بين النزعة القومية والحرية المطلقة للإبداع التصوير الجدارى (Mural Painting between Nationalism and Absolute Creative Freedom)

Abstract

Arabic Abstract: ليس من الغريب أن يكون التصوير الجدارى على علاقة وطيدة بالتعبير عن النزعة القومية لدى الفنان..، فالتصوير الجدارى منذ بدأ الإنسان أن يخط بما أوتى من أدوات بدائية من أفكار وصور ورموز على جدران كهوفه وصخور السهول والجبال.. لم يكن سوى تعبيراً عن معتقدات مجتمعه وعاداته وطقوسه..، فلقد كان هذا التعبير بمثابة الإشارة إلى القومية والهوية.. حتى وإن اختلفت الأغراض والأهداف الحقيقية من مثل هذه الرسوم .

فإنسان الأمس بعد أن أصبح فنان اليوم يصعب عليه أن يعبر بفنه الخاص على جدران محيط ما فى مجتمعه دون التعرض لتراث هذا المجتمع أو الإشارة إليه أو حتى التأثر به سواء كان ذلك بشكل مباشر أوغير مباشر..، وخاصةً أن هذا الفن سوف يشترك فى تلقيه العديد من الأشخاص والفئات.. فهو ليس بفن قاصر على رواد المعارض الفردية.. وإنما هو فن يتم تقديمه بالدرجة الأولى إلى المجتمع بمختلف شرائحه وفئاته.. وبناءً على ذلك تكون هناك معضلة إبداعية لدى هذا الفنان ..، الذى من واجبه أن يراعى الأذواق المختلفة لهذه الفئات.. بل وأن يخرج بالرغم من هذه المراعاة بحالة إبداعية جديدة وإلا لما أصبح عمله مندرجاً تحت عباءة الفن.

ولأن المجتمع الغربى فى العصر الحديث قد واجه فيه الفنان هذه المعضلة قبل الفنان المصرى الحديث..، وجب علينا دراسة تعاطيه مع هذه المعضلة..، فبالرغم من انتشار مفهوم الحداثة فى الفن والتأثر بكافة أنواع النظريات العلمية الحديثة وأيضاً الثورة الصناعية بل والفكرية والعقائدية..، إلا أن الفنان الغربى قد استطاع أن يتمثل تراثه ويستدعى قوميته فى أعمال جدارية عديدة وشهيرة.. بأسلوب حداثى يتماشى مع كل من شيمة العصر وحركة المجتمع من حوله..، كما هو الحال فى فــنون دول أمريــكا اللاتــينية وفــنون الملونين فى الولايات المتحـدة الأمريكيــة Black or African American Art..، وكذا فى العديد من النماذج الغربية الأوروبية الأخرى.

فهل ينبغى على المصور المصرى فى وقتنا الراهن.. عندما يتعامل مع جداريات مصرية أن يتنازل عن تراثه أو قوميته أو فكره الشرقى فى مقابل أن يوصف بأنه فنان حداثى مواكباً لحركات الفن التشكيلى الغربى التى لا تكف عن التغير..، أم أن هناك من الأمور الوسطية ما يمكن من خلالها الوصول إلى هدفه..، وذلك بأن يقدم للمجتمع عملاً تشكيلياً إبداعياً حداثياً مرتبطاً بالوعى والجذور المصرية فى آن واحد..، فهذا التساؤل هو فى حد ذاته ما يحاول البحث الإجابة عنه من خلال التعرض لعدد من الأعمال الجدارية الغربية والمصرية فى القرن العشرين بالمقارنة والتحليل.

English Abstract: Not considered strange, the strong relation between the expression of nationalism & the public mural painting since the early times and even now, & because the public mural painting is often presented to many different kinds of people and groups, therefore it is not limited to the elite, so there is a creative dilemma to the artist, who is bound to limit his absolute freedom and take into account the tastes of different categories .. And even though he has to come out with a new creative solution, otherwise his art work would not be under the mantle of Fine Arts.

In fact mural painting has a message that Western countries had begun to revive since the early twentieth century, where this art is designed primarily to access to the ordinary man in streets, in demonstration of the knowledge of those communities the importance of returning once again to cities and towns streets; Thus Murals, Trompe l'oeil & art works could be everywhere as street arts or public arts as well as what is called graffiti.

Perhaps if we look at the reasons of the importance of a state such as Mexico – which is not one of the major countries – in the field of Mural painting with its nationalism trends, and then the United States of America, but particularly on the walls of a certain category of ethnic groups as African Americans, we will find that, whether here or there or in other marginalized and poor societies alike who have illegally made their own graffiti.. We will find that there is something in common among all of them, that, as the world is getting smaller as the gap between north and south becomes bigger, meaning: power and weakness, richness and poorness, and this is ironic .. thus, it is assumed that the world as smaller as it gets, its poles should be closest, but in contrary to what is happening on the ground, where there is a first world, second and third. So, perhaps because of this failing justice such grinded communities need to reflect their own oppression even only in their arts, and, most important are trying to grasp & hold their own origins & identities.

Meanwhile, one of the most really significant matters in the Western community in arts generally & in mural painting especially is the diversity & opened minds of issues and trends in such works, we can find decorative styles, realistic, abstract, landscape, including nationalism issues or even multi free styles, all are provided within continuous coordination between artist & different official authorities in order to be positive that these arts would not affect the society negatively.

It is within the encouraging of strong supporters of globalization and the deployment of U.S. model in the entire world through all possible media, especially since the nineties of the twentieth century, after the U.S. success in toppling the Soviet Union, when the art has become a cultural commodity that must have a U.S. stamp, non-local but global styling so any person in the world can taste, and accept.

So, no place, no borders, assets or roots, but it is one world, despite the collapse of the social justice in that world, and the artist must be looking for a way that makes him a part of this system of globalization, even melting in it; but in return, many Artists in the entire world remain, even in the United States itself, are resisting these forces and overwhelming power in order to firm their roots & identities.

In Egypt, after years of founding the division of mural painting in the mid-seventies at the Faculty of Fine Arts in Cairo by the great Artist Hamed Nada, this art began to be more serious and profound, both in technical and substantive terms, before that time murals in most cases were nothing but decorative & shallow works either in line with Islamic culture which was known as the "oil culture" that prevailed in the seventies or some ancient Egyptian (Pharaonic) works, especially in the monumental & tourist areas.

What happened in most contemporary Egyptian artists murals that the idea has matured and followed the known academic methods and techniques newly abroad.., these Egyptian artists had their special way in the search for Egyptian and Eastern identity in their own works of painting, which had an impact on their works of mural painting.

Those known artists such as Ahmed Nabil, Abdul Salam Eid, Sabry Mansur, Mohamed Shaker & Mohamed Salem, despite the fact that their works are successful, respected and dealt with different methods in line with the whole modern era, testing, experimenting as well as keeping their national heritage touches; However, the researcher is not inviting or making a propaganda to revive the national spirit in the modern Egyptian mural painting in general, In fact the absolute nationalism art works if will be spread over and over again, particularly under the circumstances of the proliferation of mural painting itself in Egypt, it will become futile, like deployed posters on the roofs, walls and fences without awareness, It may also threaten the credibility of the artist in front of the humble citizen who is culturally penniless, socially and economically exhausted, he would become sick of these repeated art works, which is leading to an important question: Does every work of mural painting in Egypt must be characterized by a nationalistic symbols & design? or is it also possible not to adhere to such ideas? Therefore the artist may have different solutions & issues to present, and that is what we will try to answer by the conclusions of these papers.

Note: Downloadable document is in Arabic.

Keywords: public art murals nationalism freedom egypt