Interview: Meliha Teparic

CALLIGRAPHY IS A PART OF BOSNIAN IDENTITY

"Deep down in myself, I am fascinated with traditional, that is classic expression of the Islamic calligraphy, since it is 'holy art', I always approach to harf (Arabic letter) with certain respect and seriousness, 'partly' aware of the significance of that chosen 'letter', its origin and Creator." (Meliha Teparic)

IAM: You have completed Academy of fine arts in Sarajevo, at painting department. Since you have passed all necessary teaching programmes based on the usual education in painting, how did it happen that you decided on research in the field of calligraphy?

MELIHA TEPARIC: First of all, calligraphy is a large notion, it comprehends all calligraphic forms, of various alphabet elements. However, I decided to head for Islamic calligraphy. Since, the art of Islamic calligraphy is related to aspect of spirituality, it is clear that my choice for this artistic expression comes out from that need. Also, what I became aware at a later stage, when researching Islamic calligraphy is that it is our tradition, our Bosnian identity and indeed my own identity. Interest in this tradition and the “holy art”, I discovered at the time of my artistic maturity, while doing my degree study, at the period when a young artist should discover in himself, what will be his or her artistic expression and what will be the field of his or her work and research. My interest in calligraphic art is of a larger character, as I am firstly a painter, thus, besides classic traditional calligraphy that I research, I attempt through the abstract calligraphic forms to examine the possibilitites of this art.

IAM: In your master’s work, it is noticable that you approach calligraphy in different ways, not only in classic but also in more modern way, although there feels the synthesis in some of your works. How do you look upon harf (arabic letter) as the motif in the contemporary art?

MELIHA TEPARIC: Deep down in myself, I am fascinated with traditional, that is classic expression of the Islamic calligraphy, since it is „holy art“, I always approach to harf (Arabic letter) with certain respect and seriousness, „partly“ aware of the significance of that chosen „letter“, its origin and Creator. In accordance with this, I am concerned a lot for its authentic preserving. However, that classic expression of harf, each time, while I study its forms and shapes, is always a new fascination. Since, in this manifesting world, there is nothing similar to the forms of harfs, so, those abstract and unknown shapes initiate us to transpose them in the present context. Harf (arabic letter) is something out of time, so it is actual or attractive in any present or future time(?!). Thus, why not to have it present in the contemporary art. As I pointed out at the start, I think that harf should be approached seriously, carefully and with the feeling of devotion.

The rest of the article you can read in the magazine.