Ayesha Gamiet and the art of Islamic illumination
The British illustrator discusses the craft and spirituality behind her work
German children’s author Cornelia Funke, who invited Gamiet to a residency on her
avocado farm in Malibu.
The exquisite work of British artist, illustrator and art educator
Ayesha Gamiet opens a contemporary window to the ancient art of Islamic manuscript illumination.
“I always loved painting and drawing,” Gamiet told Arab News. “My dad studied fine art and always encouraged me. My work ethic comes from my mum. My parents are from South Africa — they emigrated to the UK due to apartheid. My mum had a very typical immigrant mentality of working really hard.
She set up her own business. Something of that came through to me.”
Gamiet studied and earned her ijaza
(‘authorization’) under master illuminator
Ayten Tiryaki in Istanbul.
Gamiet holds a masters degree in Traditional and Islamic
Arts from the Prince’s Foundation School of Traditional Arts, where she now teaches.
“Traditionally, the master craftsmen were spiritual masters as well and they would train their apprentices both in the craft and the development of their spiritual path and character,” Gamiet told Arab News. “We no longer have those guild systems in place, but there is still something of the essence of that mentoring relationship today. It’s fundamental to the practice of illumination and calligraphy. When I met Ayten Tiryaki, I was struck by how she wasn’t just looking at my artistic skill but at me as a human being. She was concerned for my welfare in a maternal way. The care she showed me and her etiquette — ‘adab’ in Arabic — were wonderful.”
Gamiet’s own teaching has taken her to several other countries, including Saudi Arabia, China and Egypt. “I teach in Jeddah and love teaching Saudi students because they are so hungry for knowledge,” she said.
Gamiet describes her style as “quite free-spirited” but says she is also “methodical.”
“I like to have a structure and plan,” she said. “I would love to start writing and illustrating my own children’s books.” Here, the artist tells us the stories behind some of her favorite works.
‘Ijaza’
The large circular panel in this close-up shows a detail of my hilye — a description of the moral and physical attributes of Prophet Muhammad (peace be upon him). It is a great blessing for an illuminator to paint a hilye, and it is traditional for illuminators to make one when they are ready to graduate from apprentice to full-fledged artist. The hilye expresses our love of the Prophet Muhammad, and our devotion to the craft. It should showcase all your skills. Each individual unit of pattern should be balanced in color and design, and also harmonize with the composition as a whole. It took 12 years to get my ijaza — it took so long because I did not go to live in Turkey. There was a lot of effort at the beginning — a lot of mistakes and struggle. The key thing is the brushwork. Once you have got that it unlocks a lot for you. After two years of practicing illumination the brushwork began to flow a lot more easily. I remember my first meeting with Ayten Tiryaki. She gave me some motifs to trace over and copy
— traditional illumination and floral motifs — and I was so nervous that I kept cracking the fine nib on the pen. All she said was “Mashallah.” It was her way of making me feel comfortable because my work wasn’t very good but she didn’t want to embarrass me. Being around her throughout the years I saw that sensitivity countless times. It really inspired me because I came to the realization that this craft is not just about preserving a beautiful aspect of Islamic culture and the art of Islamic books – it is also about nurturing beautiful human beings.
There was a lot of effort at the beginning — a lot of mistakes and struggle. The key thing is the brushwork. Once you have got that it unlocks a lot for you.