Contemporary Islamic Graffiti: the New Illuminated Manuscript
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Investigating Illuminated Manuscripts
Art A Day CHALLENGE: You are a Bright Light! Investigating Illuminated Manuscripts Washington County Museum of Fine Arts Stuff you’ll need: Materials are up to you! Read through the challenge and make your decision based on your idea! If it is a nice day, draw it in chalk on your driveway! Words to know: Illuminated Manuscript are hand-written books with painted decoration and can include gold or silver. The pages were made from animal skin and were made between 1100 and 1600. Monasteries were the first to create these books and pages. Historiated initials is an initial, an enlarged letter at the beginning of a paragraph or other section of text and can contain a picture. LOOK at this hand-made page from Book of Hours (1440s). Before the invention of the printing press, books were created by hand! Books that held great importance to people were often created with great details. These details often included gold and had detailed initial decorations, miniature illustrations, and extravagantly detailed borders. Sometimes the gold made the page look like it was glowing. People started calling them Illuminated Manuscripts. Illuminated means lit up and manuscript means writing. Usually, these books were made by monks that were educated, could read and write. People who could afford the books paid a lot of money to have the pages made just for them, this included: psalms, prayers, calendars of feast days, and prayers for the dead. The first letter on the page usually was the most decorated. We call this the historiated initial. It is usually larger than the other Unknown (French, ca. -
Islamic Calligraphy
استمازة جقييم السسائل البحثيت ملقسز دزاس ي اوﻻ : بياهاث جمل بمعسفت الطالب اسم الطالب : حبيبه خالد سيد زكى كليت : الاداب قسم اثاز الفسقت/املستوى : الثانيه الشعبت : اثار اسﻻميه اسم املقسز : قراءات اثريه وتاريخيه بلغه اوربيه كود املقسز: -7 )7987( استاذ املقسز : ا.م.د / صالح فتحي صالح حسين البريد الالكترووى [email protected] : للطالب عىوان السسالت البحثيت : calligraphy in the Islamic world ثاهيا: بياهاث جمل بمعسفت لجىت املمتحىيين هل السسالت البحثيت املقدمت متشابت جصئيا او كليا ☐ وعم ☐ ﻻ فى حالت الاجابت بىعم ﻻ يتم جقييم املشسوع البحثى ويعتبر غير مجاش جقييم املشسوع البحثى م عىاصس التقييم الوشن التقييم اليسبى 1 الشكل العام للسسالت البحثيت 2 جحقق املتطلباث العلميت املطلوبت 3 يركس املساجع واملصادز العلميت 4 الصياغت اللغويت واسلوب الكتابت جيد هتيجت التقييم النهائى /111 ☐ هاجح ☐ زاسب جوقيع لجىت التقييم 1. .2 .3 .4 .5 جسفق هره الاستمازة كغﻻف للمشسوع البحثى بعد استكمال البياهاث بمعسفت الطالب وعلى ان ﻻ جصيد عً صفحت واحدة Islamic calligraphy Islamic calligraphy is the artistic practice of handwriting and calligraphy, based upon the alphabet in the lands sharing a common Islamic cultural heritage. It includes Arabic, Ottoman, Persian, Pakistan and Indian calligraphy.It is known in Arabic as khatt Islami , meaning Islamic line, design, or construction. The development of Islamic calligraphy is strongly tied to the Qur'an; chapters and excerpts from the Qur'an are a common and almost universal text upon which Islamic calligraphy is based. However, Islamic calligraphy is not limited to strictly religious subjects, objects, or spaces. Like all Islamic art, it encompasses a diverse array of works created in a wide variety of contexts. -
The Story of Abraham (Page from Heiligenleben)
TITLE: The Story of Abraham (page from Heiligenleben) ARTIST: Unknown DATE: 1496 SIZE: 10 x 6 ½ inches MEDIUM: Woodcut and Moveable Type ACQUISITION #: 2001.1.102 ADDITIONAL WORK IN COLLECTION BY ARTIST: No. VOCABULARY Illuminated Manuscript: a manuscript in which the text is supplemented with decoration such as initials, borders, and miniature illustrations. Woodblock print: technique for printing text, images, or patterns used. It is a block of wood engraved in relief which is used to print. Hagiography: The writing of the lives of saints. The word comes from the Greek “hagios” which means “holy” and “graphia” which means “writing.” The word literally means “holy writing.” CONTEXTUAL INFORMATION Just like books of gospels and biblical illuminated manuscripts, this page contains the detail and precision of other religious works. The literal meaning for “Heiligenleben” is “holy life.” This page, which tells the story of Abraham is an example of hagiography. This page is possibly a part of a hagiographic illuminated manuscript, such as Der SOURCES Heiligen Leben or The Lives of Saints, produced by a Dominican monastery in Nuremberg, Germany during the 1400s.This manuscript https://en.wikipedia.org/wiki/Movable_type was as large as a bible and provided readings over the course of a year http://education.asianart.org/explore-resources/background- information/ukiyo-e-woodblock-printing-process and included saints’ feast days as well. Many such illuminated https://www.inksaver.co.za/en/blog/History‐of‐printing‐part‐1‐ manuscripts were created simply to teach people about saints and/or woodblock‐printing.php https://www.degruyter.com/view/product/24901 martyrs. -
Illuminated Manuscripts Lisa Hudgins University of South Carolina - Columbia, [email protected]
University of South Carolina Scholar Commons Archaeology and Anthropology, South Carolina Faculty & Staff ubP lications Institute of 2007 Illuminated Manuscripts Lisa Hudgins University of South Carolina - Columbia, [email protected] Follow this and additional works at: https://scholarcommons.sc.edu/sciaa_staffpub Part of the Anthropology Commons Publication Info Published in The Oxford Encyclopedia of Maritime History, ed. John B. Hattendorf, Volume 2, 2007, pages 177-179. http://www.oup-usa.org © 2007 by Oxford University Press This Article is brought to you by the Archaeology and Anthropology, South Carolina Institute of at Scholar Commons. It has been accepted for inclusion in Faculty & Staff ubP lications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Illuminated Manuscripts 177 Illuminated Manuscripts The word "manuscript" can be literally translated as "written by hand." Books that were written or transcribed by hand were produced between the fifth and fifteenth centuries (dates determined by the limits of bibliographic tech nology). The earliest manuscripts developed with the THE OXFORD ENCYCLOPEDIA OF MARITIME HISTORY 178 Illuminated Manuscripts transition from the scroll to the rectangular book form around the fifth century C.E. The decline of handwritten books occurred with the development of movable type and. the subsequent growth of pri.nting, around. the 1450s, which coincided historically with the end of the medieval period. The phrase "illuminated manuscript" originally referred to a manuscript decorated with initial letters, borders, or miniature illustration in gold or silver. In modern usage, the term has come to mean any illustrated manuscript. Maritime subjects and images existed throughout the span of manuscript production, though the specific topics were dependent upon the nature of the illuminated work in which the images were found. -
Illuminated Manuscripts in an Illuminated Manuscript Text Is
Illuminated Manuscripts In an illuminated manuscript text is supplemented by the addition of decorated initials, borders (marginalia), and miniature illustrations. Page from the Book of Hours, ca. 1400 The book of hours, a devotional book popular in the later Middle Ages, is the most common type of surviving medieval illuminated manuscript. The major varieties and historic periods of illuminated manuscripts include Late Antique, Insular, Carolingian manuscripts, Ottonian manuscripts, Romanesque manuscripts, Gothic manuscripts, and Renaissance manuscripts. The earliest surviving illuminated manuscripts were produced in Italy and the Eastern Roman Empire ca. 400 - 600. Illuminated manuscripts increased during the Gothic Period, including many secular works of literature and educational texts. Early illuminated manuscripts were produced by masterful monks working in solitude; as demand increased, secular scribes were increasingly employed for this task. Illuminated Manuscripts became obsolete with the advent of printing. Illuminated Manuscript An illuminated manuscript is a manuscript in which the text is supplemented by the addition of decoration, such as decorated initials, borders (marginalia), and miniature illustrations. In the most strict definition of the term, an illuminated manuscript only refers to manuscripts decorated with gold or silver, but in both common usage and Source URL: https://www.boundless.com/art-history/gothic-art/english-gothic-art/illuminated-manuscripts/ Saylor URL: http://www.saylor.org/courses/arth401#3.1.2 Attributed to: Boundless www.saylor.org Page 1 of 2 modern scholarship, the term is now used to refer to any decorated or illustrated manuscript from the Western traditions. Vellum A type of parchment paper made from the skin of a lamb, baby goat, or calf. -
Decorative Style
mc NO 11 2018 mc NO 11 2018 manuscript cultures manuscript Hamburg | Centre for the Study of Manuscript Cultures ISSN 1867–9617 cultures Natural Sciences and Technology in Manuscript Analysis Technology Sciences and Natural ISSN 1867–9617 © SFB 950 ‘Manuskriptkulturen in Asien, Afrika und Europa’ Universität Hamburg Warburgstraße 26 www.manuscript-cultures.uni-hamburg.de D-20354 Hamburg N O 11 PUBLISHING INFORMATION | MANUSCRIPT CULTURES Publishing Information Editors Editorial Office Studies in Manuscript Cultures (SMC) Prof Dr Michael Friedrich Dr Irina Wandrey Universität Hamburg Universität Hamburg Ed. by Michael Friedrich, Harunaga Isaacson, and Jörg B. Quenzer Asien-Afrika-Institut Sonderforschungsbereich 950 Writing is one of the most important cultural techniques, Western) book, thus not only denying manuscripts their Edmund-Siemers-Allee 1/ Flügel Ost ‘Manuskriptkulturen in Asien, Afrika und Europa’ and writing has been handwriting throughout the greater part distinct status as carrier medium, but also neglecting the D-20146 Hamburg Warburgstraße 26 of human history, in some places even until very recently. rich heritage of Asian and African manuscript cultures from Tel. No.: +49 (0)40 42838 7127 D-20354 Hamburg Manuscripts are usually studied primarily for their contents, which, according to conservative estimates, more than ten Fax No.: +49 (0)40 42838 4899 Tel. No.: +49 (0)40 42838 9420 that is, for the texts, images and notation they carry, but they million specimens survive until today. [email protected] Fax No.: +49 (0)40 42838 4899 are also unique artefacts, the study of which can reveal how The series Studies in Manuscript Cultures (SMC) is they were produced and used. -
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VELLUM THROUGH THE AGES – TRANSCRIPTION. This segment, I think, could be entitled Vellum through the Ages. It ought to begin with what may seem like a startling statement that there were books long before there was printing. Most people think about books as printed objects, but we have always dealt with and been fascinated with illuminated and decorated manuscripts, the earlier the better. The more splendid the better in terms of their decoration. The earliest book that we have in inventory right now is a 13th century lectionary. It was produced in Lombardy. It's got 220 leaves, and it is a monster. It's 445 – Well, you can see how tall it is. 445 millimeters tall, 221 leaves. It's got lots of decorative initials. It's a liturgical book, a book that would have been used in an Ecclesiastical context. Finding single leaves from a book like this in today's marketplace happens from time to time, but to find a book this grand, basically intact – There are eight leaves missing, but 221 that are there – is a special kind of experience. The book later belonged to a 16th century humanist named Paolo Giovio, whose name is important, especially if you're interested in history and illustration. The oldest item in inventory now is leaf from the ninth century. We think it was probably done about 850. A time not far removed from a special moment in the Carolingian Renaissance. Charlemagne, in 1796, appointed Alcuin of York to be the supervisor of the scriptoria at Tours. In the scriptoria at Tours, he supervised what was basically the evolution of the Carolingian Minuscule. -
El Seed (France, B
eL Seed (France, b. 1981) Education Masters Degree in Supply Chain Management at Essec Business School France Bachelor’s in Marketing, IUP Creteil, Paris, France Selected Solo Exhibitions 2019 Tabula Rasa, Lazinc Gallery, London, UK 2017 Love Paris, Royal Monceau, Paris, France Tradizione Proverbiale, Galleria Patrica Armocida, Milan, Italy 2016 Zaraeeb, ArtTalks, Cairo Eygpt 2014 Declaration, Tashkeel, Dubai, U.A.E. Lost Walls, lnstitut Du Monde Arabe, Paris, France 2012 The Walls, ltinerrance Gallery, Paris, France Selected Group Exhibitions 2018 Sharjah Calligraphy Biennale, Sharjah, UAE 2016 Hurufiwa : Art & Identity, Bibliotheca Alexandrina, Egypt 2015 Codici Sorgen, Visioni Urbane Contemporanee, Museo Palazzo Platamone, Catania 2013 Calligrafitti 1984 - 2013, Leila Heller Gallery, New York, U.S.A. 2012 Arabic Calligraphy, Pergamon Museum, Berlin, Germany Selected Public Art Installations 2018 Mirrors of Babel, Toronto, Canada Declaration, Dubai, UAE 2017 Myrelingues La Brumeuse, Lyon, France The Bridge, DMZ South Korea Positive Spirit, Dubai, U.A.E. 2016 Bahrain Bay, Bahrain Knowledge Mitchell Center for the Arts, Houston, U.S.A. Perception, Cairo, Eygpt 2017 Our Common Differences, Coney Art Walls, Curated by Jeffrey Deitch, U.S.A. 2015 Lock Bridges, Paris, France Truth, Shoreditch, London, England 2014 Love is the Miracle of Civilizations, lnstitut du Monde Arabe, Paris, France Jedariyah, Sharjah, U.A.E. 2013 Lost Walls, Tunisia eL Seed in Doha, Qatar Museum Authority, Doha, Qatar 2012 Madinati, Tunisia Collaborations 2019 Aubusson Tapestry, Cité International de la Tapisserie 2013 Foulard d’artiste, Louis Vuitton Presentations 2018 Aga Khan Museum, Toronto, Canada MoMA, New York, USA USC, Los Angeles, USA 2017 Thinkers-Doers, Abu Dhabi, U.A.E. -
Sustaining Cultural Identity Through Arabic Calligraphy: a Critical Reading of Nasser Al-Salem’S Artworks
Islamic Heritage Architecture and Art III 211 SUSTAINING CULTURAL IDENTITY THROUGH ARABIC CALLIGRAPHY: A CRITICAL READING OF NASSER AL-SALEM’S ARTWORKS LINA M. KATTAN* University of Jeddah, Saudi Arabia ABSTRACT Arabic calligraphy has always been the most prominent characteristic of Islamic art. Arab/Muslim artists – even non-Arabic speakers – appreciate Arabic calligraphy due to its correlation with the language of the Quran. Due to the commonly known prohibition of figuration, especially among classical Muslim scholars, many Arab/Muslim artists found an escape in the Arabic alphabet to avoid such a grey area. Either used as words or as sentences, Arabic inscription became the dominant pattern of traditional Islamic art. The inclusion of Arabic letters within the artistic composition has changed over the years, namely in style. Since the 1980s, the Arabic letter became the core element of contemporary Saudi art. In this paper, I argue that contemporary Saudi artists, such as in the case of Nasser al-Salem, rely on Arabic calligraphy to assert their Islamic identity and cultural heritage. This paper sheds light on one famous contemporary Saudi artist who chose the Arabic letter as his primary approach. While it may seem that al-Salem’s contemporary works are similar to traditional Islamic arts, they tremendously differ in concept, medium, and style. This study focuses only on three of his well-known calligraphic works. Generally, what characterizes contemporary Saudi art is the high-level of conceptuality and the noticeable influence of Western art techniques. al-Salem has always been interested in the conceptuality of the Arabic alphabet and its compositional configuration; therefore, his reliance on Arabic script continues to affirm his Saudi cultural heritage and Islamic Identity. -
TRADIZIONE PROVERBIALE El Seed TRADIZIONE PROVERBIALE El Seed TRADIZIONE PROVERBIALE
eL Seed TRADIZIONE PROVERBIALE eL Seed TRADIZIONE PROVERBIALE eL Seed TRADIZIONE PROVERBIALE In the Arabian Peninsula, fourteen centuries ago, a large village named Okaz situated near Mecca was known in the region as the rendezvous for jousting poets. Each year, these linguistically shrewd men would meet at a commercial and artistic fair where they would engage in a competition of elegance and poetic flare. It is reported that following these battles of wits, the victorious poems were embroidered onto textiles, which would then be suspended from the walls of the Kaaba; hence their name, Mu’allaqat, ‘suspended poems’. It is said that several thousand poems have adorned the walls of the Kaaba but only seven poems remained on the sacred walls and it was these poems that gave classical Arabic some of its rules and structure. The Mu’allaqat are the story of anonymous men belonging to the proverbial tradition who thus influenced the future by simply, yet eloquently, retelling the events in their everyday lives. In the spirit of the proverbial tradition, my art retells my time and my social reality, and endeavours to influence the future. A proverb is usually defined as a wise saying or “I permit myself to message that is universally understood. For me, interpret the proverbial there is nothing more malleable than a proverb, tradition as an invitation to not in its formulation but rather in its meaning. It expresses the truth of an experience and these universal self-questioning experiences are as varied as the human race. In and self-reflection”. light of this, I permit myself to interpret the proverbial tradition as an invitation to universal self-questioning and self-reflection. -
CAROLINGIAN ILLUMINATED MANUSCRIPT (C. 850)1
Image 6.2 CAROLINGIAN ILLUMINATED MANUSCRIPT (c. 850)1 Codices, or bound books, were less expensive than papyrus rolls, could contain longer texts, and were far easier to use for reference purposes. The early Christians constantly dis- puted with pagans and Jews on the basis of philosophical and religious texts, in particular the Old Testa- ment. The shift to codices doubtless simplified these efforts enormously. Codices could also be made much smaller than scrolls, to the ad- vantage of itinerant missionaries. The success of the codex followed— and perhaps helped—that of Chris- tianity. By the time Emperor Theo- dosius I proclaimed Christianity as the official religion of the Roman Empire in 380, the codex had be- come the predominant form for books in the Roman world. Medieval European artists (for the most part monks) “illuminated” thousands of ancient and revered texts with lovely illustrations and ornamentation. A small number of illuminated manuscripts descend from antiquity, but the vast majority has been handed down from the medieval period when monks lovingly copied and recopied cherished texts. They probably saved many books from destruction by illiterate warlords who presumably attributed more value to illustrated volumes than to ones filled on- ly with text. (Alas, monks also condemned to slow obliteration those texts they failed to copy, like most works by Marcus Varro, a celebrated Roman author). The image reproduced above comes from a Carolingian manuscript dubbed the Drogo Sacramentary, a prayer book. It is named after an illegitimate son of Charlemagne, Drogo of Metz (801–855), a bishop of the French city of Metz and a great patron of the arts. -
Academic Journal of Modern Philology
Academic Journal of Modern Alicja Cimała Philology University of Wrocław e-ISSN 2353-3218 ISSN 2299-7164 Pismo jako sztuka Vol. 6 (2017) 55–64 Abstract Writing as Art Art, being a part of culture and civilization, is difficult to define. It is most often analyzed in terms of aesthetics. The art is most often associated with paintings, sculptures, architecture, music or literature. At the same time, it is hardly ever associated with writing. This article discusses and compares ways of perceiving different types of writing as art that originates from different cultures. Egyptian hieroglyphs were characterized as religious and utilitarian, while their artistic aspect was rather secondary. This approach has changed due to globalization and commercialization. Chinese calligraphy is characterized by duality – a combination of spirituality with pragmatic approach. Arabic calligraphy is primarily religious, but the visual effect seems to be as important as the element of its usage.Calligraffiti that is derived from Arabic calligraphy is, against the tradition, secular and serves as a tool of expression that can be seen both on the streets and in museums. Concrete poetry ignores conventions and gives a new dimension to both poems and typography. Despite time and cultural differences, in all these cases – to a greater or lesser degree – the visual value seems to be just as important (or even more important) as the substantive value of the texts. The visual effect and the functional element cooperate with each other and complement each other creating multidimensional works of art. Keywords: art, civilization, culture, writing, visual effect. Sztuka jako jeden z głównych elementów kultury i cywilizacji jest konceptem trudnym do zdefiniowania.