Nof Al Mousa (Dubai)
“Tradition weakens the intrinsic value of the impact of heritage in plastic art, and privacy is able to extract it towards broader possibilities related to human knowledge, social connotations, and the immediacy of modern contemporary concepts, which will naturally lead to enriching the heritage of the Arab region, in parallel with the formation movement in the world.” Here. The Syrian plastic artist, Saad Yakan, who was born in 1949, explains the impact of societal contexts on cultural practices on the concept of freedom, expression and creativity on the idea of heritage, in an artistic discussion he presented at the Sultan Bin Ali Al Owais Cultural Foundation in Dubai, on “The Crisis of Expressing Heritage in Plastic Art.” .
A noble cause
Yakan pondered in his research narration on the question of creativity whether it was a wager or a need, and from this standpoint Yakan explains that heritage represents a noble and human cause, and its realization as an aesthetic and expressive state, and not as a formal concept, is a necessity that requires us to return to the real history and the collective subconscious reality of the region. Arab, considering that heritage reviews contributed, as he put it, to lowering the artistic value of heritage, as all dialogues and discussions deal with the research in the mechanism of the concept of heritage objectively, and even if there is no subject in itself, it requires self-mobilization of what exists to bring about transformations in practice. Intellectual and artistic experiences, which makes us go beyond what he described as “trivial formalism”, and reach a kind of modernity related to heritage, which has to do with the culture and knowledge of the artist and the subconscious present in the awareness of his experience through the totality of the cultural, human, historical and immediate components and data that certainly gives him a unique power of expression. .
Modern vision
“To take a story from the Arab narratives in heritage, such as Antar and Abla or Qais and Laila, and embody it exactly as it is, does not mean at all a revival of a heritage,” an explanation referred to by the artist Saad Yakan, indicating that dealing with the topics with a modern vision is consistent with the data of the plastic art of this era, It is the closest meaning to the concept of developing the artistic heritage. Art sees the way in which man expresses his existence, his relationship with the world, and his interaction with culture. It is not a reflection, as some believe, but an expressive form that cannot be separated from life itself, and is connected to its social and cultural paths. And political and other things, and from here the heritage is definitely not for daily and free use among artists. Therefore, the sincerity of the artist comes as a basis for meeting the invitation of heritage to participate in enriching the aesthetic awareness associated with its human and civilized contents. , and the history of Arabic music and literature, which will result in a critical point of view that contributes to the development of plastic art away from the formal heritage reviews.
