Page 108 - Ahmed Fouad Selim
P. 108
و اﻟﻣﺗﻠﻘﻲ،ﻋن اﻟﻣﺋوﯾﺔ اﻷﻛﺎدﯾﻣﯾﺔ و ﻟﻣﺎذا ﻛﺎﻧت اﻟﻘطﯾﻌﺔ ﺑﯾن اﻟﻔن
) ٢٠٠٧ أﻏﺳطس١٠ (
،و ﻟطﻼﺑﮭﺎ،ﺣﺗﻲ ُتسوغ اﻟدراﺳﺔ "اﻷﻛﺎدﯾﻣﯾﺔ" ﻷﺻﺣﺎﺑﮭﺎ،"ﻓﺈذا ﻛﺎن اﻟدرس ﻓﻲ اﻟﺟﺎﻣﻌﺔ ﯾﺣﺗﺎج ﻟﻣن ﯾﺣﻣل ﻟﻘﺑﺎ ﻋﻠﻣﯾﺎ
و إﻧﻣﺎ اﻟﻔن و اﻟﻣﺑدع ھو ﺣﺎل ﯾﺳﺗﺄھل ﻧﺻﯾﺑﺎﯾﺗﺟﺎوز ﻣﻘﺎﻋد اﻟدرس إﻟﻲ ﺛﻘﺎﻓﺔ،ﻓﮭذا ھو ﻣﺎ ﻧؤﯾده و ﻧﺣرص ﻋﻠﯾ ﮫ
" و ذوق أﻣﺔ ﺑﺣﺎﻟﮭﺎ
ھو ﺣرص ذوي اﻟﺷﺄن،" و إﻧﻣﺎ اﻟذي ﺟري ﻓﻲ اﻟﻧﺻف اﻷﺧﯾر ﻣن اﻷﻋوام اﻟﻣﺋﺔ اﻟﻣﺎﺿﯾﺔ ﻣن اﻟﻔن اﻟﻣﺻري اﻟﻣﻌﺎﺻر
أن أﺳﺗﺎذ اﻟﻔن ھو ﺑﺎﻟﺿرورة اﻟﻣﺳﺗﺄھل،ﺣﺗﻲ و َﻗر ﻟدي اﻟﻌﺎﻣﺔ و اﻟﺧﺎﺻﺔ،و اﻟﻣﻌﺎﻧﻲ ﺑﺄطﯾﺎﻓﮭﺎ،ﻋﻠﻲ ﺧﻠط اﻷﻣور ﺑﺑﻌﺿﮭﺎ
.و ﻓﻲ اﻟﻔن ﺧﺎﺻ ًﺔ،أو أﻧﮫ ﺑﺎﻷﺣرى ھو اﻟرھﯾن ﺑﺎﻟﺣﺟﺔ ﻓ ﻲ اﻟﻌﻠم اﻷﻛﺎدﯾﻣﻲ ﻋﺎﻣ ًﺔ،ﻟﺻﻔﺔ اﻟﻔﻧﺎن ﻋﻠﻲ ﻣﺎ ﻋداه
واﻧﻔرط اﻟﻧﺎس،ﻓﻲ زﻣﺎن ﺳﺎﺑ ق،و ﻗد أوﺟد ذﻟك ﻗطﯾﻌﺔ ﺑﯾن اﻟﻔن و اﻟﻣﺗﻠﻘﻲ ﻣﺎ ﻛﺎﻧت ﻟﺗوﺟد ﻋﻠﻲ ﻣﺛل ﺗﻠك اﻟﻘﺳوة
".و ﺣل ﻣﻛﺎﻧﮭﺎ اﻟوھم ﺑوﺟود ﻏﯾر اﻟﻣوﺟود،و ﺿﺎﻋت اﻟدﻻﻻت،ﻋن اﺗﺣﺎدھم ﺑﺑﻌﺿﮭ م
أمحد فؤاد يلسم
About the Academic Centenary and Why the Gap in Art and Viewer was Left Unfilled
August 10th, 2007
If the university lecture needs those who hold a scientific title in order to facilitate the
academic study to their owners and students, this is what we support and preserve; the
art and the creator are considered a case that deserves a view that exceeds lectures to
be studied to a nation culture and taste.
What happened in the last half of the last hundred years of contemporary Egyptian art is
the concern of those concerned to mix things and meanings together until it is believed
by people and insiders that the professor of art is necessarily the one who is qualified
as an artist over all else, or rather, generally establishes proof in the academic science,
particularly in art. This resulted in a gap in art and the viewer that would not have been
existed on such cruelty in the past, people disassociated themselves from each other,
and the connotations were lost and replaced by the illusion of non-existence.
Ahmed Fouad Selim
106
) ٢٠٠٧ أﻏﺳطس١٠ (
،و ﻟطﻼﺑﮭﺎ،ﺣﺗﻲ ُتسوغ اﻟدراﺳﺔ "اﻷﻛﺎدﯾﻣﯾﺔ" ﻷﺻﺣﺎﺑﮭﺎ،"ﻓﺈذا ﻛﺎن اﻟدرس ﻓﻲ اﻟﺟﺎﻣﻌﺔ ﯾﺣﺗﺎج ﻟﻣن ﯾﺣﻣل ﻟﻘﺑﺎ ﻋﻠﻣﯾﺎ
و إﻧﻣﺎ اﻟﻔن و اﻟﻣﺑدع ھو ﺣﺎل ﯾﺳﺗﺄھل ﻧﺻﯾﺑﺎﯾﺗﺟﺎوز ﻣﻘﺎﻋد اﻟدرس إﻟﻲ ﺛﻘﺎﻓﺔ،ﻓﮭذا ھو ﻣﺎ ﻧؤﯾده و ﻧﺣرص ﻋﻠﯾ ﮫ
" و ذوق أﻣﺔ ﺑﺣﺎﻟﮭﺎ
ھو ﺣرص ذوي اﻟﺷﺄن،" و إﻧﻣﺎ اﻟذي ﺟري ﻓﻲ اﻟﻧﺻف اﻷﺧﯾر ﻣن اﻷﻋوام اﻟﻣﺋﺔ اﻟﻣﺎﺿﯾﺔ ﻣن اﻟﻔن اﻟﻣﺻري اﻟﻣﻌﺎﺻر
أن أﺳﺗﺎذ اﻟﻔن ھو ﺑﺎﻟﺿرورة اﻟﻣﺳﺗﺄھل،ﺣﺗﻲ و َﻗر ﻟدي اﻟﻌﺎﻣﺔ و اﻟﺧﺎﺻﺔ،و اﻟﻣﻌﺎﻧﻲ ﺑﺄطﯾﺎﻓﮭﺎ،ﻋﻠﻲ ﺧﻠط اﻷﻣور ﺑﺑﻌﺿﮭﺎ
.و ﻓﻲ اﻟﻔن ﺧﺎﺻ ًﺔ،أو أﻧﮫ ﺑﺎﻷﺣرى ھو اﻟرھﯾن ﺑﺎﻟﺣﺟﺔ ﻓ ﻲ اﻟﻌﻠم اﻷﻛﺎدﯾﻣﻲ ﻋﺎﻣ ًﺔ،ﻟﺻﻔﺔ اﻟﻔﻧﺎن ﻋﻠﻲ ﻣﺎ ﻋداه
واﻧﻔرط اﻟﻧﺎس،ﻓﻲ زﻣﺎن ﺳﺎﺑ ق،و ﻗد أوﺟد ذﻟك ﻗطﯾﻌﺔ ﺑﯾن اﻟﻔن و اﻟﻣﺗﻠﻘﻲ ﻣﺎ ﻛﺎﻧت ﻟﺗوﺟد ﻋﻠﻲ ﻣﺛل ﺗﻠك اﻟﻘﺳوة
".و ﺣل ﻣﻛﺎﻧﮭﺎ اﻟوھم ﺑوﺟود ﻏﯾر اﻟﻣوﺟود،و ﺿﺎﻋت اﻟدﻻﻻت،ﻋن اﺗﺣﺎدھم ﺑﺑﻌﺿﮭ م
أمحد فؤاد يلسم
About the Academic Centenary and Why the Gap in Art and Viewer was Left Unfilled
August 10th, 2007
If the university lecture needs those who hold a scientific title in order to facilitate the
academic study to their owners and students, this is what we support and preserve; the
art and the creator are considered a case that deserves a view that exceeds lectures to
be studied to a nation culture and taste.
What happened in the last half of the last hundred years of contemporary Egyptian art is
the concern of those concerned to mix things and meanings together until it is believed
by people and insiders that the professor of art is necessarily the one who is qualified
as an artist over all else, or rather, generally establishes proof in the academic science,
particularly in art. This resulted in a gap in art and the viewer that would not have been
existed on such cruelty in the past, people disassociated themselves from each other,
and the connotations were lost and replaced by the illusion of non-existence.
Ahmed Fouad Selim
106
