An Interview with Pyotr Chobitko, Chairman of the Presidium of the National Union of Calligraphers

Late in the evening, on the eve of the Day of the Russian Constitution, our correspondent posed questions to Pyotr Chobitko, Chairman of the Presidium of the National Union of Calligraphers about the handwritten copy of the Constitution of the Russian Federation.

- Mr. Chobitko, in your opinion, what was the reason for writing the Constitution of Russia by hand? What is the significance of this project?
- Working on the grandiose International Exhibition of Calligraphy project we came across a national-scale idea: In honour of the 300th anniversary of the civil script, we wish to restore the long forgotten art of calligraphy in Russia. Besides, we needed a core, an epicenter of the project, so we decided to explore the concept of a handwritten copy of the Constitution of the Russian Federation. The Constitution is to become the symbol of Russia's rebirth, because only a few countries in the world are able to keep and maintain such a delicate art as calligraphy. We can do it and this proves our spiritual and cultural potential.

- How long have you been working on the handwritten version of the basic law of our country?
- We worked in several steps - it took us about seven months, from May to November. The first step, and the most important one, was to create a special handwritten script. It took us much pains to work out a form that would combine tradition and meet contemporary requirements. We wished people knew and understood it was a real handwritten, not computer-based text. The second step was marked by direct cooperation with the Rare book from St. Petersburg publishing house’s designers. During this stage, we worked out the composition and proportions of the page and text on the page, margins, intervals, and spaces. Having sorted out all that, we started to write the text of the Constitution. First, an editor proofread the text, we lined the page, and only after that I could get down to writing. The last pages were written and sent to the project organizers on November 10^th. I had to rewrite them three times for the general fatigue seemed to have started telling on me.

- How did you choose this script, what is its peculiarity?
- I've been working with handwritten scripts for over thirty-six years. Of course, I used my experience both in teaching and in executing many national orders. I’ve been thinking about a script form to be used for official Russian documents for a long time. Certainly, I had some ideas and drafts. However, the mission of creating a script for the Constitution of the Russian Federation from scratch within such short notice seemed almost impossible. Such work takes months of detailed research and analysis. You know, I have recently published my book titled "ABC of the Ancient Russian Script" that illustrates not only historical letterforms but also modern variations and interpretations. Accumulated and structured material helped me greatly while designing the script for the constitution. One of the characteristic features of such work is that not only do you have to elaborate a special script for any given purpose, but also it has to go well with the handwriting mode, the form of the letter, the appearance of the line. That is to say, you have to consider how readable your script will be, what mood and rhythm it will create. Thus, in this case our main difficulty was to find the proper pitch, the tone that would be in harmony with the subject matter; to avoid excessive historicity and stiffness; to permeate the text with liveliness, with the movement of a writing hand.

- Could you describe the script, its characteristics?
- As far as the letterform is concerned, I could say that the broadness of the pen greatly influences the perception of the sign. Sometimes a script is thin and beautiful like an herb, and sometimes it can be dense. Before you start working you should find the balanced form to avoid any defects. The letter should be monumental and reserved, but at the same time it has to be diverse, otherwise the letter would be dull. That is why we had to change details in the process of writing. Some letters were complemented by kernel elements to impart certain melodiousness to the script. A constitution is not a breath-taking narrative, so we had to make it warmer and friendlier. The most difficult thing was to keep the balance.

- What other obstacles did you meet while writing the constitution?
- There were lots of difficulties and they were quite different. They were physical and psychological, and even moral obstacles. First, I wanted to write the constitution somewhere far, far away from the everyday routine, somewhere in a quiet cell in a monastery. I found such a place and I even made a deal with the priest, but fate would have it otherwise. At the same time, we had to face many other problems. We were preparing the International Exhibition of Calligraphy, and I as Chairman of the Presidium of the National Union of Calligraphers had to settle all technicalities. Therefore, it was really hard to stay focused; I clearly realized that in such a hurry I was losing the balance of my script that started to fluctuate from stiffer to more hot-tempered forms. It was a great challenge to maintain the same style throughout this calligraphic marathon.

- What instruments did you use?
- Well, initially I planned to write with bird quills. But when I started writing I understood that modern paper differs greatly from the one our ancestors used. The quills kept breaking and I had to change them time and again. Slowly I decided to use the metal pens, but I had to upgrade them, because a pen is an extension of your hand: it has to be very sensitive to your every move, every maneuver. However, even metal pens were not durable enough, so not a single pen with which I started to write with survived.

- What paper did you use?
- The Constitution of the Russian Federation is written on Tintoretto, an Italian hand-made textured paper that has a smooth warm color. It is practically identical to the ancient samples of paper.

- I see, it must have been a toilsome and laborious business. Did you have any assistants?
- In the very beginning, I was assisted by a very good designer Mikhail Kopylkov who helped me design the page, measure and line the paper. Then, my students did their best to help me. But not everyone was able to work under the pressure and finally only Denis Zolotaryov, a student of the Repin State Academic Institute of Painting, Sculpture, and Architecture of St. Petersburg, stayed with me.

- Why is the project significant for Russia?
- This year four major events did happen within the framework of the International Exhibition of Calligraphy; some of them have not yet received due appreciation. The first one is the grand opening of the exhibition in Saint-Petersburg, gathering over fifty calligraphers from twenty-six countries. The second is the establishment of the National Union of Calligraphers of Russia, which many foreign masters are eager to enter as well. The third is the establishment of the first in Russia Contemporary Museum of Calligraphy in Moscow. The fourth is the creation of a handwritten copy of the Constitution of the Russian Federation. All that is a solid foundation for cultivating a fertile environment for calligraphy development. Calligraphy covers a vast cultural field that has been neglected in Russian society for many years. Calligraphy is also a powerful manifestation of a source of pure spiritual energy stirring every man’s soul. Calligraphy’s availability and affordability attract many people, young and old, especially schoolchildren, who have a natural craving for the art. All ages are to calligraphy submissive – this maxim has been proved by the Saint Petersburg exhibition, crushing all skeptic prognoses. Despite the scale of the project, it is still maintained by only one company, though it has already attracted international attention. Not only does the International Exhibition of Calligraphy unite and consolidate masters and professionals, but it also reinforces each family in the spirit of participation and cooperation at the fairy calligraphy fest. We got used to seeing the basic law of the Russian Federation printed in a standard font, which is hardly attractive. And today the constitution has been clothed into new garments, acquiring new handwritten appearance enriched with a more complex and diverse rhythm. I dare hope this new image, if printed and circulated, will help raise more public awareness as far as the contents and message of the constitution are concerned. In fact, the constitution bears the same message as the project does – to build a beautiful and healthy society. The social and cultural impact of the project has exceeded the powers of a single company; in the future, it will absolutely need governmental support.

Source: International Exhibition of Calligraphy

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