Photo by BEO DAO 攝影 北島

Photo by Bei Dao  攝影 北島

ADONIS 

Ali Ahmad Said Esber, who goes by the pen name Adonis (born 1930, Syria), is one of the most influential poets, critics, and essayists in contemporary Arabic literature. A seminal figure in modern Arabic poetry, Adonis is known for merging classical traditions with new poetic modes. 

He also played a key role in the evolution of al-shi’r al-hadith (modern, or free verse) in the late 1940s, a movement in the theorisation and practice of modern Arabic poetry that marked a break from the restrictions of classical meter, forms, and themes in favour of experimentation. 

Adonis began to create works of visual art – often multi-layered, mixed media calligraphic pieces on paper – in the early 2000s. He scripts segments of classical poetry, and in some cases his own poetry which are layered with small fragments of parchment, cloth, or swatches of colour. 

Through this work he pays homage to pre-Islamic Arabian poets Zuhayr and Tarafa Ibn Al Abd, whose poems, the Mu’allaqaat (“Suspended Odes”) were said to have been hung in, or on, the Kaaba in pre-Islamic Mecca, and are considered the primary source for early Arabic poetry.

阿多尼斯

阿里·艾哈邁德·賽義德·伊斯比爾(Ali Ahmad Said Esber),筆名阿多尼斯(Adonis),是當代阿拉伯文學中最有影響力的詩人、評論家和散文家之一。阿多尼斯是現代阿拉伯詩歌的重要人物,以將古典傳統與新詩歌模式結合而聞名。

十九世紀四十年代後期,他在現代自由詩的演變中發揮了關鍵作用,即現代阿拉伯詩歌的理論化和實踐運動,標誌著以實驗打破古典韻律、形式和主題的限制。

阿多尼斯從二十一世紀初開始創作視覺藝術作品——通常是多層的、混合媒介的紙上書法作品。他寫下了古典詩歌的片段,在某些情況下,他自己的詩歌是由羊皮紙,布料或彩色的小碎片分層所作。

通過這作品,他向前伊斯蘭教的阿拉伯詩人祖海爾和塔拉法致敬,他們的詩歌「暫停的頌歌」據說是掛在前伊斯蘭教麥加的天房,並被認為是早期阿拉伯詩歌的主要來源。

 

About The Paintings

In the same way that Adonis’s poetry is connected to classical Arabic poems and French surrealism and Islamic Sufism in an exciting revisited relation, some of his paintings are devoid of imagery and some are full of them.  At first glance, it would seem that a large number of those images and forms are threatened by calligraphy art which attempts at replacing image with a written script. If we look deeper into the subject, we notice that on the contrary, there exists a pleasant vital balance between images and calligraphy. They both embrace and ornament each other in a certain rhythm. (excerpt)

Adonis’s Muallaquat, Henrich Detering, Frankfurt Newspaper FAZ 

In Adonis’ work, writing is a drawing. His writing, beautiful and elaborate, is part of the collages. And the collages are part of this writing. The one serves the other. When I see these works, I feel strongly that Adonis manages to give us a very powerful emotion with a piece of wood, a piece of fabric, which he looks and uses for a collage. He is playing with writing, and what he does is so close to it: one writes with ink, not paint. Even in the image, he is writing. 

A, Adonis’ visual work, Azzedine Ala

關於作品

同樣,阿多尼斯的詩歌與古典阿拉伯詩歌、法國超現實主義和伊斯蘭蘇菲主義以一種令人興奮的重新審視的關係聯繫在一起,他的一些繪畫缺乏意象,而有些則充滿了意象。乍一看,以文字代替形象的書法藝術似乎威脅著大量的這些形象和形式。如果我們深入研究這個主題,我們會發現相反,圖像和書法之間存在著一種令人愉快的重要平衡。它們都以一定的節奏相互擁抱和點綴。任何能破譯這些文字的人都不會發現古老的傳統詩歌,而會發現一些阿多尼斯的詩句,它們延伸到圖像內部,融化在圖像中。文字是否經常以一種有序或扭曲的方式退出前面的場景,出現在畫面的結構中?書面文字變成了毫無意義的塗鴉。至於較小的畫,它們看起來就像明信片,複製他們自己的數字在一些情況下沒有書面文字。因此,通過這些更小的畫,生物變成了被風吹動的樹葉;因此,藝術家阿多尼斯這個名字的意義就在於它指的是一個古希臘東方傳說,根植於植物王國,賦予了藝術家這個名字一個新的詩意維度。

亨利·德靈・法蘭克福報紙FAZ 《阿多尼斯的懸詩》

在阿多尼斯的作品中,寫作就是一幅畫。他的文字,優美,精緻,是拼貼畫的一部分。拼貼畫也是寫作的一部分。一個服侍另一個。當我看到這些作品的時候,我強烈的感覺到阿多尼斯用一塊木頭,一塊布料,來做拼貼,給我們帶來一種非常強烈的情感。他寫作就如同: 他是用文字來書。在畫中寫作。」

阿瑟丁・阿拉《阿多尼斯的視覺作品》