Calligraphy in South Asia began around 500 AD, spreading Indic scripts to Central Asia and Southeast Asia through traders and missionaries. Early notable examples include the Gilgit scripts from the 5th and 6th centuries and illustrated manuscripts from the 10th century. This exhibition of works from the Hundal Collection, however, focuses on modern and contemporary Urdu and Arabic calligraphy, from the 1950s onward, that emerged from these earlier traditions. The role of music in the creation of calligraphic arts inspired us to create a playlist reflecting the tastes of some of the artists represented in this exhibition.

Islam was introduced to India with the Arab invasion of Sind in CE 712, bringing Arabic calligraphy and other cultural influences. With the emergence of Islam came the Quran and the need to transcribe its teachings. Different scripts like Kufic, Dewani, Thuluth, and Naskh developed due to the widespread dissemination of ideas. As Islam spread, calligraphy became a highly respected and practiced art form.

The development of the printing press reduced the need for the transcription of religious texts and manuscripts, prompting calligraphers to find new ways to apply their skills. Artists began experimenting with form, moving towards abstraction and expressing their spirituality through their work rather than adhering to traditional teachings.

While the words and syntax of the Urdu and Arabic languages have evolved in the space of abstract calligraphy, its core elements and sentiments remain. Our exhibition explores this transformation while delving into themes such as the Nukhta as an everlasting spiritual element, sensuality through abstraction, cultural fusion, the mythological and literary foundations of calligraphic arts, and the political connotations in a globalizing world. We highlight how modern and contemporary Urdu and Arabic calligraphers of the South Asian diaspora continue to uncover diverse ways of expressing their love of the written image.

About the curator

Sydney Barofsky is a PhD student of art history at the University of Illinois at Chicago. They hold an MA in art history with a concentration in museum studies from the University of Denver, where they were a fellow at the Madden Museum of Art for two years. Sydney is broadly interested in themes of feminism and new materialism. As part of the SAI team, their curatorial approach is one of collaboration that hinges on building reciprocal relationships with everyone they work with whenever possible.
Featured artists

Khadim Ali | Sultan Ali | Rasheed Araeen | Rashid Ahmad Arshed | Abid Aslam | M.A Bukhari | Devina Dhawan | Ismail Gulgee | Zarina Hashmi | Maqbool Fida Husain | Askari Mian Irani | Sanki King | Mudassar Manzoor | Ghulam Mohammed | Imran Mudassar | Shiblee Munir | Syed Sadequain Ahmed Naqvi | Safdar Ali Qureshi | Muzzumil Ruheel | Anwar Jalal Shemza | Shahzia Sikander | Mohammad Ali Talpur | Muhammad Zeeshan

Official Website

More events on this date

Tags: ABID ASLAM, Anwar Jalal Shemza, Askari Mian Irani, Chicago, Devina Dhawan, GHULAM MOHAMMED, Imran Mudassar, Ismail Gulgee, Khadim Ali, M.A Bukhari, Maqbool Fida Husain, Mohammad Ali Talpur, Mudassar Manzoor, MUHAMMAD ZEESHAN, Muzzumil Ruheel, Near South Side, RASHEED ARAEEN, Rashid Ahmad Arshed, Safdar Ali Qureshi, Sanki King, Shahzia Sikander, Shiblee Munir, South Asia Institute, Sultan Ali, Sydney Barofsky, Syed Sadequain Ahmed Naqvi, The Written Image: A Confluence of Music and Calligraphy, Zarina Hashmi