honour is the recognition that comes with representing India.

Qari Mutiullah Wasifi at work

Qari Mutiullah Wasifi’s journey didn’t begin at an art college. His first school was his own home. His late father, Qari Salimullah Wasif Furqani, was a renowned calligrapher, reciter of the Quran, and a scholar. He had a command of Arabic, Persian, and Urdu.

His calligraphy of the Quran was his speciality. As a child, Mutiullah watched his father sit for hours, writing. The sharpness of the pen, the curves of the letters, and the measured amount of ink used were not mere play for him, but a matter of discipline.

For formal education, he enrolled at the Maulana Abul Kalam Azad Arabic-Persian Research Institute (APRI) in Tonk. He completed a four-year diploma course, recognised by the National Council for Promotion of Urdu Language (NCPUL), Delhi. This is the same institution that has made Tonk a centre for Arabic and Persian studies.

Tonk is generally known for its madrasas, books, and Islamic education. But this city has also witnessed a well-established tradition of calligraphy. During the Nawab era, calligraphers from Iran and Central Asia taught locals the art.

Institutions like Maulana Abul Kalam Azad Arabic Persian Research Institute (APRI) have preserved this legacy. This institution has trained many calligraphers who have made a name for themselves in India and abroad. Qari Mutiullah Wasifi is an important link in this chain.

Wasifi told Awaz-the Voice that for him, calligraphy is not just a means of decoration, but a part of worship. To date, he has handwritten 27 copies of the Holy Quran. Some of these Qurans are written in extremely fine script, while others are adorned with gold and silver.

Qari Mutiullah Wasifi with a competitor

He has also undertaken unique projects, such as writing the entire Quran on a single large sheet of paper. This work requires years of practice and patience. The placement of each letter is crucial, and even a single mistake can ruin the entire work.

One of Qari Mutiullah Wasifi’s lesser-known yet important contributions is related to the preservation of manuscripts — completing the half-done copies of the Holy Quran and rare books in Arabic, Persian, and Urdu. So far, he has completed approximately 500 incomplete Qurans and hundreds of old books.

He has undertaken projects for private collectors, libraries, and research institutions. This effort breathes new life into books that might otherwise have been lost to oblivion.

Wasifi’s art is not limited to paper. He has done calligraphy on cloth, leather, wood, metal, grains of rice, lentils, marble, hair, and even inside bottles. This art is not only a test of manual dexterity but also of concentration and balance.

Wasifi participated in the international calligraphy competition organised by the Islamic institution “Irtika” in Istanbul, Turkey, in 2022. This institution organises a prestigious global calligraphy competition every two years, in which renowned calligraphers from around the world participate.

In 2023, he also participated in the international calligraphy competition organised by Fujairah Company in Dubai (UAE). This competition is known for its distinguished jury and global participation.

Wasifi says that if workshops, exhibitions, and competitions are considered together, his participation in national and international events, both within and outside India, totals approximately 30.

Wasifi thinks it’s not his achievement, but a means of showcasing the Indian calligraphy tradition at the international level.

According to him, such platforms provide artists with opportunities to learn, test themselves, and connect with calligraphers from around the world. He has also received several honours at the national level.

He has also participated in international exhibitions and workshops in places like Bengaluru, Udaipur, Aligarh, Diggi Palace in Jaipur, and the Lalit Kala Akademi in Delhi.

In the Wasifi family, this art has been passed down from one generation to the next. Qari’s eldest son, Haris Wasifi, is an internationally acclaimed calligrapher. The second son, Abbas Wasifi, is a Hafiz and Qari (one who has memorised the entire Quran and recites it with proper pronunciation) and is pursuing his education at Nadwatul Ulama, Lucknow.

The daughter, Sidra Wasifi, is an Alima (a female religious scholar) and teaches calligraphy to young girls. This family is not only preserving art but also discipline and heritage.

Qari Mutiullah Wasifi has established ‘Bazm-e-Wasif‘ in memory of his father. His dream is to create a special library and museum of calligraphy in Tonk, where his and his father’s manuscripts can be safely preserved. He says that despite the lack of resources, his resolve remains unwavering. His goal is to ensure that this calligraphic heritage of Tonk reaches future generations.

source: http://www.awazthevoice.in / Awaz, The Voice / Home> Stories / by Farhan Israeli, Tonk (Rajasthan) / January 29th, 2026

How Taj Mahal and Aligarh’s Jama Masjid – Built 250 Years Apart – Share a Calligrapher

Amazing Feats, Arts & Crafts / CraftsPersons (wef. January 14th, 2025), Arts, Culture & Entertainment, Calligraphers of India (wef. Jan 05th, 2025), Royal Families, PreIndependence -Descendants (wef. Jan 02nd,2022), Travel & Tourism, Uniquely Indian Muslim HISTORICAL RECORDS - Sufi Shrines, Dargahs, Tombs, Mughal Mausoleums (wef. December 07th, 2024), , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Agra / Aligarh, UTTAR PRADESH :

The imposing walls of both the Taj Mahal and Aligarh Muslim University’s Jama Masjid have Quranic verses crafted onto white marbles in black paint.

Jama Masjid on Aligarh Muslim University campus. Photo: Author provided.

Constructed nearly 250 years apart, the Taj Mahal in Agra and Jama Masjid at the Aligarh Muslim University (AMU) have an interesting connection.

The construction of the Taj Mahal began in 1632 and was completed in 1653, while the construction of Jama Masjid at AMU began in 1879 and was completed in 1915.

While the Taj Mahal, which is the tomb of Mughal emperor Shahjahan and his wife Mumtaz Mahal, attracts millions of visitors every year, AMU’s Jama Masjid is the main mosque of the university. AMU’s Jama Masjid is, perhaps, the last enduring symbol of the Mughals, constructed when the Mughals lost their kingdom during British rule.

A surprising connection

As one enters the Taj Mahal, beautiful calligraphy adorns all four corners. Several verses from the Holy Quran crafted in black calligraphy on white marble can be seen. This is a unique form of calligraphy, and expert artisans from Persia were involved in creating it. Similar calligraphy can be seem inscribed at the tomb of Mughal King Akbar at Sikandra, Agra, and also at the AMU Jama Masjid.

A closer look at the white marble with Quranic verses in black colour adorning the walls of Jama Masjid in Aligarh Muslim University. Photo: Special arrangement.

In fact, it is believed that the artisan responsible for the calligraphy at the Taj Mahal also brought his expertise to AMU’s Jama Masjid.

Since there is a difference of nearly 250 years between the construction of both architectural wonders, it is interesting to study how this was possible.

During Shah Jahan’s regime, several buildings were constructed, including the Taj Mahal and Delhi’s historic Jama Masjid. The calligraphist used was the same.

Professor Nadeem Ali Rezavi of the Centre of Advanced Studies, Department of History, Aligarh Muslim University, says that the master calligraphist in most of the buildings constructed during Shah Jahan’s regime is the same person.

“His name was Abdul Haq, and later due to his craftsmanship, his rank was elevated. He was given the title of Amanat Khan. In fact, he even signed the bands on this calligraphy with dates,” says Rezavi.

Still, there is a gap of over two centuries between these two buildings, Taj Mahal and AMU’s Jama Masjid.

The connection between the two monuments becomes clear with the involvement of Akbarabadi, one of Shah Jahan’s queens. Her original name was Aiza-un-Nisa. She, in 1650, commissioned the construction of a mosque situated in Daryaganj, Delhi, during the same period. In that mosque, Quranic calligraphy was done by the same artisan in black paint on white marble. This was around the same time as when the Taj Mahal was built.

After nearly two centuries, the Daryaganj mosque was demolished by the Britishers following the 1857 revolt. This was when Britishers gained control over the Red Fort, and the last Mughal emperor Bahadur Shah Zafar was sent in exile to Rangoon. They destroyed many buildings which were supposed to have harboured the rebels. At the site of the destroyed Akbarabadi Mosque, a park was developed and came to be known as Edward Park in 1911, which is now called Subhash Park.

During the same period, Sir Syed Ahmed Khan, the founder of the Mohammadan Anglo Oriental College (which later became AMU) felt the oppression against Muslims after the revolt. He nurtured the idea of setting up an educational institution to try and uplift the community.

A visionary man, Sir Syed had the taste for collecting things, particularly artefacts which had archaeological and historical importance. He was aware of the demolition of the Akbarabadi Mosque in Delhi.

As per the AMU Gazette, the scraps generated at the demolished Akbarabadi mosque were sold to a dealer and later purchased by Sahabzada Suleman Jah Bahadur. These remains were thus sold after over 200 years. These were presented to Sir Syed Ahmed Khan, who planned to use them in the Jama Masjid of the educational institution.

A closer look at the white marble with Quranic verses in black colour adorning the walls of Jama Masjid in Aligarh Muslim University. Photo: Special arrangement.

The white marbles with black calligraphy now present in the Jama Masjid of AMU depict Surah Fajr from the Holy Quran. Thus centuries apart, the two buildings carry the work of the same artisan.

“Even if you compare, it is the same thing and the only difference is in the scale. The artisans are the same who have shown their skills in the construction of the Taj Mahal,” says Prof. Rezavi.

Thus AMU’s Jama Masjid is, perhaps, the last enduring symbol of the Mughals, constructed when the Mughals lost their kingdom during the British rule. On the other hand, the domes of AMU’s Jama Masjid employed techniques of the Mughal era: they are “true domes” as they were built using lime mortar and vousseurs (wedge cornered stones/bricks).

“It is a brick structure, guava-shaped, carrying white marble with black stripes. This is the last true dome. After this, the particular technology faded out, and the buildings constructed after them have concrete domes,” said Rezavi.

Later, in 2016, AMU authorities began the conservation of the Jama Masjid. Now revived at the cost of Rs 90 lakh, the Jama Masjid has a Hauz in the courtyard, three domes, seven arches and two lofty minarets cornered by a Cricket Pavilion at its rear end. Sir Syed, the founder of the institution, was also buried in the same compound.

Faisal Fareed is a senior Lucknow-based journalist. 

This article went live on June fifth, two thousand twenty one, at zero minutes past seven in the morning.

source: http://www.thewire.in / The Wire / Home> History / by Faisal Fareed / June 05th, 2021

Calligraphy and a message deep within

Arts, Culture & Entertainment, Calligraphers of India (wef. Jan 05th, 2025), Community Involvement / Social Issues, Karnataka (under research project), , , , , , , , , , ,

Vijayapura (formerly Bijapur) / Kalaburagi (Gulbarga), KARNATAKA :

Around 40 artists from all faiths are on a campaign to preserve the Islamic art, and build communal harmony

Calligraphy paintings created by various artists

Vijayapura :

When veteran artist Dr Subbayya Neela was invited to join a campaign to spread communal harmony through the ancient but fading art of Islamic calligraphy, he could not hide his delight. For him, the idea was not merely about preserving an art form, but about exploring the potential of art to transcend barriers of faith and culture.

“I have always believed that art knows no religion or boundaries. Art has the power to touch the hearts of people across communities. That is why, when I was approached to contribute to this unique initiative, I immediately agreed. I prepared a few pieces of Arabic calligraphy that were later exhibited in different places as part of the campaign,” recalled Dr Neela.

Among his works was a calligraphic representation of the Arabic phrase ‘Allahu Akbar’, which means ‘God is Great’. “I was given the liberty to interpret the phrase through my own artistic imagination, while maintaining the sanctity of the verse. It was both a responsibility and a joy,” he said.

Dr Neela is among 40 artists from across Karnataka, both Hindus and Muslims, who have joined this movement that began in Kalaburagi in 2020. The campaign was conceived not only to preserve Islamic calligraphy, which has been steadily losing ground, but also to foster unity at a time when society is fractured along communal lines.

The group of artists who joined the campaign

The Initiative

It was the brainchild of noted artist Mohammed Ayazuddin Patel, a veteran painter from Kalaburagi and recipient of the Lalit Kala Akademi Award. “When hatred and intolerance seemed to be gaining ground in society, we felt the need to bring people together. We thought of reviving Arabic and Islamic calligraphy because it embodies both artistic beauty and deep spiritual messages. At the same time, it offered us a platform to involve artists of all faiths to work together for harmony,” he explained.

Ayazuddin was soon joined by another respected artist, Rehman Patel, and together they expanded the circle of participants. What started with around 15 artists, junior and senior, has now grown into a diverse collective of 40, half of whom are Hindus. These artists work closely with their Muslim counterparts to ensure accuracy in Arabic writing, while retaining artistic freedom.

The campaign, in many ways, draws inspiration from the history of the Deccan itself. Rehman Patel points out that after the decline of the Chalukyan dynasty, many local artisans and craftsmen found themselves unemployed. With the arrival of Muslim rulers in the region, particularly in erstwhile Bijapur and Gulbarga, these artisans were drawn into projects that fused Persian and Turkish influences with local Indian traditions.

“The architecture of that time was a collaboration. While designs came from foreign artists, the actual construction was executed by local Hindu craftsmen. The result was Indo-Persian art, a blend of Indian and Islamic architecture that still stands testament to cultural harmony,” he said. Arabic and Islamic calligraphy flourished during this period, adorning monuments and manuscripts, but over the centuries, as tastes and practices changed, the art form began to fade. “Our campaign is an attempt to not only revive this vanishing tradition but also to remind people of the harmony that once defined this land,” he added.

Preserving sacredness

A key aspect is the selection of verses from the Quran. The organizers have been deliberate in choosing verses that emphasize unity, peace and brotherhood, values that are not confined to one faith but resonate universally. “The artists are given complete freedom to use their imagination while ensuring that calligraphy remains the focal point. We guide them on the technicalities of Arabic script, but artistic interpretation is entirely theirs,” explained Ayazuddin. “This way, we safeguard the sacredness of the verses while allowing creativity to flourish.”

For many Hindu artists like Basavaraj Totad and Rajani Talwar who are involved in it, it has been a learning experience. Working with Arabic characters is not easy, and ensuring accuracy requires constant collaboration. Yet, this very collaboration has built bonds of trust and friendship. “It is heartening to see artists from different backgrounds sit together, discuss and create something so meaningful,” said Ashok Hiremath, an artist from Bidar.

To showcase their work and reach a wider audience, the collective has organized exhibitions, usually coinciding with Id-Milad, the birth anniversary of Prophet Mohammed. So far, five exhibitions have been held, each drawing large crowds from different faiths. “The response has been overwhelming,” Ayazuddin said. “We have seen people from all communities attend and appreciate the art. Many told us that such initiatives give them hope that religious harmony is still alive in our society, and voices of hate and division are not as strong as they seem.”

The exhibitions are not limited to calligraphy, but also feature paintings and photographs of ancient monuments from the Deccan region, tying the campaign to the cultural and architectural heritage of Karnataka. “This serves two purposes. It connects people with their shared history, and encourages them to protect and preserve monuments that are our national heritage,” said Rehman Patel.

Messages beyond borders

For the participating artists, the project is as much about personal conviction as it is about art. Dr Neela believes the messages of peace from saints and prophets have universal appeal. “Prophet Mohammed spread the message of peace, which can be accepted by anyone, anywhere in the world,” he said.

“If art can be used as a language of unity, it should not remain confined to one place. Art has always been a reflection of society. If society is fractured, art can heal and unite. That is what we are trying to do through this campaign,” Ayazuddin said.

source: http://www.newindianexpress.com / The New Indian Express / Home> Good News / by Firoz Rozindar / September 14th, 2025

Deaf-Mute Kashmiri Girl Handwrites Entire Quran, Inspires Nation with Unwavering Faith

Amazing Feats, Books - Holy Quran, Koran / Translations, Commentaries / by Indian Muslims (wef. February 11th, 2025), Books (incl.Biographies - w.e.f.01 jan 2018 ), Calligraphers of India (wef. Jan 05th, 2025), Community Involvement / Social Issues, Women/Girls(since May26-2021), , , , , , , , , , , , , , , , , ,

Batara Gawalo Village,(Bhalesa, Doda District), JAMMU & KASHMIR :

In the serene, mountainous terrain of Bhalesa in Jammu and Kashmir’s Doda district, where life flows gently with nature, a remarkable tale of faith and perseverance has emerged — one that is touching hearts across the country, reported the Chenab Times.

Mavish Arif, a 16-year-old Class 10 student from the remote village of Batara Gawalo, has achieved an extraordinary spiritual milestone: she has handwritten the entire Quran Sharif. What makes her achievement even more awe-inspiring is that Mavish was born deaf and mute.

In a world consumed by distractions and noise, Mavish’s silent journey of devotion speaks volumes. Over a span of nine months, without any formal guidance or assistance, she meticulously copied the Quran from start to finish, line by line, in the solitude of her home. Her determination, fueled by a deep spiritual purpose, astonished not only her family but the entire region.

Her parents, emotional and proud, shared how she immersed herself in this divine task, refusing help — not out of pride, but from an unwavering sense of purpose. Her days were spent absorbed in transcription, her hands speaking the language her voice could not.

This self-motivated act of worship, especially by a differently-abled young girl, has been hailed as unprecedented by local educators and scholars. Her school, Government Girls Higher Secondary School in Gandoh, has quietly supported her, and its principal, Mr. Ajeet Singh, expressed deep admiration:

“Mavish may be unable to speak, but her actions have roared louder than words. She has become a role model not just for students but for our entire community.”

The villagers of Bhalesa are united in pride and joy. Elders, neighbours, and teachers alike see her as a symbol of unwavering focus in a world that too often celebrates superficiality.

“In today’s time, when goals are often fleeting and attention is short-lived, this girl’s devotion is a lesson in spiritual resilience for all of us,” shared one elder.

Despite limited resources and geographical isolation, Mavish’s story radiates with spiritual brilliance and personal triumph. Her journey is not just a personal achievement, but a beacon of hope and inspiration for the entire nation.

Without uttering a word, Mavish Arif has etched a legacy — not just on paper, but deep in the hearts of everyone who learns of her devotion. Her story is one of faith, fortitude, and the silent strength of a pure soul on a sacred mission.

source: http://www.radiancenews.com / Radiance News / Home> Latest News> Markers of Excellence / by Radiance News Bureau / June 06th, 2025

Jamia Millia Islamia hosts exhibition on rare Quran calligraphy from the 15th to the 20th Century

Amazing Feats, Arts, Culture & Entertainment, Books - Holy Quran, Koran / Translations, Commentaries / by Indian Muslims (wef. February 11th, 2025), Calligraphers of India (wef. Jan 05th, 2025)

NEW DELHI :

New Delhi : 

Jamia Millia Islamia has launched a special week-long exhibition showcasing rare and ancient Quran manuscripts at its Dr. Zakir Husain Library during the holy month of Ramadan. The exhibition, titled “Muqaddas Quran,” was inaugurated by Professor Mazhar Asif Sheikh-ul-Jamia and features a diverse collection of calligraphy spanning from the 15th to the early 20th century.

Through meticulously crafted posters, the exhibition traces the development of Islamic calligraphy from the 7th to the 14th century, offering a comprehensive visual exploration of how Quranic calligraphy evolved over time.

Alongside the manuscripts, the exhibition presents an impressive collection of printed Qurans in various national and regional languages, including Malayalam, Kannada, Hindi, Urdu, Tamil, and Bengali. The display also includes translations in foreign languages such as Chinese, Japanese, German, Turkish, Russian, English, Spanish, Albanian, Myanmar (Burmese), and Persian. A special Quran in Braille was also featured, emphasizing the importance of inclusivity and ensuring that visually impaired individuals can access the sacred text.

Professor Mazhar Asif, Sheikh-ul-Jamia(Vice Chancellor )of Jamia Millia Islamia, expressed his satisfaction with the exhibition, saying, “It is a privilege for the university to open its rare collection during the holy month of Ramadan, allowing people to benefit from the teachings, knowledge, and moral values of the Quran. The Quran promotes helping the poor, equality, and justice, and by presenting this exhibition to the public, we aim to encourage accountability, bringing people from darkness to light.”

The exhibition also showcases rare Arabic manuscripts, including Tafseer Baizawi and Tafseer of Ibn Abbas, both from the 16th century. Additionally, books in eleven foreign languages and six regional translations illustrate the rich diversity of Jamia’s collection.

Professor Asif highlighted the rarity of the Japanese translation of the Quran, which was produced by the Islamic Society of Koshikawa in Tokyo, calling it an extremely rare edition globally.

Professor Mohammad Mahtab Alam Razvi, Registrar of Jamia Millia Islamia, emphasized the significance of the exhibition. “This collection reflects our rich heritage of Quranic manuscripts and printed copies from the 15th century to the early 20th century, including small Quranic manuscripts. With thirty-five rare handwritten manuscripts and twenty-seven printed translations, the exhibition offers valuable insights into the evolution of Quranic script.”

Dr. Lucas S. Nigrale, who also participated in the event, spoke about the importance of such exhibitions during Ramadan, a time for reflection, devotion, and learning. “This exhibition shines a light on the Quran’s timeless wisdom and universal message,” Dr. Nigrale said, expressing hopes for future exhibitions that further promote awareness and cultural dialogue at the university. The Dr. Zakir Husain Library holds a total of 2,243 Quranic manuscripts.

The exhibition serves as an important platform for enhancing public understanding of the Quran’s linguistic, intellectual, and literary traditions. It highlights the eternal teachings of the Quran in a contemporary context, fostering greater cultural and educational dialogue.

source: http://www.indiatomorrow.net / India Tomorrow / Home> Education / by Mohammad Akram / March 30th, 2025

Two-century-old Indian Quran manuscript on display in Jeddah

Amazing Feats, Arts & Crafts / CraftsPersons (wef. January 14th, 2025), Arts, Culture & Entertainment, Books - Holy Quran, Koran / Translations, Commentaries / by Indian Muslims (wef. February 11th, 2025), Calligraphers of India (wef. Jan 05th, 2025), Museums, Libraries (wef. April 16th, 2022), World Opinion, , , , ,

INDIA :

Indian calligrapher Ghulam Mohiuddin transcribed this manuscript.

pix: SPA

Jeddah:

A two-century-old Quran manuscript, transcribed in India, is now on display at the Islamic Arts Biennale at the Western Hajj Terminal of King Abdulaziz International Airport in Jeddah, Saudi Arabia.

Indian calligrapher Ghulam Mohiuddin transcribed this monumental Quran manuscript on the 6th of Muharram, 1240 AH (August 31, 1824 AD) in northern India. It was designated as a waqf (endowment) for the Prophet’s Mosque in Madinah, reflecting India’s deep historical ties to Islamic art and heritage.

Measuring an extraordinary 139.7 × 77.5 cm, the manuscript is embellished with gold, deep-colored pigments, and a cover originally encrusted with rubies, emeralds, turquoise, and peridot, making it one of the rarest Quran copies on display, the Saudi Press Agency (SPA) reported.

The text is written in black Naskh script, with a Persian translation in red Nastaliq, showcasing the Indo-Persian calligraphic style of the era.

Historical records indicate that the manuscript arrived in Madinah in the mid-13th century AH and was initially placed near Bab As-Salam before being moved to the mosque’s treasury during restoration in 1273 AH (1857 AD).

In 1302 AH (1884 AD), it was rebound by Hajj Yusuf bin Hajj Masoom Nemankani, a scholar and manuscript expert from Uzbekistan who later settled in Madinah.

Now preserved at the King Abdulaziz Complex for Endowment Libraries in Madinah, this rare Indian-transcribed Quran is a key attraction at the Biennale, celebrating India’s historical ties with the Islamic world and its legacy of artistic excellence.

source: http://www.siasat.com / The Siasat Daily / Home> News> Middle East / by Sakina Fatima, X / March 12th, 2025

Tonk’s Ustad Zafar Raza Khan and Student Shahjahan Shine in National Calligraphy Competition

Amazing Feats, Arts, Culture & Entertainment, Calligraphers of India (wef. Jan 05th, 2025), Education, Education - Gold Medallists, Toppers, Merits, Achievers (wef. June 12th, 2023), , , , , , , , , , , , , , , , , , , , , , , , , , ,

Tonk, RAJASTHAN :

Tonk:

Tonk has been renowned for its calligraphy, a centuries-old art form that has earned the nawabi city an esteemed reputation on the international stage. This rich cultural heritage continues to thrive through the dedication of talented artists.

Recently, a national-level calligraphy competition was held in Aurangabad, attracting participants from across India, including Telangana, Maharashtra, Kashmir, and Rajasthan. Ustad Zafar Raza Khan and his student Shahjahan, both from Tonk’s Markaz-Talimul-Khutut institute, represented their city at the Second All-India Quranic Calligraphy Competition. The event was organised in collaboration with Maulana Azad College of Arts, Science, and Commerce (Aurangabad) and the Iran Culture House, Mumbai and New Delhi.

Participants were initially shortlisted based on online submissions of their work. Those selected were invited to the competition held on December 27. Among the contenders, Tonk’s calligraphers distinguished themselves, securing the top two honours and bringing glory to their city.

Ustad Zafar Raza Khan received high praise for his exceptional skill in the Nasta’liq script. While judges unanimously considered his work the finest, he was awarded the second prize due to international competition rules. These rules stipulate that if only one individual meeting the standard for first place remains in the competition, the top prize is withheld, and the second prize is awarded instead.

Shahjahan, another participant from Tonk, triumphed in the Naskh Arabic (Osmani Naskh) script category, winning first prize. Their achievements underscore the exceptional training provided at Markaz-Talimul-Khutut, a new institute established in Tonk on January 1, 2024.

The institute has rapidly gained prominence, thanks to its internationally acclaimed instructors, Ustad Zafar Raza Khan and Ustad Khurshid Alam. Both are celebrated as among the finest calligraphy masters globally. Their dedication has elevated the institute and inspired a new generation of artists to master this ancient art form.

The institute’s officials attribute their success to the hard work of their students and faculty, pledging continued efforts to preserve and promote the art of calligraphy. This achievement is a source of pride not only for Tonk but for Rajasthan and the entire nation.

source: http://www.radiancenews.com / Radiance News / Home> Latest News / by Raheem Khan, Radiance News Bureau / January 01st, 2025