MODERN and CONTEMPORARY MIDDLE EASTERN ART Tuesday 28 November 2017
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Nasserism 1 Nasserism
Nasserism 1 Nasserism Nasserism Ideology Arab nationalism, Pan-Arabism, Arab socialism Nasserism is an Arab nationalist political ideology based on the thinking of the former Egyptian President Gamal Abdel Nasser. It was a major influence on pan-Arab politics in the 1950s and 1960s, and continues to have significant resonance throughout the Arab World to this day. It also metamorphosed into other nationalist movements during the 1970s. However, the scale of the Arab defeat in the Six Day War of 1967 severely damaged the standing of Nasser, and the ideology associated with him. Nasser himself died in 1970, and certain important tenets of Nasserism were revised or abandoned totally by his successor as Egyptian President, Anwar El-Sadat. During Nasser's lifetime, Nasserist groups were encouraged and often supported financially by Egypt, to the extent that many became seen as willing agents of the Egyptian Government. Ideology Nasserism is an Arab nationalist and pan-Arab ideology, combined with a vaguely defined socialism, often distinguished from Eastern bloc or Western socialist thought by the label 'Arab socialism'. Though opposed ideologically to Western capitalism, Arab socialism also developed as a rejection of communism, which was seen as incompatible with Arab traditions, and the religious underpinnings of Arab society. As a consequence, Nasserists from the 1950s to the 1980s sought to prevent the rise of communism in the Arab World, and advocated harsh penalties for individuals and organizations identified as attempting to spread communism within the region. Though mindful of the Islamic and Christian heritage of the Arab World, as with Ba'athism, Nasserism is largely a secular ideology.[1] [2] Just as with other manifestations of Arab nationalism, this led to direct conflict with Islamic orientated Arab political movements from the 1950s onwards, particularly the Muslim Brotherhood. -
D:\IGNOU\Tilak\BHIC 104 English\Aaaaa.Xps
Theme IV Societies in Central Islamic Lands Time Line Pre-Islamic Arab World Arabian Peninsula: Sarakenoi/Saraceni Arab Tribes: Quraysh, Aws, Khazraj Pre-Islamic Cities Mecca, Yathrib/Medina, Taif Rise of Islam Prophet’s march from Mecca to Medina (Hijara): 622 Caliph Abu Bakr: 632-634 Caliph Umar: 634-644 Caliph Usman: 644-656 Caliph Ali: 656-661 The Ummayad Caliphate: 661-684 Late Ummayad Caliphate: 684-750 The Abbasid Caliphate: 750-1258 Photograph: Manuscript folio with depiction by Yahya ibn Vaseti found in the Maqama of Hariri located at the BibliothequeNationale de France. Image depicts a library with pupils in it, 1237 Courtesy: Zereshk, September 2007 Source: https://upload.wikimedia.org/wikipedia/commons/2/2c/Maqamat_hariri.jpg UNIT 12 PRE-ISLAMIC ARAB WORLD AND ITS CULTURE* Structure 12.0 Objectives 12.1 Introduction 12.2 Tribal Confederations in Arabia 12.2.1 The Dominant Tribes of The Arabian Peninsula 12.2.2 Religious Diversity in The Arabian Peninsula 12.3 Tribal and Religious Practices 12.3.1 Religious and Ritual Practices of The Meccans 12.3.2 Religious and Ritual Practices at Medina 12.4 The Arab Trading Network before the 6th Century 12.5 Political Structure in Pre-Islamic Arabia 12.6 Social Structures in Pre-Islamic Arabia 12.6.1 Tribal Structure and Leadership 12.6.2 Inequality and Slavery 12.6.3 The Elite Camel Nomads 12.6.4 Intra-Tribal Warfare 12.7 Economic Conditions 12.7.1 Camel Nomadism 12.7.2 Agriculture in Arabia 12.7.3 Industry and Mining in Arabia 12.8 Literature of the Pre-Islamic Period 12.9 Summary 12.10 Keywords 12.11 Answers to Check Your Progress Exercises 12.12 Suggested Readings 12.13 Instructional Video Recommendations 12.0 OBJECTIVES The study of pre-Islamic Arabia is an important area of study in order to understand the history of the region in which Islam developed. -
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. -
Hamed Abdalla in Arabe 1977, Women = Man 1970, Quo Vadis ? 46 X 37 Cm, Mixed Med on Wood 29,5 X 21 Cm, Stencil, Acrylique, Spray 48 X 36 Cm, Ink, Silk Paper
HHHAAAMMMEEEDDD AAABBBDDDAAALLLLLLAAA Cover 1962 Next page Hamed Abdalla in arabe 1977, Women = Man 1970, Quo Vadis ? 46 x 37 cm, mixed med on wood 29,5 x 21 cm, stencil, acrylique, spray 48 x 36 cm, ink, silk paper HAMED ABDALLA Story of a life HAMED ABDALLA (1917 – 1985) by Roula El Zein . His works of art tell of revolt and resistance, of injustice and hope, of fellahins and modest people. They speak of revolution, of equality between man 1951 – Le grand-père, 32 x 22cm, lithographie and woman, of death and spirituality… He drew his subjects from Egypt, his native land, from its Pharaonic, Coptic and Islamic past and from its everyday life in the streets and the coffee-houses… For more than fifty years, Hamed Abdalla worked relentlessly, leaving behind him a big amount of paintings, drawings and lithographs that witness today of an ongoing research and a creation that knew no boundaries. Moreover, Hamed Abdalla left many writings for beyond drawing and painting, the man cultivated his art theory and had a passion for philosophy. Several exhibition catalogs, dozens of interviews done in various languages, hundreds of newspaper articles, studies made by others on his work, and a large number of letters were recorded and kept by his family; a precious documentation that reveals the life and work of a great artist who was also a great humanist. 1954 – Autoportrait de l’artiste, 39.5 x 29.5 cm, Gouache 1983, Al Joua’ - Hunger, 65 x 50 cm, acrylique appreciated for his beautiful calligraphy. Since adolescence, he begins to draw. -
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. -
University Microfilms, Inc., Ann Arbor, Michigan ARABIC CALLIGRAPHY in CONTEMPORARY EGYPTIAN
This dissertation has been microfilmed exactly as received 66-6296 SIDA, Youssef Mohamed Ali, 1922- ARABIC CALLIGRAPHY IN CONTEMPORARY EGYPTIAN MURALS, WITH AN ESSAY ON ARAB TRADITION AND ART. The Ohio State University, Ph.D., 1965 Fine Arts University Microfilms, Inc., Ann Arbor, Michigan ARABIC CALLIGRAPHY IN CONTEMPORARY EGYPTIAN MURALS .WITH AN ESSAY ON ARAB TRADITION AND ART DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Youssef Mohamed Ali Sida, M. Ed. 4c * * * * * The Ohio State University 1965 / Approved by ) Adviser School of Fine and Applied Arts ACKNOWLEDGMENTS I wish to acknowledge my deepest gratitude to the professors and friends who encouraged and inspired me, who gave their pri vate time willingly, who supported me with their thoughts whenever they felt my need, and especially to all the members of my Graduate Committee, Professor Hoyt Sherman, Professor Franklin Ludden, Professor Francis Utley, Professor Robert King, and Professor Paul Bogatay. ii CONTENTS Page ACKNOWLEDGMENTS.............................. ii ILLUSTRATIONS................................................................................... v INTRODUCTION................................................................................... 1 Chapter I. CONTEMPORARY ART OF THE UNITED ARAB REPUBLIC.............................. 4 The Pioneers of Contemporary Egyptian Art Artists of the School of Fine Arts Artists of the School of Decorative Arts (The School of Applied Arts) The "free artists" The Pioneers of Art Education The Pioneers of Art Criticism The Art Movements Types of Contemporary Art Criticism in the United Arab Republic Summary H. ARA B NA TIONALISM AND ARA B CULTURE................ 21 Definition of nationalism Arab Faith and Culture The Influence of Cultures The Islam Influence on the Arts Summary Chapter Page m. -
Cultural Continuity in Modern Iraqi Painting Between 1950- 1980
Vol.14/No.47/May 2017 Received 2016/06/13 Accepted 2016/11/02 Persian translation of this paper entitled: تداوم فرهنگی در نقاشی مدرن عراق بین سال های 1950 و 1980 is also published in this issue of journal. Cultural Continuity in Modern Iraqi Painting between 1950- 1980 Shakiba Sharifian* Mehdi Mohammadzade** Silvia Naef*** Mostafa Mehraeen**** Abstract Since the early years of 1950, which represent the development period of modern Iraqi art, the “return to the roots” movement has been an impartible mainstream in Iraq. The first generation of modern artists like Jewad Salim and Shakir Hassan Al-Said considered “cultural continuity” and the link between “tradition and modernity” and “inspiration from heritage1” as the main essence of their artistic creation and bequeathed this approach to their next generation. Having analyzed and described a selection of artworks of modern Iraqi artists, this paper discusses the evolution of modern Iraqi art, and aims to determine cultural and artistic continuity in modern paintings of Iraq. It also seeks to answer the questions that investigate the socio-cultural factors that underlie the formation of art and establish a link between traditional and modern ideas and lead to continuity in tradition. Therefore, the research hypothesis is put to scrutiny on the basis of Robert wuthnow’s theory. According to Wuthnow, although configuration and the objective production of this movement is rooted in the “mobilization of resources”, the artistic content and approach of the painting movement (i.e. the continuation of the tradition along with addressing modern ideas) is influenced by factors such as “social Horizon”, “existing discursive context” and “cultural capital” of the painters. -
Barjeel Art Foundation Collection: Imperfect Chronology – Debating Modernism I 8 September – 6 December 2015 Large Print Labels and Interpretation Gallery 7
Barjeel Art Foundation Collection: Imperfect Chronology – Debating Modernism I 8 September – 6 December 2015 Large print labels and interpretation Gallery 7 1 Barjeel Art Foundation Collection: Imperfect Chronology An exhibition in four parts: 8 Sept 2015 – 8 Jan 2017 Part of the Whitechapel Gallery’s programme opening up rarely seen art collections from around the world, a series of four chronological displays highlights works from the Barjeel Art Foundation’s collection of Arab art. The theme of an ‘imperfect chronology’ is the series’ starting point: how do we narrate the history of Arab art through the lens of one collection? Over 100 works of art by 60 artists from the beginning of the twentieth century to the present day are brought together here to tell this story. The Barjeel Art Foundation is based in the United Arab Emirates and was founded by Sultan Sooud Al Qassemi in 2010. It holds one of the most extensive collections of art from the Arab world and its diaspora – a region that extends across North Africa and southwestern Asia encompassing the 22 countries of the Arab League. (continues on next page) 2 With a population of over 350 million of various ethnic and religious identities, Arabic (in its various dialects) is the dominant language of expression. Barjeel Art Foundation collection: Debating Modernism I 8 September – 6 December 2015 The first display takes an expansive historical approach and explores the emergence and subsequent development of Arab art through drawings and paintings from the early twentieth century to 1967–68, an important historical period in the region, with landmark works by Munira Al-Kazi , Da Azzawi , Inji Efflatoun , Kadhim Hayder and Hamed Ewais . -
Complete Dissertation
VU Research Portal Blessed is Egypt my People Klempner, L.J. 2016 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) Klempner, L. J. (2016). Blessed is Egypt my People: Recontextualizing Coptic Identity outside of Egypt. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 26. Sep. 2021 VRIJE UNIVERSITEIT Blessed is Egypt my People RECONTEXTUALIZING COPTIC IDENTITY OUTSIDE OF EGYPT ACADEMISCH PROEFSCHRIFT ter verkrijging van de graAd Doctor AAn de Vrije Universiteit AmsterdAm, op gezag van de rector magnificus prof.dr. V. SubrAmaniAm, in het openbAAr te verdedigen ten overstAAn vAn de promotiecommissie van de Faculteit der Geesteswetenschappen op maAndAg 19 december 2016 om 11.45 uur in de aulA van de universiteit, De BoelelAAn 1105 door Levi JoshuA Klempner geboren te Hadera, Israël promotor: prof.dr. -
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. -
Values in Islamic Culture and the Experience of History
Cultural Heritage and Contemporary Life Series IVA, Central and Eastern Europe, Volume 13 Series IIA, Islam, Volume 9 Values in Islamic Culture and the Experience of History Russian Philosophical Studies, I Edited by Nur Kirabaev Yuriy Pochta The Council for Research in Values and Philosophy Copyright © 2002 by The Council for Research in Values and Philosophy Gibbons Hall B-20 620 Michigan Avenue, NE Washington, D.C. 20064 All rights reserved Printed in the United States of America Library of Congress Cataloging-in-Publication Values in Islamic culture and the experience of history / edited by Nur Kirabaev, Yuriy Pochta. p.cm. – (Cultural heritage and contemporary change. Series IIA Islam; vol. 9) (Cultural heritage and contemporary change. Series IVA, Eastern and Central Europe; vol. 13) Includes bibliographical references and index. 1. Civilization, Islamic. 2. Religion and culture. I. Kirabae, N.S. II. Pochta, Y.M. (Yurii Mikhailovich). III. Series. IV. Series: Cultural heritage and contemporary change. Series IAV, Eastern and Central Europe; vol. 13. DS36.85.V35 1999 99-38193 909’.0999997671—dc21 CIP ISBN 1-56518-133-6 (pbk.) Table of Contents Preface vii by George F. McLean Introduction 1 by Nur Kirabaev Part I. Islamic Culture in the contemporary world: problems of research Chapter 1. The Image of Islamic Culture in European Consciousness 11 by Yuriy Pochta Chapter 2. Islamic Civilization and the West: Problems of Dialogue 41 by Nur Kirabaev Chapter 3. Islamic Civilization: An Empire of Culture 49 by Maitham Al-Janabi Part II. Islamic Culture: Its Nature, Major Concepts and Problems Chapter 4. Social and Historical Premises of the Origin and Development 79 of Classical Arab-Islamic Culture by Artur Sagadeyev Chapter 5.