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جميل حمودي ٥٦ لولوة ّالحمود ٥٢ 52 Lulwah Al Hamoud 56 Jamil Hamoudi 58 Ali Hassan 82 Samir Sayegh 84 Khaled Ben Slimane 88 Essay by Charbel Dagher

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جميل حمودي ٥٦ لولوة ّالحمود ٥٢ 52 Lulwah Al Hamoud 56 Jamil Hamoudi 58 Ali Hassan 82 Samir Sayegh 84 Khaled Ben Slimane 88 Essay by Charbel Dagher 21 فبراير 2014 – 24 أكتوبر 2014 February 21, 2014 to October 24, 2014 Tarīqah • Tarīqah طريقة Tarīqah طريقة اقرأ ISBN 978-1-907051-33-3 مواد مختلفة على قماش .Published by Art Advisory Associates Ltd 180 × 180 سم Barjeel Art Foundation 2008 مؤسسة بارجيل للفنون (Level Two, Maraya Art Centre Irqa’a (Read الطابق الثاني، مركز مرايا للفنون Al Qasba, Sharjah, UAE courtesy Photo mixed media on canvas القصباء، الشارقة، اإلمارات العربية المتحدة 180 x 180 cm www.barjeelartfoundation.org 2008 2 5 طريقة Tarīqah sponsored by :Curator ِّالقيمة: Mandy Merzaban ماندي مرزبان :Assistant Curator َالق ِّيمة المساعدة Suheyla Takesh سهيلة طقش :English Editor محررة اللغة اإلنجليزية: Previous Publications Greta Anderson-Finn, Ph.D د. جريتا أندرسن- فين المطبوعات السابقة :Arabic Editor محرر اللغة العربية: Exhibition: Re: Orient المعرض: ُّرد الشرق Basil Hatim, Ph.D د. باسل حاتم Dates: March 11 – November 22, 2013 التاريخ: 11 مارس - 22 نوفمبر، 2013 ISBN 978-1-907051-26-5 الرقم الدولي الموحد للكتاب: ٥-٩٧٨-1-٩0٧0٥1-2٦ :Arabic/English Translation الترجمة العربية/ اإلنجليزية: .Publisher: Art Advisory Associates Ltd الناشر: Art Advisory Associates Ltd Iskandar Shaaban and Partner Ad Services اسكندر شعبان وشريكته للخدمات اإلعالنية Basil Hatim, Ph.D د. باسل حاتم Exhibition: Alienation المعرض: اغتراب Dates: March 24 – December 22, 2012 التاريخ: 24 مارس – 22 ديسمبر 2012 :Fact Checker مدقق الحقائق: ISBN: 978-1-907051-18-0 الرقم الدولي الموحد للكتاب: ٩٧٨-1-٩0٧0٥1-1٨-0 Abdul Hakeem Al Husseini, Ph.D د. عبد الحكيم الحسيني .Publisher: Art Advisory Associates Ltd الناشر: Art Advisory Associates Ltd :Contributors ّالكتاب المساهمون: Exhibition: Caravan المعرض: القافلة Charbel Dagher, Ph.D د. شربل داغر Dates: October 14 2011 – February 22, 2012 التاريخ: 14 أكتوبر 2011 – 22 فبراير 2012 Daliah Merzaban داليا مرزبان ISBN: N/A الرقم الدولي الموحد للكتاب: غير متوفر Feras Hamza, Ph.D د. فراس حمزة Kamal Boullata كمال بُ ّالطه Patrick Kane, Ph.D د. باتريك كين Sarah Rogers, Ph.D د. سارة روجرز :Photography of Artworks التصوير الفوتوغرافي: Capital D Studio كابيتال دي استوديو :Catalogue Design تصميم الكتاب: We Are Thought Fox وي آر ثوت فوكس 2 3 Contents جدول المحتويات نجا مهداوي ٦٦ رشيد قريشي ٦4 شاكر حسن آل سعيد ٦0 كلمة المعرض 1٧ مقدمة 0٨ عن بارجيل 0٧ 07 About Barjeel 08 Foreword 17 Curatorial statement 60 Shakir Hassan Al Said 64 Rachid Koraïchi 66 Nja Mahdaoui حسن المسعودي ٧4 محمد مندي ٧0 حازم مهدي ٦٨ يوسف أحمد 40 حوار مع كمال بُ ّالطه 23 نص بقلم سهيلة طقش 1٩ 19 Text by Suheyla Takesh 23 Interview: Kamal Boullata 40 Yousef Ahmed 68 Hazem Mahdy 70 Mohammed Mandi 74 Hassan Massoudy رافع الناصري ٨0 عمر النجدي ٧٨ أحمد ماطر ٧٦ ديانا الحديد 4٨ علي عمر الرميص 4٦ كمال بُ ّالطه 42 42 Kamal Boullata 46 Ali Omar Ermes 48 Diana Al Hadid 76 Ahmed Mater 78 Omar El Nagdi 80 Rafa Al Nasiri مقال بقلم شربل داغر ٨٨ خالد بن سليمان ٨4 سمير صايغ ٨2 علي حسن ٥٨ جميل حمودي ٥٦ لولوة ّالحمود ٥2 52 Lulwah Al Hamoud 56 Jamil Hamoudi 58 Ali Hassan 82 Samir Sayegh 84 Khaled Ben Slimane 88 Essay by Charbel Dagher 4 5 About Barjeel عن بارجيل Barjeel Art Foundation is an independent, United تعد »مؤسسة بارجيل للفنون«، التي تتخذ من دولة اإلمارات ,Arab Emirates-based initiative established to manage العربية المتحدة ّمقراً لها، مبادرة مستقلة تهدف إلى إدارة preserve and exhibit the personal art collection of وحفظ وعرض مجموعة مقتنيات سلطان سعود القاسمي .Sultan Sooud Al Qassemi الفنية الشخصية. The foundation’s guiding principle is to contribute to وترنو المؤسسة إلى المساهمة في دعم حركة التطور the intellectual development of the art scene in the الفكري على الساحة الفنية الخليجية عبر اقتناء تشكيلة Gulf region by building a prominent, publicly accessible متميزة من األعمال الفنية وعرضها أمام الجمهور في art collection in the UAE. Part of this objective involves اإلمارات العربية المتحدة. وتسعى »مؤسسة بارجيل للفنون« developing a public platform to foster critical dialogue ًأيضا إلى توفير منبر عام لتمكين الجمهور من تبادل وجهات around modern and contemporary art, with a focus on النظر والتحاور النقدي حول الفن الحديث والمعاصر، مع .artists with Arab heritage internationally التركيز على الفنانين المتشبعين بالتراث العربي حول العالم. By hosting in-house exhibitions, lending artwork to باألضافة الى ذلك، تعمل المؤسسة جاهدة على توفير international forums, producing print as well as online مورد ثري للمعلومات حول الفن الحديث والمعاصر على -publications, and fashioning interactive public pro الساحتين المحلية والعالمية، عبر استضافة المعارض، grammes, the Barjeel Art Foundation strives to serve as وإعارة األعمال الفنية للمنتديات الدولية، وإصدار المطبوعات an informative resource for modern and contemporary الورقية والمنشورات اإللكترونية، وابتكار البرامج التفاعلية .art locally and on the global stage لعامة الجمهور. 6 7 Foreword Rite, spirit and art in Islam العبادة والروح والفن في اإلسالم Text by Feras Q. Hamza بقلم فراس حمزة In considering ‘the artistic’ in an to interpret the esoteric that sat at the البد وأن يخلد في ذهن المتابع وهو أنها اكتشافات لمسارات ممكنة تعود في -Islamic context, the observer must other end of, and gave ultimate mean يتأمل الجانب ّي الفنفي الثقافة اإلسالمية جذورها إلى منشأ مقدس، وتحث على فهم .bear two things in mind. First, the ing and substance to, human reality فكرتان أساسيتان: األولى هي أن المساحة العالقة بين الجوانب اإلنسانية واإللهية. geographical broadness within which Such articulations should also be read الجغرافية الواسعة التي حافظ فيها ’that cultural singularity ‘Islam’ endured as explorations of possible ‘pathways اإلسالم على ّخصوصيته الثقافية إنما أما الفكرة الثانية، فهي تتمثل ولسوء الحظ meant that its artistic refractions were back to divine origins, a quest to تعكس تجليات ّفنية متنوعة بتنوع في تنامي المفاهيم الخاطئة حول العالقة as diverse as the peoples who partici- understand the interface between the الشعوب التي عاشت فيها. ولوال غرابة بين اإلسالم والفن من جهة والشريعة .pated in its venture.Were it not for its human and the divine كلمة »التأسلم« (Islamicate)، لكان ّوالروحانية من جهة أخرى. وال تنطوي هذه unfamiliarity, a better way of referring هذا المصطلح هو األفضل لوصف النتاج العالقة بشقيها على أي تناقض، وإنما to artistic production in this context The second thing to be borne in mind الفني في هذا السياق، وهو مصطلح وضعه ترتكزعلى انسجام جوهري يعكس ازدواجية would be to call it ‘Islamicate’, a term is the, unfortunately, ever lingering المستشرق الراحل مارشال هودجسون متكاملة بعيدة كل البعدعن اي شكل coined by the late historian of Islam, misconception of the relationship لإلشارة إلىاإلبداعات ّالفنية التي تم إنتاجها من أشكال التضارب. وخالل مسيرة البحث Marshall Hodgson, to denote all artis- between Islam and the artistic, on على امتداد األمصارالتي سادت فيها الثقافة عن الحقيقة المنشودة، فأن الفن يرنو نحو tic creation conceived and produced in the one hand, and the relationship ّاإلسالمية وليس بالضرورة على يد مبدعين سبرالمضامين ّالمقدسة بقدر ما يرنو نحو lands where Islam was culturally domi- between the religious law (shari‘a) and مسلمين فحسب. ًوأياكان المصطلح سبر المضامين ّالدنيوية ، حيث يتفاعل nant, but not necessarily by Muslims spirituality, on the other. In neither المعتمد، فأن هذا التنوع يعد ثمرة الحس مع المفاهيم المادية وهو يغوص في ,alone. Whatever term we use, though, case is the relationship one of polarity الجمالي المشترك الذي لطالما كان اعماق ماورائيات الطبيعة حتىتتهاوىهذه -that diversity was more often than not but of intrinsic harmony, these duali ًدافعا لتجسيد مصادر اإللهام الفني في الثنائيات ببراعة فائقة في األعمال الفنية aggregated by a unifying aesthetic ties being binaries of complementarity الحضارة اإلسالمية واألحتفاء بها. ومنذ الكبرى. وفي إطار تقويم الجانب الفني، sensibility, an impulse to represent and and not of contrariety. In its search for نشأتها األولى كانت النماذج األولى ألشكال فأنه ليس من العبث أن يصف المرء ًعمال to celebrate the very source of artistic ‘truth’, art looks as much to the sacred الفن اإلسالمي - بما فيها الخط العربي ما بأنه سماوي علوي حتى ولو كان ذلك inspiration. At their birth, the earliest as it does to the profane, engaging والهندسة المعمارية– تتمتع بالبساطة العمل ًدنيويا في نشأته،و حتى دون أن The ritual prayer (salat) perfectly demonstrates forms of Islamic artistic production, with the physical as it seeks to tap into الصورة مقدمة من والفخامة في آن،وهي تحاول جاهدة تفسير يتراءى لذهن الناظر أي مضامين ّدينية. the symbiotic relationship between spirituality calligraphy and architecture,employed the metaphysical, so much so that in غموض الواقع البشري بطريقة فريدة .and embodiment تضفي عليه معنى ومضمونا ًحقيقيا. ومن المنطلق ذاته، ومن حيث المناسك simplicity to evoke sublimity, attempt- great works of art the categories are الصالة في اإلسالم تشرح بوضوح ماهية العالقة ً oldpicture.com ing in a kind of hierophantic manner delicately and subtly collapsed. It is التكافلية بين الروح والجسد of oldpicture.com courtesy Photograph وينبغي النظر إلى هذه األشكال الفنية على والطقوس، فأن الممارسات الدينية 8 9 ,not in frivolity that in the vernacular of as the symbolic yet practical means by devices, cadence and metaphor اإلسالمية تجمع بين الطقوس ّالشرعية حول المصدر األسمى للحقيقة.ولم يكن artistic appreciation, a person may be which every Muslim worshipper forever amongst other things, to produce المفروضة والجانب الروحاني،وهذا يستلزم بمقدور هذا النص المقدس أنيكون مصدر heard to deem such and such a work there after could seek to reorient their enduring sounds and images that have ان يكون التفكير بالروح والجسد وبالعبادة إلهام لهذا الكم الهائل من حاالت اإلبداع .as ‘divine’, even as the work itself is body-soul towards its spiritual origins. resonated across time and geographies والتأمل اساسا ألي ممارسة دينية . وتعد الفكرية و الروحية وحتى الفنية لوكان مجرد clearly ‘mundane’ in its genesis and
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