Artists
|
Dates
|
Use of Islamic Art Characteristics
|
|
1936-2002
|
 |
Used stylized Arabic calligraphy in his paintings and prints; later used same elements with serene colors an din minimalist manner.
|
Mohammed Abdel Ati
|
1950-2007 |
Employed flowing calligraphic lines interlaced with geometric elements in wooden relief to create optical illustions. |
|
1936 -
|
 |
Fuses spiraling interlaced Arabic letters into pots and tile luster ware. |
Kamal Ebied
1918-2002
|
|
Revived traditional qualities of Fatimid Egyptian ceramics, combining images of flora and fauna with calligraphy in indigo-colored, under-glazed ceramics. |
|
1934 -
|
 |
Creates wood-cut matrices with floating Arabesque lines and hints of Arabic calligraphy. Applies layers of patina blue and chrome green to create a Damascene (wavy) effect. Painting are reminiscent of Oriental carpets in which figure and ground exchange visual roles. |
Rathi Gouda
|
1935 - |
Paints grid-like assemblages of colorful Arabic letters on decorative panels. |
|
|
 |
Combined traditional mashrabeya forms with Op art to create optically illusive works. In the 19080's, invested Arabic alligraphy with dramatic movement akin to dance. |
|
1920-1993
|
|
Created stylized, rhythmic compositions using Arabic alligraphic letters welded in rusted and patinized 9oxidized) copper. |
Saad Kamel
|
|
Using traditional Islamic tapestry pattern as frame, layers lines of birds and anmials with Arabic calligraphy. |
|
1931
|
 |
Emphasized Islamic motifs in several media. In paintings, uses calligraphy in a contemporary style, repeating sequential rhythms in black, white and gilt; in paintings, emphasizes the dialogue between positive and negative space by cutting-out metallic figures and reassembling them. |
|
1926-1991
|
|
Used Arabic calligraphy in a manner informed by aesthetics of the Bauhaus School |
|
|
 |
Casts images of Islamic Kufi script of hundred of common Egypt names on the walls of Cairo's memorial to the Unknown Soldier. |
|
1932
|
 |
Inspired by turned wood pieces of the mashrabeya, he uses large cylindrical forms and creates new relationship between figure and ground. Uses jig-saw cut styrofoam models based on Fatimid figure drawings to create molds for metal sculptures. |
Kamal el-Sarrag
|
1934 |
Uses Arabic letter seen as motif in all his owrks, emphasizing isometric perspective and diverse repetition. |
Yousef Seidah
1932-
|
|
Invested paintings with figurative elements and decorative compositions drawn from Arabic calligraphy. Later used bright red and green colors reminiscent of folk patch-work art. |
Mohammed el-Sharawi
|
|
Converts lines of Aribic calligraphy into three dimensional, organic terra-cotta forms. |
| |
|
|
| |
|
Comment on this article, provide information or make additions
|
| |
|
|