Narges Noureddine: “Arabic calligraphy” … an inspiring aesthetic and civilizational memory

Nouf Al Mousa (Dubai)

Emirati calligrapher Narges Nour Al-Din shared some of her first-hand knowledge and cultural experience as a curator for the “Golden Exhibition” at the Al Owais Forum for Arabic Calligraphy, which will be held tonight at the headquarters of the Sultan Bin Ali Al be held, told. Owais Cultural Foundation, as an aesthetic practice of joint artistic spaces, in which she seeks a sense of instant communication. With calligraphers and their calligraphic creations, as well as specialists in the field of sculpture and interior design who participated in their work in the Arabic letter , as it is an embodiment of the richness of the Arab and Islamic creative memory, with its intellectual, philosophical and aesthetic dimensions.
Narges Nour El-Din says: I wanted the recipient to go through several schools, stopping next to the nearest calligraphy paintings that necessarily reflect part of himself, his imagination and his desire to interact and achieve human communication. What draws us all in the immediate stage of our interest in the techniques of calligraphy is the nature of cultural projects that take the Arabic letter as a unique message, and seek to develop it into forms that resemble a memorial, since the concept of Arabic calligraphy took hold in public places. , especially since it is not possible to separate the components of calligraphy from our lives. And our daily observations included in its lofty goals, the search for meaning and the exceptional perception of language, and its impact on the formation of creative and intellectual paths.
The calligrapher Nargis Nour El-Din thinks about the creative space in a way that accommodates the relationship between mass and space, and shows how it goes back to the concepts of the construction of Arabic calligraphy. When he works on the “Jali Diwani” line think, the calligrapher usually performs the task of filling in the spaces in the painting, while in writing the “Thuluth” line he gives the positive and negative space, that is, the space and the mass, and thus we conclude that each type of line is a way to express itself within The space, and this makes us think about the locations of the paintings, the state of interest we provide to artists, and the mechanism of their work on spread other artists of different levels and experience.

  • From the works of calligrapher Narges Noureddine

sensory experience
The calligrapher Narges Nour El-Din does not hide from us that one of the challenges of working as a curator in an art exhibition is the possibility to create balance and interactions between the different participants, and to give them all the best experience for to let the calligrapher offer, since artists and calligraphers, by nature, have a high sensory experience, and the ability to absorb and appreciate this sensitivity, which offers high aesthetic and intellectual outputs In the relationship between the participants of the exhibition.
In the midst of calligrapher Narges Nour El-Din talking about her childhood and her first beginnings with drawing, she explained how calligraphers’ need to look, see and visualize things is the first step in developing the process to to embody calligraphy as a feeling. on the painting, which is the stage that precedes the state of continuous refinement and refinement of the self, through the process of training in the practice of Arabic calligraphy, adding that “artistic criticism” is one of the main factors as a sustainable cultural annotation in artistic and intellectual societies, which we lack to some extent in the UAE, as they constitute references for the development of the creative experience, and even its cultural immunity to preserve the integrity and strength of calligraphy according to the optimal relationships that developed over thousands of years. Narges Nour El-Din explains her surprise at people who criticize the act of Arabic calligraphy, and that calligraphers do not invent anything new, and the reason, in her view, is their lack of understanding of the history of the development of Arabic calligraphy and the completion of the experience of each type of calligraphy, for example, the “third” line, and what it reached from the state of perfection, extends for more than 900 years, it went through a large group of pioneers, who developed it, and then others came to follow this development and growth, it cannot happen in a few years.

public openness
The calligrapher Narges Nour El-Din refers to the level of public openness for the exhibitions of Arabic calligraphy on the one hand, and the opening of new paths for a new recipient to taste Arabic calligraphy, through the investment of tourist and hotel structures in the UAE on the other hand, which will keep those interested in business and collectors constantly informed, without the need To visit the exhibitions of Arabic calligraphy, but for those interested in seeing them in his daily visits at work, recreation places and scientific halls.

Everyday life
Perhaps the most reassuring thing for the calligrapher is that his works cross into people’s daily lives, that is, government institutions and departments in the private sectors, as well as forums and cultural programs, are transformed into public places where Arabic calligraphy is present as a aesthetic and civilized canvas. The “Golden Exhibition” at the Al Owais Forum for Arabic Calligraphy, and other important cultural stations that support the Arabic calligraphy sector, strive to develop the acquisition project, because it is the main driver for the continuity of Arabic calligraphic creativity in our local arena and our Arab and Islamic regions.

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