D r . Na s s a r Ma n s o u r
: • Jordan : • 1967 - Amman
Nationality Date of Birth
: • BA in Islamic studies, economics and statistics from the University of Jordan, 1988. • MA in Islamic arts, specialising in Arabic calligraphy from Al al- Bayt University, Jordan, 1997. • PhD in the Art of Arabic Calligraphy, the Prince’s School of Traditional Arts, Wales University, London. • Ijaza (traditional certificate) in Islamic calligraphy from the renowned Turkish master calligrapher Hasan Çelebi, Istanbul, 2003. • Taught art of Arabic calligraphy at the University of Jordan, 1991-5, and later contributed in establishing the Institute of Islamic Arts and Architecture in Amman where he taught calligraphy from 1998 till 2002. • Taught art of Arabic calligraphy at the Prince’s School of Traditional Arts between the years 2002-2007, London. : • Designer of calligraphic and biomorphic patterns for the new issue of Jordanian currency. • Designer of calligraphic and biomorphic works for the late King Hussein mausoleum. • Designer of calligraphic and biomorphic works for the main gate of al-Balqa Applied University, Jordan • Between 1997 and 1999 he was in-charge of calligraphy and ornamentation of the project of rebuilding the twelfth-century Saladin’s pulpit (minbar) destroyed in 1969 at al-Aqsa Mosque, Jerusalem. • Amman monument, stone and mosaic, 1998. Ahl al-‘Azm monument, stone, 2002. • Member of the Jordanian Writers Union. • Member of the Jordanian Plastic Arts Association. : • Ahl al-Bayt, solo exhibition, Amman, 1998. • Participated in numerous calligraphy workshops and group exhibitions in theMiddle East, Europe, USA, India, Iran, Malaysia, Australia, Japan and Russia.
Education
The Word is Present in the Exhibition of the Three Mosques The art of Arabic Calligraphy represents the Islamic identity and typifies its two major statuses: Beauty (al-Jamal) and Majesty (al- Jalal). These three panels represent the three Holy Places throughout the Divine Word which stand strongly alongside the wonderful art works of feather and colour. Each text of the three works has been chosen from the Holy Qur’an which demonstrates the Holiness of the place. The color of the outer border of each panel has been selected carefully to give the panel another dimension of connection with the content. The black was chosen for the panel of Makkah, green for the panel of Madina; and the gold for the panel of Aqsa. The works are designed in squared format which is -geometrically- a perfect shape. It connects the works with the square form of Ka’ba. And because of its wide ability in creating succesful geometrical forms Thuluth script has been chosen for this task. These compositions take the outlooker to those wondeful lines of calligraphy which radiat on the black cloth of Ka’ba, the Qibla wall of al-Masjid al-Nabawi and the outer octagonal frieze of the Dome of the Rock Mosque. It is the majesty of the Divine Word that manifested through the beauty of the Art of Arabic Calligraphy.
Artistic Activities
Exhibitions
Prizes : • Al-Kufa medallion in the 3rd Baghdad Festival of Arabic Calligraphy and Islamic Ornamentation, Baghdad, 1995. • Rewarded two prizes in the 4th International Competition of the Art of Calligraphy, Istanbul, 1998. • Rewarded the 1st prize in the 3rd International Festival of Islamic Calligraphy, Lahore, 2000. One of His Publications : • Al-Ijaza fi Fann al-Khatt al-‘Arabi, Dar Majdalawi, Amman, 2000.
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