Infinite Present
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Study of Kufic Script in Islamic Calligraphy and Its Relevance To
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1999 A study of Kufic script in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century Enis Timuçin Tan University of Wollongong Recommended Citation Tan, Enis Timuçin, A study of Kufic crs ipt in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century, Doctor of Philosophy thesis, Faculty of Creative Arts, University of Wollongong, 1999. http://ro.uow.edu.au/ theses/1749 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. A Study ofKufic script in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century. DOCTORATE OF PHILOSOPHY from UNIVERSITY OF WOLLONGONG by ENiS TIMUgiN TAN, GRAD DIP, MCA FACULTY OF CREATIVE ARTS 1999 CERTIFICATION I certify that this work has not been submitted for a degree to any university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, expect where due reference has been made in the text. Enis Timucin Tan December 1999 ACKNOWLEDGEMENTS I acknowledge with appreciation Dr. Diana Wood Conroy, who acted not only as my supervisor, but was also a good friend to me. I acknowledge all staff of the Faculty of Creative Arts, specially Olena Cullen, Liz Jeneid and Associate Professor Stephen Ingham for the variety of help they have given to me. -
Islamic Art from the Collection, Oct. 23, 2020 - Dec
It Comes in Many Forms: Islamic Art from the Collection, Oct. 23, 2020 - Dec. 18, 2021 This exhibition presents textiles, decorative arts, and works on paper that show the breadth of Islamic artistic production and the diversity of Muslim cultures. Throughout the world for nearly 1,400 years, Islam’s creative expressions have taken many forms—as artworks, functional objects and tools, decoration, fashion, and critique. From a medieval Persian ewer to contemporary clothing, these objects explore migration, diasporas, and exchange. What makes an object Islamic? Does the artist need to be a practicing Muslim? Is being Muslim a religious expression or a cultural one? Do makers need to be from a predominantly Muslim country? Does the subject matter need to include traditionally Islamic motifs? These objects, a majority of which have never been exhibited before, suggest the difficulty of defining arts from a transnational religious viewpoint. These exhibition labels add honorifics whenever important figures in Islam are mentioned. SWT is an acronym for subhanahu wa-ta'ala (glorious and exalted is he), a respectful phrase used after every mention of Allah (God). SAW is an acronym for salallahu alayhi wa-sallam (may the blessings and the peace of Allah be upon him), used for the Prophet Muhammad, the founder and last messenger of Islam. AS is an acronym for alayhi as-sallam (peace be upon him), and is used for all other prophets before him. Tayana Fincher Nancy Elizabeth Prophet Fellow Costume and Textiles Department RISD Museum CHECKLIST OF THE EXHIBITION Spanish Tile, 1500s Earthenware with glaze 13.5 x 14 x 2.5 cm (5 5/16 x 5 1/2 x 1 inches) Gift of Eleanor Fayerweather 57.268 Heavily chipped on its surface, this tile was made in what is now Spain after the fall of the Nasrid Kingdom of Granada (1238–1492). -
A Look at the History of Calligraphy in Decoration of Mosques in Iran: 630-1630 AD Cengiz Tavşan, Niloufar Akbarzadeh
World Academy of Science, Engineering and Technology International Journal of Architectural and Environmental Engineering Vol:12, No:3, 2018 A Look at the History of Calligraphy in Decoration of Mosques in Iran: 630-1630 AD Cengiz Tavşan, Niloufar Akbarzadeh as strength, comfort and expansion. Throughout history, Abstract—Architecture in Iran has a continuous history from at Iranian architecture had its own originality and simplicity. All least 5000 BC to the present, and numerous Iranian pre-Islamic parts of Iran, especially villages and ancient monuments are elements have contributed significantly to the formation of Islamic like a live but old book of art and architecture, history, which art. At first, decoration was limited to small objects and containers in a brief moment, each page of that opens the gates of several and then progressed in the art of plaster and brickwork. They later applied in architecture as well. The art of gypsum and brickwork, thousand years of history to the visitors [7]. which was prevalent in the form of motifs (animals and plants) in Repeat motifs, symbolic role and decorations are one of the pre-Islam, was used in the aftermath of Islam with the art of main subjects in Iranian art. In Iranian architecture, the calligraphy in decorations. The splendor and beauty of Iranian symbolic elements generally embossed with carving and architecture, especially during the Islamic era, are related to painting integrated with elements of construction and decoration and design. After the invasion of Iran by the Arabs and the environmental, which makes it a new and inseparable introduction of Islam to Iran, the arrival of the Iranian classical architecture significantly changed, and we saw the Arabic calligraphy combination. -
Anila Quayyum Agha
TEACHER RESOURCES | Grades K–12 ART & GEOMETRY Teacher Professional Development Resource Anila Anila Quayyum Agha is a Pakistani-American artist that creates awe-inspiring spaces from intricate patterns of light Quayyum and shadow, evoking the sacred, while also raising questions of Agha exclusion and belonging. BETWEEN LIGHT & SHADOW This resource was created in collaboration with a teacher professional development workshop designed for K-12 art and math educators. It provides educators with tools and teaching strategies for cross-curricular and arts-integrated learning. 1 TEACHER RESOURCES | Grades K–12 Art & Geometry Geometric Designs in Islamic Art Unlike Christian art, Islamic art isn't restricted to religious work, but includes all the artistic traditions in Muslim cultures. Common features in Islamic art give it a notable coherence, regardless of the country or the time in which it was created. Strong regional characteristics and influences from other cultures are also visible. Meaning and design The art of the Islamic world reflects its cultural values and reveals the way Muslims view the spiritual realm and the universe. For Muslims, Allah is at the heart of worship, aspirations, and is the focus of their lives. Islamic art focuses on the spiritual representation of objects and beings rather than their physical qualities. The goal of the Muslim artist is not to attempt to replicate nature as it is, but rather to convey what it represents. Muslim artists use three forms of decoration: 1. Geometric 2. Arabesque 3. Islamic Calligraphy Geometry A common feature of Islamic art is the use of elaborate geometric patterns. This geometry is thought to reflect the language of the universe and help the believer to reflect on both life and the infinite nature of Allah. -
The Pulse of Trade HANDLING the WORLD BIGGEST SHIPS Section 2 CSP ABU DHABI TERMINAL 36 KAMSAR CONTAINER TERMINAL 56
The Pulse of Trade HANDLING THE WORLD BIGGEST SHIPS Section 2 CSP ABU DHABI TERMINAL 36 KAMSAR CONTAINER TERMINAL 56 TABLE OF THE ABU DHABI ADVANTAGE 14 ZAYED PORT AND THE FREE PORTS 36 KHALIFA PORT FTZ 58 SAFE, STABLE AND COSMOPOLITAN 16 MUSAFFAH PORT AND THE NEW MUSAFFAH 38 Section 4 CHANNEL CONTENTS GLOBAL MARKETS WITHIN REACH 18 SUSTAINABILITY 60 A REGION ON THE MOVE 20 SHAHAMA PORT 39 BENEFITING THE BUSINESS, ENVIRONMENT AND 62 COMMUNITY THE WESTERN REGION PORTS 41 CEO WELCOME 04 Section 3 COMMERCIAL 64 INFRASTRUCTURE THAT PERFORMS 22 FUJAIRAH TERMINALS 42 ENVIRONMENT 66 CUTTING-EDGE, EFFICIENT AND CUSTOMER-FOCUSSED 24 ABU DHABI PORTS MARINE SERVICES “SAFEEN” 44 Section 1 COMMUNITY 68 INTRODUCTION 06 KHALIFA PORT 26 ABU DHABI PORTS MARITIME TRAINING CENTRE 46 AWARDS AND RECOGNITIONS 70 ENABLING ECONOMIC DEVELOPMENT AND TRADE 08 EXPANSION PLANS AT KHALIFA PORT 30 ABU DHABI CRUISE TERMINAL 48 DIVERSIFYING THE EMIRATE’S ECONOMY 10 KHALIFA INDUSTRIAL ZONE ABU DHABI (KIZAD) 32 SIR BANI YAS CRUISE BEACH 50 HELPING BUSINESSES THRIVE 12 KHALIFA PORT FREE TRADE ZONE 34 THE MAQTA GATEWAY 52 ABU DHABI TERMINALS (ADT) CEO WELCOME CEO WELCOME TO ABU DHABI PORTS HELPING CUSTOMERS AND COMMUNITIES THRIVE Abu Dhabi Ports operates in highly competitive, capital-intensive, and fishing and leisure ports play a central role in the daily lives of those globally connected industries. As a business enabler, we are focused people living in the surrounding villages and towns. on delivering value to our investors and customers. We work to help them thrive. We help people make goods, and move those goods In the Western Region, our ports are serving as transit points for around the world. -
Islamic Art and the Supernatural
TO MANCHESTER MANCHESTER TO MALACCA FROM CURATING ISLAMIC COLLECTIONS WORLDWIDE Kanaris Lecture Theatre Manchester Museum 23—24 February, 2017 Workshops and visits 22 February Presented by the Manchester Museums Partnership In collaboration with the John Ellerman Foundation 1 2 ABSTRACTWELCOME AND BIOGRAPHIES 3 WELCOME WELCOME TO FROM DIRECTOR’S WELCOME MALACCA TO MANCHESTER: Dear conference attendees, I’d like to extend a very warm welcome to all attendees CURATING ISLAMIC of From Malacca to Manchester: Curating Islamic COLLECTIONS WORLDWIDE Collections Worldwide. This conference is the flagship public event of an For us in Manchester, work to better understand our ongoing 18-month programme of cataloguing, Islamic collections intersects with our current research, and curatorial training taking place across programming around South Asian art and culture. the Manchester Museums Partnership and funded This will see a number of special exhibitions and by the John Ellerman Foundation. collaborations take place across the Manchester Museums Partnership throughout 2017 and beyond. We’re delighted to be able to welcome speakers and The projected opening of Manchester Museum’s new attendees from all over the world to Manchester permanent gallery dedicated to the history and culture Museum. At a time when it is more important than of South Asia in 2020 – a partnership project with the ever for a diversity of viewpoints and voices to be British Museum – is a key milestone in this celebration represented in cultural institutions everywhere, of place, identity, history and connections between we hope this conference will contribute to a global the North of England and South Asia in all their forms. -
The Transformation of Calligraphy from Spirituality to Materialism in Contemporary Saudi Arabian Mosques
The Transformation of Calligraphy from Spirituality to Materialism in Contemporary Saudi Arabian Mosques A dissertation submitted to Birmingham City University in fulfilment of the requirement for the degree of Doctor of Philosophy in Art and Design By: Ahmad Saleh A. Almontasheri Director of the study: Professor Mohsen Aboutorabi 2017 1 Dedication My great mother, your constant wishes and prayers were accepted. Sadly, you will not hear of this success. Happily, you are always in the scene; in the depth of my heart. May Allah have mercy on your soul. Your faithful son: Ahmad 2 Acknowledgments I especially would like to express my appreciation of my supervisors, the director of this study, Professor Mohsen Aboutorabi, and the second supervisor Dr. Mohsen Keiany. As mentors, you have been invaluable to me. I would like to extend my gratitude to you all for encouraging me to conduct this research and give your valuable time, recommendations and support. The advice you have given me, both in my research and personal life, has been priceless. I am also thankful to the external and internal examiners for their acceptance and for their feedback, which made my defence a truly enjoyable moment, and also for their comments and suggestions. Prayers and wishes would go to the soul of my great mother, Fatimah Almontasheri, and my brother, Abdul Rahman, who were the first supporters from the outset of my study. May Allah have mercy on them. I would like to extend my thanks to my teachers Saad Saleh Almontasheri and Sulaiman Yahya Alhifdhi who supported me financially and emotionally during the research. -
List of References by Mbm
LIST OF REFERENCES BY MBM RAISED FLOOR RAISED FLOOR- REFERENCES PROJECT NAME CLIENT CONTRACTOR MANUFACTURER YEAR ABU DHABI WATER & ELECTRICITY AL AIN GAS TURBINE HOUSE TARGET ENGG. CONST. CO. UNIFLAIR 1993 DEPT ABU DHABI WATER & ELECTRICITY ABU DHABI GAS TURBINE HOUSE TARGET ENGG. CONST. CO. UNIFLAIR 1993 DEPT MUSSAFAH OFFSHORE ADDCAP COSTAIN ENGG. & CONST. UNIFLAIR 1994 LNG PLANT, DAS ISLAND ADGAS C.C.I.C. UNIFLAIR 1994 RENOVATION OF VILLA IN ABU DHABI PRIVATE POLENSKY & ZOELLINER UNIFLAIR 1994 BLDG. FOR MR. HATHBOUR AL RUMAITHI D.S.S.C.B. RANYA CONTG. CO. UNIFLAIR 1994 MIRFA GAS PIPELINE ADCO DODSAL PRIVATE LTD. UNIFLAIR 1995 ABU DHABI INT'L AIRPORT ABU DHABI DUTY FREE DECO EMIRATES UNIFLAIR 1995 ABU DHABI INT'L AIRPORT, EXT. TO TRANSIT ABU DHABI DUTY FREE DECO EMIRATES UNIFLAIR 1995 HOTEL GA MUBARRAZ ISLAND ADNOC TARGET ENGG. CONST. UNIFLAIR 1995 RAS AL KHAIMAH CEMENT FACTORY RAS AL KHAIMAH CEMENT COSTAIN ENGG. & CONST. UNIFLAIR 1995 RENOVATION OF COMPLEX IN ABU DHABI MINISTRY OF INTERIOR AL MANSOURI 3 B UNIFLAIR 1995 31 December 2020 2 RAISED FLOOR- REFERENCES PROJECT NAME CLIENT CONTRACTOR MANUFACTURER YEAR W.E.D. GAS TURBINE PACKAGE AT AUH & AL AIN MARUBENI CORPORATION U.T.S. KENT UNIFLAIR 1995 ETISALAT TELECOM. BLDG. AT BARAHA, DUBAI ETISALAT UNITY CONTG. CO. UNIFLAIR 1995 ETISALAT TELECOM. BLDG.AT SHJ. IND. AREA ETISALAT UNITY CONTG. CO. UNIFLAIR 1995 NATIONAL BANK OF ABU DHABI NATIONAL BANK OF ABU DHABI A.C.C. UNIFLAIR 1995 ETISALAT TELECOM. & ADMIN. BLDG. , FUJAIRAH ETISALAT COSTAIN ABU DHABI CO. UNIFLAIR 1995 ETISALAT TELECOM. & ADMIN .BLDG., RAK ETISALAT COSTAIN ABU DHABI CO. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnadon Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 A CONTEXTUAL ANALYSIS OF CONTEMPOEU^.RY IRAQI ART USING SIX CASE STUDIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Mohammed Al-Sadoun ***** The Ohio Sate University 1999 Dissertation Committee Approved by Dr. -
For Immediate Release
FOR IMMEDIATE RELEASE IRANIAN ARTIST GOLNAZ FATHI TURNS CALLIGRAPHIC WRITING INTO ABSTRACT PAINTING, COMBINING ELEMENTS OF EAST AND WEST Exhibition dates: April 11 – May 11, 2013 Opening cocktail reception: Thursday, April 11, 6 - 8 pm Untitled, 2011, acrylic, pen and varnish on canvas, 70.9 x 88.6 inches New York, March 21, 2013—For her debut solo exhibition in New York, Iranian artist Golnaz Fathi—who divides her time between Tehran and Paris—presents recent works on canvas that draw on her long practice of traditional Iranian calligraphy. Fathi works in fine pen, mostly on varnished raw, rectangular, polyptych canvases, in a limited palette of white, black, red and yellow. She layers the surface of the canvas with thousands of minute marks that echo the curvilinear forms of calligraphic letters and words. These intricate lines coalesce into minimalist compositions that can be read in multiple ways—as landscapes, electronic transmissions or atmospheric phenomena. She refrains from titling her works, which allows the viewer free reign to assign his or her own interpretation. (continued) The basis of Fathi’s practice is siah-mashq, a traditional exercise in which the calligrapher writes large, cursive letters across the page in a dense, semi-abstract formation. The letters aren’t meant to form words or convey meaning, but rather strengthen the skill of the scribe. Fathi reinterprets this technique, drawing inspiration from various Western and Eastern sources, including American Abstract Expressionism, as well as the work of Iranian and Middle Eastern modernists who pioneered the use of the written word as a pictorial element in the late 1950s and early 1960s. -
1 Jerusalem and the Work of Discontinuity Elizabeth Key Fowden He Was Not Changing a Technique, but an Ontology. John Berger
Jerusalem and the Work of Discontinuity Elizabeth Key Fowden He was not changing a technique, but an ontology. John Berger, “Seker Ahmet and the Forest”1 In a review of Kamal Boullata’s 2009 book Palestinian Art: From 1850 to the Present, the critic Jean Fisher noted that “among Boullata’s most stunning insights . is that the crucible of Palestinian modernism is to be found in the Arabisation and progressive naturalisation of Byzantine iconography.”2 But Boullata himself did not follow this course. Instead, the Orthodox icon stimulated him to travel down a path away from the increasing naturalization of figural art toward varieties of abstraction, distilling the nonlinear perspective that lies at the existential heart of Orthodox iconography to create a modern artistic expression of a radically different sort from the Palestinian artists whose work he analyses in his book. Why did he take such a different path? Boullata has frequently observed that his own artistic impulse was first formed by three modes of artistic creation that coexisted in Jerusalem, where he was born and grew up: Byzantine icons, Arabic calligraphy, and Islamic ornament. He has not elaborated on the role of the Orthodox icon except to mention that his first lessons in painting were from the icon painter Khalil Halabi, who taught him to organize the multiple planes of an icon by the use of a grid. In his chapter “Peregrination Between Religious and Secular Painting,” Boullata also mentions “reverse perspective,” which he gleaned from the Byzantine art historian André Grabar, whose teacher in early twentieth-century St. -
Ideals of Leadership — Masterpieces from the Aga Khan Museum
Ideals of Leadership Masterpieces from the Aga Khan Museum Collections ceremonials. ceremonials. The Aga Khan Museum, AKM72 Museum, Khan Aga The complexes, often key sites for court court for sites key often complexes, the establishment of royal garden garden royal of establishment the Opaque watercolour, gold, and ink on paper on ink and gold, watercolour, Opaque yet another aspect of royal patronage: patronage: royal of aspect another yet Qazvin, Iran, 1576-77 Iran, Qazvin, his architectural commissions. architectural his The Aga Khan Museum, AKM703 Museum, Khan Aga The scene depicted here in turn alludes to to alludes turn in here depicted scene seeks to promote dialogue, tolerance and mutual understanding among people. people. among understanding mutual and tolerance dialogue, promote to seeks panel was probably meant for one of one for meant probably was panel Attributed to Sadiqi Beg Beg Sadiqi to Attributed miniature painter in his own right. The The right. own his in painter miniature heritage. Through education, research, and collaboration, the Aga Khan Museum Museum Khan Aga the collaboration, and research, education, Through heritage. exquisite decoration, this star-shaped star-shaped this decoration, exquisite Ivory, wood, and metal in a wooden frame wooden a in metal and wood, Ivory, (Book of Kings) of Shah Isma’il Isma’il Shah of Kings) of (Book library and also an accomplished accomplished an also and library size, the materials used and the the and used materials the size, Egypt, 1470s Egypt, Shahnameh Shahnameh dispersed a from Folio Beg, the future director of the royal royal the of director future the Beg, appreciation of the contribution that Muslim civilisations have made to world world to made have civilisations Muslim that contribution the of appreciation Sultan Qaitbay (r.