Page 169 - Ahmed- Nawar
P. 169
helangelo's artworks, especially "The Last Judgement" that covers an entire wall in the "Cap-
pella Sistina". He paused a lot at the idea of justice; with a keen mind of an intelligent young man,
he began to research the idea. He read the interpretations of the Holy Qur'an, the Bible, the mes-
sage of forgiveness by Abu Ala Al-Maarri, and the Divine Comedy by Dante. He expanded widely
in reading and research preoccupying with the idea of judgment, heaven, and hell. A haunting
stage of imagination, nightmares, and dreams revolved around the idea, especially the idea of
hell, which he decided to plan from during his project.
In parallel, Nawar researched trilogy compositions in art history, especially "The Garden of Earthly
Delights" by Jerome Bosch. In mid-1965, Nawar, the student, decided to have the idea more com-
prehensive by dividing the theme titled "The Judgment Day" into three parts: the judgment scene
in the middle, occupying half the workspace and the two scenes of heaven and hell on the right
and left, occupying equally the other half. In January 1967, the preparation for the artwork began
on an area of thirty square meters in which five hundred pencils were consumed. He continued to
work for six months until the universities were closed during the 1967 war.
It was the artwork that obtained the final degree; it was judged by the two great professors Al-Hus-
sein Fawzi and Abdullah Gohar. The artwork was presented in the Socialist Union building in
Tahrir in 1968 and was to be gifted to the Marcos Cathedral in Abbasiya after the approval of Bish-
op Shenouda, who attended with Bishop Gregory to watch the work in the faculty and expressed
their admiration for it and confirmed the suitability of the work for the presentation in the cathedral.
However, the dedication was not done to slow down the procedures, and if this dedication had
been done, we would have preserved a historical artwork that was not repeated at this epic level
in the graduation projects of art faculties so far, especially since parts of the work were stolen and
lost while it was in the faculty.
The artwork consists of three parts; it is a plastic solution that was used in some artworks, espe-
cially religious ones in the middle ages for its formative assimilation of the idea of storytelling in
the artwork and the possibility of being separated and connected. It may be religiously due to the
symbolic ideological dimension of the number 3 and the ability of the trilogy to contain the begin-
ning of the plot narration, middle, and end. The trilogies decorated the altars of medieval churches
and often depicted the Virgin, the birth of Christ, and the crucifixion. Then this trilogy shape was
repeated in the artworks of the Renaissance period, the most famous of which is Jerome Bosch's
artwork, "The Garden of Earthly Delights", which represented a journey that begins from the be-
ginning of creation and ends with hell, and in the middle is a representation of the idea of earthly
absurdity or the garden of delights.
Nawar's artwork was characterized by the epic and its presentation of a holistic image of the great
event depicted, as we see it as a single, continuous entity whose three parts, with their different
themes, dissolve into the core of the comprehensive theme that contains them. That's what's
called "symphonic composition", which is a complex composition of weight and tone with a strong
inner value. The artist achieved all the reasons for this composition and its tones only with the
"pallet" of the pencil with its different degrees. The artist's sensitivity appears in the transitions
between different degrees and the mixture between the three dimensions and flatness and the
ability to form shapes as a transparent crystal at times and to drown them in the darkness of
shadows at other times. The composition seemed intense as a piece of relief of multiple heights.
The control of the young artist and his good leadership of the design plot is noted, achieving the
necessary balance in light and shadow, distributing vocabulary, and tightening the composition
despite its complexity and the expansion of its area and its three parts. He skillfully combined the
performance skill, the power of expression, and the distortion procedure that raises the dramatic
state of the work based on the development of the mental image synchronizing the periods of
completion of the artwork without prior preparatory sketches. He did not need those sketches, as
167
pella Sistina". He paused a lot at the idea of justice; with a keen mind of an intelligent young man,
he began to research the idea. He read the interpretations of the Holy Qur'an, the Bible, the mes-
sage of forgiveness by Abu Ala Al-Maarri, and the Divine Comedy by Dante. He expanded widely
in reading and research preoccupying with the idea of judgment, heaven, and hell. A haunting
stage of imagination, nightmares, and dreams revolved around the idea, especially the idea of
hell, which he decided to plan from during his project.
In parallel, Nawar researched trilogy compositions in art history, especially "The Garden of Earthly
Delights" by Jerome Bosch. In mid-1965, Nawar, the student, decided to have the idea more com-
prehensive by dividing the theme titled "The Judgment Day" into three parts: the judgment scene
in the middle, occupying half the workspace and the two scenes of heaven and hell on the right
and left, occupying equally the other half. In January 1967, the preparation for the artwork began
on an area of thirty square meters in which five hundred pencils were consumed. He continued to
work for six months until the universities were closed during the 1967 war.
It was the artwork that obtained the final degree; it was judged by the two great professors Al-Hus-
sein Fawzi and Abdullah Gohar. The artwork was presented in the Socialist Union building in
Tahrir in 1968 and was to be gifted to the Marcos Cathedral in Abbasiya after the approval of Bish-
op Shenouda, who attended with Bishop Gregory to watch the work in the faculty and expressed
their admiration for it and confirmed the suitability of the work for the presentation in the cathedral.
However, the dedication was not done to slow down the procedures, and if this dedication had
been done, we would have preserved a historical artwork that was not repeated at this epic level
in the graduation projects of art faculties so far, especially since parts of the work were stolen and
lost while it was in the faculty.
The artwork consists of three parts; it is a plastic solution that was used in some artworks, espe-
cially religious ones in the middle ages for its formative assimilation of the idea of storytelling in
the artwork and the possibility of being separated and connected. It may be religiously due to the
symbolic ideological dimension of the number 3 and the ability of the trilogy to contain the begin-
ning of the plot narration, middle, and end. The trilogies decorated the altars of medieval churches
and often depicted the Virgin, the birth of Christ, and the crucifixion. Then this trilogy shape was
repeated in the artworks of the Renaissance period, the most famous of which is Jerome Bosch's
artwork, "The Garden of Earthly Delights", which represented a journey that begins from the be-
ginning of creation and ends with hell, and in the middle is a representation of the idea of earthly
absurdity or the garden of delights.
Nawar's artwork was characterized by the epic and its presentation of a holistic image of the great
event depicted, as we see it as a single, continuous entity whose three parts, with their different
themes, dissolve into the core of the comprehensive theme that contains them. That's what's
called "symphonic composition", which is a complex composition of weight and tone with a strong
inner value. The artist achieved all the reasons for this composition and its tones only with the
"pallet" of the pencil with its different degrees. The artist's sensitivity appears in the transitions
between different degrees and the mixture between the three dimensions and flatness and the
ability to form shapes as a transparent crystal at times and to drown them in the darkness of
shadows at other times. The composition seemed intense as a piece of relief of multiple heights.
The control of the young artist and his good leadership of the design plot is noted, achieving the
necessary balance in light and shadow, distributing vocabulary, and tightening the composition
despite its complexity and the expansion of its area and its three parts. He skillfully combined the
performance skill, the power of expression, and the distortion procedure that raises the dramatic
state of the work based on the development of the mental image synchronizing the periods of
completion of the artwork without prior preparatory sketches. He did not need those sketches, as
167
