2023-07-06 21:00:00
The prestige of the word is powerful when it becomes a tool of knowledge, and contributes to the formation of visual simulations. As the Damascene plastic artist Ayman Aldakr was able to immerse himself in expression to form a plastic formula with a poetic feature in paintings, most of which he derived from poems by Nizar Qabbani and made them Damascene icons, which confirms his accurate knowledge of the mysteries of the word. He was able to reach the imagined meaning in different plastic ways that were linked With poetic creativity, and the silhouette impression inspired artistically by certain poetic ideas that were broadcast by the poet “Nizar Qabbani” and settled among the different modes of expression that were influenced by the plastic artist “Ayman Al-Daqr”, who passed away at the age of 69. He was distinguished by his use of black and white, and among his sayings, “Nizar Qabbani’s poetry motivates me to draw. What impresses me most are his poems regarding my city, Damascus, where I feel, while drawing a verse from one of his poems, that I am defending Damascus, which I adore. Is there an osmosis between the word, line, and color to give the meaning more clarity, represented in the plastic erudition of the artist and the poet, which allows the artist’s brush to forget writing and start drawing? Or are we in front of paintings that give the poem greater power for visual expression and artistic motivation for innovation to promote the preservation of the Damascene heritage in particular?
The aesthetics of the ink lines and their delicate embellishments meet with the poetic Damascenes in the paintings of the artist “Ayman Al-Daqr” and the plans of its structures that seem close, and are inspired by the accuracy of the poetic details inspired by the words of the poetic heritage, of a city that is a historical woman, and constitutes a psychological stability for the poet and painter at the same time, and within a crucible A visual composition that reveals the artistic building in the Nizarite poem, more beautiful than a woman sung by Nizar and more than what was said in it, to decorate with his brush the various visual movements that reveal his knowledge of the secrets of words, giving them a kind of vibrant planning, and they may be meditations in which life triumphs over misery It gives it titles to visual maps, which are a block with terrain resembling a charming woman, which results in several existential impressions engraved in the memory of the entire creation, with which generations reproduce, as well as the intertwined and complex lines that lead us to delve deeper into the essence of the painting. Does the burning passion hidden in the word result in the best plastic expressions in a painting? Or is it to hide the poem in the meaning of the painting in order to generate several visual expressions that spontaneously perform the function of the poem that the poet launches in his life and becomes an inspiration for many artists, as is the case with the artist Ayman Al-Daqr? And is the comparison of the poem’s verses with plastic models in the art of declamation the reality of escaping from the restrictions of the poem and its terminology in which the visually imagined transformations hide? Or did he try to bring visual power to his paintings through its poetic and heritage associated with the city of Damascus and its visitation to distill the shape and make it like incense for life? Is the revival of the word exactly like the revival of cities that do not die?
The drawings of “Ayman Al-Dakr” seem more contrasting than the poetry from which he borrows the different expressionistic directions, and restricted by precise lines is the artistic identity of the paintings that stimulate the poetic concept and its aesthetic in literature and art, and even its political importance, especially when it belongs to a city that is loved by the eyes that memorize and engrave it in the artistic memory, for everyone interested With the arts of all kinds, the painting contributes to the creation of representations that have several interpretations, and tends to the East first because of the formative meaning that his paintings carry related to the strength of the hand that draws according to several levels of formation woven from the meaning with visual skill that constitutes an emphasis on what is inspired by a poem that adapts to the formation. The most diverse and deep lines are balanced with it, and evoke the power of merging in the visual arts that adopt the language of poetry for many artists who are truly the ones who possess the power of poetic suggestion away from the contradiction that harms the poem, but rather unites action, movement and the internal vision of the poem through the external vision that It constitutes a beginning from which the poet started and was drawn by the plastic artist, which makes it acquire the artistic language of expression. Does the poetic language give the formative power, and can highlight the inner meaning? Or is Al-Dakar interested in the Damascene between him and Nizar Qabbani? Will a word revived by the plastic artist die in a painting? Or does the artist not die, but rather leave, and his ideas, with their aesthetics, remain in life?
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