Among these artists is Namareq Mohamed Ali, a specialist in the arts of the book and Islamic illumination (tezhip), who dedicated years of her life to studying this timeless art between Sudan and Türkiye, becoming one of the prominent Arab names in the field.

In this interview, we spoke with Namareq about her artistic journey, her relationship with Islamic manuscripts, and why she believes patience is the most essential quality an artist can possess.

How did your journey with art begin?

I believe my relationship with art began long before I understood what “art” truly meant.

Since childhood, I was always drawn to small details… the ornamentation on old doors, Islamic motifs, and the lines found in traditional architecture. I would stop and look at them for long moments, feeling that they carried a unique spirit.

Later, while studying Fine Arts and specializing in Arabic calligraphy, I became closer to the world of manuscripts and Islamic ornamentation. That was when I truly felt I had found the field that reflected who I was.

Why did you choose illumination and the arts of the book specifically?

Because this art form brings together the things I love most…
precision, contemplation, and patience.

Illumination is not simply decorative ornament surrounding texts or manuscripts. It is an entire world built on harmony and balance. Every element has its place, and every color and line carries meaning within the composition.

I feel that this art teaches the artist how to slow down… how to focus… and how to notice details that many people pass by without seeing.

How did your experience in Türkiye shape your artistic vision?

It was a life-changing experience.

In Istanbul, I studied traditional arts in a deep academic environment and learned directly from specialized masters within a tradition that stretches back hundreds of years.

There, I understood that these arts are not merely technical skills, but a culture, a philosophy, and a way of thinking.

I spent long hours studying a single manuscript or analyzing a small ornament, and over time I began to understand the deep relationship between art and patience, and between beauty and order.

What attracts you most to Islamic art?

The idea of balance.

Islamic art carries a unique sense of harmony and calmness. Even with its richness in detail, there is always a feeling of order and serenity.

I believe this is what makes it so connected to the soul…
It is not based on chaos or excess, but on balanced repetition, patience, and precision.

How would you describe your relationship with historical manuscripts?

I always feel that manuscripts carry memory.

When I study a historical manuscript or ornament, I do not feel that I am looking at an “old object,” but rather at a human trace that has reached us across time.

Every line and ornament tells you something about the artist who created it… about their patience and the way they saw the world.

What do you try to pass on to your students at SOCO?

I try to help them understand that art is not a race.

Today, everything moves quickly, and people often want immediate results. But traditional arts are different… they require time, patience, and continuity.

At SOCO, I do not focus only on teaching technique, but also on teaching observation, concentration, and understanding the artwork from within.

I want students to develop a real relationship with art, rather than simply copying something beautiful.

What is the most difficult part of learning this type of art?

Patience… without a doubt.

At the beginning, artists may feel that progress is slow, but over time they begin to understand that the journey itself is part of the art.

Traditional arts teach you how to accept slowness and appreciate small details.

What does art mean to you today?

I feel that art has become a way for me to understand the world.

It is a space for reflection, calmness, and connection with heritage and beauty.

And every time I create a new artwork or ornament, I feel that I am still learning something new… and that is the most beautiful part of the journey.

A final message to art students?

Do not rush.

Real art takes time…
but every moment you spend learning will stay with you.

Observe details, be patient with yourself, and enjoy the journey before reaching the final result ✨

The post حين تتحول الزخرفة إلى لغة من التأمل appeared first on School of Calligraphy and Ornamentation.

من جرافيتي الشوارع إلى قلم القصب الدقيق

قبل أوراق الذهب الرقيقة وأقلام القصب المقطوعة بعناية (الأقلام)، كانت هناك الخطوط الجريئة والواسعة لطلاء الرش. بدأ هوس إليف بأشكال الحروف في تركيا قبل وقت طويل من أي تدريب رسمي. كانت من نوع الأطفال الذين قد يغرقون طوال فترة ما بعد الظهيرة في مطاردة التناغم المثالي بين الحبر والورق. في المرحلة الإعدادية، وجد هذا الانبهار متنفساً له في عالم الجرافيتي المتمرد، وهو لقاء عصري خام مع هندسة الحروف.

لكن كل شيء تغير في المرحلة الثانوية عندما دخلت فصلاً لتعليم الخط العربي الكلاسيكي.

تسترجع إليف تلك اللحظة بشعور من الدهشة قائلة: "في اللحظة التي أمسكت فيها بقلم القصب، حدث شيء ما بداخلي. كان بإمكاني التدرب لساعات دون أن أشعر بالتعب. لم يكن الأمر يبدو وكأنه التزام صارم بل شعرت وكأنني في بيتي".

سرعان ما أدركت إليف أنه في الفنون التقليدية نادراً ما تترك الكلمة المكتوبة بجمال دون زينة. فالخط والتذهيب (فن الإضاءة الكلاسيكي) توأمان لا يفترقان. انطلقت إليف بكل طاقتها لدراسة كليهما، وهو إتقان مزدوج لا يزال يؤثر بقوة على نظرتها الحادة للتصميم اليوم.

الكتابة مع أرواح الأساتذة

تتخصص إليف في المنحنيات الأنيقة لخطوط الثلث والنسخ والثلث الجلي، وهي تنجذب إلى الخلود المطلق لهذه الخطوط. إن مشاهدتها وهي تكتب تشبه مشاهدة الزمن وهو يطوي نفسه. بالنسبة لها، الجلوس أمام المسند ليس عملاً فردياً أبداً. إنه انخراط نشط وحي مع نظام بيئي فكري صمد وتطور عبر قرون.

توضح إليف قائلة: "يخبرك هذا التطور بشيء عميق. أنت لا تكتب بمفردك أبداً. أنت تكتب جنباً إلى جنب مع كل خطاط أمسك بالقلم نفسه من قبلك".

لحظة التنوير في قصر طوب قابي

لكل فنان لحظة تغير مساره بشكل جذري. بالنسبة لإليف، حدثت تلك اللحظة في القاعات التاريخية الهادئة بقصر طوب قابي في إسطنبول.

أثناء وقوفها على بعد بوصات من مخطوطات بارعة تعود لقرون مضت، ذُهلت بالحميمية الاستثنائية للصفحات. التجليد المثالي والدقة الهندسية في ترتيب الخطوط والرقص السلس بين الحبر والتذهيب، كلها أمور لامست روحها. وبينما يميل العديد من الخطاطين اليوم نحو اللوحات الجدارية الضخمة، شعرت إليف بانجذاب قوي لا يقاوم نحو العالم الدقيق والمفصل لفنون الكتاب التقليدية.

ولترسيخ نفسها في هذا الانضباط، سعىت للحصول على إرشاد الأستاذ أحمد فارس رزق. وتحت توجيهه، انفتحت لها الأعماق الواسعة والمهيبة لهذه الحرفة، مما منح ممارستها وضوحاً جديداً ومعياراً من التميز لا يقبل المساومة.

حيث تلتقي الخوارزميات بالحبر القديم

ربما تكون الطبقة الأكثر إثارة في قصة إليف هي ما تحمله معها إلى مرسمها: العقل المدرب للغاية والمختص بحل المشكلات لمهندسة حاسوب. كيف يتكيف دماغ مبرمج بالخوارزميات مع شكل فني أقدم من المطبعة؟ الإجابة هي: ببراعة تامة.

في أنماط مثل الثلث الجلي، لا يعد تكوين لوحة واحدة مجرد رسم بل هو حل لغز مكاني ذكي ومعقد. تمنحها قاعدتها التقنية ميزة لا تصدق في موازنة هذه الأوزان البصرية المعقدة.

علاوة على ذلك، فإن تدريبها كمذهبة يمنحها يد جراح عندما يتعلق الأمر بـ "التصحيح"، وهو العملية المضنية لتعديل الانحرافات المجهرية الطبيعية للقلم للوصول إلى أشكال حروف حادة وخالية من العيوب. ولأنها تتحدث اللغة البصرية للأنماط التقليدية بطلاقة، فإن قطعها النهائية هي روائع فنية متماسكة في التصميم.

Passing the Key at SOCO

اليوم، أثمر تفاني إليف عن نيلها اعترافاً رسمياً من وزارة الثقافة التركية كحاملة للتراث الثقافي غير المادي. إنه تكريم يجعلها تشعر بتواضع شديد، ومع ذلك يحفزها بشدة للحفاظ على استمرارية هذا الإرث.

في ورش العمل التي تقدمها في "سوكو"، لا تكتفي إليف بتعليم آليات الكتابة بل تسلم طلابها مفتاحاً. إنها تتحدىهم لرؤية الكتابة التقليدية ليس كمجرد هواية، بل كرمز حي للحضارة الإنسانية. فتطور خطوطنا يعكس تطورنا نحن. ومن خلال حمل القلم، لا يقوم طلابها بصنع الفن فحسب، بل يشاركون بنشاط في القصة الجميلة والمستمرة للتواصل الثقافي.

The post Artist Spotlight:Elif Hale Gokcen appeared first on School of Calligraphy and Ornamentation.

The workshop was more than just practical training; it was an educational voyage led by artist and researcher Namareq AliShe began by showcasing historical models of manuscripts and artifacts, highlighting the core principles that established Islamic ornamentation as a global visual language, such as:

• Balance and Harmony: How Muslim artists created a visual unity that is pleasing to the eye.
• Foliage and Floral Patterns: Drawing inspiration from nature and transforming it into stunning abstract forms.
• Visual Rhythm: The strong relationship between the fluidity of Arabic calligraphy and the precision of the surrounding ornamentation.

The workshop featured vibrant interaction as participants moved from theory to a "step-by-step" practical application. Under the direct supervision of Namariq Ali, attendees designed their own ornamental units using techniques that mimic traditional manuscript decoration.

Participants praised the educational methodology that linked historical artistic evolution with contemporary hand-on application,which helped deepen their understanding of traditional decorative structures.

This event is part of a series of initiatives aimed at reviving traditional arts and making them accessible to the public for free, fostering cultural identity awareness. Attendees commended Al Rashidiya Library for its role as a hub for such events that blend written knowledge with tangible artistic practice.

"The goal of these workshops is to transform Islamic art from museum exhibits into a living practice pulsing with creativity in the hands of new generations."

The post بين دقة الهندسة وجمال الطبيعة: اختتام ورشة “الزخرفة الإسلامية” في مكتبة الراشدية بدبي appeared first on School of Calligraphy and Ornamentation.

Artist of the Week: Mostafa Sedky Mostafa has a degree in Engineering, but he did not stop at the rigidity of numbers. Instead, he found in them a living language, choosing to dive into the world of Islamic geometric ornamentation as a field that connects art, knowledge, and design.What initially drew him was the structural logic and mathematical harmony behind these geometric patterns.

Mostafa does not view historic monuments as mere silent walls; he sees them as his primary source of inspiration..For him, every monument is like a “a living book written seven or eight centuries ago“.He believes that careful observation of these ruins reveals layers of thought, craftsmanship, and intention behind every line and proportion..For him, these architectural spaces prompt questions, and questions, in turn, spark ideas that can inspire research and creative exploration for years to come..

As a culmination of years of research and practice, Mostafa authored his specialised book: “Islamic Geometric Ornament: Principles and Foundations“.The aim was not just an artistic record, but a rigorous yet accessible introduction for non-specialists to this complex field.The book is an invitation to explore the rules that give this art its universal language, extending his vision of making heritage accessible and understandable to everyone..

Mostafa understands that Islamic art evolved naturally for centuries, but a cultural disruption created a gap between contemporary practices and our artistic heritage.. Therefore, in his work and designs, he does not aim to simply replicate historical motifs. Instead, he seeks to reinterpret their underlying principles to feel both authentic and relevant today, building a strong bridge between the authenticity of the past and the needs of the present..

Mostafa's workshops at SOCO, you don’t just learn how to draw a geometric pattern; you discover the deeper values and cultural philosophy behind this art.He invites you to connect with a sophisticated intellectual tradition and a remarkable artistic civilisation.His ultimate aim is to foster a sense of appreciation, pride, and a rooted connection to this heritage..

For those wishing to enter and delve deeper into this world, Mostafa’s most important advice begins with “Clarifying your intention“.Islamic geometric art is a vast field, and its true depth reveals itself only to those with patience and discipline..If you truly want to understand this heritage, don't look for quick results; enjoy the journey, remain curious, and allow yourself the time needed to truly grasp the “language of these patterns“.

Join Mostafa Sedky's Course at SOCO (Available Online):

Special Discount for Sadati Card Holders

We are pleased to announce this initiative as part of our community support to encourage everyone to discover art:

20% Discount for Sadati Card holders (Fujairah Government and CPO employees).

To get the discount:

• Send a photo of your card via WhatsApp or Email.
• Or present it upon arrival.

That was our newsletter for this week ✨

See you next week with a new artist from SOCO.

Thank you for following us 💛

The post Teacher Spotlight: Mostafa Sedky appeared first on School of Calligraphy and Ornamentation.

Working primarily with watercolors on paper and vellum (calfskin), Shevaun seeks to capture light, color, and texture in breathtakingly precise detail. While botanical art has been used for millennia to document new discoveries and medicinal plants, Shevaun follows this classical approach rooted in accuracy but moves beyond traditional limits by actively experimenting with diverse media and compositions.

Her artistic journey began in 2004 after moving to Egypt. Inspired by the local flora and fauna, she used art as a way to engage her young daughters. As they collected "treasures" from gardens—such as seashells, insects, butterflies, and flowers—she would capture them in her sketchbooks.

This passion took a formal turn in 2010 when she began a distance-learning diploma with the Society of Botanical Artists (SBA) in the UK.

Impressively, she is now a full member of the Society and teaches the very course she graduated from! Upon her return to Ireland in 2012, her involvement in a local bee conservation campaign led to a major milestone: her first significant commission to design national postage stamps featuring native flora and fauna. Since then, she has collaborated closely with scientists on projects ranging from jellyfish and seaweed to lichens, insects, and birds.

Shevaun describes herself as a visual storyteller: "I don’t just paint a flower; I want to know where it grows, where it comes from, and how it relates to culture. All these ideas merge into my compositions."

Her teaching and personal practice center on botanical art as a calm, meditative form that requires deep observation and an understanding of the natural world. She draws profound spiritual inspiration from the Quran, specifically Surah Ash-Shu'ara (26:7): "Have they not looked at the earth—how many generous kinds [of things] We have caused to grow therein" “And do they not consider the earth – how many of every noble kind We have caused to grow in it?”.

Education is Shevaun’s second great passion. In her workshops, she encourages students to slow down, notice both the beauty and complexity of the natural world, and build the practical skills of drawing and painting. To expand her message, she launched her own online art course “Botanical Elements”guiding and inspiring artists on their botanical journeys from their own homes.

Shevaun finds being part of the SOCO (School of Calligraphy and Ornamentation) community to be a wonderful and inspiring experience. Surrounded by talented and creative individuals, she feels constantly energized by the exchange of different artistic approaches, which rejuvenates her ideas and inspires new concepts.

Shevaun summarizes her entire experience by saying: "Botanical art has enriched my life. It is where art, nature, and passion meet."

Ultimately, Shevaun Doherty’s work is more than just precise botanical paintings; it is an open invitation to meditate on the details of nature that we often overlook in the hustle of daily life. From the gardens of Egypt to scientific collaborations in Ireland and her creative synergy with the SOCO community, Shevaun proves that art is a universal language. It masterfully bridges the gap between scientific precision, visual beauty, and spiritual depth.

We invite you to explore more of her creations. Perhaps a bit of "slow observation" the next time you wander through nature will reveal hidden treasures worthy of having their stories told.

The post تسليط الضوء على فنانة: شيفون دوهرتي.. حيث يلتقي الفن بالطبيعة والشغف appeared first on School of Calligraphy and Ornamentation.

Today, we're excited to start a new series…

Each week, we will bring you closer to the artists and tutors of the School of Calligraphy and Ornamentation (SOCO), sharing their stories, artistic styles, and creative journeys.

This week's artist:
Shevaun Doherty

At the School of Calligraphy and Ornamentation, we believe that art begins with observation.

And with Shevaun, this idea becomes a way of life.

Shevaun is a botanical artist who specialises in watercolour painting. She has travelled from the West to the East to share her expertise, and she works with us as a tutor and instructor, passing on her knowledge and passion to our students every day at SOCO.

In our conversation with her, she said something simple yet profound:
“Art is seeing the details that most people overlook.”

She doesn't merely paint nature
she reintroduces it to us in a way that allows us to see it again, differently.

Her journey began while living in Egypt, where nature became a daily source of inspiration. By collecting simple elements such as flowers and leaves, she developed a practice that later evolved into a refined artistic style combining scientific observation with artistic sensitivity.

At SOCO, this is precisely what Shevaun teaches our students…
not just how to paint, but how to observe, be patient, and truly understand what they are creating.

For her, painting is a quiet process that requires time and focus—values that we aim to cultivate in our students.

Her work is distinguished by its ability to capture light, colour, and fine details using watercolour, making each piece feel like a true study of nature.

If you would like to begin your journey in this art form, you can join her courses at SOCO — available online from anywhere in the world.

To join: https://socofujairah.ae/product/painting-realistic-fruit-in-watercolour/

In this workshop, you will learn:
• The fundamentals of drawing
• Drip painting techniques (wet-on-wet, layering, dry brush)
• Understanding light, shadow and fine details
• How to build a complete artwork step by step

We look forward to seeing you next week with another artist.

Thank you for following us ✨

The post Artist Spotlight appeared first on School of Calligraphy and Ornamentation.

Just as Ramadan offered a space for stillness and reflection, Eid arrives as a celebration of life and beauty. In Islamic culture, art has always been closely connected to this joy from Arabic calligraphy that adorns heartfelt greetings to Islamic ornamentation that brings elegance and delight to every detail.

At the School of Calligraphy and Ornamentation, we see Eid as a continuation of this journey, where art meets celebration, and creativity becomes a way to express gratitude and beauty.

Eid is also a time for connection, for sharing meaningful moments with those around us, and for expressing our emotions in different ways, including through art, which remains a universal language that brings hearts together across cultures.

On this blessed occasion, we extend our warmest wishes to you and your loved ones, and we pray that it returns to you with goodness, happiness, and peace.

Eid Mubarak,
May your good deeds be accepted, and wishing you a joyful year ahead 🌙✨

The post Eid Al-Fitr… A Joy Completed with Beauty appeared first on School of Calligraphy and Ornamentation.

Islamic arts have long been associated with this state of contemplation and serenity. The harmonious geometry of patterns, the delicate botanical motifs, and the flowing elegance of Arabic calligraphy are not merely aesthetic elements; they form a visual language that expresses the balance and harmony at the heart of this timeless art. Through these repeated and balanced patterns emerges a profound sense of order and beauty that has inspired artists for centuries.

During the nights of Ramadan, art takes on a special meaning. Practicing Arabic calligraphy, drawing Islamic patterns, or even reflecting on the beauty of ancient manuscripts can become moments of quiet focus and calm, where creativity turns into a space for reflection and inner peace.

One of the most beautiful values embodied in Islamic art is patience. Every artwork begins with a simple line or an initial idea, gradually developing step by step until harmony and beauty are achieved. An artist may spend hours—sometimes even days—perfecting a single line or repeating a decorative pattern until it reaches the desired balance. In this way, art meets the spirit of Ramadan. Just as one learns patience through fasting, an artist learns patience through the creative journey, where the artistic process becomes a peaceful experience of focus, contemplation, and serenity.

At the School of Calligraphy and Ornamentation, we believe that traditional arts are not merely technical skills, but a cultural and spiritual experience at the same time. Through learning Arabic calligraphy and the arts of ornamentation and Islamic geometry, students discover not only the beauty of these arts but also the deeper philosophy behind them—where art becomes a space for reflection and a bridge to cultural heritage.

As this blessed month approaches its end, the last ten days remain a precious opportunity to pause for a moment, reflect on the beauty that surrounds us, and renew our connection with art, culture, and inner peace.

Ramadan Mubarak,

May these blessed days be filled with beauty. 🌙

The post When Silence Becomes a Space for Art appeared first on School of Calligraphy and Ornamentation.

A total of 35 students participated in the visit, which began with an introductory tour of the exhibition featuring the winning works of the Fujairah International Competition for Calligraphy and Ornamentation. The exhibition showcases diverse examples of Arabic calligraphy and Islamic ornamentation. During the tour, the students examined the artistic compositions in detail, learned about the differences between various calligraphic schools and gilding techniques, and listened to explanations about the stages of producing an artwork, from initial concept to final presentation. They showed clear interest in the displayed works and asked thoughtful questions reflecting a genuine desire to understand the artistic and historical dimensions behind each piece.

Following the tour, the students took part in a series of specialised workshops designed in line with their academic interests. The programme opened with a workshop on Islamic geometry led by instructor Asayel, where students explored the foundations of geometric pattern construction, principles of repetition and symmetry, and the mathematical precision underlying this art form. These concepts were applied through practical exercises that strengthened their understanding of the relationship between lines, angles, and visual balance.

A second workshop focused on Maghrebi script under the supervision of instructor Tasneem, highlighting the distinctive characteristics and aesthetic principles of the script. Students engaged in hands-on practice, learning to draw letters while paying attention to proportion, structure, and fluidity. Meanwhile, a third group participated in a botanical ornamentation and gilding workshop led by instructor Namareq, where they explored the beauty of plant motifs and learned traditional gilding techniques with careful attention to detail.

The visit concluded in an atmosphere of enthusiasm and engagement, with students expressing their appreciation for the experience, which allowed them to explore Islamic arts firsthand within a structured educational environment. This visit forms part of the School’s ongoing efforts to strengthen collaboration with academic institutions and support programmes that nurture aesthetic awareness and deepen understanding of Islamic visual heritage among university students.

The post مدرسة الخط والزخرفة تستقبل طالبات جامعة الوصل – الفجيرة appeared first on School of Calligraphy and Ornamentation.

The visiting group consisted of 20 male and female students from the Indian community. The visit began with an introductory tour of the exhibition featuring the winning works of the Fujairah International Competition for Calligraphy and Ornamentation. The exhibition presents distinguished examples that highlight the diversity of Arabic calligraphy schools and the richness of Islamic ornamentation. During the tour, students learned about the differences between various calligraphic styles and compositional approaches. They carefully observed the intricate details of decorative elements and colour harmony, and listened to explanations about the stages of producing an artwork, from initial concept and planning to final execution. Their thoughtful questions reflected curiosity and a genuine interest in understanding the artistic techniques and historical contexts behind each piece.

Following the tour, the students moved on to specialised workshops designed according to their age group and interests. They were divided into two groups to ensure focused engagement. The male students attended a workshop on Islamic geometry led by instructor Asayel, where they explored the foundational principles of geometric pattern construction, including repetition, symmetry, and mathematical precision. Through practical exercises, they gained a clearer understanding of the relationship between lines and angles in creating balanced and harmonious designs.

Meanwhile, the female students participated in a workshop on Maghrebi script under the supervision of instructor Tasneem. The session introduced them to the distinctive characteristics, historical background, and aesthetic principles of the script. A practical component allowed them to experiment with writing the letters themselves, with emphasis on proportion control, pen angle, and the fluid movement of strokes.

The visit concluded in a positive and enthusiastic atmosphere, with students expressing their appreciation for the experience and the knowledge they gained. They emphasised the value of such initiatives in deepening their understanding of Islamic arts and strengthening their connection to artistic and cultural heritage. This visit forms part of the School’s broader efforts to open its doors to educational institutions and foster an environment that nurtures aesthetic awareness and appreciation of traditional arts among younger generations.

The post مدرسة الخط والزخرفة تستقبل طلبة من المدرسة الهندية appeared first on School of Calligraphy and Ornamentation.