“For me, calligraphy is like painting with words,” says Emirati artist Ali Kashwani. The Dubai artist is one of eight young Arab calligraphers who were commissioned by Montblanc to create designs, based on iconic buildings from their home countries, for its new collection of writing instruments. The drawings, creating a Gulf cityscape, debuted earlier this week at the new Montblanc boutique at Yas Mall.
Designed by the Australian Marc Newson – who worked on the Apple Watch, among other projects – the M range is sleeker and more modern.
“The Arab market is a key one for us,” says Eric Vergnes, regional head of Montblanc. “And this is one in a long line of collaborations between Montblanc and artists. Before we have been quite Europe-focused, this is our first one using artists of the Middle East.”
Saudi artist Bayan Saeed Barboud picked Kingdom Tower in Riyadh, with letters winding around the building, while Emirati artist Hamda Al Hashemi, from Abu Dhabi, chose to depict the Sheikh Zayed Grand Mosque.
The structure’s domes are echoed in the shapes of the people standing in the entrance and in the Arabic words taken from a poem written by Vice President and Prime Minister and Ruler of Dubai Sheikh Mohammed bin Rashid Al Maktoum.
“It is such a special place,” says Al Hashemi. “I wanted to capture the feeling one gets at the entrance to the mosque – something I can’t even put into words.”
One of the fascinating things about the exhibition is how differently the artists approach what is still a traditional discipline.
Abdulaziz Al Awadhi, from Kuwait, used Kufi Al Masahif script, or Old Kufi, the earliest form of calligraphy, where letters do not take dots and artists often used a rule to create the long, linear script.
“I fell in love with the oldest type of calligraphy,” says Al Awadhi. “It captured my heart from day one and I haven’t stopped practising calligraphy since.”
For his drawing of Kuwait’s Al Hamra Tower, Al Awadhi decided to stain the paper with tea, creating a sense of chance that contrasts with the tightness of the letters.
This incorporation of a more unique style, Al Hashimi says, is common to contemporary forms of calligraphy.
“Calligraphy used to be about the perfection of each letter’s specific measurement and was appreciated because people understood the effort that went into it. Now artists are also using calligraphy as a way to express themselves or to develop their own personal style.”
Kashwani, whose design incorporates Dubai’s Burj Khalifa, notes that Montblanc chose not established calligraphers but younger artists who are experimenting with the medium. “I was so honoured to be asked,” he says.
Other artists and inspirations included in the exhibition are Abbas Yousif’s Bab Al Bahrain building; Bader Al Ajami’s map of Oman; Bayan Barboud’s landscape of old Jeddah, which he submitted in addition to the Kingdom Tower; and Thamer Al Dossari’s Museum of Islamic Art in Qatar.
“Even though people are writing less now, our sales are climbing,” says Vergnes. “A written note has becomes a special experience, and people want the writing instrument to be part of that.”
After being unveiled at Yas Mall, the drawings are on display this week at The Dubai Mall, after which they will be exhibited at Montblanc boutiques across the GCC.
artslife@thrnational.ae
