Calligraffiti: the Graphic Art of Niels Shoe Meulman PDF Book
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Islamic Calligraphy
استمازة جقييم السسائل البحثيت ملقسز دزاس ي اوﻻ : بياهاث جمل بمعسفت الطالب اسم الطالب : حبيبه خالد سيد زكى كليت : الاداب قسم اثاز الفسقت/املستوى : الثانيه الشعبت : اثار اسﻻميه اسم املقسز : قراءات اثريه وتاريخيه بلغه اوربيه كود املقسز: -7 )7987( استاذ املقسز : ا.م.د / صالح فتحي صالح حسين البريد الالكترووى [email protected] : للطالب عىوان السسالت البحثيت : calligraphy in the Islamic world ثاهيا: بياهاث جمل بمعسفت لجىت املمتحىيين هل السسالت البحثيت املقدمت متشابت جصئيا او كليا ☐ وعم ☐ ﻻ فى حالت الاجابت بىعم ﻻ يتم جقييم املشسوع البحثى ويعتبر غير مجاش جقييم املشسوع البحثى م عىاصس التقييم الوشن التقييم اليسبى 1 الشكل العام للسسالت البحثيت 2 جحقق املتطلباث العلميت املطلوبت 3 يركس املساجع واملصادز العلميت 4 الصياغت اللغويت واسلوب الكتابت جيد هتيجت التقييم النهائى /111 ☐ هاجح ☐ زاسب جوقيع لجىت التقييم 1. .2 .3 .4 .5 جسفق هره الاستمازة كغﻻف للمشسوع البحثى بعد استكمال البياهاث بمعسفت الطالب وعلى ان ﻻ جصيد عً صفحت واحدة Islamic calligraphy Islamic calligraphy is the artistic practice of handwriting and calligraphy, based upon the alphabet in the lands sharing a common Islamic cultural heritage. It includes Arabic, Ottoman, Persian, Pakistan and Indian calligraphy.It is known in Arabic as khatt Islami , meaning Islamic line, design, or construction. The development of Islamic calligraphy is strongly tied to the Qur'an; chapters and excerpts from the Qur'an are a common and almost universal text upon which Islamic calligraphy is based. However, Islamic calligraphy is not limited to strictly religious subjects, objects, or spaces. Like all Islamic art, it encompasses a diverse array of works created in a wide variety of contexts. -
Contemporary Islamic Graffiti: the New Illuminated Manuscript
Contemporary Islamic Graffiti: The New Illuminated Manuscript Click the following video link on contemporary Graffiti artist Mohammed Ali. Mohammed was invited to be a part of the Eid Festival at the Riksatern Theatre in Gothenburg Sweden, by the British Council in Seden. He painted a unique cube over a 2 day period outside of the museum, where he engages with the people around him while he paints. http://www.aerosolarabic.com/portfolio/mohammed-ali-in- sweden/ Overview The following lesson is part of a Visual Arts instructional unit exploring Graffiti as a visual art form expressing contemporary ideas of Islamic culture. Historically, Illuminated manuscripts (especially Illuminated Qur’ans) were instrumental in spreading ideas of Islam. The function, form and style development of Illuminated manuscripts correlated with the need to not only record and spread the revelations bestowed upon the prophet Muhammad, but also to signify the importance and reverence of the word of Allah. Contemporary Islamic Graffiti developed in response to a need to illuminate contemporary ideas of Islam in a visual platform that is not only visually captivating, but in the public sphere. Graffiti tends to challenge perceptions and hold a visual mirror up for society to reflect upon cultural practices and structures. Contemporary Islamic Graffiti artists Muhammed Ali and eL Seed are creating a platform for spreading contemporary ideas of Islam and challenging stereotypes and perceptions of Muslims and Islam as a monolithic religion. In this unit, students will first explore the visual art form of historic Illuminated Manuscripts and engage in critical analysis of at least one historic work. -
El Seed (France, B
eL Seed (France, b. 1981) Education Masters Degree in Supply Chain Management at Essec Business School France Bachelor’s in Marketing, IUP Creteil, Paris, France Selected Solo Exhibitions 2019 Tabula Rasa, Lazinc Gallery, London, UK 2017 Love Paris, Royal Monceau, Paris, France Tradizione Proverbiale, Galleria Patrica Armocida, Milan, Italy 2016 Zaraeeb, ArtTalks, Cairo Eygpt 2014 Declaration, Tashkeel, Dubai, U.A.E. Lost Walls, lnstitut Du Monde Arabe, Paris, France 2012 The Walls, ltinerrance Gallery, Paris, France Selected Group Exhibitions 2018 Sharjah Calligraphy Biennale, Sharjah, UAE 2016 Hurufiwa : Art & Identity, Bibliotheca Alexandrina, Egypt 2015 Codici Sorgen, Visioni Urbane Contemporanee, Museo Palazzo Platamone, Catania 2013 Calligrafitti 1984 - 2013, Leila Heller Gallery, New York, U.S.A. 2012 Arabic Calligraphy, Pergamon Museum, Berlin, Germany Selected Public Art Installations 2018 Mirrors of Babel, Toronto, Canada Declaration, Dubai, UAE 2017 Myrelingues La Brumeuse, Lyon, France The Bridge, DMZ South Korea Positive Spirit, Dubai, U.A.E. 2016 Bahrain Bay, Bahrain Knowledge Mitchell Center for the Arts, Houston, U.S.A. Perception, Cairo, Eygpt 2017 Our Common Differences, Coney Art Walls, Curated by Jeffrey Deitch, U.S.A. 2015 Lock Bridges, Paris, France Truth, Shoreditch, London, England 2014 Love is the Miracle of Civilizations, lnstitut du Monde Arabe, Paris, France Jedariyah, Sharjah, U.A.E. 2013 Lost Walls, Tunisia eL Seed in Doha, Qatar Museum Authority, Doha, Qatar 2012 Madinati, Tunisia Collaborations 2019 Aubusson Tapestry, Cité International de la Tapisserie 2013 Foulard d’artiste, Louis Vuitton Presentations 2018 Aga Khan Museum, Toronto, Canada MoMA, New York, USA USC, Los Angeles, USA 2017 Thinkers-Doers, Abu Dhabi, U.A.E. -
Sustaining Cultural Identity Through Arabic Calligraphy: a Critical Reading of Nasser Al-Salem’S Artworks
Islamic Heritage Architecture and Art III 211 SUSTAINING CULTURAL IDENTITY THROUGH ARABIC CALLIGRAPHY: A CRITICAL READING OF NASSER AL-SALEM’S ARTWORKS LINA M. KATTAN* University of Jeddah, Saudi Arabia ABSTRACT Arabic calligraphy has always been the most prominent characteristic of Islamic art. Arab/Muslim artists – even non-Arabic speakers – appreciate Arabic calligraphy due to its correlation with the language of the Quran. Due to the commonly known prohibition of figuration, especially among classical Muslim scholars, many Arab/Muslim artists found an escape in the Arabic alphabet to avoid such a grey area. Either used as words or as sentences, Arabic inscription became the dominant pattern of traditional Islamic art. The inclusion of Arabic letters within the artistic composition has changed over the years, namely in style. Since the 1980s, the Arabic letter became the core element of contemporary Saudi art. In this paper, I argue that contemporary Saudi artists, such as in the case of Nasser al-Salem, rely on Arabic calligraphy to assert their Islamic identity and cultural heritage. This paper sheds light on one famous contemporary Saudi artist who chose the Arabic letter as his primary approach. While it may seem that al-Salem’s contemporary works are similar to traditional Islamic arts, they tremendously differ in concept, medium, and style. This study focuses only on three of his well-known calligraphic works. Generally, what characterizes contemporary Saudi art is the high-level of conceptuality and the noticeable influence of Western art techniques. al-Salem has always been interested in the conceptuality of the Arabic alphabet and its compositional configuration; therefore, his reliance on Arabic script continues to affirm his Saudi cultural heritage and Islamic Identity. -
TRADIZIONE PROVERBIALE El Seed TRADIZIONE PROVERBIALE El Seed TRADIZIONE PROVERBIALE
eL Seed TRADIZIONE PROVERBIALE eL Seed TRADIZIONE PROVERBIALE eL Seed TRADIZIONE PROVERBIALE In the Arabian Peninsula, fourteen centuries ago, a large village named Okaz situated near Mecca was known in the region as the rendezvous for jousting poets. Each year, these linguistically shrewd men would meet at a commercial and artistic fair where they would engage in a competition of elegance and poetic flare. It is reported that following these battles of wits, the victorious poems were embroidered onto textiles, which would then be suspended from the walls of the Kaaba; hence their name, Mu’allaqat, ‘suspended poems’. It is said that several thousand poems have adorned the walls of the Kaaba but only seven poems remained on the sacred walls and it was these poems that gave classical Arabic some of its rules and structure. The Mu’allaqat are the story of anonymous men belonging to the proverbial tradition who thus influenced the future by simply, yet eloquently, retelling the events in their everyday lives. In the spirit of the proverbial tradition, my art retells my time and my social reality, and endeavours to influence the future. A proverb is usually defined as a wise saying or “I permit myself to message that is universally understood. For me, interpret the proverbial there is nothing more malleable than a proverb, tradition as an invitation to not in its formulation but rather in its meaning. It expresses the truth of an experience and these universal self-questioning experiences are as varied as the human race. In and self-reflection”. light of this, I permit myself to interpret the proverbial tradition as an invitation to universal self-questioning and self-reflection. -
Academic Journal of Modern Philology
Academic Journal of Modern Alicja Cimała Philology University of Wrocław e-ISSN 2353-3218 ISSN 2299-7164 Pismo jako sztuka Vol. 6 (2017) 55–64 Abstract Writing as Art Art, being a part of culture and civilization, is difficult to define. It is most often analyzed in terms of aesthetics. The art is most often associated with paintings, sculptures, architecture, music or literature. At the same time, it is hardly ever associated with writing. This article discusses and compares ways of perceiving different types of writing as art that originates from different cultures. Egyptian hieroglyphs were characterized as religious and utilitarian, while their artistic aspect was rather secondary. This approach has changed due to globalization and commercialization. Chinese calligraphy is characterized by duality – a combination of spirituality with pragmatic approach. Arabic calligraphy is primarily religious, but the visual effect seems to be as important as the element of its usage.Calligraffiti that is derived from Arabic calligraphy is, against the tradition, secular and serves as a tool of expression that can be seen both on the streets and in museums. Concrete poetry ignores conventions and gives a new dimension to both poems and typography. Despite time and cultural differences, in all these cases – to a greater or lesser degree – the visual value seems to be just as important (or even more important) as the substantive value of the texts. The visual effect and the functional element cooperate with each other and complement each other creating multidimensional works of art. Keywords: art, civilization, culture, writing, visual effect. Sztuka jako jeden z głównych elementów kultury i cywilizacji jest konceptem trudnym do zdefiniowania. -
The Meroitic Temple at Sai Island Francigny Vincent
The Meroitic Temple at Sai Island Francigny Vincent To cite this version: Francigny Vincent. The Meroitic Temple at Sai Island. Beiträge zur Sudanforschung, 2016, p. 201-211. halshs-02539292 HAL Id: halshs-02539292 https://halshs.archives-ouvertes.fr/halshs-02539292 Submitted on 15 Apr 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. BEITRÄGE ZUR SUDANFORSCHUNG. BEIHEFT 9 THE KUSHITE WORLD PROCEEDINGS OF THE 11TH INTERNATIONAL CONFERENCE FOR MEROITIC STUDIES VIENNA, 1 – 4 SEPTEMBER 2008 THE KUSHITE WORLD PROCEEDINGS OF THE 11TH INTERNATIONAL CONFERENCE FOR MEROITIC STUDIES VIENNA, 1 – 4 SEPTEMBER 2008 Edited by Michael H. Zach Vienna 2015 BEITRÄGE ZUR SUDANFORSCHUNG. BEIHEFT 9 Publisher: Verein der Förderer der Sudanforschung c/o Department of African Studies University of Vienna Spitalgasse 2, Court 5.1 1090 Vienna Austria Printing House: Citypress Neutorgasse 9 1010 Vienna Austria Front Cover: Northern Pylon of Naqa Apedemak Temple (© Department of African Studies, Inv. No. 810) ISSN: 1015-4124 Responsibility of the contents is due to the authors. It is expected that they are in possession of legal permission to publish the enclosed images. CONTENTS Michael H. Zach Address to the 11th International Conference for Meroitic Studies ………………………………… i Hassan Hussein Idris Ahmed Address to the 11th International Conference for Meroitic Studies ………………………………… iii William Y. -
Penplusjanuary312013
THURSDAY 31 JANUARY 2013 • [email protected] • www.thepeninsulaqatar.com • 4455 7741 inside Spielberg CAMPUS seen winning • QU welcomes new students for director Oscar Spring 2013 semester for Lincoln P | 4-5 P | 8-9 FASHION • Home Centre gives kids more reasons to smile P | 6 HEALTH • Quitting smoking by 40 greatly reduces risk of early death: Study P | 7 FOOD • Starting the day off right with breakfast P | 11 French-Tunisian artist eL Seed has successfully combined traditional Arabic calligraphy and street art TECHNOLOGY into what he calls ‘calligraffiti’, a new visual art type, which • Nokia music catapulted him to global fame. streaming service gets upgrade P | 12 LEARN ARABIC Spray paint is his brush, • Learn commonly used Arabic words the walls his canvas and their meanings 2-4 P | 13 P | 2-4 2 PLUS | THURSDAY 31 JANUARY 2013 COVER STORY Art on the walls By Raynald C Rivera Museums Authority and the Public Works Authority (Ashghal) in prob- pray paint is his brush, the ably the largest public art project in walls his canvas. For many, the country. This is the first time cal- traditional Arabic calligra- ligraffiti has been brought to Qatar. phy and street art may be “This is a new type of art. Many worlds apart, but French- people believe that graffiti is linked to STunisian artist eL Seed has success- vandalism, but I believe this (Salwa fully combined the two in what he calligraffiti project) is a nice way to calls ‘calligraffiti’, a new visual art introduce this to people here to show form which has catapulted him to glo- that they can do graffiti in a different bal fame, taking him to various cities way,” he told The Peninsula during a around the world. -
SHUBBAK 11-26 July 2015
20th April, 2015 For Immediate Release SHUBBAK 11-26 July 2015 ‘A Window on Contemporary Arab Culture’ SHUBBAK: DOWNLOAD FULL PROGRAMME Shubbak (meaning ‘window’ in Arabic) is London’s largest biennial festival of contemporary Arab culture. For its third festival, which runs from the 11-26 July, Shubbak presents its most ambitious programme yet, with UK premieres and new commissions from artists across the Arab world. This year's festival will present a truly varied programme designed to appeal to London's population in all its diversity. Festival highlights include: ñ Key strand of the visual arts offering is In-Situ, includinG sound-art installations, sculpture and street art, and the first ever UK mural by ‘calligraffiti’ artist eL Seed ñ Music highlights include the festival’s opening concert at Barbican Centre featuring a host of celebrated Arab musicians, including Karima Skalli and the Asil Ensemble, and world premiere of scenes from Cities of Salt, the forthcoming opera by Syrian composer Zaid Jabri at the Royal Opera House, based on the classic titular novel ñ A weekend of literature and storytelling at the British Library courtesy of some of the Arab world’s most acclaimed writers ñ Arab theatre in London showcased by works at four of the city’s most innovative venues: the Arcola, Bush, Young Vic and Cockpit Theatres ñ Badke, a collaboration between Belgian choreographers and Palestinian dancers, inspired by Dabke, the popular Palestinian folk dance ñ Film programme curated by noted Palestinian director Michel Khleifi ñ Free outdoor events including Eid on Trafalgar Square, with food, live music and activities for all the family Omar Al-Qattan, Festival chair says: Shubbak may today be the world’s premier festival of Arab culture, with the widest scope, freedom and variety. -
GCDN Dubai Program 20180321
GCDN Alserkal Avenue, Dubai 2018 Program Draft As of 21 March 2018 New Directions: Culture in its Changing Urban Context Sunday April 8 3:00-5:00PM Optional Tour: Observation Deck at Burj Khalifa, 1 Sheikh Mohammed bin Rashid Blvd. 6:00-7:30PM Reception: The Yard at Alserkal Avenue, 4 17th St. Monday April 9 Location: Alserkal Avenue, multiple areas 9:00-9:30AM Coffee and Meet and Greet 9:30-9:45AM Welcome Remarks ◼ Abdelmonem Bin Eisa Alserkal, Founder and Patron, Alserkal Avenue ◼ Adrian Ellis, Chair of GCDN, Director, AEA Consulting ◼ Beatrice Pembroke, Director, GCDN 9:45-10:15AM The Alserkal Avenue Story ◼ Abdelmonem Bin Eisa Alserkal, Founder and Patron, Alserkal Avenue ◼ Vilma Jurkute, Director, Alserkal Avenue 10:15-12:00PM In Conversation: Cultural Hubs in The Gulf There has been significant investment in high profile cultural infrastructure in the Gulf over the past decade – in the UAE, but also Bahrain, Muscat and Qatar and more recently in Saudi Arabia and Kuwait. Many of us hear about the headlines only. This session gives colleagues an opportunity to better understand the character and motivation behind some of these projects and to form a picture of the collective impact of this investment on social and economic development in the Gulf. Introductory Keynote: H.E. Dr. Zaki Anwar Nusseibeh, Minister of State, United Arab Emirates Moderator: Sultan Sooud Al-Qassemi, Director's Fellow at MIT Media Lab, UAE- based columnist and Founder of Barjeel Art Foundation Speakers: ◼ Manal Ataya, Director General, Sharjah Museums Authority ◼ Vilma Jurkute, Director, Alserkal Avenue, Dubai ◼ Manuel Rabaté, Director, Louvre Abu Dhabi Noon-1:30PM Lunch 1:30-3:00PM Breakout Session A Are We Building What We Want? Are We Building What We Need? Trends in Cultural Infrastructure Investment AEA Consulting has been tracking money spent on arts building for many years. -
Dual Place of Street Art – the City Vs the Internet
ACTA UNIVERSITATIS LODZIENSIS FOLIA PHILOSOPHICA. ETHICA – AESTHETICA – PRACTICA 30, 2017 http://dx.doi.org/10.18778/0208-6107.30.07 Agnieszka Gralińska-Toborek University of Łódź Institute of Philosophy Department of Ethics ul. Lindleya 3/5 90-131 Łódź [email protected] DUAL PLACE OF STREET ART – THE CITY VS THE INTERNET Abstract Street art (or more broadly urban art), as the name suggests, has its own specific place, which is the street.1 However one would be mistaken to think that this type of art can only be seen there. Most street art lovers know the works of their favourite artists primarily through the Internet, not only because this kind of art is ephemeral or not easily accessible (for example, due to its danger- ous or exotic locations), but because it is perhaps the best documented art that has been created in the world. For artists and lovers of street art, the Internet has become a common space to share photos. More often than not, the Internet also becomes the only place where artistic ideas exist. Paradoxically, such art, which was supposed to be the nearest to the viewer in the physical sense, has become the nearest in the virtual sense. One can, however, hope that neither consumers of art nor artists will have to give up their direct experience of art that builds our polysensory sensitivity. Keywords: Street art, graffiti, urban art, art in public space, art in Internet LOCAL ART The city, street and home are places whose nature keeps changing. Having one’s own place once meant having roots somewhere or having somewhere to come back to. -
Calligraffiti: the Graphic Art of Niels Shoe Meulman Free
FREE CALLIGRAFFITI: THE GRAPHIC ART OF NIELS SHOE MEULMAN PDF Niels Shoe Meulman,Adam Eeuwens | 144 pages | 25 Feb 2015 | From Here to Fame | 9783937946214 | English | Berlin, Germany Niels Shoe Meulman Biography – Niels Shoe Meulman on artnet Out of Stock. Sign in to rate or review. Barcode Showcases the author's creation of calligraffiti, which combines graffiti and calligraphy, through a collection of pieces that he has done for clients and exhibitions. This repeating duality makes this book much more than just a collection of the Calligraffiti: The Graphic Art of Niels Shoe Meulman best work; it unveils the basis of all graphic art. The idea of universal harmony, sometimes described as yin and yang, is translated to the 21st century. Like black and white or even less and more. Throughout the book there will be comments written by Adam Eeuwens and the artist. The book will also include an essay by Adam Eeuwens about the artist and the significance of his work. Niels Shoe Meulman is a contemporary Dutch calligrapher, typographer and designer who successfully made the transition from the street to high end design. His work can be described as classical freehand calligraphy combined with street edge and contemporary design aesthetic. With firm roots in graffiti, Shoe is a member of Europes infamous Crime Time Kings who ruled supreme in the 80s and 90s. They can also be found wandering the streets, gracing a range of luxurious silk scarves out on his Unruly label worn by fashionistas and Hip Hop heads alike. Library Subject 2 Graffiti; Netherlands; Catalogs.