He was a buck in the summer of 1976, agog on arena in the baking calefaction of Rawalpindi. But his mother capital him to abide indoors, so she accomplished him to address Hindi in the Devanagari script.

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Looking back, Islamabad-based accumulated advocate Syed Mohammad Anwer recounts, “I wasn’t too absorbed in studies, but I admired drawing. My mother scribbled some belletrist in my anthology and asked me to archetype them a hundred times anniversary with a ‘qalam’, a appropriate pen with a ample camber nib meant to address Urdu belletrist in the Nastaliq (Arabic) script.”

The belletrist were alien to the boy, so he asked her what accent was it. His mother, Mather Yunus, who hailed from pre-Partition Faridabad, told him that it was Hindi.

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“I was abashed and asked her in panic: ‘By autograph the accent of the Hindus, would I not become a Hindu?’” At this, the astute Mather smiled and said, “Language has no religion. It is we who accomplish one accent Muslim and addition Hindu.”

Syed Mohammad Anwer.

Thus Anwer abstruse Hindi and that has blossomed into altered admixture calligraphy some 40 years afterwards the aboriginal lesson. This he has encased in a admirable coffee table book alleged ‘Samrup Rachna: Apni Boli (Hindi-Urdu)’, which he able to artist Satyapal Sehgal, a assistant of Hindi at Panjab University. Sehgal says, “Calligraphic art is actual admired in times back blended ability is a abstraction of the past. Samrup Rachna is a chat coined by Anwer to back the abstraction of similarity.” This artistic analogy of the brotherhood of languages was brought out aftermost month.

Mother’s gift

In an account on the phone, Anwer says, “My mother never abstruse Hindi formally. She told me that Hindi and Urdu are one accent and alone the scripts are different. She went on to say that in the girls’ academy at Faridabad, they were accomplished Urdu and Hindi in one aeon at school. She had best up the Devanagari calligraphy by aloof watching her Hindu classmates write. This altercation of half-an-hour or beneath with my mother was the aboriginal and conceivably the best abstruse address of linguistics I anytime had.”

The book adulatory ‘Apni Boli’ comprises added than 60 works of calligraphy and bisected of them are done in such a way that a account of the word’s acceptation is formed. For example, the chat ‘surahi’ (ewer) is accounting in a way both in Hindi (Devanagari) and Urdu (Nastaliq) that a bright account of a ‘surahi’ is formed. The chat ‘zaatpaat’ shows the roots and the thorns in both scripts. This is article new in the history of calligraphic art.

How did this agreement begin? Anwer says, “My absorption in calligraphy of the scripts of my own accent (‘Apni Boli’), accomplished in childhood, led to the abstraction of my own ability and association (‘Apna Samaj’), which culminated in an art anatomy afterwards so abounding decades. It was not a planned assignment or project, it aloof happened. Scribbling and doodling is one of my pastimes. One day, I was sitting in my law firm, doodling in Devanagari calligraphy back I started autograph a few words in the two scripts of ‘Apni Boli’ (Hindi-Urdu) in unison. Some of them emerged as alluring patterns. At home, I adopted crayons from Sheher Bano, my daughter, and afresh drew those words in altered colours. Next, I absitively to acrylic them. Then all the added account followed.”

Anwer is an alive affiliate of the civilian association accord initiatives and has accounting books on animal rights and women’s emancipation. He additionally writes accessories on amusing issues, including socio-linguistics. His calligraphic assignment has won abundant acknowledgment in Pakistan, but Anwar says, “My greatest joy was that my mother was captivated with the work. Sadly, she died aural a ages of the book release. I address this assignment to my mother, my mentor.”

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