Shany Dvora ᱨᱮᱱᱟᱜ Shany Abdallah Naji Primary Function: ᱨᱮᱠᱟ ᱠᱟᱞᱟ ᱥᱮᱨᱮᱡᱽ ᱫᱚ ᱜᱨᱟᱯᱷᱤᱠᱥ, ᱪᱤᱛᱨᱟᱝᱠᱚᱱ ᱟᱨ ᱫᱤᱥᱚᱢ ᱡᱚᱦᱟᱨ ᱰᱤᱡᱟᱭᱤᱱ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱵᱷᱟᱜ ᱨᱮ 2021 A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱨᱮᱱᱟᱜ ᱟᱹᱰᱤ ᱢᱟᱱ ᱟᱠᱟᱱ ᱡᱤᱛᱠᱟᱨ ᱠᱟᱱᱟ᱾
ᱨᱩᱯᱟᱜᱨᱟᱯᱷᱤᱠ· 2021
Shany Abdallah Naji Primary Function: ᱨᱮᱠᱟ ᱠᱟᱞᱟ ᱥᱮᱨᱮᱡᱽ
Shany Dvora ᱞᱮᱠᱟᱛᱮ
ᱜᱨᱟᱯᱷᱤᱠ ᱵᱷᱟᱜ ᱨᱮ A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱡᱤᱛᱠᱟᱨ
ᱡᱟᱸᱪ ᱟᱠᱟᱱ ᱮᱣᱟᱨᱰ ᱡᱤᱛᱠᱟᱨ
#121320 ᱞᱟᱜᱤᱫ ᱮᱣᱟᱨᱰ ᱦᱟᱞᱚᱛ ᱡᱟᱸᱪᱰᱤᱡᱟᱭᱤᱱ
Shany Abdallah Naji Primary Function: ᱨᱮᱠᱟ ᱠᱟᱞᱟ ᱥᱮᱨᱮᱡᱽ ᱵᱟᱵᱚᱛ ᱛᱮ
ᱥᱟᱱᱤ ᱟᱵᱫᱟᱞᱟᱦ ᱱᱟᱡᱤ ᱫᱚ ᱨᱮᱠᱟ ᱠᱟᱢᱤ ᱠᱚᱣᱟᱜ ᱢᱤᱫᱴᱟ�13ᱴ ᱥᱮᱨᱮᱡᱽ ᱠᱟᱱᱟ ᱡᱟᱦᱟᱸ ᱫᱚ ᱢᱤᱫᱴᱟᱸ ᱚᱲᱟᱜ ᱧᱩᱛᱩᱢ ᱫᱚᱦᱚ ᱨᱮᱭᱟᱜ ᱟᱨᱠᱟᱛ ᱡᱤᱭᱚᱬᱚᱜ ᱠᱟᱛᱮᱫᱟ। ᱱᱚᱶᱟ ᱟᱨᱠᱟᱛ ᱫᱚ ᱡᱚᱠᱷᱚᱱ ᱚᱲᱟᱜ ᱫᱚ ᱤᱨᱟᱠ ᱠᱷᱚᱱ ᱤᱡᱽᱨᱟᱭᱮᱞ ᱛᱮ ᱚᱰᱚᱠ ᱮᱱᱟ ᱚᱱᱟ ᱚᱠᱛᱚ ᱠᱷᱚᱛᱟᱣ ᱮᱱᱟ, ᱱᱚᱶᱟ ᱟᱨᱠᱟᱛ ᱛᱮ ᱡᱟᱱᱟᱢ ᱦᱚᱲ ᱠᱚᱣᱟᱜ ᱢᱟᱦᱟᱸ ᱧᱩᱛᱩᱢ ᱛᱟᱭᱚᱢ ᱛᱮ ᱟᱯᱟᱛ ᱟᱨ ᱞᱮᱠᱚᱛ ᱠᱚᱣᱟᱜ ᱧᱩᱛᱩᱢ ᱫᱚ ᱮᱢᱚᱜᱼᱟ। ᱚᱲᱟᱜ ᱨᱮᱭᱟᱜ ᱢᱟᱨᱮ ᱦᱟᱴᱤᱧ ᱠᱟᱜᱚᱡᱽ ᱠᱚ ᱧᱟᱢ ᱠᱟᱛᱮᱫ ᱛᱟᱭᱚᱢ ᱱᱚᱶᱟ ᱥᱮᱨᱮᱡᱽ ᱫᱚ ᱛᱮᱭᱟᱨ ᱟᱠᱟᱱᱟ। ᱢᱚᱬᱮᱴᱟᱸ ᱢᱤᱠᱥᱰ ᱢᱤᱰᱤᱭᱟ ᱠᱟᱢᱤ, ᱩᱱᱠᱤ ᱫᱷᱟᱨᱮ ᱛᱟᱸᱦᱮᱸ 50 ᱠᱷᱚᱱ 70 ᱥᱮᱱᱴᱤᱢᱤᱴᱚᱨ ᱟᱨ ᱢᱤᱫᱴᱟᱸ ᱛᱟᱸᱦᱮᱸ 75 ᱠᱷᱚᱱ 70 ᱥᱮᱱᱴᱤᱢᱤᱴᱚᱨ, ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ 12ᱦᱚᱸ ᱟᱨ 15ᱦᱚᱸ ᱥᱚᱛᱟᱵᱫᱤ ᱛᱟᱞᱟᱨᱮ ᱤᱨᱟᱠ, ᱭᱮᱢᱮᱱ ᱟᱨ ᱢᱚᱨᱚᱠᱚ ᱠᱷᱚᱱ ᱛᱮᱭᱟᱨ ᱚᱲᱟᱜ ᱦᱤᱵᱽᱨᱩ ᱦᱟᱛᱟᱣ ᱠᱟᱜᱚᱡᱽ ᱠᱷᱚᱱ ᱟᱡᱟᱨ ᱦᱟᱛᱟᱣ ᱦᱤᱵᱽᱨᱩ ᱠᱮᱞᱤᱜᱽᱨᱟᱯᱷᱤ ᱨᱮ ᱪᱤᱛᱟᱹᱨ ᱠᱚ ᱠᱚ ᱦᱚᱲᱚᱜᱼᱟ।
ᱢᱟᱱᱟᱱ
A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱵᱟᱵᱚᱛ ᱛᱮ
Shany Abdallah Naji Primary Function: ᱨᱮᱠᱟ ᱠᱟᱞᱟ ᱥᱮᱨᱮᱡᱽ ᱫᱚ A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱥᱩᱱᱫᱚᱨ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Shany Abdallah Naji Primary Function: ᱨᱮᱠᱟ ᱠᱟᱞᱟ ᱥᱮᱨᱮᱡᱽ ᱫᱚ ᱠᱚᱞᱟ, ᱣᱤᱜᱭᱟᱱ, ᱰᱤᱡᱟᱭᱤᱱ ᱟᱨ ᱴᱮᱠᱱᱚᱞᱚᱡᱤ ᱨᱮᱭᱟᱜ ᱥᱤᱢᱟ ᱵᱟᱲᱦᱟᱣ ᱟᱨ ᱫᱩᱱᱤᱭᱟ ᱵᱷᱟᱞᱟᱭ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱮᱢ ᱠᱟᱱᱟ᱾
ᱰᱤᱡᱟᱭᱤᱱ ᱯᱤᱪᱷᱟ ᱨᱮ
ᱯᱨᱮᱥ ᱠᱤᱴ
ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱧᱮᱞ ᱠᱷᱚᱱ ᱠᱨᱮᱰᱤᱴ, ᱴᱤᱢ ᱥᱫᱚᱥᱭ ᱟᱨ ᱴᱮᱠᱱᱤᱠᱮᱞ ᱵᱤᱵᱚᱨᱚᱬ ᱮᱢ ᱟᱠᱟᱱᱟ᱾
- ᱟᱞᱜᱟ ᱜᱩᱱ ᱠᱚ
- Shany Abdalla Naji is a series of Graphic works attempting to revive the name giving tradition in the designer’s family.
This tradition that broke upon arriving to Israel from Iraq, consists of naming a new born and adding the names of his father and grandfather. Dvora learned all this recently after finding her family's immigration papers. This discovery left her excited thinking names can encompass within them the changes of tradition and culture and it made her question how her own name fits in her family’s ancestry - ᱢᱟᱯ ᱟᱨ ᱯᱮᱠᱮᱡᱤᱝ
- 4 works 50*70 cm
1 work 75*70 cm - ᱴᱮᱜ ᱠᱚ
- Calligraphy, Typography, Hebrew, Eastern
- ᱛᱮᱭᱟᱨ ᱛᱮᱠᱱᱚᱞᱚᱡᱤ
- Mixed Media
- ᱰᱤᱡᱟᱭᱱ ᱪᱮᱞᱮᱧ
- -
- ᱜᱚᱵᱮᱥᱚᱱᱟ
- For ages, the Middle East has been a meeting point for eastern and western cultures. This region has seen empires rise and fall, ever changing borders and frequent migrations of people looking for a fresh start. But not only the people journeyed across the land, with them came their family history, their stories, ideas, ideals and traditions.
This is the story of Dvora’s grandmother - Juliette Abdallah Moshe.
Juliette immigrated to Israel from Iraq in 1951 with her husband and three young sons. Her birth given name, Juliette Abdallah Moshe, as were the names of her ancestors, consisted of her first name followed by the names of her father and grandfather. When she arrived in Israel her name was changed to “Juliette Dvora” as part of the process of integration. Thus, the tradition linking the children’s names to those of their ancestors was broken. Dvora learned all this only in recent years after finding her grandmother’s original immigration papers. This discovery left her very excited thinking that a name of a man can encompass within it the changes of tradition and culture as it consists of the names of the previous family generations. The excitement was followed by a few questions though. Why is Shany’s name so different from the traditional and deeply rooted names in her family’s ancestry? Where and how does her name fit in there?
In this project She seeks to revive the name giving tradition that still lived on in the time of her grandmother’s birth. She does so through imagery woven into Hebrew calligraphy inspired by 12th-15th century Hebrew manuscripts from Iraq, Yemen and Morocco - ᱯᱨᱮᱨᱚᱱᱟ
- In this project Dvora seeks to revive the name giving tradition that still lived on in the time of her grandmother’s birth. She does so through imagery woven into Hebrew calligraphy inspired by 12th-15th century Hebrew manuscripts from Iraq, Yemen and Morocco
- ᱯᱨᱚᱡᱮᱠᱴ ᱥᱚᱢᱚᱭ
- 2018-2019, Israel
- ᱠᱟᱹᱢᱤ ᱦᱚᱨ
- -
- ᱯᱮᱴᱮᱱᱴ ᱠᱚ
- -
- ᱴᱤᱢ ᱥᱮᱫᱟᱭ ᱠᱚ
- -
- ᱪᱤᱛᱟᱹᱨ ᱥᱟᱹᱦᱟ
- Shany Dvora
ᱥᱯᱚᱱᱥᱚᱨᱰ
Designers.org ᱠᱷᱚᱱ ᱯᱟᱨᱚᱢ ᱛᱟᱞᱟᱥ
ᱟᱞᱮᱭᱟᱜ ᱵᱤᱜᱽᱭᱟᱯᱚᱱ ᱥᱟᱹᱜᱟᱹᱭ ᱠᱚ ᱠᱷᱚᱱ ᱯᱨᱚᱰᱟᱠᱴ, ᱥᱮᱵᱟ ᱟᱨ ᱢᱚᱠᱟ ᱩᱫᱩᱜ ᱢᱮ᱾
ᱟᱨᱦᱚᱸ ᱠᱷᱚᱡ ᱢᱮ
ᱥᱟᱹᱜᱟᱹᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ
ᱢᱤᱫ ᱞᱮᱠᱟ ᱠᱮᱴᱮᱜᱚᱨᱤ ᱠᱷᱚᱱ ᱟᱨᱦᱚᱸ ᱯᱩᱨᱥᱠᱟᱨ ᱧᱟᱢᱟᱠᱟᱱ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱧᱮᱞ ᱢᱮ, ᱡᱚᱜᱭᱟᱛᱟ ᱧᱮᱞ ᱛᱮ ᱵᱟᱪᱷᱟᱣ ᱟᱠᱟᱱᱟ᱾
