Signed 'Jamil Naqsh' (lower left)
(Lot Note: From a set of 100 calligraphy paintings from the series 'Allah and the 99 names of God')
Pontone Gallery, London
Private collection, Dubai
Jamil Naqsh: 'The Painted Word', Albemarle Gallery, London, 4 July 2013 - 31 August 2013
Edward Lucie-Smith, Jamil Naqsh: The Painted Word, Albemarle Gallery, London, 2013, pg. 199 (illustrated)
When one considers the recent history of contemporary art - a form of expression that increasingly struggles to maintain avant-garde credentials as these are defined by Western critics and curators, one increasingly notices the creative contribution being made by non-Western scripts which tend to contain a pictorial element that is absent from Western alphabets. Arabic script differs from Chinese ideograms in an important respect - ideograms are in fact condensed and stylized pictures, and this element is absent in Arabic, although Arabic writing can be used playfully to construct stylized images of things that exist in the eternal world. A skilled calligrapher can make an animal or a flower. What Arabic script can do is to supply a portal, the entry point to a realm of the imagination that cannot be defined in words alone. Jamil Naqsh's version of the '99 Names' do not merely spell out a meaning - they invite both meditation and speculation.
Edward Lucie-Smith, Jamil Naqsh: The Painted Word, Albemarle Gallery, Exhibition catalogue, unpaginated