Exhibition catalogs by Hamdy Abdallah
قطاع الفنون التشكيلية، وزارة الثقافة، مصر, 2021
Papers by Hamdy Abdallah
بحوث في التربية الفنية والفنون, 2026
This study examines the leadership of the Journal of Research in Art Education and the Arts as an... more This study examines the leadership of the Journal of Research in Art Education and the Arts as an ongoing epistemic practice grounded in responsibility and accountability, rather than as a completed historical achievement. It proceeds from a critical rereading of the journal’s inaugural issue (2000), approached as a conscious founding manifesto articulated by Dr. Hamdy Abdallah on behalf of the pioneers of art education. This manifesto played a decisive role in consolidating the autonomy of art education as an organized academic field, through rigorous publication and peer-review regulations and a thematic diversity that reflected the field’s expansive horizons and its intersections with aesthetics, history, psychology, and technology. The study further offers a critical, contemporary assessment of the journal’s current positioning through an analytical dialogue with Dr. Diaa Ahmedin regarding the experience of updating the journal’s regulations since 2020, and the structural gaps this process has revealed between local publishing practices and international academic standards. The paper concludes that the journal’s leadership lies in its capacity to transform its foundational memory into a sustainable editorial project—one that repositions academic publishing in the arts from a merely procedural framework to a space of rigorous scholarly practice.
بحوث في التربية الفنية والفنون, 2022
The paper aimed to introduce the artist Kamal Obeid (1918–2003). Kamal Obeid played a significant... more The paper aimed to introduce the artist Kamal Obeid (1918–2003). Kamal Obeid played a significant role in establishing the first Department of Art Education at the College of Education, King Saud University. He was also assigned to the Kingdom of Bahrain to contribute to the development of art education curricula in higher education. He produced numerous sculptural works, including statues and portrait busts of both political leaders and public figures. Among his most important professional responsibilities as a professor of art and education was his effective and influential role in preparing generations of artists, intellectuals, and creative individuals who would continue the progress of the contemporary art movement through their artistic contributions. For Kamal Obeid, art was not merely a form, a structure, or a technique; rather, it was a vessel that conveyed meaning and purpose while expressing ideas and philosophy. In the field of ceramics, he was regarded as a pioneer and developed a distinctive school of thought that drew inspiration from Egyptian and Islamic heritage, particularly in the arts of pottery vessels and ceramic tiles. The paper concludes by emphasizing that the history of art education in Egypt, the Arab world, and the visual arts will continue to remember Kamal Obeid through his artistic and educational achievements. He remains, and will continue to remain, a symbol of pioneering leadership alongside a distinguished generation of art education pioneers.
هدفت الورقة إلى التعرف على الفنان كمال عبيد (1918 م– 2003 م). لعب الفنان كمال عبيد دورا مهما في إنشاء أول قسم للتربية الفنية بكلية التربية جامعة الملك سعود وتم إيفاده إلى دولة البحرين لتطوير مناهج التربية الفنية في التعليم العالي. قام بعمل العديد من الأعمال النحتية من تماثيل وبورتريهات سواء لزعماء أو شخصيات عامة. وكان من أهم مسئوليات العمل الوظيفي كأستاذ للفن والتربية هو دوره الفعال والمؤثر في إعداد كوادر من الفنانين والمثقفين والمبدعين لاستكمال مسيرة الحركة الفنية المعاصرة بإبداعاتها. وكان العمل الفني عنده ليس مجرد مظهر أو قالب أو تقنية وإنما هو وعاء يعكس مضمونا ورسالة ويطرح فكرا وفلسفة، وفي مجال الخزف احتل كمال عبيد موقع الريادة وكان له مدرسة في استلهام التراث المصري والإسلامي في فنون الإناء والبلاطات. واختتمت بالإشارة إلى أنه كان وسيظل يذكره تاريخ التربية الفنية بمصر والعالم العربي والفن التشكيلي من خلال إنجازاته الفنية والتربوية في كل منهما، وسيظل رمزا من رموز الريادة مع كوكبة من رواد التربية الفنية.
بحوث في التربية الفنية والفنون, 2021
When art critics and novice historians documented the history of the Egyptian visual arts movemen... more When art critics and novice historians documented the history of the Egyptian visual arts movement since the beginning of the twentieth century, most of them overlooked the significant, influential, and dynamic role played by art education as a distinct discipline. They failed to acknowledge the profound transformation it brought about in artistic and educational concepts and visions, as well as the contributions it made through engagement with developments abroad, including creative approaches, theories, and innovative concepts that enhanced its standing and facilitated their dissemination in Egypt. Among the most important pathways it promoted were research and experimentation, which became fundamental characteristics of modernity, establishing roots that were subsequently inherited and developed by successive generations up to the present day.
For more than ninety years, the Faculty of Art Education has carried out this mission with dedication and awareness through its graduates, who continuously explore and develop educational approaches in response to the ever-changing needs of society. This has been achieved through its educational, cultural, and pedagogical programs and regulations at both the undergraduate and postgraduate levels. The Faculty has played a pivotal role in introducing scientific research into the fields of art and education in Egypt and the Arab world. In addition, it has contributed significantly to shaping and refining the personal and professional qualities of its students. It was also the first institution to assume a pioneering position among faculties of fine and applied arts, establishing itself as a leader in the advancement of art education and artistic scholarship.
عندما أرخ المؤرخون المبتدؤن نقاد الفن لتاريخ الحركة التشكيلية المصرية منذ مطلع القرن العشرين ، فأن أغلبهم لم يذكروا الدور الهام والمؤثر والنشط الذي قدمته التربية كتخصص متميز وما أحدثته من ثورة في تغيير المفاهيم والرؤى التشكيلية والتربوية ، وماضخته من خلال الأطلاع على ما يدور في الخارج (1) من أساليب وتصورات إبداعية ونظريات ، ومفاهيم مستحدثة ساهمت في الارتقاء بمستواها وساعدت على نشرها بمصر ومن أهم المسارات والطرق البحث والتجريب كسمة أساسية فن سمات المعاصرة التي كانت الجذور وتوارثتها الأجيال اللاحقة حتي عصرنا الحالي .
إن كلية التربية على مدى أكثر من 90 عاماً أو ما يزيد تقوم بهذا الدور بوعي ومثابرة بأعداد خريجيها الذين يسابرون ويطورون أساليب التربية مع متطلبات المجتمع المتغير دوما (2) من خلال البرامج التعليمية والتثقيفية والتربوية ( اللوائح) (2) في مرحلتي البكالوريوس والدراسات العليا (3) التي لعبت دورا بالغ في إدخال البحث العلمي في الفن والتربية في مصر والعالم العربي بالإضافة إلى إنها صقلت المكونات الشخصية اللدارسين ، وكانت أول كلية تحمل الريادة بين كل الفنون الجميلة والتطبيقية .
A.I.M.S. Art and Design in a Multicultural Society, 1992
THE COURSE IN DESIGN AND ANCIENT CIVILIZATIONS AT EL AIINIA UNIVERSITY, EGYPT: YEAR I.
This cours... more THE COURSE IN DESIGN AND ANCIENT CIVILIZATIONS AT EL AIINIA UNIVERSITY, EGYPT: YEAR I.
This course focuses on ancient examples of art and includes careful study by students of decorative arts, traditional local arts and international sources of influence on Egyptian an heritage. Typically, this last part of the first-year course involves the study of Akkadian, Assyrian and Byzantine art, and also of European art from Greece to the 20th century.
An important aspect of this course is to encourage the development of a cultural identity. Given the presence of a cosmopolitan modern culture reflecting the dominant values of Western European and American society, art and design students in a country like Egypt are confronted apparently with the unenviable choice between following cultural models based elsewhere or local practices which may receive no critical validation. The only healthy solution is to develop a sense of cultural identity based on studying art and design traditions within that area of the world while at the same time feeling able to draw on aspects of that cosmopolitan modern culture when this is felt appropriate.
Thus the first year at El Minia University involves art and design students in practical study of ancient Egyptian art through an approach similar to copying. They reproduce traditional ways of designing and producing artworks (using, for example, black lead drawing, wash and pen drawing and water colour). They also learn how to adapt traditional subject matter or content, and use traditional rules or conventions of proportion and colour, for example.
The course goes on to involve students in comparing different kinds of ancient art (Egyptian, Coptic, Moslem etc.), both decorative techniques and construction of objects. Finally, they make their own works of art (a practical project) in a modern idiom in some field of decorative or commercial art and engage in evaluation and criticism of each other's work.
This booklet is intended to take British teachers and students through this process of early study of ancient examples of Egyptian art. Careful and detailed analyses of illustrations of five paintings by El Minia students are provided followed by some contextual information on ancient Egyptian painting. The last part comprises an introduction to the work of a contemporary artist, Dr. Hamdi Abd Allah whose work clearly incorporates features from both ancient Egyptian art and modern art practice. Thus, his art can sent as an exemplar for the blend of study of past practice and development of personal expression necessary for the production of genuine cultural identity in the modern world.
HA Catherine Juliet Parsons - Module TP/AM/4, 1991
This is an ethnographic study of Hamdi Ahmed Abdullah, aged fourty-five, from Cairo in Egypt. The... more This is an ethnographic study of Hamdi Ahmed Abdullah, aged fourty-five, from Cairo in Egypt. The task was to examine his artwork, through a relationship with him as a person as well as his background or 'life-world', which has encompassed ancient Egyptian symbolism, historical, social and political events and a grasp of the artist's personality. It took the form of four interviews which initially setyp the task, and subsequent interviews builtyp a relationship of trust and mutualilnterest which lead to an in depth understanding of the work. The approach and analysis of these interviews are related in detail in Appendix I.
This study examines the leadership of the Journal of Research in Art Education and the Arts as an... more This study examines the leadership of the Journal of Research in Art Education and the Arts as an ongoing epistemic practice grounded in responsibility and accountability, rather than as a completed historical achievement. It proceeds from a critical rereading of the journal’s inaugural issue (2000), approached as a conscious founding manifesto articulated by Dr. Hamdy Abdallah on behalf of the pioneers of art education. This manifesto played a decisive role in consolidating the autonomy of art education as an organized academic field, through rigorous publication and peer-review regulations and a thematic diversity that reflected the field’s expansive horizons and its intersections with aesthetics, history, psychology, and technology. The study further offers a critical, contemporary assessment of the journal’s current positioning through an analytical dialogue with Dr. Diaa Ahmedin regarding the experience of updating the journal’s regulations since 2020, and the structural gaps this process has revealed between local publishing practices and international academic standards. The paper concludes that the journal’s leadership lies in its capacity to transform its foundational memory into a sustainable editorial project—one that repositions academic publishing in the arts from a merely procedural framework to a space of rigorous scholarly practice.
Thesis by Hamdy Abdallah
The Problem emerges from the need to exploit naïve art as an approach to art appreciation in seco... more The Problem emerges from the need to exploit naïve art as an approach to art appreciation in secondary schools. This is a because at education emphasizes the guidance of pupils who he posses spontaneity to continue their achier ties in astistie expression.
Through studying the characteristics of western naïve painting, the researchable aims to introduce a comprehensive analysis of this type of art. He had to define the artistic, historical, conceptual soots that motivated them to produce naïve painting. He has mad several studied on the wohs and productions of the pioneers and sepsesentatiny of naïve art in the western world. He has reviewed social and tradinol effects that influenced their artistic trends. He rendered many in terpretations that cleared obscurities and explained confusions involving expression in naïve art.
The researcher introduces this type of painting to art education teachers with explanations of its historical, artistic , educational and aesthetic merits to benefit the pupils in expression and appreciation.
In Order to accomplish his work, the researcher made several hypotheses. He inquired into all sides involring naïve art, o.e. the differences between naïve art, popular art and primitive art, subjects that naïve artists tend to express, and their social cultural and environmental background.
He revirued experts and critics opinions, in an attempt, to realize the validity of these by potheses.
The researcher has depended on the historical deseriptive analytical method that explained in an independent section beside four sections including fourteen chapters deling with the them. He displayed 206 artistic figures in order to those lights and sbow the features of naïve painting.
Hes concluded the thesis with results and recommendations learning their implitations to the field of art education.
The most important results and recommendations are:
1. The researcher managed to define the expressional conception of naïve art primitive art and popular art, the differences between the three arts will help pupils appreciate art in more efficient manner.
2. Yar art education teacliers , it is recommended to start with "Henry Russo", an artist and pioneer of naïve painting. His work deals with personal sulyects and social problems related to was and peace. The analysis and understanding of the motive behind his work, are essential to appreciate this type of painting.
3. A thention should be down to naïve painting which has become a distinctive phenomenon that is represented in several world exhibitions especially the trinali which aims to motivate artists to display there productions that shors the identity and artistic values of naïve painting.
4. It is recommended to promote artistic studies on the Egyptian naïve art in order to acknowledge the role of Egyptian naivisms as well as there western fellow.
5. Cooperative studiers should be mede on naïve art and child art for their benefit to art education and methods of teaching.
Art topics by Hamdy Abdallah
This video art work is a speculative visual and sonic exploration of the Earth in the wake of pos... more This video art work is a speculative visual and sonic exploration of the Earth in the wake of posthuman extinction. By deconstructing and reimagining the graphic lines and figurative language of the Egyptian artist Hamdy Abdallah, the work shifts the gaze away from human centrality toward an autonomous, lingering materiality.
The undulating lines, shifting silhouettes, and haunting ambient soundscapes (wind and elemental noise) capture the transition of human memory into tectonic and cosmic remnants—where the boundary between the biological and the geological blurs.
This project represents the practical component (Practice-based Research) of my PhD thesis: "The Speculative Aesthetics of Posthuman Extinction: Situating Hamdy Abdallah as a Knowledge Producer"
Visuals & Concept: Esraa Kamel. In dialogue with the visual epistemology of Professor Hamdy Abdallah.
Topics by Hamdy Abdallah
برينت هاوس للطباعة والنشر, 2020
يتتبع هذا الفصل المسار الفكري والفني للفنان المصري المعاصر حمدي عبدالله (1944) منذ بداياته الطالب... more يتتبع هذا الفصل المسار الفكري والفني للفنان المصري المعاصر حمدي عبدالله (1944) منذ بداياته الطالبية حتى نضجه المفاهيمي، بوصفه تجربة تتشكل من «البذرة إلى الثمرة». يحلل تطور رموزه المركزية: الفارس، الإنسان، الكتلة، النبات، الطائر، والسلطة، كاستجابات جمالية وفكرية لتحولات اجتماعية وسياسية كبرى. تكشف الدراسة عن وعي بحثي مبكر يزاوج بين التراث والأسطورة والحداثة، ويؤسس للفن بوصفه ممارسة معرفية ونقدية متصلة بالتربية والإنسان.
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This chapter traces the intellectual and artistic trajectory of the contemporary Egyptian artist Hamdy Abdallah (b. 1944), from his early student years to his conceptual maturity, understood as an experience evolving “from seed to fruit.” It analyzes the development of his central motifs—the horseman, the human figure, mass, plant, bird, and power—as aesthetic and intellectual responses to major social and political transformations. The study reveals an early research-oriented awareness that interweaves heritage, myth, and modernity, establishing art as a form of critical and epistemic practice closely connected to education and the human condition.
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Ce chapitre retrace le parcours intellectuel et artistique de l’artiste égyptien contemporain Hamdy Abdallah (né en 1944), depuis ses débuts étudiants jusqu’à sa maturité conceptuelle, envisagée comme une expérience se déployant « de la graine au fruit ». Il analyse l’évolution de ses motifs centraux — le cavalier, la figure humaine, la masse, le végétal, l’oiseau et le pouvoir — en tant que réponses esthétiques et intellectuelles aux grandes transformations sociales et politiques. L’étude met en lumière une conscience de recherche précoce articulant héritage, mythe et modernité, et fondant l’art comme une pratique critique et épistémique étroitement liée à l’éducation et à la condition humaine.
In book: كتالوج معرض الفنان حمدي عبدالله - 2021 - (متواليات قدرية)Chapter: مقدمة كتالوجPublisher: وزارة الثقافة - قطاع الفنون التشكيلية, 2021
لطالما كان للفنان الرائد المصري الأستاذ الدكتور "حمدي عبدالله" لغة يخاطب بها الإنسان ببليغ الصور ... more لطالما كان للفنان الرائد المصري الأستاذ الدكتور "حمدي عبدالله" لغة يخاطب بها الإنسان ببليغ الصور المجردة من فرضيات الكلمة؛ تركزت قضاياه على الإنسان في هيئات غير بشرية.. يشهد ضجيج الحرب صمت أفواه المناقير.. أطلق العنان لمكبوتات الشهوات المحرمة كوسيلة للتدافع والبقاء.. خلق ما بين العلاقتين إيهام نحو الشك بوجود ثالث.. أخذ الهزلية المسرحية البيضاء/ السوداء قياسًا لعبثية الواقع تُصيغ الأساطير كنبوءة للثورات.. تلك اللغة الخطابية التي نتذوق منها فرادة جماليات الفلسفة الإنسانية عند "حمدي عبدالله" المشحونة بتلقائية الخطوط التجريدية والاستسلام للتعبير عن كلتا الحالتين الشعورية واللاشعورية، التي نحتفي بها اليوم، بما يطرحه علينا في معرضه ما بعد الخمسين.
مقدمة كتالوج معرض الفنان المصري حمدي عبدالله، بعنوان "متواليات قدرية" بمركز الجزيرة، قطاع الفنون التشكيلية، وزارة الثقافة، القاهرة، مصر
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Exhibition catalogs by Hamdy Abdallah
Papers by Hamdy Abdallah
هدفت الورقة إلى التعرف على الفنان كمال عبيد (1918 م– 2003 م). لعب الفنان كمال عبيد دورا مهما في إنشاء أول قسم للتربية الفنية بكلية التربية جامعة الملك سعود وتم إيفاده إلى دولة البحرين لتطوير مناهج التربية الفنية في التعليم العالي. قام بعمل العديد من الأعمال النحتية من تماثيل وبورتريهات سواء لزعماء أو شخصيات عامة. وكان من أهم مسئوليات العمل الوظيفي كأستاذ للفن والتربية هو دوره الفعال والمؤثر في إعداد كوادر من الفنانين والمثقفين والمبدعين لاستكمال مسيرة الحركة الفنية المعاصرة بإبداعاتها. وكان العمل الفني عنده ليس مجرد مظهر أو قالب أو تقنية وإنما هو وعاء يعكس مضمونا ورسالة ويطرح فكرا وفلسفة، وفي مجال الخزف احتل كمال عبيد موقع الريادة وكان له مدرسة في استلهام التراث المصري والإسلامي في فنون الإناء والبلاطات. واختتمت بالإشارة إلى أنه كان وسيظل يذكره تاريخ التربية الفنية بمصر والعالم العربي والفن التشكيلي من خلال إنجازاته الفنية والتربوية في كل منهما، وسيظل رمزا من رموز الريادة مع كوكبة من رواد التربية الفنية.
For more than ninety years, the Faculty of Art Education has carried out this mission with dedication and awareness through its graduates, who continuously explore and develop educational approaches in response to the ever-changing needs of society. This has been achieved through its educational, cultural, and pedagogical programs and regulations at both the undergraduate and postgraduate levels. The Faculty has played a pivotal role in introducing scientific research into the fields of art and education in Egypt and the Arab world. In addition, it has contributed significantly to shaping and refining the personal and professional qualities of its students. It was also the first institution to assume a pioneering position among faculties of fine and applied arts, establishing itself as a leader in the advancement of art education and artistic scholarship.
عندما أرخ المؤرخون المبتدؤن نقاد الفن لتاريخ الحركة التشكيلية المصرية منذ مطلع القرن العشرين ، فأن أغلبهم لم يذكروا الدور الهام والمؤثر والنشط الذي قدمته التربية كتخصص متميز وما أحدثته من ثورة في تغيير المفاهيم والرؤى التشكيلية والتربوية ، وماضخته من خلال الأطلاع على ما يدور في الخارج (1) من أساليب وتصورات إبداعية ونظريات ، ومفاهيم مستحدثة ساهمت في الارتقاء بمستواها وساعدت على نشرها بمصر ومن أهم المسارات والطرق البحث والتجريب كسمة أساسية فن سمات المعاصرة التي كانت الجذور وتوارثتها الأجيال اللاحقة حتي عصرنا الحالي .
إن كلية التربية على مدى أكثر من 90 عاماً أو ما يزيد تقوم بهذا الدور بوعي ومثابرة بأعداد خريجيها الذين يسابرون ويطورون أساليب التربية مع متطلبات المجتمع المتغير دوما (2) من خلال البرامج التعليمية والتثقيفية والتربوية ( اللوائح) (2) في مرحلتي البكالوريوس والدراسات العليا (3) التي لعبت دورا بالغ في إدخال البحث العلمي في الفن والتربية في مصر والعالم العربي بالإضافة إلى إنها صقلت المكونات الشخصية اللدارسين ، وكانت أول كلية تحمل الريادة بين كل الفنون الجميلة والتطبيقية .
This course focuses on ancient examples of art and includes careful study by students of decorative arts, traditional local arts and international sources of influence on Egyptian an heritage. Typically, this last part of the first-year course involves the study of Akkadian, Assyrian and Byzantine art, and also of European art from Greece to the 20th century.
An important aspect of this course is to encourage the development of a cultural identity. Given the presence of a cosmopolitan modern culture reflecting the dominant values of Western European and American society, art and design students in a country like Egypt are confronted apparently with the unenviable choice between following cultural models based elsewhere or local practices which may receive no critical validation. The only healthy solution is to develop a sense of cultural identity based on studying art and design traditions within that area of the world while at the same time feeling able to draw on aspects of that cosmopolitan modern culture when this is felt appropriate.
Thus the first year at El Minia University involves art and design students in practical study of ancient Egyptian art through an approach similar to copying. They reproduce traditional ways of designing and producing artworks (using, for example, black lead drawing, wash and pen drawing and water colour). They also learn how to adapt traditional subject matter or content, and use traditional rules or conventions of proportion and colour, for example.
The course goes on to involve students in comparing different kinds of ancient art (Egyptian, Coptic, Moslem etc.), both decorative techniques and construction of objects. Finally, they make their own works of art (a practical project) in a modern idiom in some field of decorative or commercial art and engage in evaluation and criticism of each other's work.
This booklet is intended to take British teachers and students through this process of early study of ancient examples of Egyptian art. Careful and detailed analyses of illustrations of five paintings by El Minia students are provided followed by some contextual information on ancient Egyptian painting. The last part comprises an introduction to the work of a contemporary artist, Dr. Hamdi Abd Allah whose work clearly incorporates features from both ancient Egyptian art and modern art practice. Thus, his art can sent as an exemplar for the blend of study of past practice and development of personal expression necessary for the production of genuine cultural identity in the modern world.
Thesis by Hamdy Abdallah
Through studying the characteristics of western naïve painting, the researchable aims to introduce a comprehensive analysis of this type of art. He had to define the artistic, historical, conceptual soots that motivated them to produce naïve painting. He has mad several studied on the wohs and productions of the pioneers and sepsesentatiny of naïve art in the western world. He has reviewed social and tradinol effects that influenced their artistic trends. He rendered many in terpretations that cleared obscurities and explained confusions involving expression in naïve art.
The researcher introduces this type of painting to art education teachers with explanations of its historical, artistic , educational and aesthetic merits to benefit the pupils in expression and appreciation.
In Order to accomplish his work, the researcher made several hypotheses. He inquired into all sides involring naïve art, o.e. the differences between naïve art, popular art and primitive art, subjects that naïve artists tend to express, and their social cultural and environmental background.
He revirued experts and critics opinions, in an attempt, to realize the validity of these by potheses.
The researcher has depended on the historical deseriptive analytical method that explained in an independent section beside four sections including fourteen chapters deling with the them. He displayed 206 artistic figures in order to those lights and sbow the features of naïve painting.
Hes concluded the thesis with results and recommendations learning their implitations to the field of art education.
The most important results and recommendations are:
1. The researcher managed to define the expressional conception of naïve art primitive art and popular art, the differences between the three arts will help pupils appreciate art in more efficient manner.
2. Yar art education teacliers , it is recommended to start with "Henry Russo", an artist and pioneer of naïve painting. His work deals with personal sulyects and social problems related to was and peace. The analysis and understanding of the motive behind his work, are essential to appreciate this type of painting.
3. A thention should be down to naïve painting which has become a distinctive phenomenon that is represented in several world exhibitions especially the trinali which aims to motivate artists to display there productions that shors the identity and artistic values of naïve painting.
4. It is recommended to promote artistic studies on the Egyptian naïve art in order to acknowledge the role of Egyptian naivisms as well as there western fellow.
5. Cooperative studiers should be mede on naïve art and child art for their benefit to art education and methods of teaching.
Art topics by Hamdy Abdallah
The undulating lines, shifting silhouettes, and haunting ambient soundscapes (wind and elemental noise) capture the transition of human memory into tectonic and cosmic remnants—where the boundary between the biological and the geological blurs.
This project represents the practical component (Practice-based Research) of my PhD thesis: "The Speculative Aesthetics of Posthuman Extinction: Situating Hamdy Abdallah as a Knowledge Producer"
Visuals & Concept: Esraa Kamel. In dialogue with the visual epistemology of Professor Hamdy Abdallah.
Topics by Hamdy Abdallah
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This chapter traces the intellectual and artistic trajectory of the contemporary Egyptian artist Hamdy Abdallah (b. 1944), from his early student years to his conceptual maturity, understood as an experience evolving “from seed to fruit.” It analyzes the development of his central motifs—the horseman, the human figure, mass, plant, bird, and power—as aesthetic and intellectual responses to major social and political transformations. The study reveals an early research-oriented awareness that interweaves heritage, myth, and modernity, establishing art as a form of critical and epistemic practice closely connected to education and the human condition.
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Ce chapitre retrace le parcours intellectuel et artistique de l’artiste égyptien contemporain Hamdy Abdallah (né en 1944), depuis ses débuts étudiants jusqu’à sa maturité conceptuelle, envisagée comme une expérience se déployant « de la graine au fruit ». Il analyse l’évolution de ses motifs centraux — le cavalier, la figure humaine, la masse, le végétal, l’oiseau et le pouvoir — en tant que réponses esthétiques et intellectuelles aux grandes transformations sociales et politiques. L’étude met en lumière une conscience de recherche précoce articulant héritage, mythe et modernité, et fondant l’art comme une pratique critique et épistémique étroitement liée à l’éducation et à la condition humaine.
مقدمة كتالوج معرض الفنان المصري حمدي عبدالله، بعنوان "متواليات قدرية" بمركز الجزيرة، قطاع الفنون التشكيلية، وزارة الثقافة، القاهرة، مصر
https://www.fineart.gov.eg/Default.aspx
https://www.fineart.gov.eg/AllPics/Catalogs/PDF/234/Hamdy-Abdallah.pdf