ART OF RESISTANCE, PALESTINE, SYRIA Ghayath Almadhoun: The Details.

Art by Safwan Dahoul/ Ghayath Almadhoun is a Palestinian poet born in Damascus, Syria, in 1979, and living in Stockholm since 2008. With the Syrian poet Lukman Derky, he founded Bayt al-Qasid (Hou…

Source: Ghayath Almadhoun: The Details.

56-264168-safawan-dahoul-dream-80-180-x-200-cm-acrylic-on-canvas-2014

Leaving His Mark on an Ancient Art: Arabic Calligrapher Honda Kōichi Culture – www.nippon.com

 

e00028_phB-680x486.jpg

Honda Kōichi Arabic calligrapher. Born in 1946 in Kanagawa Prefecture. President of the Japan Arabic Calligraphy Association and a professor of international relations at Daitō Bunka University. In 1969, graduated from Tokyo University of Foreign Studies, where he studied Arabic. Joined the Pacific Aerial Survey Co. in 1975 and spent the next five years in the Middle East, where he picked up the basics of Arabic calligraphy. Continued to study calligraphy on his own after returning to Japan under the long-distance guidance of Turkish calligrapher Hasan Çelebi, from whom he received his “Ijaza” diploma as a master calligrapher in 2000. Has won numerous awards for his work, starting with the Jury’s Encouragement Prize at the 1990 International Arabic Calligraphy Contest. His published works include Pasupōto shokyū Arabiago jiten (The Passport Beginner’s Arabic Dictionary), Arabiago no nyūmon (An Introduction to Arabic) and Arabia moji o kaite miyō yonde miyō (Try Writing and Reading Arabic), as well as a collection of his calligraphy works titled Arabia shodō no uchū (The Universe of Arabic Calligraphy).

More: http://www.nippon.com/en/people/e00028/

An artist created a giant mural across 50 buildings in Cairo without the government noticing Chris Weller Mar 30, 2016.

Amid Cairo’s brick buildings and heaping piles of trash is a sprawling work of art, which, at first, looks messy and incoherent.

But when you stand on the nearby hillside and read the spray-painted Arabic “calligraffiti,” as its creator Tunisian-French artist eL Seed calls it, the message reads loud and clear: “If one wants to see the light of the sun, he must wipe his eyes.”

The quote represents the importance of withholding judgment of people just because of their circumstances, says eL Seed, who first visited the community a few years ago. He’s called the piece “Perception” for just that reason, hoping to get people to see past the area’s physical appearance.

The entire piece took three weeks to complete, and eL Seed says it was done in total secrecy from the Egyptian government due to the country’s strict laws forbidding artistic expression.

More: http://www.techinsider.io/artist-el-seed-giant-mural-cairo-2016-3

el-seed-says-he-didnt-contact-the-egyptian-government-before-starting-the-project-in-order-to-protect-the-community-where-hed-be-workingeven-though-the-final-view-seems-to-stretch-out-to-the-horizon-for-me-el-seed-says-its-just-a-piece-of-art-that-captures-a-moment-its-the-story-behind-it-that-i-think-is-more-interestingthe-crews-worked-around-the-clock-to-assemble-each-piece-on-the-50-buildings-arriving-early-in-the-morning-and-leaving-around-8-pmel-seed-is-planning-to-return-in-a-couple-months-for-the-release-of-a-book-on-the-project-and-an-accompanying-documentary-his-team-is-filmingeven-though-the-final-view-seems-to-stretch-out-to-the-horizon-for-me-el-seed-says-its-just-a-piece-of-art-that-captures-a-moment-its-the-story-behind-it-that-i-think-is-more-interesting

Exploring Ruzbihan’s palette: Ultramarine

Chester Beatty Conservation

This is the first of a number of posts which will explore the palette of the Ruzbihan Qur’an, the spectacular 16th century Persian manuscript currently at the centre of our exhibition Lapis and Gold: The story of the Ruzbihan Qur’an.

In late 2013 and early 2014, two rounds of non-invasive scientific analysis helped to identify the pigments used by calligrapher Ruzbihan Muhammad al-Tab‘i al-Shirazi and his team of artists. The pigment analysis was part of a larger research project to increase our knowledge of mid-16th century Shirazi artists’ materials and techniques, contributing to a fuller understanding of the working methodologies of Islamic book artists at this time.

Slide1.JPG Examining folios from the Ruzbihan Qur’an (CBL Is 1558) with scientists from MOLAB® (left) and curator Dr Elaine Wright (right) in the conservation lab.

The European Commission funded MOLAB® Transnational Access Service, sponsored two teams of dedicated scientists, who…

View original post 418 more words

An A-Z of Arabic Propaganda The British Government’s Arabic-Language Output during WWII, British Library Blog

Throughout the Second World War, Britain’s Ministry of Information (MOI) produced and disseminated a remarkable assortment of propaganda material in Arabic. The material that it produced was intended to counter pro-Axis sentiment in the Arab World and bolster support for Britain and its allies. This propaganda effort arose largely in response to the German and Italian Governments’ own large-scale propaganda campaigns that, with some success (more so Germany than Italy), targeted the Middle East and North Africa from the 1930s onwards.

See more at: http://britishlibrary.typepad.co.uk/asian-and-african/2016/04/an-a-z-of-arabic-propaganda.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+asian-and-african+%28Asia+and+Africa%29#sthash.1TgUVamz.dpuf