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Old Persian Calligraphy Survives in All Its Elegance, in an Unlikely Place

Alibaba Awrang, a modern Old Master, fled from Kabul to the U.S. in 2021, bringing his modern take on Persian design.

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Alibaba Awrang, Waiting, 2024, gold leaf, Japanese ink, acrylic, and watercolor on canvas.

Courtesy of the artist

Sometimes opportunity knocks in booms and bangs. I told a good friend a week ago that I was heading to North Adams, Mass., a short drive from my home, to see the Massachusetts Museum of Contemporary Art, or MASS MoCA, the biggest contemporary art museum in the world. “You ought to try to meet Alibaba Awrang,” my friend said. “He’s there as an artist in residence, and he’s a fantastic painter . . . calligraphy, Persian-style . . . and he’s an Afghan.” I’d been thinking about an artist profile, which I haven’t done in a few months, and I’d profiled neither an artist inspired by calligraphy nor an artist from Afghanistan.

Striking while the iron’s hot is very good, too. It was a Sunday, so I didn’t expect to find him, but find him, I did. I can be a bloodhound. And tempus fugit, and fast. No thousand and one nights for him in gritty North Adams, not even a thousand and one minutes, since Alibaba (b. 1972) was leaving the Berkshires the next day. Serendipity is a lovely thing. So, “open sesame” — your eyes and minds, that is, to something different.

Brian T. Allen

About the Author

Brian T. Allen

Brian T. Allen is National Review’s art critic.

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