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Women and Islamic Law Christie S
College of William & Mary Law School William & Mary Law School Scholarship Repository Faculty Publications Faculty and Deans 2008 Lifting the Veil: Women and Islamic Law Christie S. Warren William & Mary Law School, [email protected] Repository Citation Warren, Christie S., "Lifting the Veil: Women and Islamic Law" (2008). Faculty Publications. 99. https://scholarship.law.wm.edu/facpubs/99 Copyright c 2008 by the authors. This article is brought to you by the William & Mary Law School Scholarship Repository. https://scholarship.law.wm.edu/facpubs LIFTING THE VEIL: WOMEN AND ISLAMIC LAW CHRISTIES. WARREN * "Treat your women well and be kind to them for they are your partners and committed helpers." From the Farewell Address of the Holy Prophet Muhammad1 I. INTRODUCTION By the end of February 632 and at the age of sixty-three, the Prophet Muhammad believed that his days on earth were coming to an end.2 He announced to his followers that he would lead the hajj, the annual pilgrimage to Mecca, himself that year.3 On March 3, the Prophet delivered his farewell sermon near Mount Arafat.4 Among the limited number of topics he chose to include in his last public speech, he encouraged his followers to deal justly with one another and treat women well. 5 In the modem era, the rights of women under Islamic law have come under heightened scrutiny. Some commentators find the Prophet's farewell speech to be inconsistent with the way women are treated in some areas of the Muslim world. In Saudi Arabia, for example, women may neither drive nor vote. -
On the Qur'anic Accusation of Scriptural Falsification (Tahrîf) and Christian Anti-Jewish Polemic
On the Qur'anic Accusation of Scriptural Falsification (tahrîf) and Christian Anti-Jewish Polemic GABRIEL SAID REYNOLDS UNIVERSITY OF NOTRE DAME According to the fully articulated salvation history of Islam, Moses and Jesus (like all prophets) were Muslims. Moses received an Islamic scripture, the Torah {tawrät), as did Jesus, the Gospel (injU). Their communities, however, suppressed their religion and altered their scriptures. Accordingly, a canonical h^dlth has the Prophet Muhammad declare: O community of Muslims, how is it that you seek wisdom from the People of the Book? Your book, brought down upon His Prophet—blessings and peace of God upon him—is the latest report about God. You read a Book that has not been distorted, but the People of the Book, as God related to you, exchanged that which God wrote [for something else], changing the book with their hands. ' This hcidïth refiects the idea found frequently among Muslim scholars, usually described with the term tahrîf, that the Bible has been literally altered. The same idea lies behind Yâqût's (d. 626/1229) attribution of a quotation on Jerusalem to a Jewish convert to Islam from Banü Qurayza "who possessed a copy of the uncorrupted Torah." •^ Muslim scholars also accuse Jews and Christians of misinterpreting the Bible by hiding, ignoring, or misreading it, and on occasion they describe such misinterpretation as tahrîf as well. Accordingly, in scholarly treatments of the subject a comparison is sometimes made between tahrîf al-nass, alteration of the text of scripture, and tahrîf al-ma'anî, misinterpre- tation of scripture. Yet Muslim scholars who accuse Jews and Christians of misinterpreta- tion do not mean to imply thereby that the Bible has not been altered. -
Al-'Usur Al-Wusta, Volume 23 (2015)
AL-ʿUṢŪR AL-WUSṬĀ 23 (2015) THE JOURNAL OF MIDDLE EAST MEDIEVALISTS About Middle East Medievalists (MEM) is an international professional non-profit association of scholars interested in the study of the Islamic lands of the Middle East during the medieval period (defined roughly as 500-1500 C.E.). MEM officially came into existence on 15 November 1989 at its first annual meeting, held ni Toronto. It is a non-profit organization incorporated in the state of Illinois. MEM has two primary goals: to increase the representation of medieval scholarship at scholarly meetings in North America and elsewhere by co-sponsoring panels; and to foster communication among individuals and organizations with an interest in the study of the medieval Middle East. As part of its effort to promote scholarship and facilitate communication among its members, MEM publishes al-ʿUṣūr al-Wusṭā (The Journal of Middle East Medievalists). EDITORS Antoine Borrut, University of Maryland Matthew S. Gordon, Miami University MANAGING EDITOR Christiane-Marie Abu Sarah, University of Maryland EDITORIAL BOARD, BOARD OF DIRECTORS, AL-ʿUṢŪR AL-WUSṬĀ (THE JOURNAL OF MIDDLE EAST MEDIEVALISTS) MIDDLE EAST MEDIEVALISTS Zayde Antrim, Trinity College President Sobhi Bourdebala, University of Tunis Matthew S. Gordon, Miami University Muriel Debié, École Pratique des Hautes Études Malika Dekkiche, University of Antwerp Vice-President Fred M. Donner, University of Chicago Sarah Bowen Savant, Aga Khan University David Durand-Guédy, Institut Français de Recherche en Iran and Research -
Iraqslogger: Artists Remember Celebrated Sculptor Iraqslogger © 2006 - 2019 All Rights Reserved
IraqSlogger: Artists Remember Celebrated Sculptor IraqSlogger © 2006 - 2019 All rights reserved. 7/19/19, 10(58 AM Artists Remember Celebrated Sculptor Jawad Selim's Monument Defines Baghdad's Tahrir Square The "Epic of Liberty" monument over Baghdad's Tahrir Square. Undated pre-2003 photo. By Maha Mohammed 02/04/2007 Baghdad, Apr 2, (VOI) -- The Monument of Liberty, which stands in the heart of Baghdad, is one of the capital's most significant symbols of art and a distinguishing feature in Iraqi cultural life. In fact, the monument is part of the memory of generations of Iraqis who consider it, along with Jawad Saleem, its sculptor, a memory of time and place. These days mark the 86th anniversary of the Iraqi artist’s birth. Saleem (1921-1961) was one of the most renowned sculptors in Iraq's modern history. http://iraqslogger.powweb.com/index.php/post/2194/Artists_Remember_Celebrated_Sculptor Page 1 of 6 IraqSlogger: Artists Remember Celebrated Sculptor 7/19/19, 10(58 AM Saleem was born in March into a family known for its love of art and drawing. His father, Hajj Saleem, and his siblings, Souad, Nizar and Naziha, were all plastic artists. Among his most prominent works was the Monument of Liberty, which now stands in Tahrir Square, in the center of Baghdad, and is regarded by many international artists as one of the most important monuments in the Middle East. Among his other achievements was the establishment of a group in Baghdad for Modern art. Saleem was also a founding member of the Iraqi Plastic Artists Society. -
The Iraqi National Museum of Modern Art: Journey of Destruction
The Iraqi National Museum of Modern Art: Journey of Destruction By Ali I. al-Dulaimi Region: Middle East & North Africa Global Research, May 22, 2019 Theme: History In-depth Report: IRAQ REPORT A glimpse of the plastic arts in Iraq The contemporary Iraqi plastic art is considered to be the legitimate heir of the ancient Iraqi civilizations of Sumer and Babylon. Relics have beem found indicating that the Iraqi craftsman is the first artist in the world. He is the one who creates and produces such beautiful household pottery pieces for functional purposes for eating, drinking and other daily uses. The Baghdad School of Art of Illustration was founded by Iraqi artist Yahya bin Mahmoud bin Yahya bin Abi al-Hassan al-Wasiti who laid down its pillars. Al-Wasiti lived in the seventh Hijri century and is considered to be at the forefront of Arab and Islamic creativity scene where the Islamic art of illustration could be straightened and become competitive. Then this School spread from Mesopotamia to all other Islamic countries. Al-Wasiti inspired others with his miniature manuscripts on which he painted topics and narrative facts from the collections of al-Hariri which were written by Abu Muhammad al-Qasim bin Ali bin Othman al-Basri, famous as “al-Hariri”. These collections are considered to be among the Arabic literary masterpieces due to their richness of material, accuracy of observation and unique imagination. Artist al-Wasiti completed illustrating and scripting these collections in 634 A.H./1237 A.D., and they are now treasured at several international museums and libraries. -
Naser Hassan AI-Rifaei
The Principle of Movement in Moroccan Design; as a source of inspiration for contemporary artistic applications Practice-based research in Art and Design Naser Hassan AI-Rifaei A thesis submitted in partial fulfilment of the requirements of the University of Brighton for the degree of Doctor of Philosophy March 2009 University of Brighton Abstract This project focuses on utilizing the principle of movement contained in traditional Moroccan design (PMMD) for the production of new and inventive artworks. The PMMD is one of the main concepts that rules the creation and construction of design elements; it consists of a group of advanced technical procedures applied to achieve the highest levels of unity, harmony, variation and rhythm between lines and shapes. Great consideration in the PMMD is given to the viewer's perception, as all parts are formed to be equally interesting and to work harmoniously together suggesting ways for the viewer's eye to interact with and move in and throughout the composition. The purpose of this research is to examine viable methods for stimulating new ideas by taking the aesthetic and technical significances of the PMMD as a source of creative inspiration. The work involved analyzing the relationship between form, method and perception in traditional compositions by exploring the role of PMMD in 1) the process of creating and shaping design elements separately, 2) methods of relating the lines and shapes of different design components. Data on PMMD was collected from recent literature on Islamic art and Moroccan design, from interviews with master-craftsmen, and from my personal analyses and observations. -
Auction - Modern Watercolors, Sketches, and Lithographs 01/22/2020 7:00 PM GST
Auction - Modern Watercolors, Sketches, and Lithographs 01/22/2020 7:00 PM GST Lot Title/Description Lot Title/Description 1 "Camera Studies in Iraq" 15 Jewad Salim. Paris. Sketch. A photograph album by Hasso Bros. Baghdad. 1925. Jawad Salim. Paris. Sketch.Approx. Dim.: 42 x 34.5cm JAWAD SALIM - "Camera Studies in Iraq"A photograph album by Hasso Bros. Baghdad. 1919 – 1961, Iraq,was an Iraqi painter and sculptor born in Ankara 1925.Approx. Dim.: 31.5 x 25cm (Turkey) in 1919. He studied sculpture in Paris (1938-1939), Rome Est. 6,000 - 12,000 (1939-1940) and London (1946-1948). Upon completing his studies, 2 A symphony composed on the death of King Faisal I of Iraq by the Salim returned to Iraq and was appointed head of the Sculpture musical composer Farid Sabri and gifted to King Ghazi. Printed in Department at the Institute of Fine Arts in Baghdad, a position he Damascus. 1933. retained until his death in 1961. He also founded the Jama'et Baghdad lil A symphony composed on the death of King Faisal I of Iraq by the Fen al-Hadith (The Baghdad Modern Art Group) with fellow artist Shakir musical composer Farid Sabri and gifted to King Ghazi. Printed in Hassan Al Said, as well as the new Baghdad School of Modern Art. He Damascus. 1933.Approx. Dim.: 49 x 34.5cm is especially known for his Nasb al-Hurriyah (Monument of Freedom), Est. 5,500 - 10,500 located in one of Baghdad's main squares. In this monument, the artist 3 A photograph of King Faisal I of Iraq. -
Bibliography
BIBLIOGRapHY ABBREVIaTIONS CCCM – Corpus Christianorum, Continuatio Mediaevalis MGH – Monumenta Germaniae Historica PRIMaRY SOURCES Abulafia, Abraham.Sefer Or Ha-Sekhel. MS Vatican 33. Alfonsi, Petrus. 2006. Dialogue Against the Jews. Trans. Irven M. Resnick. Washington, DC: The Catholic University of America Press. Alighieri, Dante. 1995. Il Convivio, ed. Franca Brambilla Ageno, part 2. Florence: La Lettere. Altmann, Alexander, trans., Daniel H. Frank, intro. 2002. Saadya Gaon: The Book of Doctrines and Beliefs. Indianapolis: Hackett. Ben Verga, Solomon. 1947. Sefer Shevet Yehuda, ed. Isaac Baer. Jerusalem: Bialik Institute (in Hebrew). Boccaccio, Giovanni. 1582, 1587. Decameron. Venice and Florence. ———. 2013. The Decameron. Trans. Wayne. A. Rebhorn. New York/London: W. W. Norton and Co. Böhmer, Johann Friedrich, ed. 1843 (1969). Fontes rerum Germanicarum bd. Johannes Victoriensis und andere geschichtsquellen Deutschlands im vierzehnten Jahrhundert. Aalen: Scientia Verlag. Boiardo, Matteo Maria. 1830. Orlando Innamorato Di Bojardo: Orlando Furioso Di Ariosto. London: William Pickering. © The Author(s) 2019 129 I. Shagrir, The Parable of the Three Rings and the Idea of Religious Toleration in European Culture, https://doi.org/10.1007/978-3-030-29695-7 130 BibliOgraphy Bonner, A., ed. and trans. 1985. Doctor Illuminatus: A Ramon Lull Reader. Princeton: Princeton University Press. Bridges, John Henry, ed. 2010. The Opus Majus of Roger Bacon. 2 vols. Cambridge: Cambridge University Press. Conte, Alberto, ed. 2001. Il Novellino. Rome: Salerno. da Gubbio, Raffaelli Busone. 1833. Fortunatus Siculus o sia L’avventuroso Ciciliano, Romanzo Storico, ed. Giorgio Federico Nott. Milan: G. Silvesti. de Borbone, Stephanus. 2015. Tractatus de diversis materiis predicabilibus, ed. S. J. Berlioz, D. Ogilvie-David, and C. -
Relationship Between Semantic and Aesthetic Dimensions of Contemporary Iraqi Painting and Modernity Arts
Utopía y Praxis Latinoamericana ISSN: 1315-5216 ISSN: 2477-9555 [email protected] Universidad del Zulia Venezuela Relationship Between Semantic and Aesthetic Dimensions of Contemporary Iraqi Painting and Modernity Arts HUSSEIN, H.K.; HAMZAH, T.S.; MUBARAK, A.H. Relationship Between Semantic and Aesthetic Dimensions of Contemporary Iraqi Painting and Modernity Arts Utopía y Praxis Latinoamericana, vol. 26, no. Esp.1, 2021 Universidad del Zulia, Venezuela Available in: https://www.redalyc.org/articulo.oa?id=27966119013 DOI: https://doi.org/10.5281/zenodo.4556181 This work is licensed under Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International. PDF generated from XML JATS4R by Redalyc Project academic non-profit, developed under the open access initiative Utopía y Praxis Latinoamericana, 2021, vol. 26, no. Esp.1, Marzo, ISSN: 1315-5216 2477-9555 Artículos Relationship Between Semantic and Aesthetic Dimensions of Contemporary Iraqi Painting and Modernity Arts Relación entre las dimensiones semántica y estética de la pintura iraquícontemporánea y las artes de la modernidad H.K. HUSSEIN DOI: https://doi.org/10.5281/zenodo.4556181 University of Babylon, Irak Redalyc: https://www.redalyc.org/articulo.oa? [email protected] id=27966119013 https://orcid.org/0000-0003-1582-8380 T.S. HAMZAH University of Babylon, Irak [email protected] https://orcid.org/0000-0003-0804-7850 A.H. MUBARAK University of Babylon, Irak [email protected] https://orcid.org/0000-0003-1435-3360 Received: 05 December 2020 Accepted: 10 February 2021 Abstract: e modern European artists tackle the emergent perceptual realization that is reflected in art through realistic forms to complete the inherent cognitive energies; imagination and intuition. -
Art Collector: 53 Works, a Century of Middle Eastern Art Part II, with Subtitles 7/4/17, 1:37 PM
Art Collector: 53 Works, A Century of Middle Eastern Art Part II, with subtitles 7/4/17, 1:37 PM 4 اﻟﻣزﯾد اﻟﻣدوﻧﺔ اﻹﻟﻛﺗروﻧﯾﺔ اﻟﺗﺎﻟﯾﺔ» إﻧﺷﺎء ﻣدوﻧﺔ إﻟﻛﺗروﻧﯾﺔ ﺗﺳﺟﯾل اﻟدﺧول Art Collector http://www.zaidan.ca Posts Comments Wednesday, November 25, 2015 Total Pageviews 53 Works, A Century of Middle Eastern Art Part II, with subtitles 163,283 A Century of Iraqi Art Part I & Modern & Contemporary Middle Eastern Art Search This Blog Nja mahdaoui jafr - The alchemy of signs Follow by Email Email address... VIEW OF THE TIGRIS Abdul Qadir Al Rassam, (1882 - 1952) 13.78 X 20.87 in (35 X 53 cm) oil on canvas Creation Date: 1934 Signed Abdul Qadir Al Rassam, (1882 - 1952), was born in Baghdad, Iraq. He was the first well-known painter in modern Iraq and the leader of realism school in Iraq. He studied military science and art at the Military College, Istanbul, Turkey, (then the capital of the Ottoman Empire) from 1904. He studied art and painting in the European traditional style and became a landscape painter, he painted many landscapes of Iraq in the realism style, using shading and composition to suggest time periods. He was a major figure among the first generation of modern Iraqi artists and was a member of the Art Friends Society (AFS, Jami’yat Asdiqa’ al- Fen). A collection of his work is hung in The Pioneers Museum, Baghdad. A prolific painter of oils, the majority of his works are now in private hands. More Nja mahdaoui jafr - The alchemy of signs Popular Posts 38 Artists Embedded of Arc's Military Campaign, (c. -
School Boundaries and Social Utility in Islamic Law: the Theory And
SCHOOL BOUNDARIES AND SOCIAL UTILITY IN ISLAMIC LAW: THE THEORY AND PRACTICE OF TALFĪQ AND TATABBUʿ AL-RUKHAṢ IN EGYPT A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Arabic and Islamic Studies By Ahmed Fekry Ibrahim, M.A. Washington DC, April 6, 2011 Copy Rights 2011 by Aḥmad Fekry Ibrāhīm All Rights Reserved ii A Note on Transliteration I follow the transliteration style of the International Journal of Middle East Studies (IJMES), with some modifications. For Arabic, IJMES uses the modified Encyclopedia of Islam system, in which qaf = q not k and jim = j not dj. I will, however, use macrons and dots not only in italicized technical terms, but also in personal names, place names, names of political parties and titles of books. I also transliterate non-technical terms such as Sharī῾a, even though they are not transliterated according to IJMES. Below is a list of the IJMES Arabic sounds: ʾ ء b ب t ت th ث j ج ḥ ح kh خ d د dh ر r س z ص s س sh ش ṣ ص ḍ ض ṭ ط ẓ ظ ʿ ع gh غ q ق k ك l ل m و n ن h ه w و y ي Long vowels ā ا ū و ī ي iii SCHOOL BOUNDARIES AND SOCIAL UTILITY IN ISLAMIC LAW: THE THEORY AND PRACTICE OF TALFĪQ AND TATABBUʿ AL-RUKHAṢ IN EGYPT Ahmed F. -
Modern & Contemporary
MODERN & CONTEMPORARY ART SATURDAY 26 JUNE 2021 | DOHA | 7:30 PM MODERN AND SALE CONTACTS CLIENT SERVICES Ayoub Bouali CONTEMPORARY ART +974 4408 0526 In Arabic, English or German SATURDAY 26 JUNE 2021 | DOHA | 7:30 PM Arbia Khissibi +974 4408 0523 AUCTION AND VIEWING LOCATION In Arabic, French, or English ALBAHIE AUCTION HOUSE | KATARA | BUILDING 22C MODERN & CONTEMPORARY ART SPECIALIST VIEWING Habeeb Abu Futtaim +974 4408 0534 19 - 26 June 2021 In Arabic, Urdu or English Weekdays | 8:00am - 6:00pm Weekends | 3:00pm - 8:00pm ACCOUNTS Mohammed Sabreen +974 4408 0534 ABSENTEE AND TELEPHONE BIDDING [email protected] OPERATIONS MANAGER +974 4408 0534 Rebecca Joy Holt +974 4408 0535 ONLINE BIDDING Visit www.albahie.com to register GENERAL INFORMATION AND POST SALE SERVICES Shruti Shetti Currency | The auction will be conducted in US Dollars. [email protected] Payment will be requested in Qatari Riyal. +974 4408 0534 Conditions of Sale | This auction is subject to Notice of Bidders and Conditions of Sale at the back of the catalogue and on www.albahie.com AUCTION ADVISOR AUCTIONEER Dr. Aissa Deebi Ayoub Bouali AlBahie Auction House Katara, Building 22 C Follow us albahie FOREWARD Writing a foreward for an art auction for artists of the Arab homeland and its extended diaspora can be challenging. Thinking of how to draw a picture of the region makes me think of Francesco Goya's new work, especially if he was alive today. Perhaps this could be a conventional observation when you think of the Arab homeland; it's constantly a broad graphic representation, but I would argue that we could undoubtedly imagine this starting point by thinking alternatively about it.