Fatima Nadia Rehman is an Arabic calligraphy artist, who now permanently lives in Dubai. She teaches Arabic calligraphy in DUCTAC (first person to open Arabic calligraphy classes to all nationalities) and gave a lecture of one of the only few Qurans left in the world under Sotheby’s and Christies at the furjam Collection. She has also taught the royal family Abu Dhabi, Dubai and the artists of the divan of royal court of sultan al Qaboos, Oman. Although many of her works have been acquired by private art collectors, she has also been commissioned to produce artworks for the Royal Family of Abu Dhabi and Saudi, Galleries, Burj Khalifa, governmental organizations and five-star hotels which have her paintings on permanent display. She is also the winner of Al Ghurair public art commission, Marie Claire magazine inspirational women of UAE and 100 Women of UAE that contributed to UAE a book published by charney magri.
She studied in the United States in Visual Communication at the Art Institute of Philadelphia. Then moved to New York for further studies in Islamic Art History and also worked as a senior designer at the global advertising firm Saatchi & Saatchi
When returned to her native land to pursue a Double Master’s degree in Fine Arts at the National College of Arts in Lahore, specializing in Arabic Calligraphy (khat e thuluth) and Persian and Mughal miniatures. She focused on contemporary and traditional Islamic Miniatures and borders. Her teacher being the last ustad to have learnt Mughal miniatures under ustad shuja of the last Mughal emperors court. she was her teachers apprentice. Fatima practices classic calligraphy, her style is unique in the sense that it has been distinguished by a contemporary flare.
In a world of terror, fear and violence, these are the paintings of peace and love – a vision of harmony an d happiness rooted in Islamic art. Plato is reported to have said that writing was “the geometry of the soul”. “the divine attributes are of two kinds: qualities of majesty (Jalal) and qualities of beauty (Jamal). the duality reproduces itself in all the degrees of the universe” – Martin Lings Trained in the traditional practice of Indo/Persian miniature painting, ink from a fine – tipped squirrel brush on to a specially prepared canvas is used to make this design.
I am originally influenced by the Naqqashi – khatt movement (calligraphic painting), The focus of my work is solely on the calligraphy and the tradition of the art, though not through the construction of the particular traditions of the original literary or religious texts. But by basing each work on a particular shape of a letter, I am combining a variety of structural elements in the overall composition altogether creating something new but still recognizabl e. The methods of painting and detailing from the past and bringing them into the 21st centur y.
These specific paintings are based on a calligraphic and miniature exercises using the thuluth script. Siah Mashq – black ink exercises of calligraphy and qalam – bamboo pen was originally used to practice on a single sheet of paper, and the main purpos e of this would be to get your hand perfect for lines. It is noticeable however that the harmonic elegant movements of the dancing curves created beautiful repetitions that could be seen as independent calligraphic artworks in themselves.
The Arabic script represents cosmic harmony . The figure of 28 also represents the rhythm of the stars, the stations of the moon, and the form of man. The universe moves in lines and curves – the duality ordered by god. Therefore the design of the arrangement can easily be converted into abstract decoration, both within the combination of the letters themselves. the vertical structure supply structure and rhythm, the horizontals contribute balance and continuity. The joining together of letters, wi th a bit of st ylization, produce complex traceries.Along with illumination patterns and islamic geometric patterns
My previous paintings combined with my new work today was and is Clarity, simplicity and purity found in the Islamic arts. I was always quite clear about my art and that it should strike a strong chord with the public. My philosophy: People around the world are all the same and everyone should be able to read my work. Artists are universal.