ALKHOBAR, 22 December 2002 — Inma Gallery has been attracting an unusual mix of art enthusiasts since the opening this past weekend of the show, “Arabic Calligraphy: Between meaning and shape,” featuring the work of internationally known Syrian artist and calligrapher, Khaled Al-Saai. The exhibit will run through Dec. 28.
It was a stroke of luck that Al-Saai was available to come to the Kingdom for the show, as his schedule is very tight. He is currently exhibiting at four different venues, plus teaching in the Department of Near Eastern Studies at the University of Michigan, Ann Arbor, USA. Al-Saai is in Alkhobar for one week only. During that time, in addition to being on hand to share his views on creativity using Arabic calligraphy, he will be giving two workshops, one for students and another one for local artists.
Al-Saai grew up in a household of scholars and artists. From birth he was surrounded by painting, music and calligraphy. By the age of 18, he had already established a reputation as a calligrapher. Although he studied oil painting in college and came to admire many Western artists, as his own style matured, Al-Saai found himself returning to Middle Eastern themes. He received his MFA in 1998, graduating with highest honors from the University of Damascus. The previous year, Al-Saai took a Certificate of Distinction at the first International Festival of Calligraphy, Tehran, Iran and was nominated as one of the 10 best international calligraphers.
“My talent with calligraphy is in my blood. It’s probably a combination of nature and nurture,” said Al-Saai. “All my family members are calligraphers, both men and women. At the last contest for Arabic calligraphy in Istanbul, four of my family members won prizes. For me, being an artist and calligrapher was and is my destiny.”
Increasingly it is a destiny he is trying to share with others. Teaching has brought new delight to Al-Saai’s life because as a teacher he sees calligraphy through the fresh eyes of his students. Last year, one of his students from Holland won a calligraphy prize.
“I was so happy for her,” he said. “This artist was neither Arab nor Muslim but she took a prize for Arabic calligraphy. Her success pleased me so much because it showed that I was reaching a new group of artists and encouraging them to try a beautiful traditional eastern art form. The number of students studying calligraphy with me at the University of Michigan is much higher than the university had anticipated. We have even started an advanced class now.”
Traditionalists have high admiration for Al-Saai’s work in “diwan jali” style. This kind of elaborate calligraphy was used for royal decrees and legal documents at the Ottoman court. About one-third of the Al-Saai’s art on display at Inma Gallery has been created using the diwan jali style combined with verses from the Holy Qur’an.
“I try to choose verses from the Qur’an that will have universal appeal,” said Al-Saai. “I want people of all religions to admire the beauty of the Qur’an reflected in calligraphy. These traditional pieces take a long time because they are very decorative and intense. I have to plan out every detail before I put my pen to the paper. There is no room for error due to the subject matter.”
Al-Saai often uses handmade paper and hand painted backgrounds to showcase the calligraphy. When he cannot find ink in the shade he needs, he makes it himself from natural ingredients such as scallions and tobacco leaves. While Al-Saai may be best known for his traditional work, he has increasingly branched out using calligraphy in an abstract manner. He feels more at ease when he can simply arrange letters in any combination that pleases his eye; not worrying about confining himself rigidly to meaning.
What does the future hold for this young artist? He is already booked at shows in Europe through 2004. If his schedule allows, he hopes to continue teaching, too. Al-Saai admitted that art and teaching are really his only interests.
“I am useless for the practicalities of life. My wife handles everything from booking my shows to making my schedule. I couldn’t survive without her,” he commented. “Sometimes I get started and 20 hours later I put down my brush and pen. When I am working, time is eternal.”
