Page 52 - Ahmed Fouad Selim
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ﺳﻠﯾم اﻟﻣﺑدع
."ﻋﻧدﻣﺎ ﯾﻌود ﺳﻠﯾم إﻟﻲ ﻣﻧﺎﺑﻊ اﻟﺧط اﻟﻌرﺑﻲ ﻧﺟد أﻧﮫ ﻗد ﻋﺛر ﻣرة أﺧري ﻋﻠﻲ اﻟدواﻓﻊ اﻟﺗﻲ ﻛﺎن ﯾﺣﻣﻠﮭﺎ اﻷﺳﻼف
واﻟﺟواﻣﻊ – ﻓﮭو ﯾرﺗﺑط ،واﻟﻣﻌﻣﺎر ،ﻓوق اﻟﺧزﻓﯾﺎت،ذات اﻟﺷﻔﺎﻓﯾﺔ،ﻋﻧدﻣﺎ ﻛﺎﻧوا ﯾﺻوﻏون ﺗﺄﻣﻼﺗﮭم اﻟﻣﺟردة اﻷراﺑﯾﺳﻛﯾﺔ
و ﯾﺗوﺣد ﺑﺎﻟﺗﯾﺎر اﻷﺑداﻋﻲ ﻟﻠﻔن،ﺑل أﻧﮫ ﯾﻠﺗﺣم ﻣﻌﮭﺎ،"ﺑﺎﻟﺗﻘﺎﻟﯾد اﻟﻘدﯾﻣﺔ ﺣﯾن ﻛﺎﻧت اﻟﺻورة ﺗﻘوم ﺑﺻﯾﺎﻏﺔ "اﻟﺣدوﺗﺔ
"و ھذا اﻟذي ﯾﻘوم ﻋﻠﻲ اﺳﺗﺧدام اﻟﺧط ﻓﻲ ﺑﻠورة اﻟﻘﯾﻣﺔ اﻟﺑﻧﺎﺋﯾﺔ ذات اﻟﻣﻌﻧﻲ و اﻟﻐرﺑﺔ،اﻟﻣﻌﺎﺻر
)ﺟرﯾدة اﻟﻠﯾﺗر ﻓراﻧﺳﯾز (ﺑﺎرﯾس-(ﻣﺎري ﻛﻠود ﻓوﻟﻔﯾن
) 1972 أﻛﺗوﺑر4ﻋدد،ﺟزء ﻣن ﻣﻘﺎل ﺣول أﻋﻣﺎل اﻟﻔﻧﺎن اﻟﻣﻌروﺿﺔ ﻓﻲ ﺑﺎرﯾس
Selim, the Innovator
“Going back to the sources of Arabic calligraphy, Selim once again found the motives of the
ancestors when they were creating their transparent abstract Arabesque contemplations
over ceramics, architecture, and masjids–he is related to the old traditions when the
picture was telling "the story", rather he fuses with it and unites with the creative stream
of the contemporary art, and that what is based on the use of the line in the elaboration of
the meaningful and strange constructive value.”
Marie-Claude Volfin, Les Lettres Françaises (Paris)
Part of an essay on the artist's works exhibited in Paris, issue of October 4th, 1972)
50
."ﻋﻧدﻣﺎ ﯾﻌود ﺳﻠﯾم إﻟﻲ ﻣﻧﺎﺑﻊ اﻟﺧط اﻟﻌرﺑﻲ ﻧﺟد أﻧﮫ ﻗد ﻋﺛر ﻣرة أﺧري ﻋﻠﻲ اﻟدواﻓﻊ اﻟﺗﻲ ﻛﺎن ﯾﺣﻣﻠﮭﺎ اﻷﺳﻼف
واﻟﺟواﻣﻊ – ﻓﮭو ﯾرﺗﺑط ،واﻟﻣﻌﻣﺎر ،ﻓوق اﻟﺧزﻓﯾﺎت،ذات اﻟﺷﻔﺎﻓﯾﺔ،ﻋﻧدﻣﺎ ﻛﺎﻧوا ﯾﺻوﻏون ﺗﺄﻣﻼﺗﮭم اﻟﻣﺟردة اﻷراﺑﯾﺳﻛﯾﺔ
و ﯾﺗوﺣد ﺑﺎﻟﺗﯾﺎر اﻷﺑداﻋﻲ ﻟﻠﻔن،ﺑل أﻧﮫ ﯾﻠﺗﺣم ﻣﻌﮭﺎ،"ﺑﺎﻟﺗﻘﺎﻟﯾد اﻟﻘدﯾﻣﺔ ﺣﯾن ﻛﺎﻧت اﻟﺻورة ﺗﻘوم ﺑﺻﯾﺎﻏﺔ "اﻟﺣدوﺗﺔ
"و ھذا اﻟذي ﯾﻘوم ﻋﻠﻲ اﺳﺗﺧدام اﻟﺧط ﻓﻲ ﺑﻠورة اﻟﻘﯾﻣﺔ اﻟﺑﻧﺎﺋﯾﺔ ذات اﻟﻣﻌﻧﻲ و اﻟﻐرﺑﺔ،اﻟﻣﻌﺎﺻر
)ﺟرﯾدة اﻟﻠﯾﺗر ﻓراﻧﺳﯾز (ﺑﺎرﯾس-(ﻣﺎري ﻛﻠود ﻓوﻟﻔﯾن
) 1972 أﻛﺗوﺑر4ﻋدد،ﺟزء ﻣن ﻣﻘﺎل ﺣول أﻋﻣﺎل اﻟﻔﻧﺎن اﻟﻣﻌروﺿﺔ ﻓﻲ ﺑﺎرﯾس
Selim, the Innovator
“Going back to the sources of Arabic calligraphy, Selim once again found the motives of the
ancestors when they were creating their transparent abstract Arabesque contemplations
over ceramics, architecture, and masjids–he is related to the old traditions when the
picture was telling "the story", rather he fuses with it and unites with the creative stream
of the contemporary art, and that what is based on the use of the line in the elaboration of
the meaningful and strange constructive value.”
Marie-Claude Volfin, Les Lettres Françaises (Paris)
Part of an essay on the artist's works exhibited in Paris, issue of October 4th, 1972)
50
