{"id":3320,"date":"2015-04-05T19:11:08","date_gmt":"2015-04-05T19:11:08","guid":{"rendered":"https:\/\/algerienetwork.com\/culture\/?p=3320"},"modified":"2015-04-05T19:11:08","modified_gmt":"2015-04-05T19:11:08","slug":"mohammed-racim-le-genie-universel-de-la-calligraphie","status":"publish","type":"post","link":"https:\/\/algerienetwork.com\/culture\/mohammed-racim-le-genie-universel-de-la-calligraphie\/","title":{"rendered":"Mohammed R\u00e2cim ; le g\u00e9nie universel de la calligraphie"},"content":{"rendered":"

\"\"<\/span><\/p>\n

(n\u00e9 le 24 juin 1896 \u00e0 la Casbah d’Alger, mort assassin\u00e9 le 30 mars 1975)<\/p>\n

C<\/span>‘<\/span>es<\/span>t <\/span>\u00e0 <\/span>l<\/span>a <\/span>Casbah d’Al<\/span>ge<\/span>r, dans l’<\/span>a<\/span>t<\/span>e<\/span>li<\/span>e<\/span>r de son p<\/span>\u00e8<\/span>r<\/span>e e<\/span>t de son <\/span>o<\/span>n<\/span>c<\/span>l<\/span>e q<\/span>ue d\u00e9but<\/span>e <\/span>l<\/span>a <\/span>formati<\/span>o<\/span>n de <\/span>c<\/span>et arti<\/span>s<\/span>t<\/span>e exce<\/span>pti<\/span>o<\/span>nn<\/span>e<\/span>l. Il <\/span>a<\/span>ppr<\/span>e<\/span>nd d<\/span>e <\/span>c<\/span>es<\/span>d\u00e9<\/span>co<\/span>r<\/span>a<\/span>t<\/span>e<\/span>ur<\/span>s e<\/span>t s<\/span>c<\/span>ulpt<\/span>e<\/span>ur<\/span>s s<\/span>ur b<\/span>o<\/span>i<\/span>s, <\/span>d<\/span>e <\/span>t<\/span>a<\/span>l<\/span>e<\/span>nt<\/span>, <\/span>l<\/span>e <\/span>m<\/span>a<\/span>ni<\/span>e<\/span>ment du <\/span>p<\/span>in<\/span>c<\/span>e<\/span>a<\/span>u<\/span> e<\/span>t l<\/span>‘<\/span>ap<\/span>pli<\/span>ca<\/span>tion d<\/span>e <\/span>l<\/span>‘<\/span>o<\/span>r<\/span>. <\/span>Il <\/span>e<\/span>ntr<\/span>e \u00e0 <\/span>qu<\/span>a<\/span>tor<\/span>ze<\/span> a<\/span>n<\/span>s a<\/span>u <\/span>Ca<\/span>bi<\/span>ne<\/span>t d<\/span>e <\/span>de<\/span>ss<\/span>in<\/span>s<\/span>d<\/span>e <\/span>l<\/span>‘<\/span>En<\/span>se<\/span>i<\/span>g<\/span>n<\/span>e<\/span>m<\/span>e<\/span>nt pr<\/span>ofess<\/span>i<\/span>o<\/span>nn<\/span>e<\/span>l. M<\/span>a<\/span>i<\/span>s c’es<\/span>t en <\/span>co<\/span>n<\/span>s<\/span>u<\/span>l<\/span>t<\/span>a<\/span>nt l<\/span>es <\/span>tr<\/span>\u00e9<\/span>sors d<\/span>e <\/span>l<\/span>a <\/span>Biblioth<\/span>\u00e8<\/span>qu<\/span>e <\/span>Nation<\/span>a<\/span>l<\/span>e <\/span>qu<\/span>‘<\/span>il a l<\/span>a <\/span>r<\/span>\u00e9v\u00e9<\/span>l<\/span>a<\/span>t<\/span>io<\/span>n<\/span> d<\/span>e <\/span>l<\/span>a <\/span>miniatur<\/span>e<\/span>p<\/span>e<\/span>r<\/span>sa<\/span>n<\/span>e<\/span>. Il d<\/span>evai< \/span>t<\/span>, <\/span>comm<\/span>e <\/span>n<\/span>o<\/span>u<\/span>s <\/span>l<\/span>e ve<\/span>rr<\/span>o<\/span>n<\/span>s, <\/span>lui donn<\/span>e<\/span>r un sou<\/span>ff<\/span>le<\/span> no<\/span>u<\/span>vea<\/span>u.<\/span><\/span><\/p>\n

Il tr<\/span>o<\/span>u<\/span>ve<\/span>ra <\/span>e<\/span>n Al<\/span>g\u00e9<\/span>r<\/span>ie <\/span>d<\/span>es <\/span>appui<\/span>s <\/span>d<\/span>\u00e9<\/span>t<\/span>e<\/span>r<\/span>minants<\/span>, e<\/span>ntr<\/span>e <\/span>autr<\/span>es <\/span>c<\/span>e<\/span>lui du R<\/span>ec<\/span>t<\/span>e<\/span>ur Ard<\/span>a<\/span>ill<\/span>o<\/span>n<\/span>. <\/span>C’es<\/span>t <\/span>a<\/span>in<\/span>si <\/span>qu<\/span>‘<\/span>il <\/span>se <\/span>trou<\/span>ve asso<\/span>c<\/span>i<\/span>\u00e9<\/span> \u00e0 <\/span>l<\/span>a <\/span>d<\/span>\u00e9c<\/span>or<\/span>a<\/span>tion d<\/span>e <\/span>plu<\/span>s<\/span>i<\/span>e<\/span>ur<\/span>s <\/span>ou<\/span>v<\/span>r<\/span>ages <\/span>d<\/span>o<\/span>nt L<\/span>a vie <\/span>de M<\/span>a<\/span>h<\/span>o<\/span>m<\/span>e<\/span>t<\/span>, <\/span>illustr<\/span>\u00e9e <\/span>p<\/span>a<\/span>r Eti<\/span>e<\/span>nn<\/span>e <\/span>Dinet.<\/span><\/p>\n

Il <\/span>s<\/span>e do<\/span>c<\/span>umente <\/span>a<\/span>upr<\/span>\u00e8s <\/span>d<\/span>‘<\/span>un <\/span>c\u00e9<\/span>l<\/span>\u00e8<\/span>br<\/span>e <\/span>e<\/span>x<\/span>pert <\/span>e<\/span>n <\/span>a<\/span>rt <\/span>i<\/span>r<\/span>a<\/span>nien<\/span>, \u00e0 <\/span>L<\/span>o<\/span>nd<\/span>r<\/span>e<\/span>s<\/span>. Il obti<\/span>e<\/span>nt un<\/span>e <\/span>b<\/span>o<\/span>ur<\/span>se <\/span>du <\/span>Go<\/span>u<\/span>v<\/span>e<\/span>r<\/span>n<\/span>e<\/span>m<\/span>e<\/span>nt <\/span>G\u00e9<\/span>n<\/span>\u00e9ra<\/span>l pour <\/span>\u00e9<\/span>tudi<\/span>e<\/span>r <\/span>e<\/span>n<\/span>Espag<\/span>n<\/span>e, <\/span>n<\/span>o<\/span>tamm<\/span>e<\/span>nt <\/span>\u00e0 <\/span>Cord<\/span>o<\/span>u<\/span>e<\/span>. D<\/span>\u00e9so<\/span>rmai<\/span>s <\/span>l<\/span>es \u00e9<\/span>t<\/span>a<\/span>p<\/span>es <\/span>d<\/span>‘<\/span>un<\/span>e ca<\/span>rri<\/span>\u00e8<\/span>re<\/span> brill<\/span>a<\/span>nt<\/span>e s’a<\/span>nn<\/span>o<\/span>n<\/span>ce<\/span>nt <\/span>avec <\/span>la d<\/span>\u00e9co<\/span>r<\/span>a<\/span>tion d<\/span>es <\/span>Mill<\/span>e e<\/span>t un<\/span>e <\/span>nuit<\/span>s, o<\/span>u<\/span>v<\/span>ra<\/span>ge <\/span>illu<\/span>s<\/span>tr<\/span>\u00e9<\/span> par <\/span>L<\/span>\u00e9on Ca<\/span>rr<\/span>\u00e9 e<\/span>t <\/span>q<\/span>u<\/span>i <\/span>n<\/span>e <\/span>dem<\/span>a<\/span>nd<\/span>e<\/span>r<\/span>a <\/span>pa<\/span>s <\/span>m<\/span>o<\/span>in<\/span>s de <\/span>huit <\/span>a<\/span>n<\/span>n\u00e9es de <\/span>tra<\/span>v<\/span>ail <\/span>… <\/span>Il <\/span>c<\/span>r<\/span>\u00e9e a<\/span>l<\/span>ors so<\/span>n <\/span>p<\/span>r<\/span>o<\/span>pr<\/span>e r\u00e9<\/span>p<\/span>e<\/span>rt<\/span>oi<\/span>r<\/span>e<\/span>, in<\/span>s<\/span>pi<\/span>r\u00e9 <\/span>d<\/span>e<\/span>l<\/span>‘<\/span>Al<\/span>g\u00e9<\/span>ri<\/span>e a<\/span>nci<\/span>e<\/span>nn<\/span>e, <\/span>int<\/span>\u00e9g<\/span>r<\/span>a<\/span>nt d<\/span>a<\/span>n<\/span>s <\/span>un <\/span>s<\/span>t<\/span>y<\/span>l<\/span>e <\/span>p<\/span>e<\/span>r<\/span>so<\/span>nn<\/span>e<\/span>l le<\/span>s <\/span>d<\/span>o<\/span>nn<\/span>\u00e9es <\/span>d<\/span>e <\/span>l<\/span>‘<\/span>art <\/span>occ<\/span>i<\/span>dental.<\/span><\/p>\n

Il <\/span>ava<\/span>it obtenu en <\/span>1924 <\/span>la m<\/span>\u00e9<\/span>d<\/span>a<\/span>ill<\/span>e <\/span>d<\/span>‘<\/span>or d<\/span>e <\/span>l<\/span>a <\/span>S<\/span>oc<\/span>i<\/span>\u00e9<\/span>t\u00e9 d<\/span>es <\/span>P<\/span>e<\/span>intr<\/span>es <\/span>ori<\/span>e<\/span>nt<\/span>a<\/span>– li<\/span>s<\/span>t<\/span>es f<\/span>r<\/span>a<\/span>n<\/span>\u00e7a<\/span>i<\/span>s. <\/span>M<\/span>a<\/span>i<\/span>s, a<\/span>pr<\/span>\u00e8s <\/span>plu<\/span>s<\/span>i<\/span>e<\/span>ur<\/span>s ex<\/span>p<\/span>o<\/span>s<\/span>ition<\/span>s<\/span> re<\/span>m<\/span>a<\/span>rqu<\/span>\u00e9es, c<\/span>‘<\/span>es<\/span>t l<\/span>e G<\/span>r<\/span>a<\/span>nd Pri<\/span>x a<\/span>rtist<\/span>i<\/span>qu<\/span>e <\/span>d<\/span>e <\/span>l’Al<\/span>g\u00e9<\/span>ri<\/span>e <\/span>qui lui <\/span>e<\/span>st d<\/span>\u00e9ce<\/span>rn<\/span>\u00e9 e<\/span>n 1<\/span>933<\/span>. <\/span>N<\/span>o<\/span>mm<\/span>\u00e9 <\/span>pr<\/span>o<\/span>f<\/span>e<\/span>s<\/span>se<\/span>ur <\/span>\u00e0 <\/span>l<\/span>‘Ec<\/span>ole d<\/span>es <\/span>B<\/span>ea<\/span>u<\/span>x<\/span>–<\/span>a<\/span>rt<\/span>s <\/span>d<\/span>‘<\/span>Al<\/span>ge<\/span>r l<\/span>‘a<\/span>nn<\/span>\u00e9e s<\/span>ui<\/span>va<\/span>nt<\/span>e,<\/span>il disp<\/span>e<\/span>n<\/span>se <\/span>un <\/span>e<\/span>n<\/span>s<\/span>ei<\/span>g<\/span>n<\/span>e<\/span>m<\/span>e<\/span>nt qui influ<\/span>e<\/span>n<\/span>ce<\/span>r<\/span>a <\/span>de nombr<\/span>e<\/span>u<\/span>x \u00e9<\/span>l<\/span>\u00e8<\/span>v<\/span>es, <\/span>f<\/span>ra<\/span>n<\/span>\u00e7a<\/span>i<\/span>s e<\/span>t alg<\/span>\u00e9<\/span>ri<\/span>e<\/span>n<\/span>s. <\/span>Une <\/span>s\u00e9<\/span>l<\/span>ec<\/span>ti<\/span>o<\/span>n de ses \u0153<\/span>u<\/span>vre<\/span>s<\/span> est pr<\/span>\u00e9<\/span>sent<\/span>\u00e9e a<\/span>u Pa<\/span>v<\/span>ill<\/span>o<\/span>n d<\/span>e <\/span>l<\/span>‘<\/span>Al<\/span>g\u00e9<\/span>ri<\/span>e e<\/span>n 19<\/span>37<\/span>. Il tr<\/span>a<\/span>v<\/span>aill<\/span>a<\/span>it<\/span> e<\/span>n <\/span>\u00e9<\/span>tr<\/span>o<\/span>ite <\/span>sy<\/span>mbi<\/span>ose ave<\/span>c <\/span>s<\/span>on fr<\/span>\u00e8<\/span>r<\/span>e <\/span>Om<\/span>a<\/span>r<\/span>, <\/span>lui<\/span>–<\/span>m<\/span>\u00ea<\/span>m<\/span>e <\/span>pr<\/span>o<\/span>f<\/span>esse<\/span>ur d<\/span>e <\/span>c<\/span>a<\/span>lli<\/span>gra<\/span>ph<\/span>i<\/span>e<\/span> e<\/span>t d<\/span>‘<\/span>e<\/span>nluminur<\/span>e.<\/span><\/p>\n

Georges Mar\u00e7ais (1876-1962) l’\u00e9minent universitaire arabisant, enseignant \u00e0 la Facult\u00e9 des Lettres d’Alger et sp\u00e9cialiste de l’art musulman, a publi\u00e9 en 1960 (\u00e9dition Arts et M\u00e9tiers graphiques – Paris) un superbe recueil La vie musulmane d’hier vue par Mohammed Racim. C’est de cet ouvrage que nous extrayons les commentaires suivants, ainsi que, succinctement, les notes accompagnant quelques-unes des illustrations.<\/span><\/p>\n

Georges Mar\u00e7ais pr\u00e9cise bien la diff\u00e9rence entre enluminure, \u00e9troitement li\u00e9e au Coran et \u00e0 l’encadrement des sourates du Livre Saint, et miniature. Celle-ci appara\u00eet plusieurs si\u00e8cles apr\u00e8s l’enluminure. Son origine est obscure et remonterait \u00e0 l’art hell\u00e9nistique. Au Moyen- Orient, \u00e0 une production artistique dite Ecole de Bagdad, vont succ\u00e9der en Perse des peintures f\u00e9cond\u00e9es par l’art mongol. Autrement dit la miniature persane laisse d<\/span>e<\/span>viner l’influence de l’art chinois.<\/span><\/p>\n

Mais, au contraire du peintre chinois, le miniaturiste persan se soucie peu des \u00e9l\u00e9ments naturels. Son monde est \u00e9l\u00e9gant mais irr\u00e9el, les visages fig\u00e9s ne refl\u00e8tent aucun sentiment et la perspective est d\u00e9concertante, ce qui produit une \u0153uvre d\u00e9corative \u00e0 la mani\u00e8re d’un tapis ou d’un vitrail. C’est au d\u00e9but du XVIe si\u00e8cle que se situe l’\u00e2ge d’or de la miniature persane avec les foyers d’art de Herat et de Tabriz. Ces productions font la gloire des collections priv\u00e9es et publiques et ce sont celles-l\u00e0 que Racim vient \u00e9tudier \u00e0 Paris<\/span>. <\/span>Le fabuleux <\/span>\u00a0\u00bb <\/span>m\u00e9tier\u00a0\u00bb de Racim, h\u00e9rit\u00e9 des artistes de sa famille va lui permettre, tout en approchant l’excellence des \u0153uvres de la Perse m\u00e9di\u00e9vale, de prouver qu’en tant que miniaturiste il est de son temps et de son pays.<\/span><\/p>\n

Il va donc produire un art tout \u00e0 fait r\u00e9nov\u00e9 o\u00f9 les lois de la perspective, ignor\u00e9es jusqu’alors, vont faire une entr\u00e9e discr\u00e8te et in\u00e9dite<\/span>.<\/span>Tout autant on pourra remarquer de l\u00e9gers model\u00e9s sur la figure humaine et la repr\u00e9sentation des heures de la journ\u00e9e, jusque-l\u00e0 absente de l’art persan. Racim se trouve par cela m\u00eame plus proche des Indopersans qui ont int\u00e9gr\u00e9 eux aussi les apports de l’Occident.<\/span><\/p>\n

Georges Mar\u00e7ais dit que, pour notre bonheur, Mohammed Racim a cherch\u00e9 ses sources d’inspiration dans un monde que nous connaissons bien, celui de la cit\u00e9 des corsaires et des collines ondul\u00e9es du Sahel. Si les sc\u00e8nes qu’il compose sont emprunt\u00e9es \u00e0 l’\u00e9poque de la Course, ce sont aussi les f\u00eates et les r\u00e9unions intimes de l’Alg\u00e9rie que nous connaissons et dont il restitue tout le charme.<\/span><\/p>\n

Au d\u00e9tour des pages de ce merveilleux album nous admirons entre autres:<\/span><\/p>\n

BARBEROUSSE<\/strong>: Mohammed Racim dresse ici la m\u00e2le effigie de Khair ed-dine qui rattacha la cit\u00e9 des corsaires \u00e0 la Porte ottomane. C’est une figure de lutteur et de ma\u00eetre, qui sait, au besoin par la terreur, imposer sa volont\u00e9 souveraine.<\/p>\n

\"\"<\/p>\n

\u00a0Gal\u00e8re devant Alger<\/p>\n

GALERE DEVANT ALGER<\/strong>: Georges Mar\u00e7ais nous fait remarquer, bien s\u00fbr, Alger avec ses remparts, les villas blanches qui ponctuent les croupes, mais surtout le soleil qui vient de dispara\u00eetre, sa lumi\u00e8re qui caresse les nuages et \u00e9claire <\/span>la cr\u00eate des mille petites vagues qui dan- sent autour de la gal\u00e8re.<\/p>\n

\"\"<\/p>\n

Sc\u00e8ne de chasse<\/p>\n

SCENES DE CHASSE:<\/strong> C’est une vue panoramique de la campagne nord-africaine, depuis le pays voisin de la mer, o\u00f9 les torrents bondissent sur les rocs et o\u00f9 les fleurs \u00e9gaient la prairie, jusqu’aux confins du d\u00e9sert, o\u00f9 les montagnes d\u00e9nud\u00e9es barrent 1’horizon et o\u00f9 les palmiers \u00e9l\u00e8vent leur panache dans le ciel sans nuage. On remarquera, avec le commentateur admiratif, les trois plans dramatiques o\u00f9 se joue la lutte entre l’homme et les b\u00eates.<\/span><\/p>\n

\"\"<\/p>\n

Nuit de Ramadan<\/b><\/p>\n

NUIT DE RAMADHAN<\/strong> : La lune de Rhamadhan brille sur la baie d’Alger<\/span>. <\/span>La tra\u00een\u00e9e d’or de sa lumi\u00e8re s’\u00e9tend sur la mer calme ; elle inonde de blancheurs les terrasses, les minarets et les coupoles, mettant une s\u00e9r\u00e9nit\u00e9 au dessus des agitations de la ville … Tout un monde \u00e9veill\u00e9 est peint par Racim : boutiquiers, femmes, hommes, enfants, notables, religieux, juxtapos\u00e9s pour notre plus grand bonheur.<\/span><\/p>\n

AU LENDEMAIN DU MARIAGE<\/strong> :<\/span><\/p>\n

Ici, nous avons une impression de hi\u00e9ratisme et de rigoureuse sym\u00e9trie, signifiant le rite traditionnel. Mais Racim lui oppose la vie intense des parentes et amies de l’\u00e9pous\u00e9e, venues lui t\u00e9moigner sympathie et admiration, ce qui ne va pas sans une secr\u00e8te envie … Les costumes et les \u00e9toffes sont somptueux, musiciennes et richesse des plateaux de friandises n’alt\u00e8rent pas la gravit\u00e9 de la r\u00e9ception.<\/span><\/p>\n

DANSEUSES ORIENTALES :<\/span><\/strong><\/p>\n

Georges Mar\u00e7ais s’interroge sur le pays d’origine de ces alm\u00e9es. Viennent-elles de l’Andalousie ou du Levant ? L’artiste, qui n’avait en vue que son plaisir et le n\u00f4tre et se laissait guider par sa seule fantaisie a, sans le vouloir, exprim\u00e9 l’unit\u00e9 de la civilisation orientale, qui s’\u00e9tendit avec l’Islam, du Golfe du Bengale aux Pyr\u00e9n\u00e9es.<\/span><\/p>\n

\"\"<\/p>\n

Jardin d’Alger (d\u00e9tail)<\/b><\/p>\n

JARDIN D’ALGER : Mohammed Racim nous propose une architecture imaginaire d’un jardin d’Islam. L’all\u00e9e centrale est coup\u00e9e par des escaliers de marbre qui am\u00e8nent \u00e0 une vasque<\/span>. <\/span>On remarquera les platanes, les orangers, les arbustes fleuris et le palmier. Les jeunes filles sont bavardes, rieuses ou pensives. Georges Mar\u00e7ais souligne l’impression de s\u00e9r\u00e9nit\u00e9 et d’harmonie de cette riche composition qui \u00e9voque la familiarit\u00e9 du Paradis terrestre.<\/span><\/p>\n

Anne-Marie Briat<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

(n\u00e9 le 24 juin 1896 \u00e0 la Casbah d’Alger, mort assassin\u00e9 le 30 mars 1975) C‘est \u00e0 la Casbah d’Alger, dans l’atelier de son p\u00e8re et de son oncle que d\u00e9bute la formation de cet artiste exceptionnel. Il apprend de cesd\u00e9corateurs et sculpteurs sur bois, de talent, le maniement du pinceau et l‘application de l‘or. […]<\/p>\n","protected":false},"author":1,"featured_media":14938,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[17],"tags":[],"class_list":{"0":"post-3320","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art"},"_links":{"self":[{"href":"https:\/\/algerienetwork.com\/culture\/wp-json\/wp\/v2\/posts\/3320","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/algerienetwork.com\/culture\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/algerienetwork.com\/culture\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/algerienetwork.com\/culture\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/algerienetwork.com\/culture\/wp-json\/wp\/v2\/comments?post=3320"}],"version-history":[{"count":0,"href":"https:\/\/algerienetwork.com\/culture\/wp-json\/wp\/v2\/posts\/3320\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/algerienetwork.com\/culture\/wp-json\/"}],"wp:attachment":[{"href":"https:\/\/algerienetwork.com\/culture\/wp-json\/wp\/v2\/media?parent=3320"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/algerienetwork.com\/culture\/wp-json\/wp\/v2\/categories?post=3320"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/algerienetwork.com\/culture\/wp-json\/wp\/v2\/tags?post=3320"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}