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吉利亚泽特季诺夫•萨拉瓦特•穆罕梅多维奇

吉利亚泽特季诺夫•萨拉瓦特•穆罕梅多维奇

吉利亚泽特季诺夫•萨拉瓦特•穆罕梅多维奇

乌法,俄罗斯

书法家、格拉费卡艺术家

Beauty of calligraphy

A thousand year-long road of a Stranger named “calligraphy” left its traces in a quantity of cultures. It is not merely a beautiful souvenir from the remote past and not merely an art, but a philosophy, world outlook and ideology. Its diversity and variability surprises and inspires admiration with its delicacy and magic. It makes us thrill with delight just like a flower shivers in the wind. Every nationality developed and perfected its own culture of calligraphy, but there are cultures which introduced the schools engaged in the world art of calligraphy in accordance with peculiar national mentality and aesthetic ideals of beauty and harmony. The Orient especially worshiped the art of lettering and put it on the throne of arts. The national arts of China, Japan and Korea differ despite the similarity, each of them featuring peculiar national flavour, plastics and temper, its unique culture in a sheet of paper. Their diversity is reflected in the variability of schools. They like the strokes of a sword in a master’s hands as if have neither beginning nor ending. They are Eternal. The Arabic script is amazingly fabulous. Its vertical lines get us right to the skies, and its horizontals can envelop the Earth interweaving like a blooming grape. The adorable styles of Islamic calligraphy have spread like precious gems from the Pyrenees to India: kufi, thuluth, magribi, farsi and dozens of other styles. And a plethora of them was lost beyond retrieve. The names of the styles speak for their geography. The irreproachable geometry of kufi fills in the interior space of mosques, mausoleums and palaces and organically interweaves with the divani and naskh styles and thus conveys the atmosphere of the Eden and presence of the GOD. The plastic potential of the Arabic script lets out the calligrapher’s imagination and makes it possible to transform the Holy Qur’an into mysterious symbols in the form of fruit, flowers, birds and animals, and to raise the cities and create mystical symbols with the kufi style. The poetry by Khayyam, Rudaki, Ferdowsi, Rumi and Ali-Shir Nava'I written in farsi is so much alike music that one prefers to sing them aloud rather than read.

There were a lot of poets among Arabs. If in Russia we have five meters, the Arabs have twenty-seven of them. The style of calligraphy became poetry and was conveyed by the gems of calligraphic art. Here is an example of an esoteric interpretation of a well-known joke: “Nim-khakim khatrai jan, Nim-mullah khatrai iman” (A half-healer is a threat for life, a half-priest is a threat for faith).

The farsi style conveys the fundamentality of thought and melody of the language in a musical and beautiful way. Isn’t it wonderful! I am venerating any kind of calligraphy, be it Oriental, European or Islamic. Calligraphy is the reflection of our hearts, mind and culture. CALLIGRAPHY is the tutor guiding us through the path of beauty and harmony.

作者的作品

先知的马 “只有真主是最亲切和最仁慈的——值得赞美” (赞美真主)

纸、水粉、画笔 80x60厘米 2010年

旅行者的祈祷

手工编织纸、绘画油漆、漆布刻花 35x120 厘米 2010年

书信

手工编织纸、绘画油漆、漆布刻花 35x120 厘米 2010年

至高无上的真主的怀抱

手工色纸、浮雕画 42x84厘米 2009年

祈祷

手工色纸、浮雕画 44x85厘米 2009年

真主是伟大的


比比(选自“百美名”汇集)

纸、水粉、画笔 60x80厘米 2010年

以最亲切和最仁慈的真主之名

纸、水粉、画笔 60x80厘米 2010年

古纳兹(选自“百美名”汇集)

纸、水粉、画笔 60x80厘米 2010年

玛蒂娜(选自“百美名”汇集)

纸、水粉、画笔 80x60厘米 2010年

努里亚(选自“百美名”汇集)

纸、水粉、画笔 80x60厘米 2010年

加入全国书法家联盟申请书

铜板纸、羽毛笔、芦苇笔、墨水 48x20厘米 2009年
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智慧的想法
“书法不是耳朵的音乐,是眼睛的音乐”。V.V.拉祖尔斯基