Written by MARIA LUNDERSKOV

Born in Tanta, a city in Egypt, in 1932, Ahmed Abdel Wahab was a sculptor and illustrator, whose work was deeply rooted in Egyptian identity, fusing ancient Egyptian art and folklore traditions with a modern nationalistic ideology. The artist showed interest in sculptural practice from a young age. He used to visit the Egyptian Art Library in Tanta where he admired and studied the museum’s sculptural collection^[1].

Following his graduation from the Faculty of Fine Arts in Cairo, in 1957, Abdel Wahab received a scholarship to study at Atelier of Luxor^[2], an artist residency established by the influential artist Mohammed Naghi in 1941 to encourage the study of ancient Egyptian art^[3]. In Luxor Abdel Wahab immersed himself in the grandiosity and majesty of ancient Egyptian ruins leading to a profound exploration of history and a reconnection with ancestors – a study that greatly impacted his artistic career^[4].

Abdel Wahab was granted several scholarships that improved his visual art savvy and his sculpting skills. In 1958, he received a scholarship to study ceramic art overseas in the former Czechoslovakia, where he conducted experiments with ceramics^[5]. In 1959, he became a member of the General Company for Ceramic and Porcelain Products^[6] in Motored, Egypt, where he acquired knowledge on the techniques of gypsum preparation, mud firing pottery, and ceramic glazing methods^[7]. Additionally, based on another scholarship, Abdel Wahab continued his work in 1962 at an atelier under the guidance of artist Hamed Saeed^[8].

In 1968, he travelled to Italy to study sculpting at the Academy of Fine Arts in Rome^[9]. Eventually in 1970, Abdel Wahab earned a Diploma in Medal art^[10]. During his stay, in Rome, he explored Western art; he learned the importance of enriching sculpture with different textures from Michelangelo’s artworks. Moreover, the encounter with the contemporary artist Emilio Greco pushed him to dig further in exploring the properties of sculptural mass^[11]. From 1979 to 1988, he served as a Professor and Head of the Sculpture department at the Faculty of Fine Arts in Alexandria, and from 1990 to 1992 he was the deputy of the same faculty^[12].

During his time in Luxor, in the late 1950s, Abdel Wahab experimented with materials and forms intertwining elements from Ancient Egypt with folkloric imagery. The material became a medium to connect with the past and convey a collective identity^[13]. Rather than imitating Egyptian sculptures, the artist attempted to connect and transmit the essence of the art practice through the modelling of the material. Thus, he recalled the sculptural practice of ancient Egypt by studying and respecting the nature and properties of the materials he used in order to extract maximum energy from them^[14].

He often participated in the annual festival held in Tanta, Egypt, on the occasion of the mawlid^[15] of one of the most popular Sufi saints in Egypt: El-Sayed el-Badawy. During these festivities, the artist explored the craft markets and began working with various materials like wood, metal, and limestone, leading to the creation of his very first sculptures^[16]. Influenced by the folk legends and songs of the fellahin (peasants) exchanged during the mawlid, he became attached to pottery and its decoration which emerge in his sculptures^[17]. Thus, he combined traits of faces in Ancient Egyptian art with folklore decorations. A recurrent subject in his work is the female face with wide kohl-lined eyes and meticulously decorated hair. An example is the colored pottery, The two sisters, 1956, which portrays two female faces with wide open oval eyes, marked eyebrows and decorated necks with wavy lines and dots^[18].

Abdel Wahab developed a simple geometric style, harmoniously blending organic and geometric elements within innovative spatial relationships^[19]. He was fascinated by complex scientific mysteries, such as the construction of pyramids and the erection of obelisks^[20]. By pushing the material beyond its inherent properties, Abdel Wahab transforms the mass into dynamic geometric forms, offering a fresh perspective to the viewer and minimizing details to highlight the mass itself^[21]. An example is the bronze sculpture The obelisk, N. D^[22], which represents a human figure with an undefined face and a cape composed of triangular shapes producing a sense of movement. Furthermore, the figure carries an obelisk on the head. The diagonal position of the body in contrast to the vertical position of the obelisk describes the effort of trying to keep the object in balance. This study of space and the creation of sculptures were accompanied by drawings in which Abdel Wahab depicted human figures or statues of humans framed in geometric landscapes^[23].

From the early 1960s, Abdel Wahab constantly researched what it was to truly dig into the ancient Egyptian art practice and aesthetic with reference to the present. His art was most likely driven by an aspiration to the modernization of Egypt and a nationalistic sentiment, both dominating art in Modern Egypt.

Thus, Abdel Wahab created sculptures that aimed to express the strength and power of the Egyptian folk and culture. He produced sculptures representing animals considered prestigious in ancient Egypt, like the bull and the horse which symbolized royal power. He also modelled Egyptian faces by following the aesthetic introduced by the Pharaoh Akhenaten into royal sculptural practice in the Amarna period^[24]. The statues of Akhenaten differ greatly from the royal sculptures prior to it. The adoption of Akhenaten’s facial features in the artist’s sculptures serves as the ideal Egyptian face. An example is the sculpture The Key of Life, 2001, measuring 177x36.5x43cm, part of the Ramzi and Saeda Dalloul Art Foundation’s (DAF) collection and is displayed at the entrance of the foundation’s building premises in Beirut. This standing female figure shows a long and thin neck, which recalls the statues of Akhenaten. The face also follows the cannons of the Amarna period^[25] – the features included an elongated face with a pointed chin, high cheekbones, a long nose, and thick lips that protrude nearly as far forward as the nose^[26].

Furthermore, Abdel Wahab focused extensively on the visual treatment of the head and hairstyles in in his sculptures. This can be seen in The Key of Life statue, where there are rectangular protuberances on both sides of the head, possibly alluding to a specific Egyptian hairstyle^[27]. The head loads varied, incorporating architectural forms, books, geometric shapes, and decorative strips. By withdrawing from Egyptian imagery, he drew the howdah^[28] on the heads of female figures, and shaped head coverings to resemble Arab tents^[29]. Similarly, hand gestures often carry a symbolic message in Abdel Wahab’s work. The Key of Life shows an open palm held up facing the viewer, demanding silence, urging the viewer to listen, or drawing attention to what is coming^[30]. The other hand holds a tool that resembles a key – a stick with three bars positioned perpendicular to it and a half-circle on top.

While The Key of Life refers to Akhenaten’s cultural reform in Ancient Egypt, and functions as a model of contemporary aesthetic, the statue of Taha Hussain, N.D., 240x85x180cm, celebrates Hussain’s (1889-1973) contribution to the modernization of Egypt. Hussain was among the most influential 20^th century writers and intellectuals in Egypt. He was Minister of Education from 1950-1952, and dedicated his life to reforming the educational system in Egypt. He believed that education should be achieved equally between all Egyptians because it is the only way to freedom, independence, and democracy^[31]. The first copy of the statue was made in resin and can be seen at the University of Alexandria. In 2014, Dr. Ramzi Dalloul, father of Dr. Basel Dalloul, the founder of DAF, commissioned a copy in copper. It is now located at the entrance of the foundation’s premises in Beirut. The statue portrays Hussain sitting on a stool, wearing glasses that conceal his eyes, indicating his state of blindness. Like The Key of Life, the figure of Hussain holds up an open palm facing the viewer, while its other hand rests on a scroll of paper symbolizing the importance of education. Unlike most of Abdel Wahab's work, this statue is a portrait of a specific person and shows a significant amount of detail to make the person recognizable, contrasting with his earlier more vaguely detailed, idealized sculptures of the Egyptian folk.

Throughout his career, Abdel Wahab has consistently led an in-depth study of Egyptian cultural heritage in order to establish a connection with his ancestors and learn from ancient constructions that challenged spatial and physical relations. His meticulous study of materials and techniques led Abdel Wahab to create pieces that not only honored Egypt's past but also addressed its contemporary folkloric traditions, glorifying Egyptian culture and identity. Furthermore, he engaged with a nationalistic sentiment and vividly supported the modernization of Egypt, making his contributions significant in the history of modern Egyptian art. By modelling sculptures that celebrate figures who led cultural reforms in Egypt, both in the ancient era and in modern time, he highlighted the strength and power of the Egyptian folk. Abdel Wahab passed away in March 2021, at the age of 89 years old^[32].

Edited by Wafa Roz & Elsie Labban

Literature

Christie’s. “Ahmed Abdel Wahab (Egyptian, b1932), Key of Life.” Accessed May 25, 2024. www.christies.com

داليا عاصم, “الفنان المصري أحمد عبد الوهاب: الفن يسمو بي إلى السماء” ,الشرق الأوسط, الاحد 11 ربيع الثانى 1431 ه 28 مارس 2010 العدد 11443 www.archive.aawsat.com

El-Labban, Ehab. Ahmed Abdel Wahab. (Fine Arts Sector Ministry of Culture, First Edition, 2018)

Galal, Abdel Fattah. “TAHA HUSSEIN (1889-1973).” Prospects: the quarterly review of comparative education (Paris, UNESCO: International Bureau of Education), vol. XXIII, no. 3/4, 1993, p. 687-710

Lloyd, Alan B. A companion to Ancient Egypt,Volume 1 (Blackwell Publishing, 2010)

Radwan, Nadia. “Between Diana and Isis: Egypt’s “Renaissance” and the Neo-Pharaonic Style (1920s‒1930s).” In Dialogues artistiques avec les passés de l’Égypte. Paris: Publications de l’Institut national d’histoire de l’art, 2017.

Sector of Fine Arts. “Curriculum Vitae: Ahmed Abdel Wahab Mohamed Aly.” Accessed May 15, 2024. https://www.fineart.gov.eg/Eng/CV/cv.asp?ids=650

Sources:

داليا عاصم, “الفنان المصري أحمد عبد الوهاب: الفن يسمو بي إلى السماء” ,الشرق الأوسط, الاحد 11 ربيع الثانى 1431 ه 28 مارس 2010 العدد 11443 www.archive.aawsat.com ^[1]

^[2] “Curriculum Vitae: Ahmed Abdel Wahab Mohamed Aly,” Sector of Fine Arts, Accessed May 15, 2024, www.fineart.gov.eg/Eng/CV

^[3] Nadia Radwan, “Between Diana and Isis: Egypt’s “Renaissance” and the Neo-Pharaonic Style (1920s‒1930s),” in Dialogues artistiques avec les passés de l’Égypte (Paris: Publications de l’Institut national d’histoire de l’art, 2017)

^[4] Ehab El-Labban, Ahmed Abdel Wahab, (Fine Arts Sector Ministry of Culture, First Edition, 2018), 143

^[5] “Ahmed Abdel Wahab (Egyptian, b1932), Key of Life,” Christie’s, Accessed May 25, 2024, www.christies.com

^[6] “Curriculum Vitae: Ahmed Abdel Wahab Mohamed Aly,” Sector of Fine Arts, Accessed May 15, 2024, www.fineart.gov.eg/Eng/CV

^[7] “Ahmed Abdel Wahab (Egyptian, b1932), Key of Life,” Christie’s, Accessed May 25, 2024, www.christies.com/en/lot

^[8] “Ahmed Abdel Wahab (Egyptian, b1932), Key of Life,” Christie’s, Accessed May 25, 2024, www.christies.com/en/lot

^[9] “Curriculum Vitae: Ahmed Abdel Wahab Mohamed Aly,” Sector of Fine Arts, Accessed May 15, 2024, www.fineart.gov.eg

^[10] “Curriculum Vitae: Ahmed Abdel Wahab Mohamed Aly,” Sector of Fine Arts, Accessed May 15, 2024, www.fineart.gov.eg/Eng/CV

داليا عاصم, “الفنان المصري أحمد عبد الوهاب: الفن يسمو بي إلى السماء” ,الشرق الأوسط, الاحد 11 ربيع الثانى 1431 ه 28 مارس 2010 العدد 11443 www.archive.aawsat.com ^[11]

^[12] “Curriculum Vitae: Ahmed Abdel Wahab Mohamed Aly,” Sector of Fine Arts, Accessed May 15, 2024, https://www.fineart.gov.eg/Eng

^[13] Ehab El-Labban, Ahmed Abdel Wahab, (Fine Arts Sector Ministry of Culture, First Edition, 2018), 141

داليا عاصم, “الفنان المصري أحمد عبد الوهاب: الفن يسمو بي إلى السماء” ,الشرق الأوسط, الاحد 11 ربيع الثانى 1431 ه 28 مارس 2010 العدد 11443 www.archive.aawsat.com ^[14]

^[15] birthday of a holy figure

^[16] “Ahmed Abdel Wahab (Egyptian, b1932), Key of Life,” Christie’s, accessed May 25, 2024, www.christies.com/en/lot

داليا عاصم, “الفنان المصري أحمد عبد الوهاب: الفن يسمو بي إلى السماء” ,الشرق الأوسط, الاحد 11 ربيع الثانى 1431 ه 28 مارس 2010 العدد 11443 www.archive.aawsat.com^[17]

^[18] Ehab El-Labban, Ahmed Abdel Wahab, (Fine Arts Sector Ministry of Culture, First Edition, 2018), 141

داليا عاصم, “الفنان المصري أحمد عبد الوهاب: الفن يسمو بي إلى السماء” ,الشرق الأوسط, الاحد 11 ربيع الثانى 1431 ه 28 مارس 2010 العدد 11443 www.archive.aawsat.com^[19]

^[20] Ehab El-Labban, Ahmed Abdel Wahab, (Fine Arts Sector Ministry of Culture, First Edition, 2018), 144

^[21] Ehab El-Labban, Ahmed Abdel Wahab, (Fine Arts Sector Ministry of Culture, First Edition, 2018), 155

^[22] Ehab El-Labban, Ahmed Abdel Wahab, (Fine Arts Sector Ministry of Culture, First Edition, 2018), 40

^[23] many example in Ehab El-Labban, Ahmed Abdel Wahab, (Fine Arts Sector Ministry of Culture, First Edition, 2018)

^[24] Alan B.Lloyd, A companion to Ancient Egypt,Volume 1 (Blackwell Publishing, 2010), 1006

[25] Amarna Period. Amarna 3D. Accessed July 13, 2024. www.amarna3d.com 

^[26] Alan B.Lloyd, A companion to Ancient Egypt,Volume 1 (Blackwell Publishing, 2010), 1006

^[27] For reference look at Egyptian face in Ehab El-Labban, Ahmed Abdel Wahab, (Fine Arts Sector Ministry of Culture, First Edition, 2018), 54

^[28] A ornate carriage positioned on the back of an elephant or camel

^[29] Ehab El-Labban, Ahmed Abdel Wahab, (Fine Arts Sector Ministry of Culture, First Edition, 2018), 132

^[30] Ehab El-Labban, Ahmed Abdel Wahab, (Fine Arts Sector Ministry of Culture, First Edition, 2018), 135

^[31] Abdel Fattah Galal, “TAHA HUSSEIN (1889-1973),” Prospects: the quarterly review of comparative education (Paris, UNESCO: International Bureau of Education), vol. XXIII, no. 3/4, 1993, p. 687-710

^[32] “Curriculum Vitae: Ahmed Abdel Wahab Mohamed Aly,” Sector of Fine Arts, Accessed May 15, 2024, www.fineart.gov.eg/Eng/CV