The Qur'anic text in the above painting reads: "O ye who believe! Obey Allah and obey the Messenger and those charged with authority among you..." (Surat Al-Nisa: 59)
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By MARRIAM MOSSALLI, MARRIAM.MOSSALLI@ARABNEWS.COM
Published: May 26, 2010 19:05 Updated: May 26, 2010 19:05
Tajammul Hussain is not just an artist; he is an illuminator, in all sense of the word. While his masterpieces shed light on the sacred words of the Holy Qur'an, he sheds light on the academic significance of art in our history and future.
"The difference between history, legend and myth is historical evidence," reveals Tajammul. "If you wipe out this evidence, then you wipe out history. Consequently, history becomes legend and legend turns into myth."
Tajammul stresses that the Islamic world needs to look ahead and realize the importance of conserving our history. "It is the same way that Ibn Muqla in the 10th century systemized calligraphy based on the 'sacred geometry,'" explains Tajammul. "He was far-sighted." Ibn Muqla saw that over years, the script could potentially be manipulated to the point where the words could be misread and thus misinterpreted. Therefore, rules were needed to ensure uniform understanding and consistent respect to the subject.
Tajammul's techniques are of the old masters, yet his juxtaposition of styles is anything but. "My work is timeless because it is rooted in tradition, yet it is very contemporary," he adds. "It is an act of devotion and glorification of the sacred word."
Tajammul hopes that his work will inspire the youth of today and inject the Holy Qur'an into our daily lives. "My work is to be meditated on. There is a reason behind each color and each symbol. It's not just aesthetics; there is a scholarly purpose behind them."
For example, his painting, "Iqra" (which means "read") depicts the four Arabic letters painted in blood-red with shell gold leaf mountains in the background. "The moment Prophet Muhammad (peace be upon him) saw the apparition of Gabriel was not a calm or pleasant one," explains Tajammul. "According to the Qur'an, (Surat Al-Qalam), the Prophet thought he was going mad. So I depicted this moment through the illumination of the words and the colors and symbols used."
The Middle East needs incentives that educate individuals on the traditional techniques as well as the historical purpose behind each symbol and color. "Incentives in this traditional school of illumination are needed, as it reveals so much of our history and heritage," states Tajammul.
The Barakat Trust, a UK registered non-profit organization, is one example. Since 1987, the Barakat Trust has been providing financial support to individuals so they may pursue the study and research of both material and visual cultures of the Islamic world. This assistance is granted to enable students and scholars to continue to add to the body of Islamic scholarship while enhancing the possibilities of cross-cultural understanding and tolerance.
"Unfortunately, the majority of knowledge on Islamic art is held by Western specialists, and sometimes, they make mistakes because they are not of this tradition," reveals Tajammul. "Western institutions, including auction houses, are telling the world what they should like or not like. And, quite often, Arabs look to the West for validation, when this shouldn't be the case since Westerners are promoting commercialized and 'Westernized' Arab art."
The Arab world needs to increase its patronage of traditional art. It is a way of keeping our history and passing it onto future generations. Some of the world's biggest financial institutions own some of the most elaborate art collections, yet the Arab world — except for perhaps Qatar — have yet to catch onto this trend. Even Qatar spends millions of US dollars on contemporary art that the Western world has labeled valuable, often ignoring the Islamic artists who specialize in traditional modes of expression.
There are only a handful of experts from the Islamic world, and Tajammul hopes the new emerging generation continues to inquire about and research its artistic heritage and history. "I hope they will pick up the torch from where we have left off," states Tajammul. "We all have a responsibility."
Tajammul will be discussing how illumination is a language and not merely a decoration in his one-hour lecture titled "Language of Illumination through the Centuries of the Qur'an" on May 29 at Athr Gallery at 11 a.m. He will be speaking on the usage of pattern, color and design to reaffirm and illustrate the complexity and depth of the Qur'anic Verses. The lecture will also highlight key symbols like the shamsah, shujairah, five, six and eight-pointed stars and their meanings, development and usage from the Othmanic codices in 650 A.D. to modern times.
For more information:
Contact Athr Gallery on 02-2845009 or 056-8658888
or e-mail them at info@athrart.com
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