ARABIC CALLIGRAPHY is an ancient art form passed down by the most dedicated calligraphers for centuries with its beautiful curves, angles and fine artistic compounds. All forms of Arabic script were the results of dedicated individuals who wanted nothing more than to present the beauty of the Holy Qur’an’s chapters in the written form using different styles created over time. It’s no question that the beauty of all words lay in the forms they’re presented in, from modern calligraffiti to ancient thuluth. Not only has calligraphy been used for the Holy Qur’an, it was used in architecture, decoration, coin design and various other purposes in different periods and locations of the expansive Islamic Empire. It’s no surprise that calligraphy is used on many structures we see today, some dating back to hundreds of years and in the age of technology, calligraphy is still used today as it would be hundreds of years ago.
Calligraphy isn’t a normal art form that is used by a majority or artists, it’s a special kind of art form, private, sacred, exceptional and only those who are sincerely observant, dedicated and willing are able to understand the hidden treasures behind learning the art of calligraphy. Some might say that thuluth is one of the most beautiful types of all Arabic and Islamic calligraphy, the beautiful curved letters by a single reed pen might look like it’s an easy task to perform but it’s more than simple strokes of the reed. Ahmad Jeddawi is a calligrapher in practice, a scribe if you may, whose love for calligraphy goes back to his school days. “I had a good environment surrounding me in school, you’d find me participating in any extracurricular activities related to calligraphy, my teachers were supportive, and so were my friends, I felt that I was able to show my work through the different projects they’d ask me to join. It was then that I found that I can and wanted to continue learning more about calligraphy, it wasn’t easy, but I wanted to grow more through it,” says Jeddawi.
On the process of learning, Ahmad explains that learning the basics takes practice, practice and more practice.
Time is an essential part of each learning process and as a young architect; it’s the way he makes time for it is what is interesting. Just as young Ahmad started to search for his path in life, calligraphy is what lead him to choose his career path and prosper in it at such a young age. It takes a lot of creativity, innovative ideas, practiced lines and precise design to be able to make time for both and as a student his educational path ever so often trumped his love for calligraphy.
“To become a certified calligrapher, you have to always be under the teachings of a calligraphy master. I need to follow up on my progress periodically, correct mistakes made, explain the rules and boundaries of which I can’t stray too far from and help in finding the peace of mind needed to advance myself in Thuluth calligraphy. I had an amazing teacher, a maser in this field, but due to studies at KFUPM in the Eastern Province, I found myself alone and unable to continue with my master, but that still didn’t keep me away. Calligraphy helped me find the 'architect' in me.”
Although without the masterful eye of his teacher, he never let his passion deflate or overcome by an external factor, he did the opposite, and he combined both to excel in both. Combining his trained and practiced concentrated strokes with the straight angular lines of his projects, Ahmad found a way to not only combine two passions, but to effectively bring them to modern times.
He explains that as much as both fields might seem different, they’re actually very much alike. The measurements of the Arabic letters and the guide to proportions follow the same guidelines adopted to regulate the dimensions, proportions or construction of the parts of a building; the core understanding of each field follows the same guiding principles even when each can’t be further apart from one another. From an artistic point of view, science when applied in a balanced format is a form of art in its own way.
As difficult as it may seem, Jeddawi’s artistic eye helped him expand his conception of calligraphy using the skills he learned to become an architect. “Calligraphy is a dedicated field, the level of concentration is evident when a calligrapher succeeds in hand-eye coordination, a level of sensitivity required for that perfect stroke of the pen,” explains Ahmad. “There’s a saying in Arabic that translates to explaining of how one can decipher the secrets to calligraphy depending on himself after requesting the assistance of the Almighty in order to reach precision except for the fact that the need of a teaching master is dire in order to continue practicing and reaching that level of precision. Having been away from my master might’ve helped with the self-teaching, I still need a master to receive my ijazah (license) and become a master myself.”
Thuluth holds a special place in Ahmad Jeddawi’s art form, he is able to see the beauty of thuluth calligraphy in building structures not many notice, such as the Mihrab, the semicircular niche in the wall of a mosque that indicates the qibla as an example. Ahmad told of how thuluth is one type of khat that is not only significant but one of the most widely used in the Islamic world for its clear structure, readability and use of architectural decorations bringing more emphasis to the beauty of the written word.
“I don’t simply want to be a calligrapher; I want to see where it would take me. I want my calligraphy sketches to fill in the spaces in my architectural designs and have it as an important pillar of any interior design I am able to produce. I strive to reach a level where my preserved compositions are on display, to display the beauty of thuluth and be a teaching tool for any starting calligrapher. Calligraphy is the geometry of the spirit, a religious experience rather than esthetic.”
Be sure to follow on more of Ahmad Jeddawi’s journey into the world of calligraphy as he strives to combine his two passions on his Instagram page. Whoever said the written word is boring clearly has never seen a calligrapher at work.
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Email: life.style@arabnews.com
The mindset behind thuluth calligraphy
The mindset behind thuluth calligraphy
UAE lands starring role in Hollywood film ‘Now You See Me: Now You Don’t’
- Third installment of popular franchise will be released in November
DUBAI: The UAE has landed a starring role in the upcoming Hollywood film “Now You See Me: Now You Don’t,” with scenes filmed in the capital city Abu Dhabi.
The production, which will be released in November, wrapped up a 13-day shoot at several of the capital’s landmark locations, according to the Creative Media Authority on Thursday.
The film, which is packed with high-stakes heist scenes, was shot at destinations including the Louvre Abu Dhabi, Sheikh Zayed Bridge, the Liwa Desert, Ferrari World Abu Dhabi, CLYMB, Yas Marina Circuit, W Abu Dhabi — Yas Island, and various city streets.
The third installment of the popular franchise, directed by US filmmaker Ruben Fleischer, brings back Jesse Eisenberg, Woody Harrelson, Dave Franco, and Morgan Freeman in their previous roles, joined by an ensemble cast that includes Justice Smith, Dominic Sessa, Ariana Greenblatt, and Rosamund Pike.
Saudi historical highlights on display at Abu Dhabi Book Fair
- Selections from London-based rare-book dealer Peter Harrington’s offering at the UAE fair, April 26 to May 5
‘The Holy Mosque at Makkah’
With a foreword by former Saudi Minister of Finance Sheikh Mohammed Abalkhail and images by the award-winning African photojournalist Mohamed Amin, this “sumptuous production” tracks the quarter century of restoration of the Sacred Mosque and Holy Kaaba in Makkah in the mid-20th century. “The text contains a historical description of the Holy Kaaba, Masjid al-Haram, a summary of recent construction in the Saudi era, and architectural notes, with the rest of the volume dedicated to Amin’s photographs, presenting detailed views of the diverse and extensive developments,” the book dealer’s notes state. Amin was “the first photographer to be given access to document the Hajj and among the first to photograph sections of the Holy Mosques of Makkah and Madinah. Over three years during the 1970s, he travelled by camel, helicopter, car and on foot to Madinah, Arafat, and Makkah.”
Confidential reports from the First and Third Arab Petroleum congresses
The historical global significance of the first Arab Petroleum Congress in 1959 cannot be understated. It was here that the idea of an oil-producing organization (an idea that eventually turned into OPEC) was introduced. “During proceedings, the influential oil journalist Wanda Jablonski introduced Saudi Arabia’s Abdullah Tariki to Venezuela’s Juan Pablo Perez Alfonzo, both of whom were upset by recent price cuts. They rallied delegates to sign the secret Maadi Pact, suggesting a Petroleum Consultation Commission to coordinate producer responses. This laid the groundwork for the 1960 Baghdad Conference, at which OPEC was officially formed,” the book dealer’s notes state. This grouping of documents contains in-house reports from Aramco on that congress, and the Third Arab Petroleum Congress in Dec. 1961, as well as other Aramco-produced materials from 1956-1961.
Photographic archive and reports from the recommissioning of the Hejaz Railway
The book dealer describes this collection as “a unique archive relating to the earliest post-war attempt to reconstruct the Hejaz railway and link Damascus with Madinah.” The last train to travel the full length of the railway was reportedly in 1925, after which “the line south of Mudawwara was washed away, and the conflicts that led to the creation of Saudi Arabia in 1932 dampened collective efforts at reconstruction.” The archive includes previously unpublished photos and original reports issued by the International Resources Engineering and Exploration Group, which was awarded to contract to design the project in 1956. “Coverage is particularly detailed for central and northern Saudi Arabia, especially the area around Mada’in Salih and Khur Himar,” the dealer states, and includes images of the party meeting with local officials including the rulers of AlUla and Tabuk.
A collection of magic lantern slides by Harry St John Bridger Philby & Alec Horace Edward Litton Holt
The British intelligence officer Philby — who served as an advisor to Saudi Arabia’s founder, King Abdulaziz Ibn Saud — and the engineer and explorer Holt travelled 600 miles together in 1922 through the desert via Al-Jawf province in Saudi Arabia “at the height of increasing tensions between Ibn Saud and the Hashemites.” These 23 slides were, the book dealer believes, likely used to illustrate the presentation the pair gave about their journey before the Royal Geographic Society in the UK on Feb. 12, 1923. “The collection shows Holt and Philby in Arab dress; Ford cars and aeroplanes at Jidd, desert scenes, a Ford condenser, and ploughing for landing fields, among others.”
Aramco educational PR pack
In an attempt to attract US students and graduates in the Sixties and Seventies, Aramco produced several collections of promotional material that included posters much like this one, which it distributed to schools and universities in the States. “The lively posters explore the history of Saudi Arabia and the company’s operations, each illustrated with photographs of historical figures (including T. E. Lawrence), company personnel and oil wells, and Saudi architecture,” the book dealer states.
‘Adaptability’ at SAMoCA shows ‘the similarity between clay and humans’
- Exhibition showcases ceramic works by 11 Arab artists
RIYADH: The Saudi Arabian Museum of Contemporary Art in Riyadh is currently hosting “Adaptability,” an exhibition of work in clay by 11 artists from five different Arab countries, each offering their unique perspective on our relationship with the material. The show runs until May 20.
“This exhibition beautifully illustrates the adaptability of clay, showcasing human creativity and our capacity for enduring change across cultures and civilizations,” curator Samer Yamani told Arab News. “It shows the similarity between clay and humans: We both are so strong, but fragile, and the higher the fire gets, the stronger we get — we adapt to new circumstances and new things happening in life; we are able to innovate and to be present.”
The show is laid out in three circles. The inner one includes work that expresses inner thoughts and emotions; the middle explores topics related to communities, culture, and life; the outer circle addresses heritage, urbanism, and sustainability.
“Clay is such a malleable material that you can shape through many different forms — hand-made, technological, mechanical… so it’s interesting to see all the different ways that the various artists have used or thought about clay; some more technical, some to express more emotional stories. The dialogue between the different ways of thinking with the same material is very interesting,” participating Jordanian artist Sama Alsaket told Arab News.
Alsaket’s piece, found in the middle circle, is titled “Shades of Terracotta” and was constructed from five different types of clay sourced from her home country. Combining her background in architecture with visual art, her work is intended to spark discourse around handmade, digital, and industrial processes.
“My work focuses on researching the different kinds of clay in Jordan and documenting traditional techniques there,” she said. “Through exploring these kinds of clay, which are iron-rich and usually used for terracotta, I was thinking about how to translate a vessel which is usually made out of terracotta and used to store water into something that is vertical. I was also thinking about how to leverage the different qualities and characteristics of terracotta in architecture.”
She added: “Riyadh seems like such an amazing platform for artists and they’re trying to shape and think about what contemporary art in the Middle East is.”
Egyptian artist Hana El-Sagini’s “The Doctor’s Desk” also features in the exhibition.
“It’s a reflection on illness as a female,” El-Sagini told Arab News. “I was a cancer patient and as a Middle Eastern Muslim woman you kind of protect your body and it’s very sacred, but once you become a patient, things totally change. You become this object they need to fix, which is very noble of them, but it’s a very overwhelming experience for us. Anyone who’s going through adversity goes through surreal ideas of reality versus illusion and ‘Is this really happening to me?’ Like with heartbreak, or the death of a loved one, or illness — all of these — you find yourself in a surreal state. This is why there are a lot of fingers in the work.”
The work is playful as well, she added. “I’m Egyptian, so I need to have that dark humor.”
El-Sagini is better known as a painter. In fact, “The Doctor’s Desk” is her first ceramic work.
“It was the right medium for this work: it’s fragile, it’s real, it’s malleable, raw, and very expressive,” she said. “It’s not perfect. It’s kind of a reflection on the human form.”
Dozens of ancient artifacts seized in Greek island smuggling raid
- Among the recovered items were 15 ancient oil lamps, 17 figurines or fragments
- Police also confiscated metal detectors and scanning equipment believed to have been used to locate buried relics
ATHENS: Authorities in Greece have arrested six people on the island of Crete in connection with an alleged antiquities smuggling ring that was attempting to sell dozens of ancient artifacts, police said Thursday.
The arrests came after a sting operation on Wednesday, during which the suspects were reportedly trying to sell a collection of antiquities. Investigators say the group operated as a coordinated criminal network, with clearly defined roles, including a leader, go-betweens, and a designated transporter.
Among the recovered items were 15 ancient oil lamps, 17 figurines or fragments, several ceramic vessels, and a marble sculpture believed to depict a child’s head. All are thought to date from various periods of ancient Greek history and will be assessed by a state archaeological service.
Police also confiscated metal detectors and scanning equipment believed to have been used to locate buried relics, as well as firearms, ammunition, quantities of cannabis, and more than 3,000 euros ($3,200) in cash.
Greece, known for its rich archaeological heritage, has long battled the illicit trade in antiquities. Despite strict national laws, such artifacts remain highly sought-after on the international black market.
All six suspects are facing multiple charges, including membership in a criminal organization and breaches of cultural heritage protection legislation.
Printmaking takes center stage at JAX District exhibition
- Live screen-printing studio teaches public about processes
- Curator urges support and opportunities for local creatives
RIYADH: In a corner of JAX, Riyadh’s art district, there is an open-door policy for art enthusiasts and culture aficionados to explore the diversity of the printmaking world.
At Printworks — hosted by the Personage concept store and studio —artists, designers and architects are presenting their print-based creations to the public.
The aim is to celebrate the work of the artists and engage the public.
When curator Koren Dasoar and guest curator Dana Qabbani came together for the project, they had the aim of “really doing things that are not just for the sake of it.”
Dasoar told Arab News they are not seeking “applause, but really are conscious of people’s feelings, supporting people and building quality.”
They saw a gap in the art community: a space that caters to emerging artists.
Qabbani told Arab News: “Speaking with all of the young artists and the established ones, people are down.
“People feel they’re not doing enough to appear enough … We felt that there’s a disconnect, even with all the amazing things that’ve been happening in the scene.”
Dasoar added: “We shouldn’t wait for a large format activation or event to happen for creativity to happen.
“It’s about it being constant small- to mid-scale activities that allow people that have a growing creative practice to be able to constantly create and showcase.”
Printmaking itself is a unifier of crafts, the curators say.
It “makes you use your hands physically, and therefore the process is longer than just clicking ‘print’ and having the artwork come out.
“There is more of a practice; it’s more sacred because it slows you down. You’re making the art in slow motion,” Qabbani said.
Dasoar explained: “Print is something that I feel is completely interdisciplinary, multidisciplinary and cross-medium.
“It’s something that has value in the context of artists, architects, industrial designers, product designers, and even the broader creative spectrum of writers, printers, poets.
“Print is a medium that is far-reaching. It also is something that, from a functional standpoint, allows that to be a degree of repetition, meaning that we can create repeats.
“But it’s also something that I think is quite interesting in the contemporary context, for that it takes different mediums from different practices, funnels it through a digital and non-digital medium, and translates it into something that is physical.”
The initiative aims to bring people back to a core idea of loving creativity and making art, or simply having the desire to create.
For aspiring artists to truly thrive, “there needs to be multiple points of contemplation and multiple points of creation,” Dasoar said.
“There is space for everyone, and we have a shared responsibility to support talent, nurture growth, and create opportunities for success.”
These notions manifested in Personage having an open-door policy for such events.
In this edition, the featured artists include Hayat Osama, Naif Alquba, Mohammed Zkria, Abdullah Al-Amoudi, Salman Najem, Abdullah Al-Khorayef, the sibling-led collective TwoMeem, and Shaddah Design Studio’s Il Mushtarayat.
The program allows members of the public to see how their purchased pieces are produced, as each print is made-to-order. The event also creates a space to ask questions in a more conversational setting.
“Community isn’t built in rows of chairs,” Dasoar said.
Printworks functions in two sections. The first is in existing artworks created by the artist, studio, designer or practitioner, ranging from risograph prints, screenprints, and photographic print.
The other section is an on-site, live screen-printing studio where members of the public are able to drop in and learn more about the artists, the ink, and the printing process itself.
All the works, including the print-on-demand pieces, which will be available on a limited-run basis, are part of an exhibition running until the end of April.
“We have a portion of the artists that are just in the exhibition segment, and we have several artists that have been the collaborators on the screens that are on the print and demand,” Dasoar said.
The event has talks and workshops by various creatives including Dasoar and Cristian Checcanin, the art director at TOLD, the agency behind the design of Saudi Arabia’s riyal logo.
While this is the first edition of Printworks, the goal is to create an event every month with a new, diverse set of artists and curators who can bring in fresh ideas and concepts.
This type of activation is connected to a core pillar of Personage’s mission and identity.
As a space that exists at the intersection of concept store, creative studio, and cultural platform, Personage is fundamentally about bringing people together — bridging disciplines, creative practices, and perspectives.
“We believe that the creative industry truly blossoms when we support its practitioners, while also allowing patrons and buyers to grow, connect, and engage through experiencing — and investing in — the outcomes of creativity.
“In this way, we nurture both the creators and the community that surrounds and uplifts them,” Dasoar said.
