Arabic calligraphy awakens in the Arab world
Professor of Arabic Arts and Calligraphy and Vice Dean of the Faculty of Education at Umm Al-Qura University in Saudi Arabia, Dr. Abdullah Fattini, says Arabic calligraphy is currently experiencing a state of awakening in the world. Arab World.
Renowned Saudi calligrapher Dr. Fattini is taking part as guest of honor at the 7th Fez International Arabic Calligraphy Festival, currently being held in Morocco.
In a special statement to Qatar News Agency (QNA) via phone call, Fattini said: “Arabic calligraphy has had a good start since the year 2020, which Saudi Arabia has designated as the year of Arabic calligraphy, culminating with the efforts of 16 Arab countries to be inscribed on the list of intangible cultural heritage of the United Nations Educational, Scientific and Cultural Organization (Unesco), during the meeting of the 16th session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, in December 2021.”
He noted that such events, which identify the art of Arabic calligraphy in Arab countries, including the International Festival of Arabic Calligraphy in Fez, contribute to increasing artistic awareness and attention to this heritage, which is considered the course of Islamic arts, in addition to bridging the gap between Arabic calligraphy and its presence in educational fields, especially early education in the Arab world, in conjunction with the growth and development of technological tools and modern technologies.
Fattini, who holds a doctorate on “A critical study of the impact of modern technology on the artistic values of Arabic calligraphy and its taste”, added that modern technologies because of his study always represent a double weapon. sharp; the first is that it has served Arabic calligraphy in terms of the rapid spread of computers and the speed of execution of works, but on the other hand, the letters of the computer produced by technology, however perfect they are, lack a human aspect, and he signifies the artistic sense of the calligrapher, pointing out that in his study he considered the possibility of modifying the distorted letters in this device, since the one who designed some fonts did not have sufficient knowledge of the aesthetic values of Arabic calligraphy, because there are letters that are difficult to draw in their multiple aesthetic forms like the letter M.
He explained that he was participating in the Fez Arabic Calligraphy Festival, where he presented a workshop on the art of Fatimid Kufic calligraphy, a type of ancient Arabic calligraphy that appeared in the city of Kufa in Iraq in a dry and soft, the dry or geometric image continued in Kufa and its characteristics changed somewhat with the expansion of Islamic conquests, so part of it appeared in North Africa and was called Kufic Fatimid calligraphy, and it has distinctive aesthetic characteristics that the workshop focused on, while it acquired other characteristics by settling in Andalusia, it was called Almoravid Kufic Calligraphy, highlighting that the festival witnessed d great interaction and that the participants were able to create paintings at the end of the workshop which lasted three days.
The Fez International Arabic Calligraphy Festival concludes its activities on Thursday, as it aims to introduce Fatimid Kufic calligraphy and discover the aesthetics of Moroccan Kufic calligraphy (Almoravid, Marinid, Alawite). The festival also hosts Moroccan Andalusian calligraphy workshops, Almoravid Kufic calligraphy, Koranic Kufic calligraphy, decoration: the Moroccan style and its forms, as well as workshops to introduce the foundations and principles on which simplified Moroccan calligraphy is based, the materials and their use in calligraphy, and the characteristic design of inscriptions and writing in Moroccan architecture. (QNA)