Sharjah: Othman Hassan
The 24th edition of the Islamic Arts Festival “Tradjat”, which started on the fifteenth of last December, at the Sharjah Art Museum, provided a qualitative addition to the balance of the festival, which was established in 1998 and organized by the Department of Cultural Affairs in the Department of Culture in Sharjah , so that the uniqueness of this festival, which reflects the vitality of Islamic arts, and the expressive depth they offer, can be confirmed through a global artistic language.
The activities of the new session of the festival, which concluded on Sunday, were distinguished by the quality of the contributions presented in it in terms of rooting Islamic arts, and consolidating its presence in the contemporary arts of the world. About 63 artists from 27 countries participated in the new session, including (Iraq, Egypt, Saudi Arabia, Qatar, Yemen, Bahrain, Oman, Kuwait, Syria, Spain, France, India, the United Kingdom, the United States of America, Turkey, Denmark, Canada, Hong Kong, Germany and Serbia participated for the first time in the festival, and these submitted 284 A work spanning 40 days, varied between large-sized art installations, hieroglyphs, murals and calligraphic paintings that combined the originality of Arabic calligraphy and decoration.
The activities of the Islamic Arts Festival included about 98 artistic workshops, such as: a workshop for writing line and controlling letters, a workshop for the stages of line coordination in Diwani calligraphy, a painting design workshop, and other workshops. The festival also hosted many contemporary experiences, including visual art shows, which presented its vision Special for the concept of “gradations” for this year.
What distinguishes this session is the noticeable increase in the number of art workshops, amounting to about 151 activities that varied between sculptures, installations and artistic equipment that approached the concept of “gradations” with various tools and expressive means, and collectively formed a unique accumulation in Islamic artistic achievement, while carrying aesthetic and visual values that mimic the concept of The absolute and the infinite, as it embodies unity in diversity, and touches those spiritualities that are in harmony with the essence of human existence, as understood by the Muslim artist. A strong visual formulation in its technical and linguistic connotations, and in the knowledge and culture it provides, adding a lot to the arts of the world.
The 24th session of the “Islamic Arts” hosted international experiences within individual and group exhibitions, and was held in various regions of Sharjah, such as the “Sharjah Art Museum”, which included many works in which the splendor of Islamic arts was demonstrated, including: “Anwar Al-Quloub” by Dr. Najat Makki, “Al-Urf” The Collective” by Anna Vogovich, “The Order of Revelation” by Anna Kaperwasser, “Art, Architecture and Poetry” by Ben Johnson, “Immortality” is Coming to Obaid Al-Bdour, “The Chapel Transcends” by Jassem Al-Nashmi, which simulated Islamic theory in the space of traditional Islamic decoration and three-dimensional spaces.
The Sharjah Museum also hosted: “Union Prayer” by Ji Hee Kim, “Underlines Life” by Karima Shomali and Dr. Iman Ibrahim, “Excessive Sensitivity” by Zainab Al-Hashemi, “The Walls of Ancient Castles” by Jose Carlos Garcia, “The Land of Imagination” by Abdullah Al-Othman and many others.
Among the places that hosted a list of exhibitions and Islamic arts, the “House of Wisdom”, which displayed a work by Matt McConnell and Amal by Nasser Al-Aswadi entitled “Hilal”, and the Sharjah Research, Technology and Innovation Complex, where exhibitions related to institutional achievements were held, such as the exhibition “Control, Not Control” by Daniel Irigi. and “City Scope” by Marco Hammerling.
Among the exhibitions that highlighted the aesthetics of Arabic calligraphy, the Calligraphers Houses Square hosted distinguished works, including “Manifestations” by Jalal Al Muhareb, through which he told the story of the beauty of the Arabic letter by completing various calligraphic works, and the gallery of the Emirates Society for the Art of Arabic Calligraphy and Islamic Decoration hosted a joint exhibition entitled “ 2×2” for each of: Abdul Shakour Tahlak, Imran Al Balushi, Fatima Al Dhanhani and Fatima Salmin.
The House of Ceramics hosted a distinguished joint exhibition by: Aziza Jassem and Wissam Al-Sayegh, entitled: “Crafts and Ceramics”, in which the dimensions and aesthetics of Islamic decoration were evident.
The list of places where artworks were displayed on a large aspect of craftsmanship in simulating the Islamic value and aesthetic perspective included Al Majaz Waterfront Square, Calligraphy Square, Eastern and Central, Emirates Society for Fine Arts, Design Center, and others.
The educative and theorizing side had its share in the Islamic Arts Festival, through its focus on the role of modern technologies. The new session “gradations” included three lectures on various topics: “Modern Techniques in Restoration of Manuscripts and Documents,” “Arabic Calligraphy and Other Arts,” and “Modern Techniques in Restoration of Manuscripts and Documents.” The importance of academic and scientific progression and the disciplined artistic transition of students of science in the art of Arabic calligraphy”, in addition to hosting the festival for 96 well-known academic figures, calligraphers, media professionals and lecturers worldwide.
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