• “Taj, in his artistic experiment, creatively mixes traditional and contemporariness. His art come as a flagship of innovativeness in both artistic form and content. He employs classical calligraphy, combined with the recognized compositions from both Arabic and Ottoman calligraphy schools. He mastered the Naskh, Thuluth and Dewani scripts through their recognized rules and forms, be it whole lines or other calligraphic compositions; such as the circular ones. Furthermore, Taj’s new experiments has transformed some of the classical scripts (such as Thuluth, Kufi and Dewani) giving it a special spirit and personal style that is seen in the calligraphy panels reflecting its beauty and content.”

    — H.E Mohammed Ahmed Al-Murr

  • "Taj has proven excellent ability in Arabic calligraphy based on rigorous knowledge of the creativity basics and considerations in contemporary fine art. This is evident to those who observe any of his visuals and writings, as these comprehend not only the aesthetics dimensional extents it begins with, but also the revitalizing diversity energy that vibrates within. In fact, Taj’s calligraphic experiments enriched the contemporary lettering trend “Al-Horoofeyya” with a unique dimension through merging classical Arabic calligraphy in new variant formulas."

    — Prof. Ahmed M. Shibrain

  • "Taj’s artistic experiment ever reveals states of passion and aesthetic infatuation, constantly seeking breaking new grounds and reinventing beauty. In this, the artist has been following the route, long trodden by theoreticians, of rediscovering knowledge in general. Perhaps, some of the most significant elements of Taj’s experiment is that aesthetic richness stemming from his various academic, creative, theoretical and professional experiences, possessing the appropriate tools and applying these in recurring visual explorations that are aesthetic and unique."

    — Prof. Ayad Al-Hussaini

  • "In Taj’s work, we sometimes come across a slight touch of hybridity, which accentuates the predominant consistency of the calligraphic style. It is this slight touch that enables the artist to create many different kinds of calligraphic scripts. As a type designer, graphic designer, and an art expert theoretician, all these experiences contributed to provide Taj with insightful critical perception of the areas of his contribution in the Arab visual art scene. In his various works, Taj adopts varied ways to produce his works, expanding the performance of the letter to accommodate the entire writing expanse, not limited to the aesthetic performance, in which the character is separated from its textual and linguistic function becoming a mere visual art element, like any lexical item, forcibly detached from its visual heritage to serve a decorative function within the given work."

    — Dr. Mohamed Abdulrahman Hassan

  • "On reviewing the art of Taj, you find yourself in the presence of spontaneity and effortlessness in performance and composition; in the presence of an artist endowed with diversified skillfulness. Enjoying his work is like entering a lush orchard with variegated colors and inhaling the permeating fragrance of blooming flowers. Unlike most artists, who develop their own idiosyncratic style, which is in itself is acceptable, Taj has succeeded in making the body of his art a multi-colored lush orchard."

    — Dr. Nassar Mansour

  • "Taj’s involvement in calligraphy creatively succeeds in setting itself free from the shackles of tradition, not because he rejects tradition, but because he understands the tradition of calligraphy as a process of creation as a mere possibility in drawing. I use the term drawing here because I believe that Taj engages in producing calligraphy by employing the tools and methods of a draftsman artist who handles the image of the written with the insight of a visual artist. For him, the visual artist insight takes shape, within the momentum of that planned composite creative event, through the technical training he received, and through the type of intellectual dialogue taking place regarding the necessity of art and the expediency of visual art practice in a society such as that of Sudan."

    — Dr. Hassan Musa

  • "I was fascinated by some of the art works of the artist Taj Hassan even before we met in Paris for the first time, and later in Dubai and Sharjah. I enjoyed watching his innovative calligraphic scripts depicting humane themes. He belongs to the modernist trend in Arabic calligraphy and contributes generously, among so many others, to the advancement the art of calligraphy and attracting the engagement of future generations. In each individual work of art, Taj uses basic colors, while escalating unlimited tonal variations of each basic color. If the blue permeates the work, representing the element of water, we witness dozens of layers of different shades of blue. The same applies with the color red, representing the element of fire, as we embrace various nuances of red. His calligraphy paintings come lush, rich, and delightful to the eye. The golden rule of all the arts is that great work comes with employment of so little... the intensification and assembly of colors ... color on color, or light on light, as if we see thin sheets of glass painted with watercolor and glued to each other."

    — Hassan Al-Masoud

  • "I am fully aware that Taj moves freely within the realms of calligraphy, painting and graphic design. His works were interlaced within a mesh of symbols, in their rebellious calligraphic nature transformed from known to unfamiliar new positions, where the calligraphic letter turns into an echo and shadow for other letters! His works represent a motley fabric of experimentation, exploration, search and piercing vision in the process of invoking and revitalization of visual insight. The work of art, according to Taj, evokes its own composition from both ancient and modern eras, and stands as an epitome of his audacity of reinterpretation and rejoicing in this lasting harmony in the space of the painting, which is akin to the style of audio rhythm in its different dimensions."

    — Prof. Hussain Jam’an

  • "I always said that it is a necessity for the calligrapher to get to know other forms of calligraphy-complementing arts (such as graphic design, painting, chemistry of colors, journalism, printing type and its application, and all other Arabic calligraphy tools across various media and applications) as this helps our direction to develop this fine art, for it not be just stuck to the limits established by its pioneers. Taj, the painter, calligrapher, journalist, type designer, brilliant colorist, and clever trademark designer, and the balanced creative artist behind his fine arts paintings ... this artist aided by such knowledgeable capabilities is one who illustrates my above call. If Taj hadn’t had such knowledge, he wouldn’t have dared to create such beautiful paintings based on his artistic views and culture, and I here congratulate his efforts, and await from him more."

    — Mohammed Saeed Al-Sakkar