Exquisite calligraphy by Omani youth shines at art exhibition
Published: 03:05 PM,May 29,2024 | EDITED : 07:05 PM,May 29,2024
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Beauty and authenticity unite in the paintings, both large and small, created by the talented youth of Oman at the 'Arabic Calligraphy and Islamic Ornamentation Exhibition' hosted by the Omani Society of Arts in Ghala. This exhibition highlighted the artistic brilliance of young Omani artists through their exquisite calligraphy, which often forms intricate drawings.
The exhibition aimed to promote the culture of Arabic calligraphy, introduce the various styles of Arabic scripts, and highlight emerging talents in this field. It sought to empower young calligraphers by providing a platform to display their works and present their artistic creations to the public.
Arabic calligraphy and Islamic ornamentation, rooted in pre-Islamic Arabia, evolved significantly after the advent of Islam in the 7th century. Early scripts, like Kufic, were pivotal, with Naskh emerging later.
The Abbasid era refined these scripts, integrating them into art and architecture. Islamic ornamentation, characterized by geometric patterns and arabesques, flourished under the Umayyads, Abbasids, and later empires like the Ottomans and Safavids. The 19th and 20th centuries saw a revival, blending traditional and contemporary styles.
Today, these art forms enjoy global recognition, influencing modern design and continuing to captivate audiences worldwide.
Awatif al Fazari, head of the drawing section at the society, stated, 'The exhibition featured 68 artworks by 48 calligraphers and ornamentation artists. On the sidelines, a diverse array of tools and materials specific to Arabic calligraphy was displayed, with explanations of their usage, offering visitors a deeper understanding of this art form.'
This exhibition provided a significant opportunity for artists to showcase their work, engage with the audience, learn from others, and develop their skills in calligraphy and ornamentation by observing the experiences of their peers.
His Excellency Basel Al Rawas, Undersecretary of the Ministry of Culture, Sports, and Youth, expressed his admiration, stating, 'We have discovered unique Omani talents in this field, with exceptional and beautiful works that deserve to be displayed in public places across Oman, such as mosques and landmark corridors. I have witnessed stunning creations by Omani youth in various calligraphy styles, and I hope these works will be shared both locally and internationally for people to appreciate this beauty.
Arabic calligraphy and Islamic ornamentation face challenges such as declining traditional skills, limited patronage, and the influence of digital media.
To preserve these arts, Middle Eastern artists are revitalizing interest through education, workshops, and exhibitions. Institutions and cultural organizations are offering training programs to nurture young talent.
Additionally, artists are integrating traditional techniques with modern design, creating contemporary works that appeal to broader audiences. Governments and private patrons are also investing in initiatives to document and protect this cultural heritage, ensuring that these intricate art forms continue to thrive in the modern era.
Calligrapher Badr al Ghafri shared his thoughts on his work, saying, 'I wanted to break away from the ordinary and move beyond writing on paper. So, I decided to write on other materials like leather, bones, and wood. For this exhibition, I presented two works on wood, specifically using Al Attam wood and Omani Lamis wood, both of which are rare in Oman. Owning them is like possessing a treasure. I always choose dark wood, and Al Attam wood is naturally dark. The piece I wrote could be priced at around 300 OMR. Imagine its value when adorned with calligraphy to become an art piece — it would be very precious.'
He explained his method of obtaining wood: 'I source the wood from sculptors who always seek the highest quality types. I work with them to refine the wood by sanding it to achieve a smooth and beautiful texture for writing. I then varnish it and use gilding to make the calligraphy shine and the writing clear and beautiful.'
Calligrapher Aziza al Yousfi said, 'I participated with two pieces: one with Islamic ornamentation using 23-carat Italian gold, and the other in Arabic calligraphy using the Diwani font. I am proud of my participation in the exhibition to highlight the art of Arabic calligraphy and Islamic ornamentation.
The exhibition aimed to promote the culture of Arabic calligraphy, introduce the various styles of Arabic scripts, and highlight emerging talents in this field. It sought to empower young calligraphers by providing a platform to display their works and present their artistic creations to the public.
Arabic calligraphy and Islamic ornamentation, rooted in pre-Islamic Arabia, evolved significantly after the advent of Islam in the 7th century. Early scripts, like Kufic, were pivotal, with Naskh emerging later.
The Abbasid era refined these scripts, integrating them into art and architecture. Islamic ornamentation, characterized by geometric patterns and arabesques, flourished under the Umayyads, Abbasids, and later empires like the Ottomans and Safavids. The 19th and 20th centuries saw a revival, blending traditional and contemporary styles.
Today, these art forms enjoy global recognition, influencing modern design and continuing to captivate audiences worldwide.
Awatif al Fazari, head of the drawing section at the society, stated, 'The exhibition featured 68 artworks by 48 calligraphers and ornamentation artists. On the sidelines, a diverse array of tools and materials specific to Arabic calligraphy was displayed, with explanations of their usage, offering visitors a deeper understanding of this art form.'
This exhibition provided a significant opportunity for artists to showcase their work, engage with the audience, learn from others, and develop their skills in calligraphy and ornamentation by observing the experiences of their peers.
His Excellency Basel Al Rawas, Undersecretary of the Ministry of Culture, Sports, and Youth, expressed his admiration, stating, 'We have discovered unique Omani talents in this field, with exceptional and beautiful works that deserve to be displayed in public places across Oman, such as mosques and landmark corridors. I have witnessed stunning creations by Omani youth in various calligraphy styles, and I hope these works will be shared both locally and internationally for people to appreciate this beauty.
Arabic calligraphy and Islamic ornamentation face challenges such as declining traditional skills, limited patronage, and the influence of digital media.
To preserve these arts, Middle Eastern artists are revitalizing interest through education, workshops, and exhibitions. Institutions and cultural organizations are offering training programs to nurture young talent.
Additionally, artists are integrating traditional techniques with modern design, creating contemporary works that appeal to broader audiences. Governments and private patrons are also investing in initiatives to document and protect this cultural heritage, ensuring that these intricate art forms continue to thrive in the modern era.
Calligrapher Badr al Ghafri shared his thoughts on his work, saying, 'I wanted to break away from the ordinary and move beyond writing on paper. So, I decided to write on other materials like leather, bones, and wood. For this exhibition, I presented two works on wood, specifically using Al Attam wood and Omani Lamis wood, both of which are rare in Oman. Owning them is like possessing a treasure. I always choose dark wood, and Al Attam wood is naturally dark. The piece I wrote could be priced at around 300 OMR. Imagine its value when adorned with calligraphy to become an art piece — it would be very precious.'
He explained his method of obtaining wood: 'I source the wood from sculptors who always seek the highest quality types. I work with them to refine the wood by sanding it to achieve a smooth and beautiful texture for writing. I then varnish it and use gilding to make the calligraphy shine and the writing clear and beautiful.'
Calligrapher Aziza al Yousfi said, 'I participated with two pieces: one with Islamic ornamentation using 23-carat Italian gold, and the other in Arabic calligraphy using the Diwani font. I am proud of my participation in the exhibition to highlight the art of Arabic calligraphy and Islamic ornamentation.