{"id":"casablanca-art-school","no":628,"name":"Casablanca Art School","ja":"カサブランカ美術学校","era":"1962–1970s","family":"近現代美術運動","kind":"スタイル","essence":"独立後のモロッコで、学校教育と展覧会を植民地型の美術制度から解放し、抽象絵画をアマジグの織物、宝飾、書、彩色天井、公共壁画へ接続した運動。絵を額縁の内側に閉じず、ポスター、雑誌、街頭展示へ広げた。","cues":["平坦な色面と輪郭で組む幾何学的・有機的な抽象","アマジグの絨毯、宝飾、記号から学ぶ反復と対称","強い赤、橙、青、緑を土色や白地へ配置","絵画、ポスター、雑誌、屋外壁画を同じ視覚言語で横断"],"intents":["反骨","高揚","親密"],"sourceTitle":"Sharjah Art Foundation — Casablanca Art School: Platforms and Patterns for a Postcolonial Avant-Garde","sourceUrl":"https://www.sharjahart.org/en/press/details/sharjah-art-foundation-presents-the-landmark-exhibition-casablanca-art-scho","pair":["modernism","africobra"],"study":["Farid Belkahia, Mohammed Chabâa and Mohamed Melehi","post-independence art education in Morocco","Souffles, Presence Plastique and public murals"],"works":["文化施設や教育企画を、展示室だけでなくポスター、出版、街路まで一つの視覚言語で開くとき","地域の工芸を装飾引用にせず、近代的な色面と反復の原理へ翻訳する作品"],"recipe":{"type":"短い見出しを明快なサンセリフで組み、アラビア語とラテン文字を上下関係なく同じ構成単位として扱う。","layout":"大きな色面を波、山形、円、帯へ分け、壁面や紙面の端まで連続させる。小さな額縁風の囲いを避ける。","material":"マットな顔料、木、革、織物、印刷を媒体ごとに使い分け、工芸の出所と作者を記録する。"},"avoid":"モロッコの文様を西欧美術の背景へ貼る運動ではない。教育、公共空間、出版、工芸の再評価を含む脱植民地的な実践として扱う。","colors":["#D94A2D","#E3B33C","#236A78"],"motif":"abstract","collection":"Dictionary expansion 34","addedAt":"2026-08-23","source":{"title":"Sharjah Art Foundation — Casablanca Art School: Platforms and Patterns for a Postcolonial Avant-Garde","url":"https://www.sharjahart.org/en/press/details/sharjah-art-foundation-presents-the-landmark-exhibition-casablanca-art-scho"},"reference":{"status":"verified","pageUrl":"https://www.sharjahart.org/en/press/details/sharjah-art-foundation-presents-the-landmark-exhibition-casablanca-art-scho","credit":"Sharjah Art Foundation — Casablanca Art School: Platforms and Patterns for a Postcolonial Avant-Garde"},"en":{"essence":"In post-independence Morocco, the Casablanca Art School challenged colonial art education by connecting abstraction to Amazigh rugs, jewelry, calligraphy and painted ceilings, then carrying the same language beyond framed painting into posters, magazines, street exhibitions and murals.","cues":["Geometric and organic abstraction built from flat color and contour","Repetition and symmetry learned from Amazigh rugs, jewelry and signs","Strong red, orange, blue and green on earth color or white","One language crossing painting, poster, magazine and outdoor mural"],"works":["Opening a cultural or educational program from gallery into poster, publication and street through one language","Translating regional craft into principles of modern color and repetition instead of pasting it on as ornament"],"recipe":{"type":"Set short headings in a clear sans and treat Arabic and Latin scripts as equal compositional units.","layout":"Divide large fields into waves, chevrons, circles and bands that continue to the edge of page or wall. Avoid small framed-picture enclosures.","material":"Use matte pigment, wood, leather, textile and print according to their medium, documenting craft source and maker."},"avoid":"This was not Moroccan pattern pasted behind Western modern art. Treat education, public space, publishing and the revaluation of craft as part of its decolonial practice.","study":["Farid Belkahia, Mohammed Chabâa and Mohamed Melehi","Post-independence art education in Morocco","Souffles, Presence Plastique and public murals"]},"usage":{"license":"CC-BY-4.0","licenseName":"Creative Commons Attribution 4.0 International","licenseUrl":"https://creativecommons.org/licenses/by/4.0/","attribution":"IndexStyle — https://indexstyle.org","attributionUrl":"https://indexstyle.org","scope":"Original IndexStyle text and structured data. Reference images, quoted works, and third-party material are excluded and retain their own rights."}}