Sharjah 7th Calligraphy Biennial 2016

Tibetan Calligraphy in the UAE

'Sphere of Dharmata' Tashi Mannox 2016

Sharjah Calligraphy Biennial has always been known to be of one of the most remarkable events taking place in the region. It aims at revealing the power of the letter in bringing cultures together. Through predominantly Arabic Calligraphy from contemporary artists across the Islamic world, there are over 206 calligraphy artists taking part, including other calligraphy masters of different cultures and traditions, totalling of 683 works.

Sharjah is the neighbouring state of Dubai in the United Arab Emirates. It is celebrated for its vast internationally attended universities and museums of the arts and Islamic culture.

So if you find yourself in Dubai Between 6^th April – 6^th June 2016 why not take the short drive to the Sharjah Calligraphy Museum to feast your eyes on the marvels of Islamic and other calligraphy disciplines of the world.

For the Sharjah Biennial in general, exhibition sites are a range of venues including the Sharjah Art Foundation Art Spaces, the Sharjah Art Museum, and the nearby traditional buildings and courtyards of the Arts and Heritage areas.

This is the third Sharjah Calligraphy Biennial that Tashi Mannox has been invited to partake, this time exhibiting two of his Tibetan calligrahy pieces especially created for this event, as seen above and below. 

'Born of Bindu' Tashi Mannox 2016

Tibetan calligraphy in the Arab Emirates

 A short account of Tashi's visit to the Art & Cultural Emirates Sharjah.

A red carpet warm welcome
to the Sharjah Calligraphy Biennial 2012

Every two years the government of Sharjah holds a prestigious event called the Sharjah Calligraphy Biennial. For the second term running Tashi Mannox has been invited to exhibit his contemporary Tibetan calligraphy along-side not only Islamic calligraphy works from across Arab world but from other international destinations.

This year Tashi attended the opening celebrations where he met with eminent Sheikhs and other participants from Japan, Morocco, Norway and the USA.  

More than a 100 works by 160 artists is showcased during the month of April 2012 at the Sharjah Calligraphy Biennial that is located at the Calligraphy Square Museum and the Sharjah Art Gallery.

Calligraphy Square

The opening ceremony was held in the named 'Calligraphy Square' (as above) in the old quarter of Sharjah away from the metropolis of Dubai in both distance and in contrast.

The Sheikh of Sharjah and his entourage arriving to meet the artists.

H.H. Sheikh Dr.Sultan Bin Mohammed Al Qasimi presided over the opening, taking time to see each exhibit and meet with many of the participants.

Known in short as the Sheikh of Sharjah, the Sultan who is the crowned prince and deputy ruler of Sharjah; is a great believer and promoter of the arts and cultural values of his own traditions as well as encouraging a multi cultural dialogue. Indeed if it was not for his openness and generous attention to such values, there would not be such an opportunity of such a dynamic and vibrant show of works at the Biennial as well as other events across Sharjah.

It is little wonder of the enormous love and respect entrusted by his people, that for the past decade or so the Sheikh of Sharjah has established Sharjah as the Emirates of culture as well as the building of the vast University City that boasts excellent facilities equaled if not bettered than universities of the Western World. 

Tashi meets the Sultan of Sharjah to introduce his artworks.

Exhibited alongside other Islamic masterpieces in the exhibition hall of traditional calligraphy are Tibetan calligraphy works by Tashi Mannox. 

To the right of a contemporary Islamic calligraphy is Tashi's piece called
"the Great Perfection of Aa"

Another of Tashi's works called "The Ultimate and Relative Truths"

With over a thousand exhibits it would be impossible to show all the artworks on this short blog post, but there were many breath-taking and outstanding Islamic calligraphy pieces, below are just a few examples.

"Prayer" Islamic Calligraphy by Mustafa Falouth, Morocco.

"If words could kill" by Ayad Alkadhi, Iraq.

"love" 

Meeting with other international artist participants, from left to right: Japanese Sugi Yayoi and  Takenzawa Gyokurei, Julia Vance from Norway, Tashi Mannox from the UK and Imada Tokudou from Japan. 

The Japanese calligraphers went on to lead a workshop in painting giant calligraphy with huge brushes, an account of this activity can be seen here.

Sugi Yayoi stands next to one of her masterpieces, a poem that resembles a garden with the sun above.

Imada Tokudou with Tashi, flanking his Japanese calligraphy that reads "inner strength". 

The young and talented American Ebon Heath explains his 'mobile' calligraphy to a Noble Sheikh at the opening of his solo exhibition. More of Ebon's poetic works can be seen here.

Another solo exhibition is from Lalla Essaydi of Morocco, who combines Islamic calligraphy with the female form producing evocative photographic pieces. More of her works can be viewed here.  

Award winning Farah Behbehani from Kuwait explains her calligraphy "Tree of Life" to the Sheikh of Sharjah.

"The whole experience visiting Sharjah was a real eye opener to just how multi cultural and willing the Emirates are. In our present times of world politics and extremists, it is refreshing and heart warming to know that there is an organization such as the Sharjah Art and cultural department who contributes to bridging gaps between cultures and faiths, bringing together artists from around the world under the same desert sky.

While i was there, i had a distinct feeling of the equanimity of all people, regardless of their belief, in a way that made the world seem very small, but positively as brothers and sisters in one united family. 

I was made to feel very welcome,  the warmth and openness of the people of Sharjah in general was comforting. The organizers and helpers of the Sharjah Calligraphy Biennial where most friendly and helpful.

I wish to especially thank H.H. The Sheikh of Sharjah, and my coordinator Moza Ali Al Shamsi for all her work in helping make my participation possible, plus a big thank you to the team of helpers such as below with a "beard of perfection" i ever did see! and to Radhwan who chauffeured me around to all the different events with a big smile"

-Tashi Mannox  

May peace prevail on Earth!

Giant Calligraphy Exchange

Uniting different cultures and art at the invitation of the government of Sharjah, UAE. 

Under 'The Eye of the Emirates' at Al Oasha, as part of the many Sharjah Calligraphy Biennial events, a workshop took place on the 3rd April 2012 called "Big Calligraphy Brush" that was lead by renowned Japanese calligraphy artists including master Sugi Yayoi as she is pictured in a red blouse below.

Among other artist, Tashi Mannox was invited to create a giant calligraphy piece; here choosing a suitable brush and bucket of Japanese Sumi ink with the help of Sugi Yayoi.

Only after taking a moment to blow a wondering insect from the enormous paper, Tashi deliberated the first mark with a certain gusto.

The first letter of the calligraphy is the Tibetan letter cha ཆ་ formed in one continuous brisk stroke. Sugi Yayoi applauds !

Below which a 'ü' vowel sign is added to complete the word chü ཆུ་ meaning 'water'.

The end of the vowel sign is artfully lengthened as if the flow of water or waves, ending with a fine wisp. 

And the final gesture is his signature, and with the absence of his personal seals the calligraphy was finished with three fingered print in red cinnabar seal ink. symbolizing three jewels.

Another guest to create a giant Islamic calligraphy was a noble Sheikh and participant of the Sharjah Calligraphy Biennial 2012, who managed with great care not to get a single drop of black ink on his pristine robes. 

A trend of marking the finished calligraphy with a red finger-print seems to have been set by Tashi, as this noble Arab takes great delight in his finished work.

Sharjah Calligraphy Biennial 2012

From April 1st to May 1st The Sharjah Calligraphy Museum in the United Arab Emirates hold its biennial exhibition of not only Islamic calligraphy, but for the second term running has invited internationally celebrated calligraphist of other traditions including Tibetan calligraphy to participate.

Tashi Mannox -

"i am delighted to be invited back to exhibit with the Sharjah Calligraphy Museum, as i have always held a high regard for Islamic art. Islamic Calligraphy could be argued to be one of the most evolved and decorative writing systems of the world, so i feel particularly honored to be exhibiting along side such excellence. 

This time the theme "Universe" see below was given to inspire the participants in their creations for the exhibition. This lead me to create three pieces for the exhibition, exploring the interrelationship between heaven and earth, the ultimate and the relative spirit of mankind".

Two of three art pieces submitted by Tashi are shown below, the second piece "The Great Perfection Aa" can be seen in an earlier blog post here.

The Absolute and Relative Truths.

When speaking of the spirituality of man, this implies an ultimate or absolute that is pure and next to godliness. If there is ‘absolute’ then there must be ‘relative’ which can be considered mundane and unholy. These two ways of existence can be called the two truths of absolute and relative.

Psychologically in the realm of heaven and earth, the ‘absolute’ is symbolically placed above and the ‘relative’ is placed below. Just as the calligraphy, the words ‘absolute truth’ is above and ‘relative truth’ is placed below.

The Tibetan script style used is a form of ornate Petsug, typical of holy manuscripts. The lower most line of text translates as “The thatness of the two truths”.

Especially created for the Sharjah Calligraphy Biennial 2012 ⓒ Tashi Mannox, 57x84 cm Chinese ink and Japanese mineral paint on Bhutanese Tsasho paper.

Available as a superb limited edition print from the new store.tashimannox.com

 

The Absolute and Relative Truths. ⓒ Tashi Mannox 2012

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"Universe"
As given as a brief to the participants of the Sharjah Calligraphy Biennial 2012

The letter remains not only as a means of expression within the linguistic context but also it is used as an instrument for research in the spaces of light which rules the making of time and space. This is due to the interrelationship of antitheses of the knot of existence or to the merger of components in the splendor of the universe and nature.

The artist, who through his consciousness, gets his inspiration from those possible and potential relationships, embodied in the mosaics of this great universal painting, takes the spirituality of his soul and creativity, to bring these facts closer to each other, and, discovers the individuality of the letter, being an image and an echo of the greatness of the creator and Man.

The rich experience of the artist shows that the letter is a universe by itself, from which all meanings of existence stem. It is a mirror that reflects all the visual revelations that are enriched with knowledge and infinite light, revealing a spirit extending towards psychological and subjective links.

The letter, therefore, is the key of reflection and search for similarities and differences to gain more faith.

Sharjah, as usual, opens this forum, Sharjah Calligraphy Biennial, to be a source for the creative art of calligraphy, revealing the renewable and infinite worlds of innovation in this field. In its new session, the biennial presents a new space for reflection, and  re-production, leading to an intellectual and innovative spheres, revealing an infinite artistic creativity.

Tashi Mannox looking at traditional calligraphy pens
during the opening of the Sharjah Calligraphy Biennial
2012.

Islamic Calligraphy, practiced here with a bamboo pen,
Just as traditional Tibetan calligraphy.

The Great Perfection རྫོགས་པ་ཆེན་པོ

The Great Perfection of 'Aa'. 57x76 cm, Black Chinese ink
on heavy water-colour paper.  ⓒ Tashi Mannox 2012.

The central character illuminates white and resplendently pure among aura like swirls spinning from the blackness of limitless space.

As this is the root syllable ‘a’in the classical Uchen script, the last letter of the Tibetan alphabet, from which all other sounds are produced, it is considered essentially pure and stainless. It represents the ultimate true nature of mind, which is equaled in all beings, who are countless as all the stars of the universe.

The lower line of calligraphy in the Tibetan Petsug script translates as “The ultimate true nature of the uncontrived great perfection dzogchen that is embodied and expressed in the sound of the essential syllable ‘a’.”

གཤིས་རྫོགས་པ་ཆེན་པོར་མ་བཅོས་ཨ།

The above art piece "The Great Perfection Aa" was especially created for the Sharjah Calligraphy Biennial April 2012, the exhibition called “Universe” hosts celebrated Islamic calligraphy artist along with a few international artist of other denominations. 


This image is now available as limited edition prints of three sizes:
Large size 57 x 60 cm or 22½" x 30" inches
Medium size 50 x37.5 cm or 19¾" x 14¾" inches
Small size 35 x 26 cm or 13¾" x 10¼" inches

The reproductions are premium-quality giclée printed, on a heavy weight museum conservation rag paper, ensuring stability and a colorfast longevity.

Each image is carefully colour matched and in sharpness to the original artwork. The prints are edition numbered and hand signed and stamped with the artists’ personal seals. 

To place a print order, please follow this link to the TashiMannox on-line store.

Constructing the art-piece,  January 2012.

Tibetan calligraphy in the Arab Emirates

Sharjah Calligraphy Biennial 2010

Sharjah is the third largest of the seven emirates that make up the United Arab Emirates; Abu Dubai is perhaps the more well known neighboring emirates state to Sharjah.

Sharjah boasts ‘The Sharjah Calligraphy Museum’, being the only museum in the Arab world devoted entirely to calligraphy and located in one of the cultural capitals of the Arab world.

The Sharjah Calligraphy museum aims to instill the art of calligraphy in the people and visitors of Sharjah, to set new standards both locally and internationally. The Museum represents the Arabian heritage of Islamic calligraphy as well as other calligraphy traditions from around the world.

Earlier this year, Tashi was invited to participate their fourth international exhibition: Sharjah Calligraphy Biennial 2010, with this letter of invitation:

Dear Mr. Tashi Mannox,

Directorate of Art of Department of Culture & Information – Government of Sharjah is pleased to extend its greetings and would like to inform you of organizing the Fourth Session of Sharjah Biennial for the Art of Arabic Calligraphy for the period from 7 April to 7 June 2010, under the patronage of H.H. Sheikh Dr. Sultan Bin Mohammad Al Qasimi, Member of Supreme Council and Ruler of Sharjah, therefore, the higher committee is pleased to invite you with your distinguished works in this important festival.

Three major calligraphy pieces of Tashi’s are to show in the Sharjah calligraphy biennial 2010, the exhibition starts 7^th April and runs until 7^th June 2010.

One of the pieces shown at the Sharjah Calligraphy Biennial 2010: "Prosperity" 57x76 cm, ©

Tashi Mannox, 2005.

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