1.
Hirz One (Amulet One)
Acrylic and mixed media on wood board
28” x 36”
2002
Presentation (Iconography):
There are three elements in the composition of this
work.
1. A representation of a main figure in the form
of a portrait and its pseudonyms that can be viewed as family members or
close friends- witnesses.
2. Prescribed protective formulas ( Huruz or
Ahraz, plural of Hirz) occupying the upper frieze and among the lower one as
well. These formulas are composed to produce a visual diagram made of text,
numerology, and metaphoric figures. Aside from its magical and metaphysical
power, these formulas force an extremely effective impact on the life of the
people who use them
3. Calligraphic metamorphosis: Among the many
creative forms of the art of Arabic calligraphy, there is one peculiar
category that has not been studied or even named yet. I call this category
“Calligraphic metamorphosis”. There are very few examples of this category
and it seems to have flourished in the 19th century and the early
part of the twentieth century. It is based on an articulate poetic
composition utilizes the repetition of the same spelling of a word but with
different meanings. The texts of these calligraphic metamorphoses vary but
mainly are based on Qur’anic text, prayers, invocations and supplications.
The text of this work is: “Yamuhawwil al- Ahwal Hawwil Halana min Halin
Ila Ahsani Hal”
“O “God” who transforms status, transform our status
from the present status to better status”. There is obviously Sufi mysticism
in the meaning, recitation, and inscription of this saying. The figurative
presentation, formulas, and calligraphic transmutation corroborate the
proposed idea of protection that is substantially ingrained in the
presentation.
2.
Hirz Two (Amulet Two)
Acrylic and mixed media on wood board
28” x 36”
2002
Presentation (Iconography):
There are three elements in the composition of this
work.
1. A representation of a main figure in the form
of a portrait and its pseudonyms that can be viewed as family members or
close friends- witnesses.
2. Prescribed protective formulas ( Huruz or
Ahraz, plural of Hirz) occupying the upper frieze and among the lower one as
well. These formulas are composed to produce a visual diagram made of text,
numerology, and metaphoric figures. Aside from its magical and metaphysical
power, these formulas force an extremely effective impact on the life of the
people who use them
3. Calligraphic metamorphosis: Among the many
creative forms of the art of Arabic calligraphy, there is one peculiar
category that has not been studied or even named yet. I call this category
“Calligraphic metamorphosis”. There are very few examples of this category
and it seems to have flourished in the 19th century and the early
part of the twentieth century. It is based on an articulate poetry
composition utilizes the repetition of the same spelling of a word but with
different meanings. The texts of these calligraphic metamorphoses vary but
mainly are based on prayers, invocations and supplications. The Qur’anic
text of this work is from Sura 55 (Ar-Rahman (The
Most Beneficent): verse 60: “Hal Jaza’u al-Ihsan Illa al-Ihsan”
Is there any Reward for Good - other than Good
