citam: caligrafia araba

Noble Calligraphers

The lines of calligraphers have neither beginning nor end as they constantly link and unlink. The calligrapher’s work lies in search of the absolute; his aim is to penetrate the sense of truth in an infinite movement so as to go beyond the existing world and thus achieve union with God.

– Salah al-Ali (quotes in Musee d’art et d’histoire. „Islamic Calligraphy: Sacred and Secular Writings”. Catalog of an exhibition held at the Musee d’art et d’histoire, Geneva and other locations 1988-1989, p. 30)

Calligraphers were dedicated to their work. David James writes in Sacred and Secular Writings (1988, p.22) that calligraphers often wrote, not at a small table but seated on the floor, holding the paper on their knees and supporting it with a piece of cardboard. Calligraphers had to be trained from a young age, sometimes from childhood; they studied examples called mufradat which had the letters of the alphabet written out singly and in combination with other letters.

The great calligraphers could write perfectly even without the proper tools and materials. Although a calligraphic master might be deprived of the use of his preferred hand either as a punishment or in the battle field, he would learn to write equally well with his other hand. When the other hand failed him, he would astound his admirers by using his mouth or feet to hold the pen.

An aspiring scribe would observe his predecessors’ art very carefully. To perfect his touch, sharpen his skills, and find a style of his preference, the scribe would imitate the masters of calligraphy with a diligent hand. Welch (1979, p. 34) cites the following quote from the Sultan Ali’s treatise on calligraphy:

Collect the writing of the masters,
Throw a glance at this and at that,
For whomsoever you feel a natural attraction,
Besides his writing, you must not look at others,
So that your eye should become saturated with his writing,
And because of his writing each of your letters should
become like a pearl.

Poetici si poezie (1)

Cel mai bun poet, pentru oricine citeste, este el (sau ea) insusi. Dar asta este valabil mai ales pentru cei care nu citesc. Pentru cei care nu au avut niciodata contact cu lumea literara, cele cateva instrumente de lectura si mitologizare pe care le-au dobandit in scoala creeaza o aura aproape ireala pentru acest domeniu. Din 2005 am urmarit diferite formulari pe care lumea literara romaneasca le-a intreprins, invitand in fata publicului autori pe care ii gaseam demni de prezentare, cel putin din punctul meu de vedere. Cum orice pretentie de exhausivitate ar fi fost iluzorie, interesul meu s-a concentrat treptat asupra poeziei, domenul in care formularile criticilor profesionisti au parut ca isi pierd relevanta de la un an la altul. Nu intamplator, acelasi fenomen se poate constata si in legatura cu instrumentele de lectura a poeziei puse la treaba in paginile revistelor literare. Treptat, am fost martorul esecului unei manipulari acceptate tacit de scriitori generatie dupa generatie cu cele mai nobile intentii. Aceasta este situatia lumii reale a poeziei in toate colturile Europei iar seria de relatari pe care o deschid aici isi propune sa arate de ce aceasta situatie este din ce in ce mai putin o criza si din ce in ce mai mult o sansa a poeziei.

In masura in care demersul meu se va gasi interesant si pentru altcineva decat mine, va invit sa expuneti propriile dumneavoastra instrumente pentru alegerea poeziei care merita citita de cea pe care ne multumim doar sa o rasfoim. Sper ca la final vom avea o imagine viabila a tendintelor poeziei azi.