Sharjah: Othman Hassan
The participation of the new session of the Islamic Arts Festival includes captivating experiences in shaping the Arabic letter, and the artists in this expressive and aesthetic experience present a new direction in shaping the Arabic letter, where the letter is at the forefront of the painting, as a self-contained plastic singular.
Despite this new and contemporary trend – in the formation of crafts, it is skillfully invested by artists, to give the painting a visual and spiritual value, the implications of which can be deduced from reading the literal product in general, and what the participating works try to offer from a visual language, in harmony with the spirit of Islamic culture.
It must be emphasized, while we are talking about the literal experience in the Islamic Arts Festival, that it is experiences that share the story of the beauty of the Arabic letter, as it constitutes a special language with aesthetic and symbolic contents, drawing the viewer’s heart towards the originality of the letter, and despite its affiliation – i.e. literal – to modern schools in formation. And the enchanting experience it offers, we cannot turn a blind eye to its value system, which is also characterized by its uniqueness and diversity.
In his calligraphic exhibition “Manifestations” the Syrian Jalal Al-Mohareb tells the story of the beauty of the Arabic letter, by mixing calligraphy with color. Here, the viewer’s eye falls on a literal and figurative experience, highlighting the formation of the letter, in the most beautiful way that creates an atmosphere of spiritual and visual harmony through charming creative paintings.
And Jalal Al-Mohareb presents impressive paintings in contemporary letters, and a contemporary artistic vision is evident in them, where color is a mainstay in the painting, which the viewer reads, as if it expresses a pleasant and attractive aesthetic harmonious overlap.
In another no less beautiful experiment, the Arabic letter rises to express expressive and spiritual aesthetics through the tinge of color, which Wissam Al Sayegh employs in his exhibition “Relationship, Letters and Porcelain”. Here the letter appears as if it expresses special aesthetics with a captivating linguistic, artistic and plastic connotation.
Wissam Al-Sayegh is an experience worth watching. His use of the letter highlights the aesthetic energies of this letter on the surface of the painting. It appears as a main component in its aesthetic dimension. It also shows the ingenuity of the artistic method in its quest to present an artistic vision based on the overlapping of line with color, and investing the maximum of what the plastic and visual space provides.
In a literal experience of another kind, the Turkish artist Batul Demir realizes the importance of pairing the letter with the Islamic decoration in providing an aesthetic perspective that benefits the consistency and harmony of the dimensions of the painting. The colorful ornament presents a plastic perspective that combines heritage and contemporary in a remarkable way.
And the use of decoration with calligraphy is useful in presenting the aesthetics of the form, such as balance, symmetry, and contrast, as well as providing a visual vision, which Demir was able to distribute on the surface of her works at the festival, so it appeared consistent and harmonious with the concepts of Islamic thesis.
Since his old experiments in literalism, the artist Khalifa Al-Shimy is distinguished by a special artistic lyricism with a spiritual dimension in all the works he presents, showing the holiness of the Arabic letter, coupled with a color visual treatment, during which Al-Shimy distinguished his own style, in one of his paintings displayed in the gallery of the Emirates Fine Arts Society Within the “Islamic Arts” titled: “Ibtihalat” the title indicates a spiritual or mystical dimension, as a first threshold that presents an aesthetic and spiritual perspective that celebrates blue and brown gradations, and the literal experience of Khalifa El-Shimy is a distinct experience in terms of the harmonious and visual harmony it offers.
The Saudi calligrapher and letterer Nasser Al-Mousa confirms that the Arabic letter is malleable and subject to formation, and it is possible to present creative textual works, the aim of which is not only to read the literary content, but to engage with it visually, so that we can feel the places of beauty in these formations, and it is also considered an identity, and not the whole identity but it is Part of the Arab identity, meaning that we rely on the Arabic letter to express our identity, and open the way for artists who take this field as a field for formation or a field for creativity or expression of feelings, thoughts, ideas, visions, thought and culture.. the letter is subject to formation and dialogue by any Arab artist.