SAÉ

The script of Silent Art Echoes

Nashara

Nashara is the language of Silent Art Echoes: a script imagined between two calligraphic worlds. From Phoenician it takes its bones, a compact alphabet cut to be carved in stone. From Japanese it takes its breath, the discipline of the brush and the stroke that thins as it lifts.

It is neither Semitic nor Japanese. Every letter exists in two hands. The Stone Hand is cut and geometric, made for permanence. The Water Hand is the same skeleton written with a loaded brush: a pooled entry, a living body, a tapered flick.

Seventeen consonants, five vowel marks and a breath carrier: twenty-three shapes, and you can write everything.

Daru mot-a. Hedu kama.

Words die. Echoes remain. The first saying of Nashara.
Nashara Water Hand letters, first rowNashara Water Hand letters, second rowThe Water Hand.

The words in the titles

Written in the modern hand, left to right, as in the Nashara lexicon. Under each word, the works whose titles carry it.

How the titles are built

Subject, then object, then verb. Four small particles do the rest.

-na
the topic, what we speak about
-ki
of, binds owner to owned
-ru
at, in: place and time
-a
done, completes a verb
la-
not, before the verb

A first poem

Yam-ru, riḥu-ru —
anu-na daru šaqu-ru nata-a;
hedu-na bina-a.

In the sea, in the wind —
I left my words in silence;
the echo understood.