Aesthetic Elements of Calligraphy: With Reference to Devanagari

Authors

  • Dr. Prakash Das Khandey HOD, Department of Painting, Dada Lakhmi Chand State University of Performing and Visual Arts, Rohtak, Haryana, India Author

DOI:

https://doi.org/10.63954/wmgnvg63

Keywords:

Aesthetics, Calligraphy, Writing Art, Script

Abstract

Calligraphy—meaning the art of beautiful writing—is not merely the decoration of letters; rather, it is a vibrant and emotional visual expression in which language and art come together in a remarkable harmony. When this art combines with the Devanagari script, it transforms from being just a script into a living symbol of Indian culture, tradition, and aesthetic sensibility. Devanagari—used to write languages such as Hindi, Sanskrit, Marathi, and Nepali—is considered one of the most aesthetically rich scripts in the world due to its clear linearity, rhythmic flow, and distinctive headline (shirorekha). In Devanagari calligraphy, beauty emerges on multiple levels—such as the movement and rhythm of lines, the balance of curves and angles, and the artistic use of negative space. The shirorekha is not merely a line but a creative energy that binds words together and lends a unique elegance to calligraphy. The interplay of thick and thin strokes, harmonious shapes, and appropriate spacing ensures that every word becomes a visual poem. Historically, the original handwritten copy of the Indian Constitution, created by Prem Behari Narain Raizada, stands as a symbol of the excellence of Devanagari calligraphy. In the contemporary era, artists like Achyut Palav and R. K. Joshi have enhanced its artistic value and established Devanagari on the global stage. Today, through digital tools, typeface design, and graphic platforms, Devanagari calligraphy is not only expanding its artistic presence but also showcasing its beauty in new mediums such as branding, animation, and visual communication.

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Published

29-12-2025

How to Cite

Aesthetic Elements of Calligraphy: With Reference to Devanagari. (2025). Wah Academia Journal of Global Religions, 1(3), 16-25. https://doi.org/10.63954/wmgnvg63