Mengangkat seni khat Malaysia

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Kejayaan Pos Malaysia dipuji kerana mengangkat martabat seni khat dan kaligrafi di Malaysia.

SAAT memegang qalam, tangan kanan lelaki berusia 47 tahun itu pantas beraksi menulis perkataan kaligrafi atas sehelai kertas putih di hadapannya.

Lukisan yang memerlukan ekspresi mendalam itu ternyata cukup sebati dalam diri Velu Perumal.

Mula mempelajari tulisan kaligrafi sejak 35 tahun lalu di Sekolah Kebangsaan Sg. Manggis, Banting, Selangor, ketelitiannya jelas terserlah dengan memastikan garisan, kedudukan, titik atau tompok cermat tanpa sebarang cacat cela.

“Sejak di bangku sekolah rendah lagi, saya amat meminati bidang seni lukisan. Guru bagi subjek Pendidikan Seni saya ketika itu ialah Cikgu Zamrod Mohd. Saidi.

“Saya menjadikan beliau sebagai sumber inspirasi untuk terus berkarya dalam bidang kaligrafi ini. Beliau memberi galakkan dan dorongan ketika saya belajar melukis sewaktu di kelas seninya dahulu,” kongsinya ketika ditemui Kosmo! di Pejabat Pos Besar Malaysia, Kuala Lumpur baru-baru ini.

Walaupun tidak mempelajari secara khusus ketika di sekolah, bapa kepada dua cahaya mata itu mengakui minatnya dalam bidang seni lukisan membawanya kepada kaligrafi atau seni khat.

“Faktor minat mendorong saya mempelajarinya dengan lebih mendalam termasuk mengikuti kelas dan kursus kaligrafi. Penulisan khat bukanlah mudah pada awalnya dan ia memerlukan banyak latihan.

“Generasi muda pada hari ini lebih menumpukan penghasilan kaligrafi menggunakan komputer. Ia memang boleh menghasilkan kaligrafi kerana adanya garisan dan lorekan tetapi itu hanya nampak tulisan.

“Bila kita menulis dengan menggunakan pensel, pen atau pena buluh, di sebalik tulisan itu, terdapat nilai, perasaan dan emosi seseorang artis kaligrafi,” katanya yang juga merupakan pensyarah di Fakulti Rekabentuk dan Senibina, Universiti Putra Malaysia.

Tambahnya, setiap penulis mempunyai teknik latihan tersendiri. Velu misalnya, menghabiskan masa selama 10 hingga 15 minit untuk melatih tangannya menulis kaligrafi.

Mengulas mengenai setem kaligrafi Malaysia yang dihasilkannya dalam tulisan Tamil, Nanneri Panbu, beliau berkata, ia melambangkan beberapa kualiti nilai murni yang ada pada manusia termasuklah kesopanan, persaudaraan, keanggunan, etika dan patriotisme.

“Dibaca dari kiri ke kanan, tulisan Tamil klasik telah melalui beberapa peringkat pemurnian selaras dengan evolusi moden yang membawa perubahan dalam rekaan dan gaya penulisan.

Teknik penulisan

“Disebabkan keunikannya, gaya ini hanya digunakan untuk acara atau dokumen kehormat. Tulisan tangan ini kebanyakannya dihasilkan di atas kertas menggunakan dakwat hitam atau berwarna dengan pen khat, berus, kayu mata lebar atau bilah buluh,” ujarnya.

Dalam pada itu, penulis khat terkenal, Abdul Baki Abu Bakar, 42, berkata, tulisan khat merupakan hobinya. Kini, beliau telah memiliki sebuah galeri.

“Saya mahu berkongsi dengan masyarakat yang berminat dengan seni khat.Sepanjang pembabitan saya dalam bidang ini, ramai yang ingin tahu cara-cara untuk mempelajarinya.

“Dari situ, timbul idea menubuhkan galeri ini. Pada saya, masyarakat perlu ditunjuk dengan karya-karya khat supaya mereka dapat mengenali secara mendalam seni yang terdapat dalam Islam,” kata Pengarah Urusan Diwani Kraf yang terletak di Taman Kemuning Utama, Shah Alam, Selangor itu.

Menurutnya lagi, cabaran menulis seni khat terletak pada teknik penulisan itu sendiri. Terdapat sesetengah huruf Jawi yang menggunakan teknik keras manakala sesetengahnya menggunakan teknik lembut.

“Misalnya, huruf Alif perlu menggunakan teknik keras untuk mendapatkan tulisan yang cantik. Malah, tulisan khat yang ditulis menggunakan pena buluh dan dakwat, hasilnya lebih halus berbanding menggunakan pen,” katanya.

Abdul Baki menjelaskan, di Malaysia, gaya seni khat adalah berbeza mengikut bangsa dan budaya. Jawi, gaya penulisan bahasa Melayu menggunakan aksara Arab telah digunakan selama lebih 700 tahun yang terbukti dengan penemuan Batu Bersurat Terengganu.

“Batu itu menampilkan ukiran tulisan Jawi pertama yang ditemui di Malaysia. Ia membuktikan khat dan Islam telah bertapak di negara ini antara tahun 1326 hingga 1386.

Perkembangan seni khat Islam pula berkait rapat dengan al-Quran. Ia telah mendorong khat menjadi salah satu daripada pembentukan ekspresi artistik di dalam budaya Islam terutamanya bagi Muslim di Malaysia,” katanya.

Tambahnya lagi, gaya tulisan khat Islam pada setem yang dihasilkan dikenali sebagai Thuluth yang merupakan salah satu daripada tujuh gaya utama. Gaya lain ialah Nasakh, Diwani, Jali, Rqah, Farisi dan Kufi.

“Thuluth dikenali sebagai bentuk khat Islam yang tertinggi dan paling dihormati serta memerlukan masa yang lama untuk mahir. Tiada cara lain jika anda ingin menguasai khat-khat ini, kecuali harus belajar dan berlatih secara berterusan.

“Nilai murni di dalam Jawi dieja nun ya lam alif ya, mim waw ra nun ya’. Dalam penulisan Arab pula, teks dibaca dari kanan ke kiri,” kata bapa kepada empat cahaya mata itu.

Bagaimanapun, Abdul Baki memberitahu, perkara utama sebelum berlatih menulis khat adalah belajar melalui guru.

“Carilah guru yang pandai menulis khat dan belajar dengannya,” nasihatnya.

Warisan budaya

Sementara itu, seorang lagi artis kaligrafi, Dr. Wong Kum Peng pula berkata, komuniti lain di Malaysia, terutamanya Cina dan India juga mempunyai bahasa dan tradisi khat yang tersendiri. Ianya diwarisi secara turun-temurun dan bersama ia menghasilkan kemewahan warisan budaya di negara ini.

“Hari ini, seni khat terus berkembang di dalam bentuk seni keagamaan, penulisan puisi, seni khat pentauliahan, rekaan tipografi, undangan peribadi, rekaan logo tulisan tangan asli, ukiran batu, dokumen peringatan dan banyak lagi,” katanya yang juga merupakan penaung Persatuan Kaligrafi Malaysia.

Menurut Kum Peng, karakter Li di dalam khat Cina membawa pelbagai maksud termasuklah kesopanan, etika dan peradaban. Di dalam khat Cina (Shu fa), karakter Cina boleh ditulis dalam lima gaya utama dan yang diabadikan pada setem ini ditulis mengikut Separuh Kursif atau gaya Running Script (Xingshu).

“Secara amnya tulisan ini boleh dibaca dengan mudah oleh sesiapa sahaja yang mempunyai pendidikan dalam tulisan Cina.

“Berus, dakwat, kertas dan batu dakwat adalah peralatan penting di dalam seni khat Cina dan ia dikenali sebagai Four Treasures of the Study,” ujarnya

Sumber: http://www.kosmo.com.my/

 

Stamping mark of three cultures

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(From left) Wong, Abdul Baki and Velu writing ‘Noble Values’ in their respective calligraphy — Photos: Sam Tham and BRIAN MOH/The Star

The Chinese word “li” has several meanings, such as courtesy, etiquette and manners. And that is the word chosen by Dr Wong Kum Peng, one of the three featured calligraphers for Pos Malaysia’s Malaysian Calligraphy series.

“In Chinese culture, ‘li’ is very important; the message I want to convey is ‘yi li dai ren’ (treat others with courtesy). By treating others with respect, many misunderstandings can be avoided.

“It is very interesting to see all three calligraphy styles presented together to show the multicultural and multiracial aspect of Malaysia, which is something we Malaysians are proud of,” he said of the stamp series.

“The style I use on this stamp is in the semi-cursive or running script style known as xingshu.

“I chose it because it is beautiful, and not too structured like the regular script, and it is legible to everyone in comparison to the cursive script,” he explained.

“Art transcends race and culture, it is something everyone can appreciate despite language barriers,” he added.

A self-taught calligrapher who started dabbling in calligraphy when he was 10, Wong further honed his skills when he was studying at the National Taiwan University in Taiwan.

He founded the Calligraphy Society of Malaysia and is now a patron of the organisation after having been president from 2001 to 2007.

His calligraphy works are carved on stone tablets at the Dufu mausoleum in Henan, China, and can be found on the arch at the entrance of Melbourne’s Chinatown in Australia.

“Just having the knowledge and skills does not mean it’s calligraphy, it is merely a form of writing.

“One needs character or inner depth to produce calligraphy,” said Wong, who teaches the art at his studio.

During the interview, he received a call informing him that the stamp bearing the word li in the Pos Malaysia series had been sold out.

Much could be learned from practising calligraphy, he said.

“Calligraphy helps me concentrate and forget my worries.

“Whenever I’m facing a problem, I find that I can gain a different perspective after practising calligraphy,” he said.

“Calligraphy has to be done step by step, it teaches you to plan ahead. The same principles can be applied in life.”

You’d need a magnifying glass to inspect the khat artwork of Abdul Baki Abu Bakar, because his canvas is no bigger than a 30x30mm stamp.

His latest work for Pos Malaysia’s Malaysian Calligraphy series issued on June 28 is a rendition of the postal company’s “Nilai Murni” (Noble Values) theme in Jawi (Malay written in Arabic alphabet)..

He spent a month to come up with four patterns for the philately committee to approve.

“There are rules to khat. You cannot have running lines drawn joined together, nor can you have overlaps because they obscure the alphabet. You can’t join an alif to a ya or a nun to a ra either,” he explained.

The design in this stamp issue features the Thuluth style of Arabic calligraphy. Similar to Roman cursive writing, Thuluth is most commonly found in mosque decorations for its touch of grandeur.

“This is one of the most complicated styles of Arabic calligraphy I’ve come across,” said Abdul Baki, who took five years to master the strokes.

On the stylisation, he said the fascinating aspect lay in the ability to tuck entire sentences within a constrained space.

“I developed an interest in calligraphy when I was eight. When I was 24, I joined Mushaf Malaysia, an NGO, and was part of a team of writers responsible for copying the Al-Quran onto a master copy for mass printing. We had to do this by hand.

“It took me three years to finish 640 pages,” said Abdul Baki when asked how he honed his skills.

The artist eventually travelled to Istanbul, Turkey, to study Islamic calligraphy at the Research Centre for Islamic History, Art and Culture.

Upon his return, he worked with Yayasan Restu, a non-profit organisation for 15 years before taking up the entrepreneurial path as managing director of Diwani Kraf. Among the services it offers are Islamic interior design, seal art and calligraphy classes.

“I have been a calligrapher for 20 years. In the past decade, I see a rising demand for works that serve as spiritual reminders. Mine is not just a business that focuses on material returns.

“It is also a form of community service because by spreading the message of telling people to live right, I am constantly blessed with sustenance,” said Abdul Baki.

The third contributing artist to Pos Malaysia’s Noble Value Day calligraphy series is Velu Perumal, whose background in industrial design helped him come up with not one, but six different final samples using Tamil script for the “Nanneri Panbu” 70sen stamp.

“One design motif I wanted to include was the coconut leaf, as the plant and the leaf have multiple uses among Malaysians of all cultures,” he said.

Another leaf design that Velu incorporated in the final stamp design was the mango leaf, a common decorative motif in Indian culture.

Naneri means good or benevolent, while panbu can be translated as values,” he said.

Instead of a brush for this design, Velu went with a knife-cut bamboo pen.

“Different thickness helps give the design a more three-dimensional perception, more depth.

“And once you start, you have to finish writing in one go, so that the design and the script are clean and constant,” he explained further.

In his free time, Velu helps promote Tamil calligraphy through talks and creativity workshops with students, while also sitting as president of the Malaysian Association of Creativity Innovation and Design.

“What Pos Malaysia has done is a good thing, by inviting us three to produce calligraphy, we can showcase different cultural artifacts in our diverse society,” said Velu

Source: http://www.thestar.com.my/

Surah Yasin

Surah Yasin lengkap menggunakan khat nasakh yang mudah dibaca dalam resam uthmani. Saiz 6×4 kaki. Material : kanvas. Hubungi kami di 0193932947 jika berminat.

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Dubai International Arabic Calligraphy Exhibition 2016

My Jali Diwani in The Dubai International Arabic Calligraphy Exhibition 2016

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Logo

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Khat Thuluth

الجمعية لشؤون المدارس الدينية بولاية قدح

الجمعية لشؤون المدارس

Personal Name

المحامي نائف محمد بامعوضة

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