170:
these artists were carrying out their own dialogue with national identity and modern art, at a broader level they also worked towards an aesthetic that transcended national boundaries and represented a broader affiliation with an Arab identity. Al Said and his group successfully bridged the gap between modernity and heritage. In so doing, they "charted a new Arabo-Islamic art aesthetic, and thus initiated a possible alternative for art valuating for local and regional art other than those allowed through an exclusionary
Western canon of art history."
185:) which comprised groups of artists that had emerged independently across North Africa and the Middle East in the second half of the 20th century, with the common thread being that each group searched for ways to integrate tradition and modernity in a way that would contribute to a distinct national style.
70:
that formed in 20th-century Iraq. During the first world war, a small group of
European officers and artists settled in Iraq, exposing young artists to Western art traditions and techniques. While local artists and middle classes developed an appreciation for European art, the arts community searched
165:
Al Said actively searched for relationships between time and space; and for a visual language that would connect Iraq's deep art traditions with modern art methods and materials. The incorporation of callij (calligraphy) letters into modern artworks was an important aspect of this relationship. The
169:
Al Said, and members of the One
Dimension group, searched for a new artistic identity, drawn from within their own culture and heritage and successfully integrated Islamic visual traditions, especially calligraphy and Arabic motifs, into contemporary, abstract compositions. At an individual level,
111:
Each of these groups developed different ideas about how to combine heritage and modernity and developed a different vision for a national art aesthetic. Although there were tensions in the different visions of these groups, collectively, they actively searched for new national vision which would
166:
letter became part of Al Said's transition from figurative art to abstract art. Arabic calligraphy was charged with intellectual and esoteric Sufi meaning, in that it was an explicit reference to a
Medieval theology where letters were seen as primordial signifiers and manipulators of the cosmos.
135:
The One
Dimension manifesto gives voice to the group's commitment to both heritage and modernity and sought to distance itself from the modern Arab artists which they perceived as following European artistic traditions. One Dimension's objectives are complex and sophisticated; it is philosophy,
161:"From a philosophical point of view, the One-Dimension is eternity, or an extension of the past to the time before the existence of pictorial surface; to the non-surface. Our consciousness of the world is a relative presence. It is our self-existence while our absence is our eternal presence."
123:
The One
Dimension Group was established formally in 1971 by the prominent Baghdadi artist and intellectual, Shakir Hassan Al Said, when he published a manifesto for the group. Al Said had previously been a founding member of the Baghdad Group for Modern Art (Jama'at Baghdad lil-Fann al-Hadith)
144:." The objectives of the One Dimension Group were multi-dimensional and complex. At the most basic level, the group rejected two and three-two dimensional artwork in favour of a single "inner dimension". This approach was influenced by both the philosophy of
156:
movements. In practice, a single inner dimension was difficult to realise because most artworks are produced on two-dimensional surfaces. At a more profound level, one dimension refers to "eternity". Al Said explained:
71:
for ways of synthesising indigenous art with international trends. In effect, these groups were seeking to forge an Arabic art aesthetic and to use art to help their nations reassert a sense of national identity.
204:. In Sudan, artworks took on a slightly different form - since artists rejected Western art traditions and included both Islamic calligraphy and West African motifs. In Sudan, the movement was known as the
57:
traditions with contemporary, abstract art. Although the One
Dimension Group was founded in Iraq, its members originated from across Arab nations, and its influence was felt across the Arab art world.
188:
Although each of these groups developed locally, and went by different labels at the local level, collectively, these groups and their practitioners would become known as the School of
Calligraphy (or
132:(1919-1994), but he along with several high profile artists, had withdrawn from that group when it lost its sense of direction, following the death of its founder, Jawad Saleem in 1961.
866:
784:"Shaker Hassan Al Said," Darat al Funum, Online: www.daratalfunun.org/main/activit/curentl/anniv/exhib3.html; Flood, F.B. and Necipoglu, G. (eds)
136:
technique, style and a relationship between time and space, between the visual and the non-visual. The "one dimension" is an oblique reference to
456:
issue no. 880, p. 8; See: Shabout, N.,"Shakir Hassan Al Said: Time and Space in the Work of the Iraqi Artist - A Journey
Towards One Dimension,"
108:
founded in 1971. Some of these groups endured for decades, while others were short-lived and abandoned within a few years of their formation.
856:
181:, who both joined his group. The One Dimension Group was very significant to the so-called School of Calligraphic Art (also known as the
201:
714:
University of
Florida Press, 1997, p. 52; Dadi. I., "Ibrahim El Salahi and Calligraphic Modernism in a Comparative Perspective,"
565:
Cited in: Shabout, N.,"Shakir Hassan Al Said: Time and Space in the Work of the Iraqi Artist - A Journey Towards One Dimension,"
681:
Shabout, N.,"Shakir Hassan Al Said: Time and Space in the Work of the Iraqi Artist - A Journey Towards One Dimension,"
581:
Shabout, N.,"Shakir Hassan Al Said: Time and Space in the Work of the Iraqi Artist - A Journey Towards One Dimension,"
544:
Shabout, N.,"Shakir Hassan Al Said: Time and Space in the Work of the Iraqi Artist - A Journey Towards One Dimension,"
768:
Hachette UK, 2015, p. 56; Dadi. I., "Ibrahim El Salahi and Calligraphic Modernism in a Comparative Perspective,"
657:
490:
411:
Iraqi Artwork Red List: A Partial List of the Artworks Missing from the National Museum of Modern Art, Baghdad,
320:
Iraqi Artwork Red List: A Partial List of the Artworks Missing from the National Museum of Modern Art, Baghdad,
115:
Of these art groups, the Baghdad Modern Art Group and the One Dimension Group are the most frequently cited.
264:
871:
173:
In focusing on the Arabic letter as the central element of his work, al-Said soon was collaborating with
861:
269:
215:
50:
686:
586:
461:
357:
Shabout, N., "Ghosts of Futures Past: Iraqi Culture in a State of Suspension," in Denise Robinson,
254:
129:
570:
549:
876:
259:
189:
182:
149:
881:
46:
145:
627:
Routledge, 2015, p. 495; Mavrakis, N., "The Hurufiyah Art Movement in Middle Eastern Art,"
761:
35:
230:, Hashem Samarchi (b. 1939), Hashim al-Baghdadi (1917-1973) and Saad Shaker (1935-2005).
735:
Dadi. I., "Ibrahim El Salahi and Calligraphic Modernism in a Comparative Perspective,"
211:
74:
Between the 1930s and the early 1970s, more than six different art groups were formed:
112:
enable the country to develop internally, as well as take its place on a world stage.
850:
227:
178:
632:
219:
125:
17:
331:
Ulrike al-Khamis, “An Historical Overview 1900s-1990s,” in: Maysaloun, F. (ed.),
301:
Ulrike al-Khamis, “An Historical Overview 1900s-1990s,” in: Maysaloun, F. (ed.),
249:
174:
658:
http://www.encyclopedia.mathaf.org.qa/en/bios/Pages/Shakir-Hassan-Al-Said.aspx
612:
Words of Power: Hurufi Teachings Between Shi'ism and Sufism in Medieval Islam,
491:
http://www.encyclopedia.mathaf.org.qa/en/bios/Pages/Shakir-Hassan-Al-Said.aspx
239:
223:
290:
Memories of State: Politics, History, and Collective Identity in Modern Iraq,
773:
740:
719:
244:
84:
67:
838:
Art and Language: Explorations in (Post) Modern Thought and Visual Culture
346:
Culture, History and Ideology in the Formation of Ba'thist Iraq,1968-89,
307:
Culture, History and Ideology in the Formation of Ba'thist Iraq,1968-89,
652:
Wiley, 2017, p. 1294; Mejcher-Atassi, S., "Shakir Hassan Al Said," in
192:). In Jordan, the movement emerged in the 1950s and was known as the
137:
54:
756:
Mavrakis, N., "The Hurufiyah Art Movement in Middle Eastern Art,"
141:
153:
428:
The Monument: Art, Vulgarity, and Responsibility in Iraq,
385:
Iraq Then and Now: A Guide to the Country and Its People,
531:, Penguin, 2017, , n.p. See section M52; Shabout, N.M.,
441:
We Are Iraqis: Aesthetics and Politics in a Time of War,
361:, School of Fine Arts, Cyprus University, 23–25 November
762:
https://mjmes.wordpress.com/2013/03/08/article-5/;Tuohy
614:
I.B. Tauris and the Institute of Ismaili Studies, 2015
140:, which has been described as "the inner dimension of
654:
Mathaf Encyclopedia of Modern Art and the Arab World,
487:
Mathaf Encyclopedia of Modern Art and the Arab World,
210:
Original members of the One Dimension group include:
452:
The manifesto was published in the Iraqi newspaper,
633:https://mjmes.wordpress.com/2013/03/08/article-5/
359:Through the Roadbloacks: Realities in Raw Motion,
485:Mejcher-Atassi, S., "Shakir Hassan Al Said," in
200:(or the One Dimension Group)", and in Iran, the
825:The Cambridge Companion to Modern Arab Culture,
712:Modern Islamic Art: Development and Continuity,
699:Why Are We 'Artists'?: 100 World Art Manifestos
529:Why Are We 'Artists'?: 100 World Art Manifestos
474:Modern Islamic Art: Development and Continuity,
430:University of California Press, 1991, p. 79 -80
415:Why Are We 'Artists'?: 100 World Art Manifestos
159:
758:McGill Journal of Middle Eastern Studies Blog,
629:McGill Journal of Middle Eastern Studies Blog,
554:Modern Arab Art: Formation of Arab Aesthetics,
533:Modern Arab Art: Formation of Arab Aesthetics,
503:Modern Arab Art: Formation of Arab Aesthetics,
305:London:, Saqi Books, 2001, p. 25; Baram, A.,
8:
812:A Companion to Islamic Art and Architecture,
799:A Companion to Islamic Art and Architecture,
786:A Companion to Islamic Art and Architecture,
745:A Companion to Islamic Art and Architecture,
724:A Companion to Islamic Art and Architecture,
670:Iraq: The Ancient Sites and Iraqi Kurdistan,
650:A Companion to Islamic Art and Architecture,
599:A Companion to Islamic Art and Architecture,
398:A Companion to Islamic Art and Architecture,
53:in 1971 which attempted to combine medieval
476:University of Florida Press, 1997, pp 51-52
292:University of California Press, 2005, p. 82
196:, while in Iraq, the movement was known as
505:University of Florida Press, 2007, p. 109M
333:Strokes of Genius: Contemporary Iraqi Art,
303:Strokes of Genius: Contemporary Iraqi Art,
774:https://doi.org/10.1215/00382876-2010-006
741:https://doi.org/10.1215/00382876-2010-006
720:https://doi.org/10.1215/00382876-2010-006
556:University of Florida Press, 2007, p. 109
535:University of Florida Press, 2007, p. 109
518:(Bloomington: World Wisdom, 2009), p. 223
827:Cambridge University Press, 2015, p. 202
701:, Penguin, 2017, , n.p. See section M52
417:, Penguin, 2017, , n.p. See section M12
281:
177:(who by then was living in the US) and
867:Arts organizations established in 1971
840:, Kassel University Press, 2017, p.117
743:; Flood, F.B. and Necipoglu, G. (eds)
722:; Flood, F.B. and Necipoglu, G. (eds)
443:Syracuse University Press, 2013, p. 22
7:
810:Flood, F.B. and Necipoglu, G. (eds)
797:Flood, F.B. and Necipoglu, G. (eds)
648:Flood, F.B. and Necipoglu, G. (eds)
597:Flood, F.B. and Necipoglu, G. (eds)
396:Flood, F.B. and Necipoglu, G. (eds)
66:One Dimension is one of a number of
39:
27:20th-century Iraqi modern art group
516:Art of Islam: Language and Meaning
25:
387:Bradt Travel Guides, 2008, p. 279
370:Ghareeb, E.A. and Dougherty, B.,
672:Bradt Travel Guides, 2015, p. 30
335:London:, Saqi Books, 2001, p. 25
772:109 (3), 2010 pp 555-576, DOI:
739:109 (3), 2010 pp 555-576, DOI:
718:109 (3), 2010 pp 555-576, DOI:
439:Al-Ali, N. and Al-Najjar, D.,
426:Al-Khalil, S. and Makiya, K.,
413:Iraq, 2010, pp 7-9; Lack, J.,
372:Historical Dictionary of Iraq,
1:
635:; Tuohy, A. and Masters, C.,
374:Scarecrow Press, 2004, p. 174
668:Dabrowska, K. and Hann, G.,
383:Dabrowska, K. and Hann, G.,
119:Brief history and philosophy
85:The Baghdad Modern Art Group
857:1971 establishments in Iraq
623:Lindgren, A. and Ross, S.,
898:
552:; also see Shabout, N.M.,
409:Sabrah,S.A. and Ali, M.,"
318:Sabrah,S.A. and Ali, M.,"
814:Wiley, 2017, p. 1298-1299
770:South Atlantic Quarterly,
766:A-Z Great Modern Artists,
737:South Atlantic Quarterly,
716:South Atlantic Quarterly,
637:A-Z Great Modern Artists,
639:Hachette UK, 2015, p. 56
348:Springer, 1991, pp 70-71
309:Springer, 1991, pp 70-71
601:Wiley, 2017, pp 1294-95
265:List of Muslim painters
764:, A. and Masters, C.,
194:Al-hurufiyyah movement
163:
148:and the traditions of
270:List of Iraqi artists
216:Mohammed Ghani Hikmat
202:Saqqa-Khaneh movement
78:formed in the 1930s;
51:Shakir Hassan Al Said
801:Wiley, 2017, p. 1294
788:Wiley, 2017, p. 1294
747:Wiley, 2017, p. 1294
726:Wiley, 2017, p. 1294
625:The Modernist World,
400:Wiley, 2017, p. 1294
206:Old Khartoum School.
104:founded in 1968 and
80:The Avantgarde Group
49:founded in Iraq, by
40:مجموعة البُعد الواحد
683:Nafas Art Magazine,
583:Nafas Art Magazine,
567:Nafas Art Magazine,
546:Nafas Art Magazine,
458:Nafas Art Magazine,
255:Islamic calligraphy
130:Jabra Ibrahim Jabra
45:) was a modern art
32:One Dimension Group
18:One Dimension Group
514:Titus Burckhardt,
322:Iraq, 2010, pp 7-9
260:Hurufiyya movement
190:Hurufiyya movement
183:Hurufiyya movement
150:Arabic calligraphy
98:The Innovationists
90:The Impressionists
610:Mir-Kasimov, O.,
100:founded in 1963;
96:founded in 1961;
94:The Corners Group
82:formed in 1950;
16:(Redirected from
889:
841:
834:
828:
823:Reynolds, D.R.,
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198:Al Bu'd al Wahad
146:Martin Heidegger
128:(1919-1961) and
92:formed in 1953;
88:formed in 1951;
43:Al Bu'd al Wahad
41:
21:
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501:Shabout, N.M.,
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454:al-Jamhuriyyah,
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212:Rafa al-Nasiri
124:together with
120:
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102:The New Vision
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26:
24:
14:
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10:
9:
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872:Art societies
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868:
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839:
836:Treichl, C.,
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228:Jamil Hamoudi
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179:Jamil Hamoudi
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106:One Dimension
103:
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81:
77:
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69:
61:
59:
56:
52:
48:
44:
37:
33:
19:
862:Arab artists
837:
832:
824:
819:
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220:Nuri al-Rawi
209:
205:
197:
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172:
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164:
160:
134:
126:Jawad Saleem
122:
114:
110:
105:
101:
97:
93:
89:
83:
79:
76:The Pioneers
75:
73:
65:
42:
31:
29:
685:May, 2008,
585:May, 2008,
569:May, 2008,
548:May, 2008,
460:May, 2008,
344:Baram, A.,
288:Davis, E.,
250:Islamic art
175:Madiha Omar
851:Categories
697:Lack, J.,
527:Lack, J.,
276:References
240:Arabic art
224:Dia Azzawi
68:art groups
62:Background
47:collective
877:Iraqi art
710:Ali, W.,
472:Ali, W.,
245:Iraqi art
882:Sufi art
760:Online:
656:Online:
631:Online:
489:Online:
234:See also
687:Online:
587:Online:
571:Online:
550:Online:
462:Online:
138:Sufism
36:Arabic
142:Islam
154:Sufi
55:Sufi
30:The
853::
226:,
222:,
218:,
214:,
38::
34:(
20:)
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