The Mosque Lamp

From my observation at the Met, this sculpture is inside a medium glass and space. Also, it is by itself in the glass. It is a three-dimensional sculpture created by modeling and merging hard materials. Next to it there are other deities (Vishnu, Parvati, Ganesh etc.) and sculptors from the Chola Dynasty. The other works near it complements the sculpture as I have stated above they are from the same time period so, they are related to each other some way and

The hypostyle mosque was designed to support the Islamic religious practices, and it was often referred to as a big prayer room. It gave the Muslims many advantages when it came to their cultural religious ways. It was the place where Muslims got together for prayer, to study, and celebrate. Islamic hypostyle buildings were made of stone, and most of the hypostyle mosques were square, or rectangular, the columns were put together using a grid pattern. The prayer hall has a roof, a courtyard, and open pillars along the sides. The hypostyle mosque structure supports the roof, which is flat, while the cool air circulates. It was a very unique building style that aided the Muslims in prayer. The hypostyle mosque was a place to hold large crowds

A common Islamic art masterpiece is the use of tiles, more so the Iranian Star-shaped tile (Necipoglu 174). This is a 15th century artwork, probably made during the time when the Timurids ruled over Iran (Doak 136). This star-like tile; as illustrated in Figure I below, has a decoration of geometric shapes leaves and flowers on it, with a major flower being positioned right at the center of the tile. These tiles were made to cover outer walls of buildings, with designs and colorful patterns, to make such structures more beautiful. The tiles were fitted together using mortar on the walls of structures to create a mosaic design that adorned the outer walls of the structures.

The idea of a clash of civilizations can be originated largely to Samuel Huntington. He describes a future where the majority of human conflicts will be due to “cultural differences”. (Huntington). In The Butterfly Mosque, Willow Wilson, an American, travels to Egypt, converts to Islam, and marries an Egyptian man. This places her at the fault lines of two cultures. Through her experiences, she sees the frontlines of this clash of civilizations that Huntington predicted, and tries to uncover if she can thread the needle between her two cultures. In this paper, I will argue that through her experiences with Muslims in Tura, other Westerners in Egypt, and in reactions to her writings, she discovers that the clash of civilizations is real. This clash results in cruelty, fear, self-hatred, and an internal existential crisis in Willow that leaves her uncertain about whether or not she can navigate her internal clash of cultures.

The vase is a sculptural piece. To get the full effect of the piece you have to see the whole thing, which may cause you to have to walk around the piece. The piece is a dark

The subject of this piece is a Buddha named Maitreya. He is a strongly built man wearing a robe that drapes fluidly off of his body. The piece is constructed from gild bronze and was crafted using piece mold casting. Maitreya faces onlookers with open arms and a smile. The piece was obviously meant to be placed against a wall, as is obvious from the fact that the back is left open and is not meant for display.

Art is everywhere; from architecture to sculptures, paintings, pictures and even flower gardens. There are many styles and techniques used by artists to capture the eye of a viewer and draw them into the artwork. One such art piece that has this effect is: Mérode Altarpiece (Triptych of the Annunciation) by Robert Campin (Master of Flémalle), circa 1425-1430s. This beautiful triptych was painted in oil on oak panels, with the center panel measuring 25 1/4 x

The dimensions of the sculpture are not known from the research as the Saudi government has the polytheistic sculptures and work censored. Saudi Arabia only lends the sculptures to the Non-Muslim country museum with strict censorship deal with the loaned country. Most of the polytheistic sculptures were destroyed in Muhammad’s time when Islam started to grow. The relief is stone carved with written language which might say “Blessings to the tribe”. The line structures are both thick and thin.The contours are flat with rounded faces and triangular noses. The texture would have been smooth and detailed. There is no color in the sculpture; it would be left as natural white color of the limestone. This sculpture would have become

The work of art that I choose from the Amarna period from the Brooklyn Museum is called the Nefertiti, ca.1352-1336 B.C.E. The sunk relief was carved in limestone and painted with blue in the hieroglyphs, flows, and crowns. Also, red paints were used for the bodies and hands of Aten and the base of the bouquet. According to the eLearning videos, “the blue crown is symbolic of the goddess Tefnut, the goddess of moisture, clouds and dew”, which represented Nefertiti as the goddess of nature. This work of art used to be part of a column. Moreover, the scene displayed offering of life to one of the sun god, Aten. With Nefertiti standing beside her husband, Akhenaton, it served to strengthen Nefertiti’s divinity and supports for their sun god, Aten,

Religious rituals hold a very sacred place in the hearts of believers, being able to witness one from an outsider perspective is something that is truly eye opening. Personally, following our unit in class, I had a desire to witness at least one practice associated with the Muslim religion. The Nueces Mosque was perfect for this purpose because of its proximity but is mostly dominated by a younger demographic. I reached out to the president of the mosque, Ammarah Tariq, who very graciously welcomed me to join them for their Friday ritual prayer service, Jumu’ah. Members of the community noticed I was clearly an outsider and did not hesitate to greet me and explain to me procedures to adhere to such as removing my shoes. Following the removal

Next, my mother told me this mosque is the biggest one, and the second religious buildings, also it has the tallest minaret in the world. This mosque has a roof made of light steel, and decorated with cedar wood which opens in 3 minutes for bringing fresh air during the summer. Also, this mosque has many chandeliers made in crystal. The location of this mosque is right by the sea overlooking the Atlantic ocean,

I created an Islamic Tile that came from the Ottoman Empire. My specific tile was created during the late Medieval Period around the 15th century. The Ottoman Empire began to expand in the early fourteenth century. They soon expanded to the West and conquered Bosporus and Dardanelles, which were separated from the Sea of Marmara. They also expanded to conquer the Balkans and developed a strong military with soldiers called janissaries. With the help of advanced technology, they were able to conquer many countries such as North America and Europe. The Ottoman Empire conquered many areas under the rule of Süleyman I. After the Ottoman Empire conquered Hungary and Austria, they advanced to Vienna and were defeated.

Also, the symbolism for the lamp is only implied and never actually said. When the author states, “What Kezia liked more than anything, what she liked frightfully, was the lamp,” nothing is directly stated about the lamp, but through the subtle characterization of Kezia, you can imply that it represents the warmth and

The display case is by itself along that wall of the room. There is little to be said about the method of display, being a flat one sided page there simply isn’t that much that can be done with its presentation. The rather subdued and cool lighting is sufficient to bring out the glitter of the gold leaf on the manuscript, though the room definitely could use sunlight, as it is windowless and secluded. The light grey to white walls and floor offer no distraction from the art, though it is unfortunate that the Islamic gallery does not feature a period room or themed decorations like many other rooms in this institute. The piece’s location is fairly prominent, the room it is in is simple and open, along one of the thoroughfare corridors of the MIOA’s second floor, most visitors are likely to encounter it during a visit. This stands opposed to many of the larger galleries in the building, whose vast collections displayed over a maze of rooms are likely to be skimmed over by most art

The understanding and explanation of God and who He is, is a task that many philosophical and religious scholars have tried without much success. This is because questions keep arising. Several approaches have been used by scholars and philosopher to explain about God. Even so, most of these attempts to teach about God encompass around his manifestation since none describes his physical appearance. Additionally, in the Biblical texts as well as the Quran where Bible characters have seen God, they have often used personifications to explain their encounter with God. In this discussion, the study looks at understanding God as a manifestation of light. Moreover, the study also looks at how impossible it is to understand God. The entire review will be based on the Al-Ghazali’s statement that, "So glory be to Him who is hidden from creatures through the intensity of His manifestation and veiled from them because of the radiance of His light!" (I.65, p. 24 in our PDF). From this statement, the study proves three things: God is manifestation since he can only be described as such. God is light since He cannot be seen through human understanding (eyes). And God is intensely manifested to the point that He is hidden because His reality cannot be comprehended through human knowledge.