{"id":"khartoum-school","no":629,"name":"Khartoum School","ja":"ハルツーム派","era":"1960s–1970s","family":"近現代美術運動","kind":"スタイル","essence":"独立後のスーダンで、アフリカ、イスラム、アラブ、西洋の参照を一つの国民的または越境的な近代美術へ組み直そうとした、流動的で論争的な運動。アラビア書のリズム、単純化した人物や動物、地域の工芸と物語を抽象へ接続した。","cues":["アラビア文字が人物、動物、抽象形へ変わる輪郭","細長い身体と仮面状の顔を反復する人物群","墨色、土色、青、白を使う広い余白と線","地域の工芸・物語と近代絵画の構成を同一画面へ置く"],"intents":["静けさ","反骨","信頼"],"sourceTitle":"Sharjah Art Foundation — The Khartoum School: The Making of the Modern Art Movement in Sudan","sourceUrl":"https://www.sharjahart.org/en/press/details/ruler-of-sharjah-opens-three-major-exhibitions-of-sudanese-art-at-the-sharj","pair":["hurufiyya","nsukka-group"],"study":["Ibrahim El-Salahi, Ahmed Shibrain and Kamala Ishaq","Sudanese modernism after independence","Arabic calligraphic rhythm, African forms and contested identity"],"works":["複数の文化的帰属を一つの記号へ固定せず、線と人物像の変形として扱う展示や編集","書、物語、工芸、近代絵画を、独立後の社会と結びつけて読み直す作品"],"recipe":{"type":"アラビア文字を使う場合は語と書き手を確認し、線が人物や動物へ変わる接続を途中で見せる。","layout":"広い余白へ細長い形を群として置き、線の反復が文字、身体、地平のどれにも読める曖昧さを保つ。","material":"墨、土色顔料、紙、布の吸い込みを残し、輪郭を均一なベクター線へ清書しすぎない。"},"avoid":"一枚岩の様式でも単一の国民アイデンティティでもない。参加作家の差と運動名をめぐる論争を消し、『アフリカ風書道』として一般化しない。","colors":["#E5DCC7","#242522","#356C78"],"motif":"calligraphy","collection":"Dictionary expansion 34","addedAt":"2026-08-23","source":{"title":"Sharjah Art Foundation — The Khartoum School: The Making of the Modern Art Movement in Sudan","url":"https://www.sharjahart.org/en/press/details/ruler-of-sharjah-opens-three-major-exhibitions-of-sudanese-art-at-the-sharj"},"reference":{"status":"verified","pageUrl":"https://www.sharjahart.org/en/press/details/ruler-of-sharjah-opens-three-major-exhibitions-of-sudanese-art-at-the-sharj","credit":"Sharjah Art Foundation — The Khartoum School: The Making of the Modern Art Movement in Sudan"},"en":{"essence":"In post-independence Sudan, the fluid and contested Khartoum School recombined African, Islamic, Arab and Western references within modern art. Arabic calligraphic rhythm, simplified people and animals, local craft and narrative moved into abstraction.","cues":["Arabic writing transforming into human, animal and abstract contours","Groups of elongated bodies and mask-like faces","Wide space and line in ink, earth color, blue and white","Local craft and story sharing a field with modern painting"],"works":["Treating several cultural belongings as transformations of line and figure rather than one fixed emblem","Rereading writing, story, craft and modern painting in relation to post-independence society"],"recipe":{"type":"When using Arabic, verify word and writer and leave the transition from text to person or animal visible.","layout":"Place elongated forms in groups across broad space, keeping repeated line ambiguous among writing, body and horizon.","material":"Keep the absorption of ink, earth pigment, paper and cloth and resist cleaning every edge into a uniform vector line."},"avoid":"It was neither a monolithic look nor one uncontested national identity. Preserve differences among artists and debates around the name instead of generalizing it as African calligraphy.","study":["Ibrahim El-Salahi, Ahmed Shibrain and Kamala Ishaq","Sudanese modernism after independence","Arabic calligraphic rhythm, African forms and contested identity"]},"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."}}