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YOU ONLY OWN A THOUGHT,


A WORD BELONGS TO OTHERS.
AND THE WRITTEN WORD IS ETERNAL

International
exhibition of calligraphy : 2008,
2009, , , In the world culture centres: St. Petersburg 2008,
Moscow 2009, Paris, Tokio, New York

Organized under the aegis of the Commission of the Russian Federation for
UNESCO and Ministry of Culture of Russia
30 Artists from upward of 30 countries
Calligraphy masterpieses

The National Union of Calligraphers has been established


Contemporary Museum of Calligraphy has been opened in Moscow

(ICOM) An institutional
member of the International council of museums (ICOM)

MASTERS OF CALLIGRAPHY

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ABDUL BAKI BIN ABU BAKAR

AT AN ARABIC CALLIGRAPHY EXHIBITION SOME PEOPLE MAY WONDER

Islamic calligrapher, Islamic calligraphy lecturer


(Klang, Malaysia)

HOW CAN A MAN WRITE THIS? OR THEY SOMETIMES SAY IT MUST BE

Mr. Abu Bakar was born in 1974, in Kedah state,


Malaysia. He took part in great calligraphy exhibitions
such as The First Islamic Calligraphy Festival in Tehran
and Islamic Art Exhibition in Bauchi state, Nigeria. His
creations were many times awarded in international
calligraphy competitions. Nowadays he works for
Restu Foundation, Malaysia as an Islamic calligrapher
and teaches in the International Islamic University,
Malaysia.

AN ANGEL WHO WROTE THIS. THE FACT IS THE ARABIC CALLIGRAPHY


IS 100% FREE HAND-WRITING

1 / Monogram
2 . , , , 6060 ,
2009 . / Pardon. Glossy paper, acrylic color, bamboo, 60x60 cm, 2009.
3 . , , , 9260 , 2008 . /
The powerful. Paper, Holbein ink, bamboo, 92x60 cm, 2008.

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50 TOPBLOGS.

TIYPO.
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Altos de Chavon
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JAIME DE ALBARRACIN

CONTEMPORARY CALLIGRAPHY LIES BETWEEN TWO SLOPES. ON ONE

Calligrapher
(Lima, Peru)

SIDE IS THE TRADITIONAL, PURE CALLIGRAPHY, WHICH USES ONLY

From 1972 until 1999 Jaime lived in Venezuela; after


that he returned to Lima, Peru. His graphic works
are shown at the Venezuela Museums, and exhibited
in Mexico and Belgium. In 2007 Jaime created the
WebLog Calligraphy in Peru which is considered as
one of the best blogs on graphic design in Spanish
language in the ranking 50 TOPBLOGS. He is also a
collaborator in the magazine of typography TIYPO in
Mexico. He has facilitated workshops and conferences
related to calligraphy, illustration and art at the Altos
de Chavon design school, Dominican Republic and the
Cultural Spain Centre at Lima, Peru.

INK AND PAPER; ON THE OTHER IS DIGITAL CALLIGRAPHY, WITH ITS


TOOLS OF INFORMATICS THE SCANNER, THE GRAPHIC TABLET, AND
THE COMPUTER
1 / Signature
2 . Photoshop
, 4024 , 2006 . / Calligraphy Gestual. Experiment
from pen strokes and digitalized in Photoshop, 4024 m, 2006.
3 . .
, Higgins Eternal, ,
Photoshop, 40x40 , 2004 . /
Hechicera de Aljibes. Rounded poem and illustration from author. Brause
Nib, Higgins Eternal Ink, illustration outline felt marker, scanned and
composed in Photoshop, 4040 cm, 2004.
4 Agua de Canto. , ,
Illustrator, 3030 , 1997 . / Agua de Canto.
Logotype for a real estate. Ink and pen, vectorized in Illustrator software,
30x30 cm, 1997.

10

5 , . , ,
, Photoshop, 6045 , 2008 . / Calligraphy Suite, experiment with texture from letters,
reed pen, calamus from Peruvian cane, ink stick, scanned and composed in Photoshop, 6045 cm, 2008.
6 TIYPO. , , Letter Arts
Review 2009 . , , , , ,
6045 , 2008 . / TIYPO. Logo for so named magazine, Spread page creation for a typographic magazine, published in Letter
Arts Review 2009. Flat brush, Brause Nibs, automatic pen, five lines pen, flexible pointed pen, 6045 cm, 2008.

8
7 . . . , , , , ,
, 6045 , 2007 . / Hoy. Poem from C. Solaeche. Photography from author, Brause Nibs, automatic pen, ruling pen, five
lines pen, flexible pen, 6045 cm, 2007.
8 . . . , , , , ,
, , 6045 , 2007 . / Hoy. Poem from C. Solaeche. Spread, photography from author, Brause Nibs, automatic
pen, ruling pen, five lines pen, flexible pen, 6045 cm, 2007.

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2008
. . 122-123

Detailed information about the author and her calligraphy works are
presented in album St. Petersburg 2008
p. 122-123

NATALYA BAKKE
Calligrapher, graphic artist
(Reno, USA)

NOT JUST MEANING OF THE WORD BUT ITS FORM COMMUNICATE TO


READER. AS A MUSICIAN PICKES OUT MELODY ACCORDING TO LYRICS,
A CALLIGRAPHER HABITS WORDS INTO SOUNDING CHARACTERS AND
THIS IS IMPORTANT AND DELICATE PROCCESS, WHERE PARTICULAR ATTITUDES OF ARTISTIC AND SPIRITUAL CHORDS ARE DEMANDED. IF YOUR
SOUL IS NOT READY TO SING CALLIGRAPHY YOUD BETTER POSTPONE
WRITING. HEARTILY CREATED CALLIGRAPHY PAPER REGALE A LOT

. , , ,
47x76 , 2005 . / Dedication. Paper, marker, handmade and digital
calligraphy, 47x76 cm, 2005.

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2008
. . 62-65

Detailed information about the author and her calligraphy works are
presented in album St. Petersburg 2008
p. 62-65

MARI EMILY BOHLEY

A CALLIGRAPHIC WORK ONLY GETS INTERESTING FOR ME WHEN IT

Calligrapher, designer
(Dresden, Germany)

CONCEALS A SECRET A STORY, EXPERIENCE OR MOOD WHICH


ISNT LEARNED BY SIMPLY READING THE TEXT, BUT THROUGH THE
EXPRESSION OF THE STROKE, THE CHOICE OF MATERIAL AND THE
UNTOLD BETWEEN THE LINES

. , , Somerset,
, 28,576 , 2007 . / Combination in Gold. Ink, gouache and gold leaf
on Somerset paper, 28,5x76 cm, 2007.

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2008
. . 66-67

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 66-67

AVRAHAM-HERSH BORSHEVSKY
Hebrew scribe and illuminator
(Jerusalem, Israel)

THE JEWISH HOUSE BEGINS WITH A SACRED CALLIGRAPHY OF


MEZUZAH THE SPIRITUAL CHANNEL OF BLESSING OF EACH
FAMILY. THROUGHOUT 33 CENTURIES FROM THE REVELATION AT
MT. SINAI AND TO THIS DAY THE PEOPLE OF THE BOOK PIOUSLY
KEEPS THE WORD OF GOD, GIVING BLESSING TO EVERYONE WHO
WILL ADJOIN TO IT

1 . , ,
, , , , 2008 .
/ Hebrew Alphabet (original). Vellum, Torah scroll ink, egg
tempera, 18K gold plated 925 Sterling Silver case, brush, quill, 2008.

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17

3
2 ... (). XII, 29 51.
,
, , ,
, , , , 2009 . / And
it happened at midnight (fragment). Exodus 12, 2951.
Calfskin vellum, torah scroll black ink, platinumgold leaf,
white gold leaf egg tempera, brush, turkey quill, 2009.
3 . .
, ,
3641,5 , 2008 . / The sentence by Rabbi Pinchas
BenYair. From the Talmud. Facsimile on paper. Hand
finished with 24K gold leaf, 3641,5 cm, 2008.
4 . .

, 2008 . / The Aaronic Blessing. Facsimile print
on paper. Hand finished with 24K gold leaf, 2008.
5 ... 25,
7. ,
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, , , 33x44 c, 2008 . /
Remember not the sins of my youth... Psalms 25:7.
Calfskin vellum, torah scroll black ink, gold leaf 24K, egg
tempera, brush, turkey quill, 33x44 cm, 2008.

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19

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. ,


2008
. . 68-69

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 68-69

GUNNLAUGUR SE BRIEM

LET US GIVE THANKS TO CHRISTOPHER SHOLES, CARLOS GLIDDEN

Designer, publisher, calligrapher


(California, USA)

AND SAMUEL W. SOULE OF MILWAUKEE, WISCONSIN. IN 1867 THEY


LAID THE FOUNDATION FOR THE CALLIGRAPHY OF THE WESTERN
WORLD. THEY INVENTED THE WORLDS FIRST COMMERCIALLY SUCCESSFUL TYPEWRITER. I THANK THOSE, WHO TOILED TO CHANGE
THEIR LIVES WITH A VERY USEFUL INVENTION. I THANK FOR HAVING
CHANGED THE WORLD, AND MY LIFE

. 16 .
, , 91,5129 . / Brush futhark.
The younger futhark 16 letters alphabet. Digitally created, 91,5x129 cm.

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21

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2008
. . 70-71

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 70-71

SAMVEL VANOYAN

A PERSONALITY IS GROWN UP IN THE SOCIETY, SO AS ARTISTS

Calligrapher, artistdesigner, artistminiaturist


(Yerevan, Armenia)

CREATE THEIR WORKS TO ADD THE OPINION. BEING OUTSIDE A


MASTERPIECE CAN NOT BE UP-TO-DATE, AND IT CAN NOT BEAR
THE ATTRIBUTES OF TIME AND PLACE. CALLIGRAPHY GIVES US THE
MOST DELICATE AND UNIQUE IDEAS ABOUT THE AESTHETICS

. , , , , , 1518 ,
2009 . / Psalter. Calfskin vellum, ink, pen, acryl, brush, 15x18 cm, 2009.

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23

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,
SSI CLAS (
). Digby Stuart
College
. 1986 . .

.

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BAS J.P. VLAM

TO ME THE ART OF WRITING IS NOT JUST SOMETHING TO DO: IT IS LIFE

Calligrapher
(Florvg, Norway)

ITSELF! WHEN I WORK I LOSE SENSE OF TIME AND SPACE AND FIND MY-

Founder and present chairman of Kalligrafisk klubb


(Norway), member of SSI and CLAS (United Kingdom).
He studied at Digby Stuart College and attended
workshops with leading contemporary calligraphers.
Vlam has been owing the studio since 1986. He is an
active participant of exhibitions, as well as lecturer and
teacher.

SELF AT EASE AND CONSIDER ME TO BE A LUCKY MAN. IF I AM ON TOP


OF THAT CAN PRODUCE SOMETHING THAT PLEASES OTHERS AS WELL,
LIFE IS PERFECT

1 / Monogram
2 23. , , , 2550 , 2007 . /
Psalm 23. Pesist technique, ink, silver gouache, 25x50 cm, 2007.

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25

3
3 . , , 2535 , 2009 . / Alphabet. Automatic pen, gouache, 25x35 cm, 2009.
4 . Mitchell, , , , , 2025 , 2009 . / Pater Noster. Mitchell nibs, brushes, ink,
gouache and gold leaf, 20x25 cm, 2009.

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2008
. . 74-77

Detailed information about the author and her calligraphy works are
presented in album St. Petersburg 2008
p. 74-77

ANDREA WUNDERLICH

THE FAMOUS ROMANTIC BRITISH POET, LORD BYRON SAID: IF I

Calligrapher, graphic designer


(Goldkronach, Germany)

DONT WRITE TO EMPTY MY MIND, I GO MAD. I LIKE THIS QUOTATION VERY MUCH. IT TOUCHES ME, BECAUSE WHAT BYRON FEELS
AS A POET, DESCRIBES ALSO MY FEELINGS AS A LETTERING ARTIST.
WHAT I WOULD LOVE TO DO AT ANY TIME IS WRITING, WORKING ON
ALPHABETS, WORKING ON LETTER FORMS AND WILD FREE LETTERING TO EXPRESS MYSELF. IT MAKES ME NERVOUS AND DISSATISFIED IF THERE ISNT TIME FOR DOING SO

. . Ingres,
, Brause, , 5040 , 2009 . / Mad under Lord Byron.
Ingres Paper, sumi ink, gouache, Brause nib, ruling pen, 50x40 cm. 2009.

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SALAVAT GILYAZETDINOV

EVERY ETHNOS CREATED AND DEVELOPED ITS CALLIGRAPHY, BUT SOME

Artist, graphic artist, calligrapher,


member of the Union of Russian artists
(Ufa, Russia)

CIVILIZATIONS BASED MAIN CALLIGRAPHY SCHOOLS ACCORDING TO THEIR


MENTALITY AND AESTHETIC SENSE OF BEAUTY AND HARMONY

Mr. Gilyazetdinov was born in Bashkortostan in 1959.


He graduated from the Ufa State Institute of arts, easel
painting department and now is engaged in graphic and
applied arts. He has been widely exhibited both in Rus
sia and abroad. His works are kept in state museums
and cultural centres of Russia. He is an author and
curator of ethnofuturistic workshops of modern art in
Elabuga.

1 / Monogram
2 . , , 4284 ,
2009 . / The Holy embrace. Handmade paper, hot stamping, 42x84 cm,
2009.
3 . , , 4485 , 2009 . / Prayer.
Handmade paper, hot stamping, 44x85 cm, 2009.
4 . , , 8444 , 2008 . / The
Holy One is great. Handmade paper, hot stamping, 84x44 cm, 2008.

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QAMAR DAGAR

FROM MY POINT OF VIEW ALL SCRIPTS OF THE WORLD ARE AN

Artist, calligrapher
(New Delhi, India)

AMAZING KHAZANA (TREASURE). I FEEL FORTUNATE TO HAVE BEEN BORN

Born in Delhi in the family of classical Dhrupad expo


nents, but she always gravitated to the visual arts. Her
graduation in sociology widened her intellectual and
cultural horizon. And her spiritual and calligraphy guru,
himself a special master of Arabic calligraphy helped
her to see the beauty of written words. She designs
cards, posters, Brochures and makes stage decoration
for music concerts. Her works are mainly in the private
collections in India, France and the USA. She arranged
solo exhibitions in India and abroad.

32

IN A CULTURALLY RICH COUNTRY WHERE SEVERAL LANGUAGES AND


SCRIPTS CO-EXIST LIKE ALL OF US, THEREFORE IT IS ONLY NATURAL THAT
THESE SCRIPTS SHOULD ALSO CO-EXIST IN MY WORKS. THIS IN ANY CASE
IS OUR TRUE IDENTITY AND WE SHOULD CELEBRATE THIS UNIQUENESS

1 / Monogram
2 . , , , , , 30,538 ,
2008 . / Saayaa (Shelter/Shade). Ink, acrylic, paper, calligraphy qalam, card
board, 30,538 cm, 2008.
3 Ni ( 7). , , , , ,
4663,5 , 2008 . / Ni (The seventh note). Ink, acrylic, paper, calligraphy
qalam, card board, 4663,5 cm, 2008.
4 .
. , , 63,579 , 2008 . /Silsila (The continuity). The
chain of thoughts and aspirations, Hindi/Urdu. Ink, ivory paper, 63,5x79 cm, 2008.
5 . ,
. , ,
, 4663,5 , 2008 . / Khaas (The Special). Each individual is
special in his own way, Hindi/Urdu. hinese ink, acrylic and natural colour,
ivory paper, 4663,5 cm, 2008.

33

8
34

9
6 . .
, , 4663,5 , 2008 . / Alaap (The Prelude). The tranquil
and continuous flow, Hindi/Urdu. Acrylic and natural colour, ivory paper, 4663,5 cm, 2008.
7 . , , , , , 30,538 , 2009 . / Taar (The
connection). Ink, acrylic, paper, calligraphy qalam, card board, 30,538 cm, 2009.
8 . , , , , , 63,546 , 2007 . / Safar
(The Journey). Ink, acrylic, paper, calligraphy qalam, card board, 63,5x46 cm, 2007.
9 . , , , , , 4663, , 2008 . / Aaghaaz (The
beginning). Ink, acrylic, paper, calligraphy qalam, card board, 4663, cm, 2008.

35

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MICHEL DANASTASIO

WORKING WITH HEBREW CALLIGRAPHY SUITS ME WELL. I THINK

Calligrapher, painter and graphic designer


(Paris, France)

THAT I HAVE BEEN CHARMED WITH THESE LETTERS BEARERS OF

Was born in 1968, in Melun, France. Having made the


genealogical research he discovered the fact of one
party of his family has been being of the Jewish origin.
During his voyage to Israel Michel found the admiration
for Hebrew culture, especially Hebrew alphabet. So he
started training Hebrew calligraphy and has got up.
He is a participant of numerous exhibitions in India,
Belgium, Malta, France. As an artistic director of the
visual communication agency he creates logos and
logotypes using calligraphic creations to build the
graphic images, mural stickers and decorative lighten
ing and lamps.

HARMONY AND MEANING OF SIGNS ABORNING UNDER MY FINGERS


THIS IS WHAT FASCINATES ME, AND MY LOVE TO CALLIGRAPHY GROWS
WITH UNCOVERING THEM

1 / Monogram
2 . , , , 2436 ,
2008 . / Hebrew World. Automatic pen, carmine ink, paper, 24x36 cm,
2008.

36

37

3
3 . , , 3341 , 2007 . / Bereishit. Paper,
acrylic painting, pasteup on canvas, 33x41 cm, 2007.
4 . , 7550 , 2007 . / Elohim. Reflex digital
photograph of calligraphic work, 75x50 cm, 2007.
5 . , , , , 3624 , 2008 . / Yerushalaim. Automatic pen, siena ink, paper,
36x24 cm, 2008.

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MANOHAR DESAI

A TIME COMES WHEN YOU WANT TO EXPRESS YOUR DEEPEST FEEL-

Calligrapher, designer
(Pune, India)

INGS AND WISHES TO SOMEONE THAT IS WHEN WE REALIZE THE

He was born in Pune, 1973. He received his MA in art


(indology) in 2005. He is an active organizer of callig
raphy workshops, permanent participant of exhibitions
and contests. His calligraphy works are in private and
museum collections.

LIMITATIONS OF EXPRESSION IN PRINTED TEXT. AND WHEN WE PEN


THOSE WORDS BY OUR HAND, THEY TOUCH THE PERSON IN A UNIQUE
WAY. AFTER COMPLETING SCHOOLDAYS, WE RARELY HOLD THE PEN TO
WRITE EXTENSIVELY. WE HAVE INHERITED MANUSCRIPTS HANDWRITTEN BY OUR GRANDFATHERS AND FOREFATHERS. WHAT REALLY ARE
WE LEAVING BEHIND FOR OUR GENERATION? MS WORD FILES? ISNT IT
TIME WE STARTED WRITING AGAIN?
1 / Monogram
2 . , , , , 3192 , 2004 . /
Class room. anwas, ink, colour, brush, 3192 cm, 2004.
3 , ... , , , , 5991 , 2008 . / You
are in a country where... Paper, ink, colours, brush, 59x91 cm, 2008.
4 , , , , 9259 , 2008 . / Letter
Grieel, paper, colour, brush, 92x59 cm, 2008.

40

41

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2008
. . 92-95

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 92-95

EVGENY DROBYAZIN

SO, MAYBE WE SHOULD TURN TO OUR RUSSIAN TRADITION, MAYBE

Graphic artist, calligrapher, painter


(Moscow, Russia)

WE SHOULD SOMETIMES DROP OUR ARCHITECTONIC CONCEIT AND


TASTE THE CLOSE BROTHERHOOD OF VELIKOROSSES AND ENJOY
THE SHORTHAND DARING OF OUR CARELESS BUT SO DEAR FOREFATHERS?!

, .
. , , ,
61x49 , 2008 . / Praying to Martyr Vlasiy, bishop of Sebastian. Russian left
slope cursive. Whatman paper, black ink, steel pen, 6149 cm, 2008.

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43

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2008
. . 96-97

Detailed information about the author and her calligraphy works are
presented in album St. Petersburg 2008
p. 96-97

VERA EVSTAFIEVA

CALLIGRAPHY WITH ITS DELICACY IS LIKE A DANCE THAT IN GES-

Type designer, calligrapher, teacher


(Moscow, Russia)

TURES AND PLASTIC EXPRESSES A RAY OF EMOTIONS, MOODS AND


MEANINGS. CALLIGRAPHY IN ITSELF IS MULTIFACETED: IT IS AN
ART THAT IS CLOSE TO A PICTURE OR PAINTING, IT IS AN INTONATION OF A WRITTEN WORD. IT IS A PURE IMAGE AND A THING THAT
DEMANDS DEEP CONTEMPLATION. AT THE SAME TIME CALLIGRAPHY IS AN INSTRUMENT THAT EVERY DESIGNER MAY USE TO CARRY
VISUAL COMMUNICATION. THIS ART IS A FOUNT OF INSPIRATION
FOR THOSE WHO SEEK NEW WAYS OF EXPRESSION

. , , , 68,575,2 , 2009 . / Kite. Paper,


brush, acryl, 68,5x75,2 cm, 2009.

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45

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1942 .


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. 1978 .
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THOMAS INGMIRE

MY WORKS DEPICT THE EROSION OF A FEW CRITICAL WORDS, AND

Calligrapher, designer, illuminator


(San Francisco, USA)

HOPEFULLY STAND AS A REMINDER THAT WE MUST FIND A WAY TO

Mr. Ingmire was born in 1942. He received a BA in


Landscape Architecture at the Ohio State University and
an MLA at the University of California, Berkeley. He
pursued a study of medieval painting techniques and
calligraphy in the Art Department at California State,
Los Angeles. Since 1978 Ingmire has given much en
ergy to teaching, conducting workshops throughout the
United States, Canada, Australia, and several countries
in Europe as well as in Japan and Hong Kong. Currently
he is involved in collaborative work with a number
artists and poets.

46

. , , , , ,

SPEAK OUT WHEN ATTEMPTS ARE MADE TO CHANGE THEIR BASIC


MEANING. SILENCE IN THE FACE OF THESE ABUSES IS UNACCEPTABLE.
TRUTH, TRUST, JUSTICE, INTEGRITY, HUMANITY, ARE THE WORDS THAT
LIE AT THE FOUNDATION OF ANY FREE SOCIETY

1 / Monogram
2 . ,
, Sumi, ,
30x40 c, 1995 . / City Mind. Hand made paper mounted over stretched
canvas, matte acrylic paints, Chinese Sumi ink, brushes and ruling pens,
3040 cm, 1995.
3 . , Sumi,
(), , 3040,5 , 2008 . /
Truth. Handmade paper mounted over board, Chinese Sumi ink, wide edged
pen (Automatic pen), Japanese brush, 30x40,5 cm, 2008.
4 . ,
Sumi, (), , 3040,5 ,
2008 . / Justice. Handmade paper mounted over board, Chinese Sumi ink,
wide edged pen (Automatic pen), Japanese brush, 30x40,5 cm, 2008.

4
47

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2008
. . 102-105

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 102-105

NAZIP ISMAGILOV
(NADZHIP NAKKASH)
Fellow member of the Artists Union of Tatarstan,
Chamber of the Art Craft and Skills of Tatarstan,
calligrapher, textologist, teacher
(Kazan, Russia)

LET THE BEAUTY OF WRITING REFINE OUR EYE AND IMBUE OUR
SOUL WITH HIGH-MINDED LIGHT OF BEAU-IDEAL PERCEPTION!

( , ) . ,
, , , 6262 , 2008 . / Tugra (personal sign, emblem) of Rinat
Galliev. Paper, ink, nib, brush, 62x62 cm, 2008.

48

49

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1961 .
,
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.

,
,

JAMSHED QAISAR

CALLIGRAPHY IS IMMORTAL IN A SENSE; DEPICTING ETERNAL SUN-

Calligrapher, artist
(Lahore, Pakistan)

SHINE OF A HEART THAT FEELS IN A UNIQUE WAY. HANDWRITING IS

Mr. Qaisar was born in 1961. He post graduated in


Public Administration and Database Management
System from Punjab University. He is a Joint Secretary
of Pakistan CalligraphersArtist Guild and a Teacher of
Calligraphy in Iranian Culture Centre. He pays many
attention to students training, participating in exhibi
tions and workshops organizing.

MORE ABOUT EXPERIMENTATION WHEREAS CALLIGRAPHY IS FREE


FLOWING STREAM OF EMOTIONS THAT IS HELL-BENT TO COME DOWN
FROM HEIGHTS OF THOUGHTS TO THE GROUNDS OF REALITY

1 / Signature
2 . . ,
, , 3042 . / Quranic Surah Fateha. Free hand single stroke.
Poster colour, qalam, brush, 30x42 cm.

50

51

3
3 . . , . . , , 5260 . / Italian Poem. C.
Pavese, abstract. Free hand single stroke. Poster colour, brush, 52x60 cm.
4 . . , . . , , 4258 . / Italian Poem. C.
Pavese, abstract. Free hand single stroke. Poster colour, brush, 42x58 cm.

52

53

(, )

,
1963 .
ENALC . ,
Buton. Publiflash
( . ),

.
Pirelli,
Ferrari Ferrero.
.
,
,
.


. ,
, ,
,

BARBARA CALZOLARI

CALLIGRAPHY IS ABOUT FOLLOW A DREAM THAT STARTS IN MY

Calligrapher
(Bologna, Italy)

HEART... PASSING THROUGH MY BRAIN AND ARRIVES TO MY HANDS...

The daughter of a cabinetmaker and restaurateur,


Barbara Calzolari was born in 1963. She attended the
ENALC, a school of commercial art, in Bologna and
studied with R. Canaider, art director of Buton. Later,
she worked for Publiflash (the silkscreening laboratory
of the painter O. Brocca) and completed projects for
Bolognas Galleria dArte Moderna. She was engaged
in the fashion sector and developed products for Pirelli,
Ferrari, and Ferrero. Meanwhile she cultivated her
greatest passion: calligraphy. So she has contacted the
Associazione Calligrafica Italiana, took part in training
workshops has joined the Washington Calligraphers
Guild.

54

I CANT STOP WRITING. THE PERFECT LINE FOR ME IS ALWAYS COMING


TOMORROW. WRITING IS BY MYSELF BUT I CANT STOP SHARING WITH
MY FRIENDS ALL THE KNOWLEDGE THAT THIS LONG JOURNEY REVEAL
TO ME EVERY DAY

1 / Monogram
2 ,
, , , 2009 . / La tua carrezza...
(Your caress) Iron Gallic ink, oblique pen holder, different kind of paper,
stitching, 2009.
3 ,
, , 2009 . / Ti lascio affamata (Leave you
famish) Sumi ink ruler, different kinds of papers, stitching, 2009.

55


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2008
. . 112-115

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 112-115

HENRY SHANG REN KAO


Calligrapher, PhD; Professor Emeritus
(Psychology) University of Hong Kong;
Professor of Psychology, Sun YatSen
University, Guangzhou, China
(Hong Kong)

/COAUTHORS:
, 1995 . /Tin Tin
Kao, daughter, born in 1995,
, 1997 . / Xiao Yang Kao,
son, born in 1997.

56

CHINESE CALLIGRAPHY, THE WRITING OF CHINESE CHARACTERS BY


HAND THROUGH A SOFT-TIPPED BRUSH IS, FOR CENTURIES, REGARDED IN CHINA AS ONE OF THE FINE ARTS AND CHINESE PEOPLE
HAVE CONCERNED ABOUT THE WRITING OF CALLIGRAPHY AS A
MEANS OF CONVEYING THOUGHTS AND ITS EXPRESSION IN PECULIAR VISUAL FORMS

1 . .
, 8460 , 2009 . / Active mind by Henry Kao & X.Y. Kao. Digital
print on canvas, 84x60 cm, 2009.
2 , .
, 8460 , 2009 . / Patterning the breath by Henry Kao and
X.Y. Kao. Digital print on canvas, 84x60 cm, 2009.

57

, ,

(, )

, .
. -

1957 . .
. ..


.


.

.
, .

YURIY KOVERDYAEV

ORIGINALITY AND INDIVIDUALITY ARE THE ELEMENTS OF A CALLI-

Graphic artist, calligrapher,


Member of the Russian Union of Artists
(Moscow, Russia)

GRAPHIC FONT, SAID ALBERT KAPR. THUS, DEVELOPMENT

He was born in 1957 in Moscow. Graduted from Bau


man Moscow State Technical University and studios of
calligraphic and art font at Moscow United Committee
of Graphic Artists. As a designer he works on a series
of paper currency of Russia, on the project of the Rus
sian regular passport. He is engaged in working out of
new polygraphic protection means for printed material.
His creative works are widely exhibited at art,
advertising and bank exhibitions.

OF CALLIGRAPHY IS ALSO INEVITABLE. IT IS IMPORTANT TO STUDY


CAREFULLY THE CLASSIC SPECIMENS OF CAPITAL AND CALLIGRAPHIC
FONTS, CHRONOLOGICAL AND TECHNOLOGICAL HISTORY OF WRITING
DEVELOPMENT AND REGULARLY PRACTICE THE BASIC STYLES

1 / Monogram
2 . , , ,
60180 , 2005 . / Dedication to Irina Egorova. Paper, ink, pointed pens,
60x180 cm, 2005.

58

59

3
3 . , , , , 3750 , 1988 . / Organists
contest. Black paper, white Chinese ink, broadnib pens, aerography, 37x50 cm, 1988.
4 . , , , 3040 , 1985 . / Scarlet clothing. Black paper, aerography, gouache,
30x40 cm, 1985.

60

61

, ,
(, )


2008
. . 116-117

Detailed information about the author and her calligraphy works are
presented in album St. Petersburg 2008
p. 116-117

VALENTINA KOZHEVINA

FOR ME CALLIGRAPHY IS A PATTERN OF BEAUTIFUL WORLD

Artist, calligrapher, conductor


(St. Petersburg, Russia)

1
. , , , 4540 , 2009 . /
Headpiece of Dehlevis poem Dovalrany and Hizirhan. Watercolor, tempera,
watercolor paper, 4540 cm, 2009.
2 25. . , ,
, 2520 , 2009 . / Sura 25. Text from Koran boat
formed. Watercolor, tempera, watercolor paper, 2520 cm, 2009.
3 .
, , , 2430 , 2009 . / Authors composition Blue
Suls. Watercolor paper, tempera, watercolor, 24x30 cm, 2009.
4 . ,
, , 1722 , 2008 . / Eastern kufi composition.
Watercolor, tempera, watercolor paper, 17x22 cm, 2008.

62

63


,
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(, )

- ,
, .
,


2008
. . 118-121

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 118-121

GEORGY KOZUBOV
Artist, calligrapher,
Candidate in Art Studies, Professor,
member of the Russian Union of Artists
(Moscow, Russia)

WHEREAS OTHER ARTISTS CAN REPULSE FROM ANYTHING THAT


IS REALLY SEEN IN THE WORLD, ONE CANNOT FIND SUCH READYMADE ANALOGIES IN THE FONT GRAPHIC ART, FROM WHICH WE
CAN REPULSE. EVERYTHING IS BASED ON FEELINGS AND IMAGINATION HERE


. , , , , 5538 , 2003 . / Do not climb up the
apple tree... Folk wisdom series. Paper, pen, brush, ink, 5538 cm, 2003.

64

65

()

,
(, )

. . ,

, .


2008
. . 122-123

Detailed information about the author and her calligraphy works are
presented in album St. Petersburg 2008
p. 122-123

NINA KOZUBOVA (SMIRNOVA)

IT HAS BEEN KNOWN ABOUT THE UNIQUE CHARACTER OF HAND-

Calligrapher, graphicartist
(Moscow, Russia)

WRITTEN COMMUNICATION FOR CENTURIES. AT DIFFERENT TIMES


CALLIGRAPHY HAD ITS OWN VALUE. IF TO SPEAK ABOUT THE
PRESENT MOMENT WHEN COMPUTERS AND OTHER TECHNICAL
MEANS OF COMMUNICATION DEFORM THE WAY OF HUMAN COMMUNICATION SET BY NATURE WE CAN STATE WE LACK NATURAL
MEANS OF COMMUNICATION. THAT IS WHY, I THINK, IT IS HIGH TIME
FOR CALLIGRAPHY RENAISSANCE

. . , , ,
, , , , 30x48 , 2008 . /
A thankful letter. Diploma. Vellum, watercolor, ink, brushes, metal nibs, gold,
30x48 cm, 2008.

66

67

, ,

,
(, )

. ,
, . , , , .
,


2008
. . 128-131

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 128-131

JEAN LARCHER

THE PUBLIC READ THE WORDS, PHRASES OR ADVERTISING SLO-

Calligrapher, teacher of calligraphy


(CergyPontoise, France)

GANS BUT NEVER GENERALLY COME TO RECOGNIZING A SPECIFIC


HISTORICAL FORM OR EVEN A PRECISE STYLE OF A LETTERFORM.
THE REASON FOR THAT IS THAT THE HISTORY OF CALLIGRAPHY IS
NOT TAUGHT AT SCHOOLS ANYMORE. CONSEQUENTLY, THE PUBLIC
HAVE NO IDEA ABOUT THE DIFFERENCE BETWEEN PRINTED TYPOGRAPHY AND THE TEXT EXECUTED IN A SPECIFIC CALLIGRAPHIC
MANNER. ONLY A FEW PEOPLE EDUCATED AND TRAINED IN AN
ARTISTIC MOOD, CAN APPRECIATE AND JUDGE AT A GLANCE IF A
WORD IS SET MECHANICALLY OR HANDWRITTEN

Z, . Canson,
, , , 30110 , 2009 . /
From A to Z, a trip throughout the Latin Alphabet. Black Canson paper, different
gouaches, pointed metallic pen, brush, 30x110 cm, 2009.

68

69

. -

,
(, )

. , .
,

. . .
, ,
,


2008
. . 132-133

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 132-133

ARTEM LEBEDEV

CALLIGRAPHY IS A GREAT ART. IT IS THE ART OF WORD REPRE-

Calligrapher, type designer


(Samara, Russia)

SENTATION. IT IS BOTH A DRAWING AND A LETTER. CALLIGRAPHY


BRINGS THE SHEER PLEASURE, WHETHER IT BE A POSTCARD OR A
TOUCHING CHILDS WORD MOTHER. LET US TAKE A POSTCARD,
FOR INSTANCE. MOST POSTCARDS CONTAIN THE WORDS OF CONGRATULATION. IN THIS SENSE CALLIGRAPHY IS NOT MERELY AN
ART BUT THE UNIVERSAL ART GIVING AESTHETIC PLEASURE AS
WELL AS RENDERING THE CERTAIN MEANING
1 . , , , 3042 , 2009 . / Font
composition. Paper, ink, pen, 30x42 cm, 2009.
2 . , ,
, , , , 3042 , 2009 . / Monogram font
composition. Paper, watercolor, color pencil, ink, nib, brush, 30x42 cm,
2009.
3 .
. , , , , , 3021 , 2009 . /
Ribbon halfrunning hand. Font composition after halfrunning hand.
Paper, watercolor, ink, pen, brush, 30x21 cm, 2009.

70

3
71

, ,

,
(, )

. . -

1973 .
. .. ,

. .. ,
. ,

.
,

(
)
.

,
. , ,
,
,

EGOR LOBUSOV

WE ARE WRITING NOT WITH A HELP OF A HAND, AND NOT WITH A

Calligrapher, doctor
(Moscow, Russia)

PEN, BUT WITH OUR CONSCIOUSNESS. A HAND IS A GUIDE OF OUR

Born in Moscow in 1973. He entered biological faculty


of Moscow State University but later took interest in
Chinese medicine, so transferred to medical faculty,
MSU. During trainings in China he was tutored by
professional calligraphers. He works at Basargino,
Educational and health centre in Altay, arranging
workshops and masterclasses on Qigongcalligraphy
which is cooperation of psychophysical selfadjustment
system training and art creation.

THOUGHTS. A HAND OF THE CALLIGRAPHER IS A RECORDING DEVICE OF


A SEISMOGRAPH REGISTERING THE MOST DETAILED VIBRATION OF HIS
SOUL. THEREFORE ADMIRING PRODUCTS OF MASTER WE CAN ENJOY
CLEARNESS AND STEADINESS OF HIS MIND, OR ON THE CONTRARY
IMPETUOUS AND UNPREDICTABLE STRETCH OF IMAGINATION WHICH
MOVES TO UNIMAGINABLE WAY UNDER THE INFLUENCE OF A CREATIVE
IMPULSE

1 / Monogram
2 . , ,
, 3550 , 2008 . / A path follows itself. Aged
paper, Chinese ink, goat hair brush, 3550 m, 2008.

72

73

(, )

. , ,
,


2008
. . 134-137

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 134-137

HANS MAIERHOFER

CALLIGRAPHY NOWADAYS IS NOT DOING HISTORICAL SCRIPTS.

alligrapher
(Regensburg, Germany)

CALLIGRAPHY NOWADAYS IS TO WORK WITH OUR OWN FEELING OF


PRESSURE AND RELEASE, IS TO MANAGE THE SPEED OF FORMS ON
THE PAPER AND ALSO THE NEARNESS AND THE DISTANCE OF THE
LETTERFORMS TO EACH OTHER

. , , . ,
, , 3550 , 2008 . / Alphabet. Gothic, uncial and latin free
style. Nib, ruling pen, gouache, 3550 cm, 2008.

74

75


,


(, )

, , . . ,
. , ,


2008
. . 138-141

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 138-141

NIKOLAY MAKAROV

CALLIGRAPHY IS THE SHORTEST AND EXPRESSIVE MEANS TO

Calligraphy teacher, assistant professor,


Chair of Environment and Graphic Design
(Tyumen, Russia)

TRANSFER A MESSAGE, IDEA AND IMPRESSION. IT IS ENERGETIC


AND IMPETUOUS. IT BEARS THE SPIRIT AND MOVEMENT OF TIMES,
SENSATION OF LIVING BREATH. CALLIGRAPHY IS TEMPERAMENTAL,
EXPRESSIVE AND AT THE SAME TIME GRACEFUL

8 . . , ,
, 2921 , 2009 . / March' 8. Greeting
postcard calligraphy. Paper, ink, pointed metal nib, 2921 cm, 2009.

76

77



(, )

, ,

,
. 21
Karma Kagyu.

.

. 2000 .

. ,
.

TASHI MANNOX

THE IMPORTANCE OF A FOUNDATION IN THE DISCIPLINE OF A TRAINED

Tibetan calligraphy and iconography artist


(London, Great Britain)

HAND, WHICH NOT ONLY HELPS TO KEEP THE SCRIPTURAL TRADITIONS

Born in Great Britain, studied a three year fine art, BA


hons degree. At the age of 21 became a Buddhist monk
in the Tibetan Karma Kagyu order. Apprenticed for 17
years under a master of Tibetan arts: Sherab Palden
Beru, during this time studied the Tibetan language and
worked as a scribe in the many forms of Tibetan scripts.
In 2000 Tashi left the monastery to peruse a career
as an artist in Tibetan calligraphy and iconography.
Exhibiting in London, New York and LA.

ALIVE, BUT ALSO GIVES THE CONFIDENCE TO ALLOW THE CREATIVE FREEDOM TO EMANATE THROUGH THE MEDIUM IS FUNDAMENTAL TO ME

1 / Monogram
2 .
, , 61x46 , 2009 . / Merit
of right action. Chinese ink and Japanese mineral paint on a wash of pure
saffron, 61x46 cm, 2009.

78

79

80

4
3 . , , 5776 , 2009 . / Confident in Faith. Chinese ink on
heavy watercolour paper, 57x76 cm, 2009.
4 . , , , , 5776 ,
2006 . / The Emblem of Impermanence. Gold leaf, Acrylic paint and Chinese ink on heavy watercolour paper, 57x76 cm, 2006.

81


,
,

(, )


, .
.
,


2008
. . 142-145

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 142-145

NASSAR MANSOUR
Calligrapher, PhD in the Art of Arabic
Calligraphy, lector of the Art of Arabic
Calligraphy at the Institute of Traditional Islamic
Arts at alBalqa Applied University
(Amman, Jordan)

MUSLIMS HAVE LONG HAD A DEEP PREJUDICE AGAINST REPRESENTATIONAL ART. CONSEQUENTLY, IN THE APPLIED ARTS, CALLIGRAPHY TOOK PRIDE OF PLACE. EARLY ON, IT ACQUIRED A RELIGIOUS
CHARACTER AND VALUE. MANY MUSLIMS HAVE SEEN ISLAMIC
CALLIGRAPHY AS A WORK OF PRAISE AND ALSO OF EVANGELICAL
MISSION, SPREADING THE WORD OF GOD AND HELPING THE FAITHFUL TO A FURTHER MEDITATION ON ITS MEANING

1 12, 92. , ,
,
, 3344 , 2009 . / Sura 12, ayah 92. Treated paper, Arabic ink, red
and yellow crashed gold and natural pigments, reed pen, 33x44 cm, 2009.
2 12, 92. , ,
, , 180,532,3 , 2009 . / Sura 12, ayah
92. Treated paper, Arabic ink, natural pigments, reed pen, 180,5x32,3 cm,
2009.

82

83

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(, )

,
.

, ,
, 1921 .
,
. ,
. ,
,
.

. ,
,

.

, .

- , .

REV. MATEO KYU LEE

ALL HUMAN BEINGS HAVE IN THEIR MIND AND SPIRIT AN IMAGE OF

alligrapher, pastor at Presbyterian Church


(San Francisco, USA)

GOD. EVERYBODY WANTS TO REFLECT THE LIGHT OF GOD BY HIS OWN

Born in SeoSan, Choong Nam Province, South Korea


in 1921. Graduted from Presbyterian College and Theo
logical Seminary in NamSan, Seoul, Korea. Awarded
Masters Degree, Yonsei University Graduate School.
CA Completed, Doctoral Courses at San Francisco
Theological Seminary, San Anselmo. Now he is cur
rently serving as Elder Pastor at San Francisco Grace
Presbyterian Church. He is also serving as the director
of San Francisco Senior Culture Center, teaching Asian
calligraphy and distributing biblical hanging scrolls
as well as being actively involved in world mission as
the chairman of San Francisco Senior Citizens Mission
Project and lecturing

84

ABILITY. ANYBODY CAN MAKE A SIGN BY HIS HAND, HIS OWN WORK.
THAT IS CALLIGRAPHY

1 / Monogram
2 . ,
4258,8 . / Love and grace. Ink calligraphy on textured paper,
4258,8 cm.
3 12:18.
, 4258,8 . / Romans 12:18. Ink calligraphy on layred paper,
4258,8 cm.
4 . ,
4258,8 . / Love and peace. Ink calligraphy on yellow textured paper,
4258,8 cm.

85

, , -

,
()

1937 . .
Ecole de Louvre
1967 .
Cite Internationale des Arts ,
.

,

.
,
, .

.

NJA MAHDAOUI

IN PAINTING, MY MAJOR CONCERN IS PRIMARILY A FUNDAMENTAL

Artist, calligrapher
(Tunisia)

URGE TO CREATE, AND A WILLINGNESS TO BREAK AWAY FROM THE

Born in 1937, Tunisia. He graduated from the Academia


Santa Andrea in Rome and the Ecole de Louvre in Paris
in 1967. He pursued his academic training at the Cite
Internationale des Arts in Paris with a scholarship from
the Tunisian government. Nja has been Jury member
and Honour guest of many international events and
biennales and he is a member of the International
Jury for the Arts Prize of UNESCO. His work has been
widely showed around the world and can be found in
many public and private collections, such as at the
British Museum. He is considered as a notable Arab
contemporary artist.

86

, -

CULTURAL MAZE OF SUBMISSION TO A FIXED GENRE OR TO A PREESTABLISHED AND SET STYLE

1 / Monogram
2 . . , ,
, 450150 . / Tapestry. Traditional handmade Tunisian tapestry.
Silk, wool & cotton, 450x150 cm.
3 Lake's Dome .
Vitrail France, 2005 .
. / Stained Glass for The
Lake's Dome Building, Tunis. Stainedglass windows realized by Vitrail
France, 2005. This artwork has received the UNESCO Great Prize for
Artcraft in the Arab World.

87

88

4 50 GULF AIR,
2000 . / External Designs of aircrafts for the GULF AIR 50th Anniversary,
2000.
5 . , ,
, 100200 , 20022007 ./ Calligramm on canvas. Indian ink
and acrylic painting on linen canvas, 100200 cm, 20022007.
6 . ,
, , 3 (25125 ), 2004 . / Calligramm on
papyrus. Indian ink, color and gold acrylic paintings on papyrus,
3 (25125 cm), 2004.
7 . , , ,
150150 , 20022007 . / Midoun. Indian ink and acrylic painting on
linen canvas, 150x150 cm, 20022007.

89

, ,

(, )

, , ,
, ,
.

1959 .
.


I , 2008 .

,
20062008 .

,
. ,
,

1

ANATOLY MOSCHELKOV
Member of the Russian Artists Union, graphic
designer, calligrapher
(Moscow, Russia )
He was born in 1959. Graduated from Moscow Printing
Industry Institute (graphic arts department). The winner
of the national award in the sphere of modern Russian
fine and decorative art Russian gallery XXI century
in 2008. The winner of the regional award in fine arts
named after Aphanasy Kulikov in 20062008.

90

AT THE HEART OF CALLIGRAPHY LIES HANDWRITING, SOMETHING THAT IS


PECULIAR TO A PERSON FROM ABOVE, INDEPENDENT FROM HIS POINTS
OF VIEW AND PRINCIPLES, AND REVEALS THOSE INTERNAL PECULIARITIES THAT CAN BE RECORDED IN A FEW MINUTES. IN CALLIGRAPHY
IMAGE-BEARING IS POSSIBLE FOR YEARS BUT PERFORMANCE IS IN
HOURS AND MINUTES. POSSIBLY, THIS INCONSISTENCE OF THE CONSIDERED ORIGINS ALSO RESULTS IN A CERTAIN WAY OF LIFE AND THOUGHTS
THAT IS A PECULIAR FEATURE OF A FEW CALLIGRAPHERS
1 / Monogram
2 . , , 4059 , 2005 . / In
beginning was the word. Paper, quill, 4059 cm, 2005.
3 . 955 .
, , , , , 5070 , 2008 . / Great
praise of Olga. Nestors Panegyric, 955. Broad nib, lettering, brass, eyelets,
twine, 5070 cm, 2008.
4 . 28. , , , ,
2436 , 2003 . / Shakespeare. Sonnet 28. Paper, etching, pointed pen,
ink, 2436 cm, 2003.
5 . 46. , , , ,
, 4459 , 2003 . / Shakespeare. Sonnet 46. Paper, pointed pen,
brush, ink, lettering, 44x59 cm, 2003.

91


. .. ,
, ,
,
(, / , )

, , ,
, , ,
, , , -

.

; 1992 .
,
, .
,
, , ,
, , , .

BRUNO NIVER
Teacher of the Lomonosov Moscow State
University, poet, paintercalligrapher,
singer, actor
(Moscow, Russia / Paris, France)

IF THE FIRST WAS WORD, THE BASIS AND FOUNDATION OF ANY


HUMAN OR DIVINE THOUGHT, THEN WRITING AND, CONSEQUENTLY,
CALLIGRAPHY IS THE PHENOMENON WHICH DEIFIES AND AT THE MEANTIME HUMANIZES, OR AS WE CAN PUT IT, TRANSLATES THE DIVINE

Was born in Paris. After he had graduated from the


Sorbonne University, philological faculty, he travelled
through Europe. Since 1992 he has lived in Russia and
has taken active part in cultural life, as well as taught.
He is a specialist of extravagant performances, joining
authorial poetry with declamation, fashion, dance,
theatre, music, calligraphy.

MESSAGE

1 / Monogram
2 ...
, , 21x 29,7 c, 2003 . / Brigitte Bardot unbinds her hair at
the seashorePastel, Chinese Ink, 21x29,7 cm, 2003.

92

93

94

3 . , ,
43 , 20082009 . / Je tends ma lyre(I string my lyre)
Poemceramic. Ceramic, enamel, diameter 43 cm, 20082009.
4 . . , , 12082 , 2001 . /
L'arcenciel (Rainbow). Poempainting. Pastel, ink, 120x82 cm, 2001.
5 , . , , ,
BN, 29,7x41 c, 2001 . / Non, je ne vous crois pas...
(No, I dont believe you) Poempainting. Pastel, gouache, ink,
sealing wax with stamp BN, 29,7x41 cm, 2001.
6 , , 2004 . / Non, je ne vous crois
pas (No, I dont believe you) Poemdress, 2004.

95

. -

, ,
,
(, )

,
. ,
, ,


2008
. . 162-163

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 162-163

GENNADY PAVLOV

CALLIGRAPHY IS CREATIVITY. IT IS FOR AGES THAT PEOPLE SOUGHT

Designer, graphic artist, calligrapher, teacher


(Omsk, Russia)

NOT ONLY TO STATE THEIR THOUGHTS IN WRITING BUT TO DO THAT


BEAUTIFULLY. A BEAUTIFUL LETTER GIVES BIRTH TO A COMPREHENSIVE, BEAUTIFUL WORD, WHICH AWAKENS A HUMAN SOUL THAT
CAN CREATE THE GOOD

. 25. , ,
, Wax Gilt, 2121 , 2007 . / The Holly Cross of Lord. Paper 25.
Paper, Indian ink, pointed pen, Wax Gilt, 21x21 cm, 2007.

96

97

,


,

(, )

, .

, ,
,
, , , .


2008
. . 164-165

Detailed information about the author and her calligraphy works are
presented in album St. Petersburg 2008
p. 164-165

NADEZHDA PAVLOVA
Calligraphy artist, assistant Professor of the
Communicative Design Chair, St. Petersburg
Artistic and Industrial Academy; member of the
Union of Russias Artists.
(St.Petersburg, Russia)

CALLIGRAPHY, OR THE ART OF NEAT HANDWRITING, ALLOWS A


WRITER EXPRESS HIMSELF, ATTITUDE TO THE WORLD AND OPEN
UP HIS HEART. TO EXPRESS ONESELF A CALLIGRAPHER NEEDS
HIGH-QUALITY INSTRUMENTS AND MATERIALS: ROUGH OR SMOOTH
PAPER, A BROAD OR FINE PEN OR A COMMON PENCIL AND INSPIRATION, OF COURSE. THERE IS NO LIMIT FOR PROGRESS

. Dibujo Universal,
, ,
, 3157,2 , 2009 . / Calligraphy is a flower of human soul. Paper Dibujo
Universal, automatic brush, Indian ink, marker, 31x57,2 cm, 2009.

98

99

, ,
( , )

,
XXI . ,

1963 . .
.

.
,
, ,
;
. 2004 .
.

VALERY PERESKOKOV

I SINCERELY HOPE THAT CALLIGRAPHY WILL NOT BE LOST IN TEARING

Jeweller, artist of stainedglass window,


calligrapher
(Moscow Region, Russia)

HURRY OF XXI CENTURY. I AM GLAD THIS ART IS HANDED DOWN FROM


GENERATION TO GENERATION SO IS STILL ALIVE

He was born in 1963 in Moscow region. In art school


he acquired a profession of the jeweller. Later he
mastered specialities of the stonecutter and the artist
of stainedglass window. He worked out the design
of the Soviet embassies abroad, stations of Moscow
underground, public buildings, stadiums and airports
in the different countries of the world; was engaged in
interior design. Since 2004 he has been developing
monograms.

1 / Monogram
2 . ,
(, , , , ), 3537 , 2004 . / Family
monogram PV. Embossed paper, mixed media (watercolour, tempera,
acryl, pastel, ink), 35x37 cm, 2004.
3 . ,
(, , , , ), 30,526,5 , 2004 . /
Personal sypher CK. Embossed paper, mixed media (watercolour, tem
pera, acryl, pastel, ink), 30.5x26.5 cm, 2004.

100

101


, ,
,


,




, ,

(, )

XX . ,

2

2008
. . 170-171

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 170-171

DMITRY PETROVSKY
Calligraphy artist, designer, photograph,
a member of the Union of Designers of Russia,
Assistant Professor, Graphic Art Chair,
Northwestern Printing College, St. Petersburg
State University of Technology and Design,
teacher, Font and Calligraphy Course, College
of Arts, St. Petersburg State University School
of Philology and College of Decorative and
Applied Art
(St. Petersburg, Russia)

BY THE END OF THE 20TH CENTURY, CALLIGRAPHERS HAD


DEVELOPED THE MOST DIVERSIFIED AND SOPHISTICATED FORMS OF
MANUSCRIPT, WHICH TRANSFORMED CALLIGRAPHY INTO A QUITE
INDEPENDENT AND HIGH-LEVEL TYPE OF VISUAL ART

. .
: , ; ,
, 5360 .
: , , ,
2008 . / Counterpart BA. A banner from the Words and Images of Ancient
Egypt series. Banner originals: plastic, jet printing, authors photo, computer
graphics, 5360 cm. Lettering originals: paper, reed pen, black ink, 2008.

102

103

, ,

, , ,
, ,
(, )

, ; , . ,
, , ,
,


2008
. . 172-175

Detailed information about the author and her calligraphy works are
presented in album St. Petersburg 2008
p. 172-175

KATHARINA PIEPER

IT SEEMS THAT WHEN WE WRITE AND THAT IS WHAT THE CAL-

Calligrapher, designer, lettering artist,


teacher, writer, editor
(Homburg, Germany)

LIGRAPHERS DO ALL DAY WE DO NOT MERELY HAVE TO COPE


WITH THE TEXT, WE LIVE IN IT, WE ARE FILLED WITH IT. ONLY THEN
WE ARE ABLE TO FIND THE ADEQUATE STRUCTURE FOR A TEXT. I
AM ALWAYS LOOKING FOR TEXTS THAT INSPIRE ME, WORDS THAT
SUIT MY THOUGHTS, VERSE THAT I CAN LIVE IN

. .
, , , , , , ,
6189 , 2009 . / But my soul is a passionate dancer. Bettine von Arnim.
Colour chamois paper, watercolor, wood stain and gouaches, brushes, ruling
pen and tape standardgraph pen 1,5 mm, 6189 cm, 2009.

104

105



Dal Segno alla Scrittura,


(, )
1970 . , .

.
,

.
,
, , , , .

, , .

Doigts Noir,
.

MASSIMO POLELLO
President of Turin calligraphers' guild Dal Segno
alla Scrittura, teacher of the International Centre
for Calligraphy Arts in Rome (CIAC)
(Turin, Italy)
Born in Turin, Italy, in 1970. He received his profes
sional training at the School of Graphic Arts and
Fine Arts Academy. A long period of selfinstruction
followed during which he developed a personal style of
calligraphy and studied with internationally recognized
master penmen at the Scriptorium de Toulouse, France.
He has exhibited his work in collective and oneman
shows in Italy, France, Belgium, Spain, Japan, Paki
stan. Polello works mainly on projects for designing
calligraphic logotypes, trademarks, packaging and
publishing. Member of Doigts Noir an international
group of calligrapherartist professionals who meet
annually in France.

106


,
,
,
60- . , , ,
,

TODAY IN THE WEST, CALLIGRAPHY IS EITHER ASSOCIATED WITH


IMAGES OF MEDIEVAL SCRIBES BENT OVER MUSTY BOOKS IN DARK
CHAMBERS, OR TO THE BEAUTIFUL WRITING WHICH WAS TAUGHT IN
THE ITALIAN PUBLIC SCHOOLS UNTIL THE 1960S. ONE SELDOM BOTHERS TO INQUIRE FURTHER THAN THIS, TO ACTUALLY CONSIDER THAT
TODAY CALLIGRAPHY IS DONE BY ARTISTS AND AMATEURS ALIKE, NOT
ONLY AS A WRITTEN COMMUNICATIVE TOOL BUT ALSO AS A MEANS OF
ARTISTIC EXPRESSION
1 / Monogram
2 . . . Fabriano Roma, , ,
( Littera Antiqua), (
), 7961 , 2007 . / Itaka. From C. Kavafis. Fabriano
Roma paper, gouache, collage, nibs Brause (Littera Antiqua style), flat
sponge (big letters red), 7961cm, 2007.
3 . Arches MBM, ,
, , , 6262 , 2007 . /
Nothing has changed. Arches MBM paper, gouache, walnut husk with nibs
Brause and flat brush, 6262 cm, 2007.

107

108

5
4 . Canson, , , , ,
5368 , 2008 . / Blue K. Canson black paper, gouache, enamel paint, wood caracter , nibs Brause,
53x68 cm, 2008.
5 . 25:7. , , , ,
, , , , , , 4755 ,
2009 . / Remember not the sins of my youth.... Psalms 25:7. Gold enamel paint, gouache, blue carminium
indigo pigmets, gallotannate ink on cotton canvas, flat brush, metallic nibs, ruling pen, 4755 cm, 2009.

109

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2008
. . 184-187

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 184-187

JOACHIM PROPFE

CERTAINLY OR BETTER LUCKILY THE TASKS OF CALLIGRAPHY HAVE

DiplomDesigner, Calligrapher, Artist


(Braunschweig, Germany)

CHANGED SINCE THE INVENTION OF PRINTING AND EVEN MORE


SINCE THE AROUSAL OF DIGITAL MEDIA. THE TECHNICAL DEVELOPMENTS TOOK OVER THE PRIMARY TASKS OF CALLIGRAPHY SO CALLIGRAPHY COULD TURN INTO AN INSTRUMENT OF ART. THE SHAPE
OF LETTERS AND THE COMPOSITION OF THE TEXT DISENGAGED
ITSELF FROM THE BONDAGE OF READABILITY. EXPRESSIVITY AND
THE DISPLAY OF EMOTIONS HAVE BEEN MADE POSSIBLE. CALLIGRAPHY NOWADAYS POSSESSES A BIG VARIETY OF EXPRESSIONS AND
IT SHOWS ITSELF EMANCIPATED BETWEEN THE OTHER FINE ARTS

110

1 . , . ,
. , . , . . , , 120140 , 2007 . /
Society. Texts from Cicero, E. von Rotterdam, M. de Montaigne, A. von
Knigge, T. Hobbes. Acrylic on canvas, 120x140 cm, 2007.
2 . , , , ,
, , , , . , ,
140100 , 2009 . / Truth. Texts from Demokrit, Aristoteles, Leibniz,
Feuerbach, Goethe, Schiller, Lichtenberg, La Mettrie, Hebel, Berger. Acrylic
on canvas, 140x100 cm, 2009.

111

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,


2008
. . 196-197

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 196-197

SASHIDA TAKEFUSA

JAPAN CALLIGRAPHY IS CHANGING NOW, AND JAPANESE PEOPLE

Calligrapher, artist
(Tokyo, Japan)

WANT TO SEE NOT BEAUTIFUL LINES WHEN THEY LOOK AT A CALLIGRAPHY WORK. BUT THEY WANT TO SEE THE POWER OF THE
CALLIGRAPHER WHEN THEY LOOK AT IT

. , , , 106,8226,5 , 2009 . /
Life. Whatman, Chinese black ink, brush, 106,8226,5 cm, 2009.

112

113



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, , ,


2008
. . 198-199

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 198-199

VSEVOLOD SVENTOKHOVSKY

THOUGH STATIC BY ITS SHAPE, CALLIGRAPHY IS DYNAMIC BY ITS

Calligraphy artist, Chief Lecturer, Belarus


National Academy of Arts
(Minsk, Belarus)

CONTENTS. MOVEMENT, RHYTHM, AMPLITUDE, EXPRESSION AND AT


THE SAME TIME DELIBERATION, MEANINGFULNESS, SCRUPULOUSNESS, MODERATENESS, CAREFULNESS AND LACONISM, OF COURSE,
- THIS IS WHAT CALLIGRAPHY MAY SHOW BOTH TO ITS SPECTATOR
AND AUTHOR WHO HIMSELF SETS BOUNDARIES OF HIS ART

1 , . , , 5065 , 2009 . /
Every dog is a lion at home. Stained paper, ink, 50x65 cm, 2009.
2 . , , 3042 , 2009 . / Give every
man thy ear, but few thy voice! Tracing paper, ink, 30x42 cm, 2009.
3 . , , 5028 , 2009 . /
Stand about there, come here. Stained paper, ink, 50x28 cm, 2009.
4 . , , 7326 , 2009 . / Such
carpenters, such chips. Paper, ink, 73x26 cm, 2009.

114

115



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,

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,


2008
. . 200-201

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 200-201

PAVEL SEMCHENKO
Calligraphy artist, Professor, member of the
Belarus artists union, member of the Designers
union of Belarus
(Minsk, Belarus)

THE DIALOGUE AS TO WHAT CAME FIRST A VERBAL WORD OR


A GRAPHIC SIGN IS STILL NOT OVER. OBVIOUSLY, THE RIGHT
STATEMENT IS THAT THIS PHENOMENON HAS ALWAYS BEEN A DUAL
ONE. IT WONT BE AN EXAGGERATION TO SAY THAT WHAT THE
SPEECH IS, SUCH IS THE WRITING, AND VICE VERSA

. , , , 6689 c, 2009 . /
Fatally wounded bison. Paper, tempera, pen, 66x89 cm, 2009.

116

117


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2008
. . 202-203

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 202-203

NIKOLAY TARANOV
Calligraphy artist, Doctor of Education,
Candidate of art history, professor, member of
Union of Russian artists
(Volgograd, Russia)

THE MODERN UNDERSTANDING OF CALLIGRAPHY INCLUDES NOT


ONLY PERFECTLY SHAPED LETTERS OF THE OLD ENGLISH CALLIGRAPHY SCHOOL BUT ALSO MODERN SOLUTIONS FOR FONT INSCRIPTIONS AND TEXTS MADE BY HAND BUT HAVING, FIRST OF ALL, THE
SUFFICIENT DEGREE OF ARTISTIC VALUE

. , , ,
, 6040 . / Pen and sword. Tinted paper, gouache,
broad brush, pointed pen, 6040 cm.

118

119

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2008
. . 208-211

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 208-211

YURY TOREEV
Calligraphy artist, Teacher of graphic design at
the Belarusian state academy of arts, Member of
the Belarus designers union
(Minsk, Belarus)

EVERYTHING THAT A PERSON DOES IS ACCOMPANIED BY EMOTIONS


AND INNER FEELINGS, SOMETHING THAT CALLIGRAPHY IS ABLE TO
LOCK IN AND INSTANTLY REFLECT. WE CAN CONFIDENTLY SAY THAT
CALLIGRAPHY REPRESENT A SINCERE RECORDING OF MOVEMENT
AND MOVEMENT IS A REFLECTION OF A PERSONS INNER BEING

. .
. , , , , 5065 , 2009 . /
Marina. Diptych under M. Tsvetayeva poem Who's made of a stone... Page 1.
Paper, brush, drawingpen, acryl, 5065 cm, 2009.

120

121

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2

2008
. . 212-213

Detailed information about the author and her calligraphy works are
presented in album St. Petersburg 2008
p. 212-213

HIROSE SHEKOU

MY CALLIGRAPHYS INSPIRED BY GOD OR COSMOS POWER, AND

Calligrapher, artist
(Itikava, Japan)

ITS MY HAND THAT THROWS STROKES WITH POWER TO MAKE A


LINE. THIS LINE BREATHES LIFE INTO THE PAPER BECAUSE NATURE
HELPS ME AND I MAKE A SHOCKING BEAUTIFUL LINE

. , , , 106,8224 , 2009 . /
Love. Whatman, Chinese black ink, brush, 106,8224 cm, 2009.

122

123


,
,
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(, )


,
: , , , ,
. , , ,
...


2008
. . 214-217

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 214-217

VASIL CHEBANIK
Calligraphy artist, fellow of the National
Ukrainian Artists Union, honored art worker
of Ukraine, Professor at the National Academy
of Fine arts and Architecture of Ukraine
(Kiev, Ukraine)

A CALLIGRAPHIC WORD CAN BE SEEN AND HEARD AS IT WAS PRONOUNCED: LIKE A NIGHTINGALES WARBLE, OR THUNDER ILLUMINATED WITH LIGHTNING, LIKE A LIONS THREATENING GNARL OR LIKE
WHISPER OF AN INNOCENT CHILD NO OTHER ARTISTIC MEANS CAN
EXPRESS THE WORD AS WELL AS CALLIGRAPHY DOES. ONE CAN
DISTINGUISH THE WORD STORM, RAIN, SUN AT A GLANCE
1 + +
. , , , FontLab 5, 2009 . /
Cyrillic script A+C for Architecture+Construction magazine. Paper, pencil,
inkpen, FontLab 5, 2009.
2 . , , FontLab 5,
, , 6090 , 2009 . / Fine art. Paper, inkpen,
FontLab 5, silkscreen, paper board, 60x90 cm, 2009.
34 . ,
, , FontLab 5, 2921 .
. / The National Union of
Calligraphers logotypes. Paper, broad pencil, ink, FontLab 5, 2921 cm.
Text is written in Shipshina authors font.

124

125


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.


2008
. . 220-223

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 220-223

CHEN FORNG-SHEAN
Calligrapher, sculptor, microminiaturepainter
(Taiwan)

DIFFERENT WORKS OF ART CREATE THEIR IMAGE WITH ITS UNIQUE


ART LANGUAGE. CALLIGRAPHY CAN CONVEY AESTHETIC FEELINGS VIA
THE SIMPLE LANGUAGE -STROKES. THE EMOTIONS OF STROKES ARE
PRESENTED THROUGH THE FORM OF HANDING CALLIGRAPHY. ITS THE
BASIC CONCEPT TO APPRECIATE THE RHYTHM AND DYNAMISM OF
VIVID STROKES. THE STRUCTURE OF STROKES CONSTITUTES THE
FORM OF WRITING IN CALLIGRAPHY. THE VARIOUS CHANGES OF
STROKES MEANS THE DYNAMISM OF CALLIGRAPHY. THIS IS THE MOST
IMPORTANT PRESENTATION TO CONVEY THE ART OF CALLIGRAPHY.
THUS, THE HANDWRITING IN CALLIGRAPHY IS LIKE THE ARTISTS
EMOTIONAL MOVEMENT. CALLIGRAPHERS MAY REVEAL THEIR
FEELINGS THROUGH THE TIP OF THE BRUSH USED IN CALLIGRAPHY
: , .
, , , 3868 , 2009 . / A Chinese Idiom, means
A gentlemen is one who has good character. Paper, Chinese brush, ink,
38x68 cm, 2009.

126

127


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,


2008
. . 224-227

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 224-227

PETR CHOBITKO
Calligraphy artist, Professor of the St.Petersburg
artisticindustrial academy, member of the
Union of Russian artists
(St.Petersburg, Russia)

FOR CENTURIES WRITING AND CALLIGRAPHY IN RUSSIA HAVE BEEN


CLOSELY CONNECTED WITH THE SPIRITUAL AND CULTURAL INFANCY OF THE NATION, THEY CONTRIBUTED TO THE STRENGTHENING OF
NATIONAL SELF-CONSCIOUSNESS AND SPIRITUAL DEVELOPMENT.
BY STUDYING ANCIENT RUSSIAN SCRIPT WE ARE GOING BACK TO
OUR CULTURAL ROOTS AND COMPREHEND THE IDEAL KNOWLEDGE
OF THE WORLDS HARMONY ENCLOSED IN IT

1 24,
7. , ,
, , , , 2130 , 2009 .
/ Remember not the sins of my youth and ignorance of mine Psalm 24,
verse 7. Vellum, gold, ink made of the natural cuttle pigment, red coral ink,
goose feather, brush, 21x30 cm, 2009.

128

129

2
130

2 . ,
, , , 45,559,5 , 2008 . / Charter
of the National Union of Calligraphers. Vellum, ink, pen, gold leaf 24K,
45,5x59,5 cm, 2008.
3 . , , , 5070 , 2009 . / Chime.
Paper, ink, pen, 50x70 cm, 2009.
4 . , , , , 4868 ,
2009 . / Dedication to Vivaldy.Ink, pen, brush, acryl, 48x68 cm, 2009.
5 . , , , ,
, 5070 , 2009 . / Gusli. Toned paper, ink, acryl, goosequill,
flat brush, 50x70 cm, 2009.

5
131



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2008
. . 232-235

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 232-235

VITALY SHAPOVALOV

CALLIGRAPHY IS A MATERIALIZED WORD (SOUND) AS THE FULLEST

Illustrator, graphicdesigner, calligrapher


(RostovonDon, Russia)

AND MOST ELOQUENT EXPRESSION OF ONES PERSONAL ATTITUDE


TO WHAT HAS BEEN SAID

1 24. , ,
(, , ), 40x50,5 , 2009 . / Psalm 24. The sins of
my youth Watercolour, paper, brush (round, pointed, soft), 40x50,5 cm,
2009.

132

133

134

2 . , , (, , ),
7095 , 2009 . / Russian anthem. Paper, watercolour, brush (round,
pointed, soft), 70x95 cm, 2009.
3 . , , (,
, ), 47,5x35 , 2008 . / From Canticles. Paper,
watercolour, brush (round, pointed, soft), 47,5x35 cm, 2008.

135




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;


2008
. . 238-241

Detailed information about the author and his calligraphy works are
presented in album St. Petersburg 2008
p. 238-241

WERNER SCHNEIDER
Professor of Graphic Design at the
Fachhochschule Wiesbaden, letter artist,
type designer
(Wiesbaden, Germany)

IT HAS ALWAYS BEEN IMPORTANT TO ME AS AN ARTIST IN THE


FIELD OF LETTERING TO SHOW SCRIPT IN ITS PUREST FORMS. IN AN
AGE DOMINATED BY THE COMPUTER, A MACHINE THAT QUITE FREQUENTLY DISTORTS SCRIPT AND PRODUCES CARICATURES, I FEEL A
STRONG OBLIGATION TO THE AESTHETIC ASPECTS OF A CULTURAL
ASSET WITH A LONG STANDING TRADITION. I FEEL THAT CLASSICAL
FORMS DESERVE OUR DEEPEST RESPECT

. , , 4464 , 1992 . /
Rhythmus. Handmade paper, metal pen, 44x64 cm, 1992.

136

137

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. 20022006 .

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. 2008 .
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JOVANKA SORGIC

LOVE FOR CALLIGRAPHY AS A BRANCH OF ART IN MY LIFE HAS BEEN

Calligrapher
(Belgrade, Serbia)

CONNECTED WITH BEAUTIFUL HANDWRITING AND CHERISHING

Was born in Shibenik, in Croatia. Finished secondary


school of mechanical engineering and for years did
the work related to engineering industry. From 2002
to 2006 she was attending classes at the calligraphy
school under the authority of St. Aleksandr Nevski
temple in Belgrade. After that she arranged 3 personal
exhibitions and participated in group calligraphy
shows. Since 2008 Sorgic has been a full time cal
ligraphy teacher at summer camp at the monastery of
Studenica.

138

CYRILLIC, THE NATIONAL WRITING OF MY PEOPLE. IN THAT SENSE, ONE


PART OF MY WORK IS DIRECTED TOWARDS THE SPIRITUAL TRADITIONAL TEXTS AND THROUGH THOSE TEXTS I TRY TO PRESERVE AND
PROLONG THE VALUES OF CALLIGRAPHY THAT ARE EMBODIED IN SERBIAN TRADITIONAL ART AT THE SAME TIME, A CALLIGRAPHIC SIGN IS
OFTEN CONNECTED WITH THE STYLIZED PICTURE WRITING, AND TODAY
IS MOST COMMONLY FOUND AS AN ELEMENT OF A MODERN PAINTING
1 / Monogram
2 . , , , ,
, 4363 , 2009 . / Alphabet.
Plaster, straw on wooden foundation, oil paint, letters written by a paintbrush
and oil paint, 43x63 cm, 2009.
3 . , , ,
, , 4676 , 2008 . / Virgin Mary. Pastel paper, ink,
golden ink, golden powder, steel pen, 46x76 cm, 2008.
4 . , , ,
, 3229 , 2009 . / Home. Pastel paper, toned by oil paint,
ink, steel pen, 3229 cm, 2009.

5
5 . , , ,
42,567 , 2008 . / Illusion. Hammer paper, ink, cane, 42,5x67 cm,
2008.

139

-

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1957 .
,

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. 1980 .
. 1985 .

.
.

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ELENA EPSHTEIN-ORLOVA

CALLIGRAPHY

Artist, calligrapher
(Moscow, Russia)

INCARNATING SOUNDS WITH A MOTION OF LINES

Born in Moscow in 1957. She graduated from the


Moscow State Educational Institute n.a. Lenin, faculty
of graphic and fine arts and postgraduate courses for
publishing artists at art font studio. In 1980, she started
training in Irina Gusevas calligraphy workshop. Since
1985 EpshteinOrlova has been working as a leading
artist in the Institute of ethnology and anthropology of
the Russian Academy of Sciences. She has arranged
3 personal exhibitions in Moscow and Tallinn.

ADJOINING THE LINES IN VERSES


I BREAK THE TRIUMPH OF PARTING
AND I FUSE IN AN OCEAN OF WONDROUS WORDS.
AND THEN A MIRACLE OF UNITY AROSE,
THERE ARE NO CENTURIES, I HEAR THE HEART BEATS.
PEN AND PAPER, THE MOMENT OF TOUCH
CICADAS RING AND THE HANDS SHIVER, ALL IN LETTERS

1 / Monogram
2 . . . , , , ,
2430 , 1998 . / In the gloaming by E. Orlova. Coloured paper,
tempera, pen, brush, 24x30 cm, 1998.

140

141

142

5
3 . .
. , , , , 3424 , 1986 . /
I. Scarbeks In far off lands book design. Frontispiece. Paper, ink, pen,
airbrush, 3424 cm, 1986.
4 . , , ,
, 2420 , 1997 . / Font sketch Shakespeare. Coloured paper,
ink, tempera, pen, 24x20 cm, 1997.
5 . , ,
, , 2831, 1984 . / Tallinn font composition.
Paper, ink, cartographic film, pen, 28x31 cm, 1984.

143

Henry Wadsworth Longfellow.


The Song of Hiawatha (extract)

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MVK
:
RDER HTS HCKER GmbH
:
(91.6 FM), daily, ,
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,

Organizers:
Contemporary Museum of Calligraphy, National Union of Calligraphers,
MVK International Exhibition Company
Technical Partner:
RDER HTS HCKER GmbH
Media Partners:
Culture radio (91.6 FM), RBC daily newspaper, Rambler Media, Diplomat magazine
Partners:
MGIMO Alumni Association, Russian State Library, National Library of Russia,
Sokolniki Culture & Exhibition Centre

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