Robert Irwin 's Excerpt From Islamic Art

He is extremely angry which can be seen from the way he leans forward threateningly. His wife shows more restraint and sits back, straight backed against her chair and stares at her husband sulkily. The wife’s stoic demeanour and with her arms defiantly crossed at the chest suggest an empowerment which the man is uncomfortable with. Here we see two contrasting halves to the painting. On the left we see anger, discord and noise in the man and the child at his feet. On the opposite side we see calmness with the quiet dog and control with the restrained woman.

The miniatures serve the traditional Islamic functions of art of ornamentation and imitation. Oddly enough, the miniatures are second imitations; they are the imitation of the scribed words, which in turn imitate the actual legendary event. The Arabic words are the most important artistic representation of the page. The word is the substance of the book; the attached miniatures are merely pictorial representations of the written story. This subjugation of the picture to the word is physically demonstrated, for the text on the page, in the same fashion of all the pages in the Shahnama, is placed above the miniature. This placement has theological implications. In Islam, Arabic text is considered the literal word of God for the Qur’an was revealed in Arabic. So, if the word of Allah is reflected in the symbols of Arabic script, then symbolically Allah is manifested in the text. This is consistent within popular Islamic thought. Walter Denny writes that objects were decorated with sacred script for it was thought to “invoke good wishes on the owners of pottery and metalwork, and kept the evil eye from thresholds and hearths.” Consequently, Allah is present in the “Sufarai” miniature not through a figural image, for that would extremely blasphemous, but through the written text. This is similar to the western tradition of using mysterious or divine light to represent God without a

Later Jeremiah stumbles on a similar scene of a bar that contains “men and women, all dark skin, of hair, of eye, like Jeremiah, all drunk and senseless, unlike Jeremiah.” (105). Peering into these “oozing” “filthy” (105) doorways he is reminded of the “great chart with tunnels and caves and forbidden pleasures” (105). The work of art that was viewed at a young age educated him on cultural stereotypes. Jeremiah made the association with people of color and hell that continued into adolescence. This association went far enough that as Jeremiah passed that bar he looked for the “horned creatures” (105) inside. This is a specific example that demonstrates that art can function as an educational tool. A less concert extension of this is “The Hell Hotel” (130). This image continues to associate native people with “madness [and] drinkers” (130). Again Jeremiah learned at a young age, though art, a cultural association. This image not only has the “B apparently dammed to H by mechanical malfunction” (130) but also has the First Nations people dammed to Hell from a yearly association of art. In The Kiss of the Fur Queen a significant piece of art that was used as a teaching tool was the poster of heaven and hell. This art intentionally taught about Theology and inadvertently embedded damaging cultural associations towards Native Peoples.

As people learn more about prior art, we learn about different cultures, their life, thoughts, and spirituality and how our ancestors helped our modern society flourish. It is interesting that it took humans 100,000 years to start creating pictures (Spivey, 12:55). Initially, it was thought that these depictions of animals were of them hunting, but that has been proven wrong. After digging up bones, they never recovered the bones of the animals depicted because they were not eating what they painted or drew (Spivey, 15:47). After looking into these cultures, like the Sands people, drawing these animals it was learned that it was more likely to be depictions of their

This series creates a clear contrast between these two distinct features / values that a woman is expected to hold in Islamic society. Features, such as beauty and innocence, as well as cruelty, violence and hatred. These values are expected to co-exist within the complex structure of Islam, and this work embodies the female struggle. The woman throughout the series of images seem innocent, while the calligraphy on the skin gives the viewer the feeling of a kind of elegance. Along with the violence and cruelty that we can see in the form of a loaded gun, both the gaze and the gun are aimed directly at the viewer. To meet the woman’s gaze is quite intimidating. The photographs are in black and white, this gives the photograph an aesthetic appeal and a somewhat cold edge. However, on closer inspection, the black and white highlights the juxtaposition between the contrasting ideals Iranian women are expected to live by. But, what is the meaning of this juxtaposition? It seems that Neshat is telling

He achieves this by using oil paint on canvas. Its main focus is that of a nude European woman in the foreground, the woman stares apathetically at the viewer. Her body is lounging on a blue couch, with rich linens crumpled beneath her. There are elaborately embroidered curtains hanging behind her. The only thing adorning her body is a turban in her hair and a peacock feathered fan clutched in her hand.

The painting has a symbolic meaning to communicate the artist's message. For example, the fear is represented in this painting by the expressions on everyone's face. Everyone is fearful because in the painting, there is a riot breaking out that are all commoners and they are raiding bakeries. One man in the center of the painting that has the expression of anger, but has a stance of will. He seems to be driven by his hunger and his angry towards the king. Therefore, he is willing to fight with the mob. The artist used dark colors symbolizing this is a negative painting

These will some sort of visions he got in his unconscious mind in his meditative mood. First painting is meant to be the higher level of unconsciousness in which a lot of thoughts included. He may have saw the extreme level of vision in-between consciousness and unconsciousness. For example a certain line depicts a way to somewhere, generally a thin one. The latter symbols will be his thoughts that coming together from different directions. His is a spontaneous attitude towards

Building the argument on Steinhardt's work, this paper will analyze a number of features in the paintings in order to link their content to a certain historical period. Which socio-political reality might connect to these paintings? It is essential to mention a few points: First, in this paper, among all the paintings attributed to Siyah Qalam, the paintings of demons are researched (Steinhardt's work is not restricted to the paintings of demons and includes other paintings attributed to Siyah Qalam). This paper assumes that one painter is the creator of all paintings in this specific group of Siyah Qalam paintings, but this assumption does not exclude the idea that the corpus was executed by a group of painters or a

This painting possibility has predicted Basquiat’s unfortunate death because his death followed so quickly after it's finished. I believe he invent his personal iconography, because it captured the essence of his inner-self, his hidden feelings, and his deepest desires. Also, I believe his personal iconography ideas came from all those graphic novels he has been

In the fourth paragraph it talks about how iran artists adopted the seljuk style of painting. This couldve ben one of the tactics used by the Ilkhanids as way to slowly intergate themselves into other cultures. This is one way of them enforcing and solidfying their postion as rulers in a foriegn land.

Many works of art such as paintings, sculptures, and architecture show a different subject matter. When looking at a piece of artwork, we might find a piece of artwork to be eye catching and interesting to us. There are times when we can understand a piece of artwork and there are times when it can be misunderstood, if you don’t understand the meaning behind it, especially if the artwork is not a common thing that we are use to seeing. There are different cultures that express themselves differently when it comes to artwork. Some might make artwork of the living and others might make artwork of the dead. Paying close attention to smaller details of the artwork can give the viewer a better understanding of the overall artwork that was created. There is always some type of history behind a painting,

Muslim women are as colorful as pico de gallo and just as fresh. We can be crunchy like peppers, sour like limes, as pungent as onions can be sweet, or kick like a chili pepper. Taken together and in the right proportions, she can enliven a meal but do not assume familiarity because she can be as unpredictable as recipes are variable. The curious have often asked why I converted to Islam. Their inquests often masked an ulterior motive. It is presumptuous, but in my defense and to their chagrin, the questioners departed from our encounters deflated, unenthused, or sometimes questioned why my answers are incompatible with their predetermined set of ideas. This observation applies equally to Muslims and non-Muslims.

Back in 570 Islam was founded in an Arabian City known as Mecca. Muhammad, being the founder of this monotheistic faith was treated like trash when he would try to express his religious feelings. Islam has grown over time not only religiously but architecturally and artistically and in music.

At first, when a person does try to comprehend the painting, they tend to hesitate and think twice about making errors. This is because when viewing the