Old scripts, new tools: Pakistani calligraphers split over AI’s impact
Some fear digital shortcuts will dilute originality; others insist technology is sparking a new, hybrid era for Islamic calligraphy
KARACHI, Pakistan (MNTV) — Pakistan’s calligraphers are sharply divided over whether artificial intelligence and digital tools are elevating their ancient craft or diluting the essence that gives handmade lettering its soul.
While many acknowledge that technology has expanded visibility and eased repetitive tasks, there is broad consensus on one point: AI-generated or heavily digitized calligraphy risks flattening individuality. The work begins to look uniform — stripped of the subtle human emotions that can be felt but not easily explained.
As one young calligrapher puts it, “AI may support workflows, but human emotion and spirituality remain irreplaceable.”
Veteran calligrapher Anwar Ahmad has spent decades shaping letters with reed and ink, and he fears the rise of AI is eroding not only artistic standards but human capabilities themselves.
“Society must first be educated enough to use AI positively,” Ahmad said. “Only a few people know how to create proper prompts. It’s not easy to generate art through AI — it requires an educated mind.”
He concedes that digitization helps with mechanical tasks, but insists that “purely creative work” still belongs to the human hand. “We can produce far more beautiful and creative work manually,” he said.
For Ahmad, the danger goes beyond aesthetics. Dependence on digital tools, he said, is weakening basic cognitive skills. “People don’t memorize or recall anymore. Kids use calculators for simple math. They don’t even remember their tables.”
He remembers visiting the IRCICA Library in Türkiye and discovering thousands of unique Quranic scripts. “So much work already exists that I don’t think we need to add anything more,” he said.
‘AI can copy, not create’
Ahmad believes AI lacks originality and cannot replicate the intimacy of the calligrapher’s touch — the pressure of the reed, the shifting ink, the rhythm of the wrist.
“AI creates only what it understands from a prompt,” he said. “It cannot create original work, nor add creativity.”
“Digital calligraphy never fully satisfies,” he added. “Even today, many Urdu newspapers still have their main headlines written by professional calligraphers because digitized words lack beauty and spontaneity.”
He is not happy with what he describes as adulteration of modern trends in calligraphy and notes that in Türkiye, Iran and Saudi Arabia, overly stylized modern calligraphy is often dismissed as hur — work seen as artificially stretched or manipulated to appear unique.
A lost book and a neglected art
Ahmad recalled a Zia-era government project in which calligraphers were commissioned to produce a book on calligraphy for inclusion in the national curriculum. Representing Sindh, he spent two years on the assignment and prepared a detailed workbook that taught the ancient art with the help of easy exercises.
“After Zia’s death, the plan went into cold storage,” he said. “Despite my reminders, nothing came of it.”
He also lamented the absence of formal training. “No art institute offers exclusive calligraphy classes,” he said. “A class or two per week that most art institutes are offering as part of the degree curricula is not real training.”
Digital shortcuts, he said, now dominate commercial work. “People in the AI age are impatient. They want instant creativity.”
‘I have never seen anyone buy calligraphy for their home’
Ahmad said the culture of valuing handmade calligraphy is fast fading in society. “In 70 years of life, I have never seen someone buy a professional calligrapher’s work to hang on their wall,” he said.
“People prefer cheap prints and mass-produced verses. How can an art form develop in such a society, where the majority of people see no value in handmade art?”
He pointed to Pakistani master Shafiquzzaman, who rose from billboard painting to winning an IRCICA award and later became chief calligrapher in the holy cities of Saudi Arabia. “If a training institute were established under him, it would be a great service to this art,” Ahmad said.
IRCICA, the Organization of Islamic Cooperation’s Istanbul-based research center on Islamic art and heritage, is known globally for its prestigious International Calligraphy Competition, which honors master calligraphers across classical scripts.
‘Original art will always survive’
Seasoned calligrapher Amjad Minhas shares concerns about shortcuts but rejects the idea that calligraphy is dying.
“Original art can never lose value,” he said. “AI-generated work may be a trend, but it’s temporary and ephemeral. The original is original.”
Digital tools, he said, are usually employed because clients want quick delivery. “People still prefer handmade work and are willing to pay for it,” he said. “Young artists use shortcuts because they want quick results, not mastery.”
He believes the field remains financially viable. “Calligraphy is alive and well-paying,” Minhas said. “But only those with genuine passion for the art survive.”
A younger voice embraces the hybrid era
Irshad Ali, a younger calligrapher active since 2018, challenges the older generation’s anxieties. Digital platforms, he argues, have opened global doors for Pakistani artists.
“Social media allows us to share work, conduct workshops and build communities,” he said. “Digital tools help explore color, composition and motion without replacing the authenticity of handmade work.”
Ali believes Islamic calligraphy is moving into a hybrid age where traditional scripts coexist with digital experimentation. “AI may support workflows, but human emotion and spirituality remain irreplaceable,” he said.
AI, he added, “can create visuals but not intention or spirituality. Its threat exists only for repetitive or unoriginal work.”
Ali, who is a professional architect, urges young artists to prioritize discipline: “Learn traditional scripts properly, practice daily, study masters, develop your own style rather than copying trends.”
Collectors, he said, still value originality — and opportunities are expanding for those who combine consistency with professionalism.
“Pakistan has tremendous talent but limited global representation,” Ali said. “Calligraphers must join international exhibitions, collaborate globally, strengthen their digital presence and present themselves professionally.”
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