Minority cultures around the world are reviving their traditional scripts by teaching calligraphy. Western cultures are learning the profound connections between culture, art, and writing.
Artist Name: Bahram Boroumand
This calligraphy was written at the Avestan Calligraphy Course at the Academy of Art in Tehran Iran, in 2017. The instructor was Bahram Boroumand, and his course “introduces students to the way of writing practiced by Zoroastrian priests based on the calligraphic style of the a prominent Avestan calligrapher master Feridoon-e Marzban. The latter wrote several Pahlavi and Avestan manuscripts. Bahram Boroumand adds, ‘I hope some day in future we can share our experiences in Zoroastrian art with other people around the world.’”
Image courtesy of K.E. Eduljee
Zoroastrian Heritage Website
Public Facebook Group
Artist Name: Bahram Boroumand
This calligraphy was written at the Avestan Calligraphy Course at the Academy of Art in Tehran Iran, in 2017. The instructor was Bahram Boroumand, and his course “introduces students to the way of writing practiced by Zoroastrian priests based on the calligraphic style of the a prominent Avestan calligrapher master Feridoon-e Marzban. The latter wrote several Pahlavi and Avestan manuscripts. Bahram Boroumand adds, ‘I hope some day in future we can share our experiences in Zoroastrian art with other people around the world.’”
Image courtesy of K.E. Eduljee
Zoroastrian Heritage Website
Public Facebook Group
Title: ‘Hadokht Nask’
Artist Name: Bahram Boroumand
K.E. Eduljee explains that “Bahram Boroumand of Tehran University has kindly sent me images of the Avestan (Old Iranian) and Pahlavi (Middle Persian) texts of the Hadokht Nask penned by him in calligraphy. … Mr. Boroumand’s work is phenomenal and his dedication praiseworthy.” The image featured here only contains the Avestan version, but the Pahlavi calligraphy can also be seen through the link below.
Image courtesy of K.E. Eduljee
Zoroastrian Heritage Website
Public Facebook Group
Title: ‘Yatha Ahu Vairyo’
Artist Name: Perin Pudumjee-Coyaji
The calligraphy features the text of the Zoroastrian mantra “Yatha Ahu Vairyo”. This work was displayed at Callifest, a calligraphy exhibition in Pune, India.
Image courtesy of K.E. Eduljee
Zoroastrian Heritage Website
Public Facebook Group
Title: ‘Khshnaothra Ahurahe Mazdao’
Artist Name: Perin Pudumjee-Coyaji
K.E. Eduljee translates this as “By the Grace of Ahura Mazda,” although he notes that others may translate ‘Khshnaothra’ as “(by the) favour/redemption (of) (propitiation) or glory (to).” This work was displayed at Callifest, a calligraphy exhibition in Pune, India.
Image courtesy of K.E. Eduljee
Zoroastrian Heritage Website
Public Facebook Group
Title: ‘Yatha Ahu Vairyo prayer’
Artist Name: Perin Pudumjee-Coyaji
K.E. Eduljee translates this as “Such is the Lord’s Will.” This work was displayed at Callifest, a calligraphy exhibition in Pune, India.
Image courtesy of K.E. Eduljee
Zoroastrian Heritage Website
Public Facebook Group
Title: ‘Ahun’
Artist Name: Perin Pudumjee-Coyaji
K.E. Eduljee writes: “If I remember correctly, Perin Pudumjee-Coyaji told me that she sees Ahun as a word for meditation similar to the Hindu ‘Om’. This is her calligraphic-artistic portrayal of the word.” He further adds, “’Ahun’ is likely an abbreviation of ‘Ahuna’ from the title ‘Ahuna Variya’ of the ‘Yatha Ahu Variyo’ (Such is the Lord's Will – translation by K.E. Eduljee) prayer. ‘Ahu’ means ‘Lord’ in Avestan similar to the New Persian ‘Khoda’. Yasna 19 is a full exposition of the prayer, its spiritual meaning and power.” This work was displayed at Callifest, a calligraphy exhibition in Pune, India.
Image courtesy of K.E. Eduljee
Zoroastrian Heritage Website
Public Facebook Group
Title: ‘Mazda Ahura’
Artist Name: Perin Pudumjee-Coyaji
The main calligraphy is Avestan and reads ‘Mazda Ahura,’ and the smaller, red text, is her signature in the Pahlavi script. This piece was made with a bamboo pen, and she explains that “the Sun in the background, to her thinking, represents the light and warmth of Ahura Mazda.”
Image courtesy of K.E. Eduljee
Zoroastrian Heritage Website
Public Facebook Group
Title: ‘‘Zarathushtra’s’
Artist Name: Parisa
The original calligraphy image was posted to the Zoroastrian Heritage Facebook group as part of a challenge to the members to transcribe the calligraphy. This image demonstrates how the calligraphy can be broken down, with the individual Avestan letters written above the corresponding pronunciations.
Image courtesy of K.E. Eduljee
Zoroastrian Heritage Website
Public Facebook Group
Title: ‘Daatar’
Artist Name: Parisa
K.E. Eduljee translates this calligraphy as “giver” or “one who bestows”, though he notes that it can also be translated as “creator”. This work was made with drawing ink and a bamboo pen.
Image courtesy of K.E. Eduljee
Zoroastrian Heritage Website
Public Facebook Group
Title: ‘Putru Pangaskara’
Artist Name: I Putu Heri Ramanda
In a portion of his caption for this work, the calligrapher explains that this manuscript “…is usually recited at Ngaskara ceremonies in Bali. The ceremony is a series of Ngaben ceremonial processions. In the belief of the Balinese people, one of the purposes of the Ngaskara ceremony is to purify the spirit of the deceased. This ceremony is a Pitra Yadnya ceremony that shows devotion to the spirit of the ancestors or the spirit of the deceased family...”
Image and caption courtesy of I Putu Heri Ramanda
Title: ‘Putru Pangaskara’
Artist Name: I Putu Heri Ramanda
In a portion of his caption for this work, the calligrapher explains that this manuscript “…is usually recited at Ngaskara ceremonies in Bali. The ceremony is a series of Ngaben ceremonial processions. In the belief of the Balinese people, one of the purposes of the Ngaskara ceremony is to purify the spirit of the deceased. This ceremony is a Pitra Yadnya ceremony that shows devotion to the spirit of the ancestors or the spirit of the deceased family...”
Image and caption courtesy of I Putu Heri Ramanda
Title: ‘Putru Pangaskara’
Artist Name: I Putu Heri Ramanda
In a portion of his caption for this work, the calligrapher explains that this manuscript “…is usually recited at Ngaskara ceremonies in Bali. The ceremony is a series of Ngaben ceremonial processions. In the belief of the Balinese people, one of the purposes of the Ngaskara ceremony is to purify the spirit of the deceased. This ceremony is a Pitra Yadnya ceremony that shows devotion to the spirit of the ancestors or the spirit of the deceased family...”
Image and caption courtesy of I Putu Heri Ramanda
Title: ‘Putru Pangaskara’
Artist Name: I Putu Heri Ramanda
In a portion of his caption for this work, the calligrapher explains that this manuscript “…is usually recited at Ngaskara ceremonies in Bali. The ceremony is a series of Ngaben ceremonial processions. In the belief of the Balinese people, one of the purposes of the Ngaskara ceremony is to purify the spirit of the deceased. This ceremony is a Pitra Yadnya ceremony that shows devotion to the spirit of the ancestors or the spirit of the deceased family...”
Image and caption courtesy of I Putu Heri Ramanda
My name is Fifen Abdou Salam. I live in Foumban, Cameroon. I am a teacher of Cameroonian languages and cultures specializing in Bamun. I am passionate about Bamum writing. I carried out several researches on: (i) the anthropological plan, in particular the symbols of the Bamum writing; (ii) the linguistic plan, with the writing of King Njoya; (iii) the philosophical level with Njoyaism or the philosophy of action; and (iv) the artistic plan with the creation of patterns and clothing models based on Bamum writing.
King Njoya invented this writing in 1896. It was made up of pictograms and ideograms from the Bamum cultural universe. The very first version was called lewa, meaning a madman who speaks without ever stopping. We have set up an association called Mikiler düemenfan muk yaleba (Academy of Languages and Cultures) and we organize Bamum writing courses. It was during the graduation of our students that we presented this table made by a learner under our guidance. We hope that this achievement will be exhibited at the Bamum Palace Museum.
Photo credit: Fifen Abdou Salam
Bantawa Rai calligraphy by and image courtesy of Sulochana Rai Shakya.
Title: ‘Pag-ibig sa Tinubuang Lupa ni Andres Bonifcacio’
Artist Name: Taipan Lucero
The calligraphy is a portion of the Tagalog poem ‘Pag-ibig sa Tinubuang Lupa’ (often translated as “Love for One’s Homeland”) by Andres Bonifacio and reads:
“Aling pag-ibig pa ang hihigit kaya
Sa pagkadalisay at pagkadakila
Gaya ng pag-ibig sa tinubuang lupa,
Aling pag-ibig pa? Wala na nga, wala”
Image courtesy of Taipan Lucero
Title: ‘Bakunawa’
Artist Name: Mano Skrpt
The calligrapher explains, “The idea is to write the name ‘Bakunawa’ in Baybayin and incorporate an illustration of Bakunawa, which is a Filipino mythical creature or a giant sea snake. The style is inspired from Chinese writing and their water dragon.”
Image courtesy of Mano Skrpt
Title: ‘Dithabana di tswala dithaba’
This is Sotho proverb meaning “big things come from little things”.
Image courtesy of Learn Ditema
Title: ‘eKasi’
This is a local slang word meaning “home town” or “hood”.
Image courtesy of Learn Ditema
Title: ‘Prajavaani’
Artist: Mohan Kumar E
The calligraphy translates to “voice of the people”, and this piece was made using marker on a newspaper.
Image courtesy of Mohan Kumar E
Title: ‘Janapada’
Artist: Mohan Kumar E
The calligraphy translates to “folk”, and is made with marker on newspaper.
Image courtesy of Mohan Kumar E
Artist: Mohan Kumar E
Image courtesy of Mohan Kumar E
Artist: Animisha S. Naganur
Image courtesy of Animisha S. Naganur
Artist: Animisha S. Naganur
Image courtesy of Animisha S. Naganur
Artist: Animisha S. Naganur
Image courtesy of Animisha S. Naganur
Artist: Animisha S. Naganur
Image courtesy of Animisha S. Naganur
Artist: Animisha S. Naganur
Image courtesy of Animisha S. Naganur
Artist: Animisha S. Naganur
Image courtesy of Animisha S. Naganur
Artist: Animisha S. Naganur
Image courtesy of Animisha S. Naganur
Artist: Animisha S. Naganur
Image courtesy of Animisha S. Naganur
Artist: Animisha S. Naganur
Image courtesy of Animisha S. Naganur
Artist: Animisha S. Naganur
Image courtesy of Animisha S. Naganur
Artist: Animisha S. Naganur
Image courtesy of Animisha S. Naganur
Artist: Animisha S. Naganur
Image courtesy of Animisha S. Naganur
Title: ‘Mikábus’
Artist: Raymond B. Figueroa
The calligraphy is a Kapampangan word that translates to “to be free/saved.” The calligrapher writes that “this word is commonly used in prayers (salvation), or when people aim to empower themselves or others during trying times.”
Image courtesy of Raymond B. Figueroa
Title: ‘Máginu’
Artist: Raymond B. Figueroa
This is a Kapampangan word that translates to “Noble Class/Nobility.” The calligrapher adds: “This digital artwork is symbolic—not just through the calligraphy but also in its use of color. Similar to other cultures, gold represents nobility or royalty. Meanwhile, the background, blue, in our culture is associated with the uring talapagobra, or working class. This reflects the traditional belief of our people: rulers should not stand above the people but rather stand with the people.”
Image courtesy of Raymond B. Figueroa
Title: ‘True Water Has No Scent’
Artist: Yehenala Yulin [叶赫那拉煜麟], the fifth-generation nephew of Empress Dowager Cixi of the Qing Dynasty, hereditary first-class viscount, member of the Chinese Calligraphers Association, visiting professor of the Academy of Fine Arts of Tsinghua University, the only inheritor of the world's Manchu and Han full seal script skills, founder and secretary-general of the Chinese Manchu Calligraphy Research Association, and author of best-selling history books.
“This stunning piece of calligraphy showcases the beauty of the Manchu and Chinese Seal Script, with the words ‘True Water Has No Scent’.”
Title: ‘True Water Has No Scent’
Artist: Yehenala Yulin [叶赫那拉煜麟]
This piece features the word ‘Fu’ written in five different scripts. On the top left is Manchu, top right is the Chinese official script, lower left is the Chinese seal script, and on the lower right is the Jurchen script. Calligraphy by Yehenala Yulin.
Title: 'A harmonious family brings prosperity.'
Artist: Yehenala Yulin [叶赫那拉煜麟]
Artist: Yehenala Yulin [叶赫那拉煜麟]
This calligraphy features both Manchu and Han scripts, combining the two styles. “The meaning of the work is that people with great virtues are blessed. The extended meaning is that good people are happy.”
Artist: Yehenala Yulin [叶赫那拉煜麟]
This calligraphy features both Manchu and Han scripts, combining the two styles. “The meaning of the work is that people with great virtues are blessed. The extended meaning is that good people are happy.”
Artist: Yehenala Yulin [叶赫那拉煜麟]
This calligraphy features a combination of Manchu and Chinese characters, and translates to: "Don't argue, don't show off, don't reveal", "Don't argue, don't show off, don't make excuses for your mistakes, don't explain too much because of other people's misunderstandings, and don't show off in front of others."
Title: “Happiness comes from the heart”
Artist: Yehenala Yulin [叶赫那拉煜麟]
Artist: Yehenala Yulin [叶赫那拉煜麟]
This work “contains a painting composed of Chinese and Manchu pictographic Buddhist characters.”
%20by%20Borjigon%20Och.jpg)
Title: ‘Hodoo shil’
Artist: Borjigon Och
Both the title and the calligraphy translate to “grassland”.
Image courtesy of Borjigon Och
%20by%20Tamir%20Samandbadraa%20Purev.jpg)
Title: ‘Wind Horse (Khii Mori)’
Artist: Tamir Samandbadraa Purev
Both the title and the calligraphy translate to “grassland”.
The larger word in the calligraphy reads “Khii Mori”, and the smaller text on the right is the sacred text of the Wind Horse. The medium is ink on paper.
Image courtesy of Tamir Samandbadraa Purev
Title: ‘Transmigration III’
Artist: Tamir Samandbadraa Purev
This is an abstract calligraphy piece, so there is no translation. This work was made with Chinese ink and mineral pigment on paper mounted on canvas. In his caption for this work, he remarks that “The energy of meditation is passing into a paper finding its form and shape, its color and tonality - its body. It transforms the vibration into a visual tangible state.”
Image courtesy of Tamir Samandbadraa Purev
Photo courtesy of Ulzei
.jpg)
