The Art of Siona Benjamin
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The Impression of Enclosure in Persian Garden Design
tructur S e & el e C Nafisi et al., J Steel Struct Constr 2016, 2:1 t o S n f s o t DOI: 10.4172/2472-0437.1000108 r l u a c n t r i o u n o J Journal of Steel Structures & Construction ISSN: 2472-0437 Research Article Article OpenOpen Access Access The Impression of Enclosure in Persian Garden Design Nafisi N, Abbas MY and Nafisi S Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA (UiTM), 40450 Shah Alam, Malaysia Abstract The presence of enclosure has been a significant characteristic of Persian gardens in Pre-Islamic and Islamic eras. This concept is also reflected in Persian ate miniature painting where buildings are enclosed by a light fence or a wall. In some cases, especially house gardens, the wall looks much stronger, probably to protect the security of the enclosed area. The organic arrangement of natural elements in the garden associated with the pavilion, however, is in contradiction to the presence of the enclosure. It can be said that in numerous paintings, water is not enclosed anymore, but it is the building (and the paved area close to it) that is covered by a transparent barrier or a well. Traditional Iranian towns highly appreciate the sense of privacy in their old building. For centuries, Iranian houses were divided into two parts “Inside” and “outside”, in which family members solely used the first part while guests used the latter as well. Despite the importance of privacy in traditional Iranian culture, Iranian people were not isolated, and social contacts had an importance. -
M8-M9 EXHIBITION.Qxd
M8 India Abroad April 25, 2008 the magazine ART Tara Sabharwal’s Tree Path. As a student, she sold her work to London’s Victoria and Albert Museum Bridging gaps: or Roopa Singh, political poet, adjunct professor The artist of international political science at Pace University and theater instructor with South Asian Youth Action (both in New York), Erasing Borders 2008 — which is currently showing in FNew York — is a deeply diverse exhibit. “An extremely talks back affirming taste of how creative our Diaspora is,” she says. “From eerie florescent gas masks on Bharat Natyam dancers, to blood-hued mangoes for breakfast, to sari and sex pistol clad Desi women ‘stenciled’ on wallpaper, to a playful piece on the New York City sewer caps inscribed in Forty Diaspora artists express their South Asian identity in the US with the bold: Made In India. This is us bearing witness to our- traveling exhibition, Erasing Borders, reports Arthur J Pais selves, a South Asian Diaspora, spread and alive.” Vijay Kumar, curator for the fifth edition of the Erasing childhood; images from pop culture including Bollywood Borders traveling exhibition, has been watching the films, advertising and fashion; strong social commentary; changing Indian art scene in New York for several decades. traditional miniature painting transformed and used for “There are many new ‘Indian’ galleries in New York and new purposes; calligraphy and script; startling juxtaposi- other cities now, fueled by the new wealth in India and the tions; work trying to ‘find a home’ within the psyche.” booming art market there,” he says. “These galleries most- By the time India and Pakistan celebrated 50 years of ly show work by artists still living in India; occasionally, Independence, the words Desi and Diaspora had become they do exhibit work by Diaspora artists.” commonplace, he continues. -
“Patna's Drawings” Album
Mughal miniatures share these basic characteristics, but they also incorporate interesting innovations. Many of these deviations results from the fact that European prints and art objects had been available in India since the establishment of new trading colonies along the western coast in the sixteenth century. Mughal artists thus added to traditional Persian and Islamic forms by including European techniques such as shading and at- mospheric perspective. It is interesting to note that Eu- ropean artists were likewise interested in Mughal paint- ing—the Dutch artist Rembrandt van Rijn collected and copied such works, as did later artists such as Sir Joshua Reynolds and William Morris. These images continued to interest westerners in the Victorian era, during the period of Art Nouveau, and even today. [For a demon- stration of Persian miniature painting, see http://vimeo. com/35276945.] The DepicTion of The RuleR in Mughal MiniaTuRe painTing While Humayun was largely responsible for the im- portation of Persian painters to India, it was under Ak- bar that Mughal miniature painting first truly flourished. Akbar maintained an imperial studio where more than a hundred artists illustrated classical Persian literary texts, as well as the Mahabharata, the great Hindu epic that the emperor had translated into Persian from its original Sanskrit. Akbar also sponsored various books describing his own good deeds and those of his ancestors. Such books were expansive—some were five hundred pages long, with more than a hundred miniature paintings illustrat- portrait of the emperor shahjahan, enthroned, ing the text. It is here that we see the first concentrated from the “patna’s Drawings” album. -
Notes on the Formation of Hilya Design Calligraphy-Illumination Interaction and Numeral Symbolism
Kafkas Üniversitesi Sosyal Bilimler Enstitüsü Dergisi Kafkas University Journal of the Institute of Social Sciences Sonbahar Autumn 2019, Ek Sayı Additional Number 2, 155-176 DOI:10.9775/kausbed.2019.024 Gönderim Tarihi: 15.08.2019 Kabul Tarihi: 02.09.2019 NOTES ON THE FORMATION OF HILYA DESIGN: CALLIGRAPHY-ILLUMINATION INTERACTION AND NUMERAL SYMBOLISM Hilye Tasarımının Oluşumuna İlişkin Notlar: Hat-Tezhip Etkileşimi ve Sayı Sembolizmi Gülnihal KÜPELİ Dr. Öğr. Üyesi, Marmara Üniversitesi Güzel Sanatlar Fakültesi, [email protected] ORCID ID: 0000-0002-2055-0427 Çalışmanın Türü: Araştırma Abstract: In Ottoman tradition of thought the Prophet Muhammad represents the complete human being (al-insan al-kamil), who has reached the highest psychological, physical and spiritual stage of being. In this case the main purpose of the hilya as a work of calligraphy and illumination is to aesthetically evoke the physical appearance and moral character of the Prophet Muhammad. Moreover, the complex symbolism of the hilya as an expression of prophetic glory also reflects the cosmological thought of the Ottoman community. The subject of this article is to examine the classical hilya design attributed to the famous Ottoman calligrapher Hâfiz Osman in the context of calligraphy-illumination interaction and number symbolism. Examining classical examples of Turkish-Islamic arts of the book, we will try to observe that the conventional hilya design passed through various stages during the process of its formation. In this case the theoretical roots of Hâfiz Osman’s hilya form and the probability of his inspiration by the aesthetic designs of the previous periods will be examined through the decorative manuscripts in religious and non- religious topics. -
Historical and Scientific Analysis of Iranian Illuminated Manuscripts And
Mandana Barkeshli1 The objective of the present research was to identify the materials Historical and Scientific and techniques used in Persian Analysis of Iranian illuminated manuscripts and Illuminated Manuscripts miniature paintings and its major 2 significance compared to Indo- and Miniature Paintings Iranian and Mughal paintings. The research methodology was based on three approaches. The first consiste of a series of interviews carried out with the artists from Iran and India. The traditional Iranian masters such as: Saniʿei, Jazizadeh, Takestani, Harati were among these artists. The second method was historical analysis, by collecting the Persian historical documents and treatises on the recipes and techniques from Timurid, Safavid, and Qajar periods. During the historical survey the historic documents, including over 30 historical treatises (such as Golzār-e safā, Ādāb ol-mashq, Resāle dar bayān-e khatt-e morakkab va hall-e alvān, Favāyed ol-khotut), were collected and studied.3 These sources are related to the materials used in the art of bookmaking and painting from the Timurid to the Qajar period, such as different techniques of making dyes for paper colouring, pigments and dyes used as paint, binding mediums, sizing materials, burnishing techniques, and so on. All the recipes were The present study aims to identify the materials and techniques used in Persian collected and categorized and the illuminated manuscripts and miniature information was used as the basis paintings and its major significance in comparison with Indo-Iranian and Mughal for our scientific analysis. Historical paintings. The research methodology was data on techniques was collected for based on oral interviews with traditional the most commonly recommended masters, historical analysis and scientific analysis. -
Arh 362: Islamic Art
ARH 362: ISLAMIC ART CLUSTER REQUIREMENT: 4C, THE NATURE OF GLOBAL SOCIETY COURSE DESCRIPTION This course surveys the art and architecture of the Islamic world from the 7th through the 20th centuries. By looking at major themes and regional variations of Islamic art and architecture, the course examines how meanings in various socio-political and historical contexts have been encoded through forms, functions, as well as the aesthetic features of arts, crafts, and the built environment. The last portion of the course, spanning the 19th to the late 20th centuries, examines the West’s discovery of the Islamic arts as well as the integration of Western ideas into indigenous ones. This course can only briefly address some of the major themes. The topics (especially those pertinent to the modern period) are introduced through a number of key readings, but they should be merely seen as introductions, providing possible directions for future and more advanced studies. Discussions and questions are always encouraged. The readings, which have been selected to supplement the required textbooks, are particularly chosen to serve this purpose. COURSE-SPECIFIC OUTCOMES Gain valuable information about Islamic art and design as well as the cultures that gave shape to them Read critically and interpret and evaluate art historical issues in relation to socio-political conditions in non-Western contexts Develop a foundation for writing good critical essays about non-Western art and material culture Research non-Western art in a museum context Comparative studies of Western and Non-Western styles in a variety of media, including 2D and 3D art and design as well as architecture. -
Mathematics and Meaning in the Structure and Composition of Timurid Miniature Painting
PERSICA XIX, 2003 MATHEMATICS AND MEANING IN THE STRUCTURE AND COMPOSITION OF TIMURID MINIATURE PAINTING Sarah Chapman University of Edinburgh INTRODUCTION Even at first glance many Timurid miniature paintings reveal a strong sense of pattern and organization on which much of their overall dynamism depends. One can see the repetition of geometric shapes created by the figures, the very static and linear nature of much of the architecture, and the feeling of proportion and harmony in their composition. The obvious deliberation in their structure suggests that they may have been precisely planned and may even adhere to some kind of mathematical formula. The formal qualities of Persian miniature painting have been remarked on many times, and many techniques and conventions have been identified by scholars. Of particular rel- evance to this investigation are the studies of Guest,1 Zain,2 Adle,3 and Stchoukine.4 Guest identifies the importance of text panels in the calculation of important measurements and relationships within Persian painting, and discusses the repetition of certain measurements and distances as “a kind of counterpoint throughout the design.”5 Zain further investigates the relationship between text and painting, identifies certain formulaic tendencies in the building of Timurid compositions, and discusses the presence of a “hidden structural line” in many paintings which “guide” our experience as a viewer.6 Adle and Stchoukine both investigate the ‘mathematical’ nature of Persian painting in some detail: Adle finds, like Guest, the repetition of certain measurements and goes on to describe a modular system for the organization of hunting and sporting scenes especially. -
New Perspectives on American Jewish History
Transnational Traditions Transnational TRADITIONS New Perspectives on American Jewish History Edited by Ava F. Kahn and Adam D. Mendelsohn Wayne State University Press Detroit © 2014 by Wayne State University Press, Detroit, Michigan 48201. All rights reserved. No part of this book may be reproduced without formal permission. Manufactured in the United States of America. Library of Congress Control Number: 2014936561 ISBN 978-0-8143-3861-2 (paperback) ISBN 978-0-8143-3862-9 (e-book) Permission to excerpt or adapt certain passages from Joan G. Roland, “Negotiating Identity: Being Indian and Jewish in America,” Journal of Indo-Judaic Studies 13 (2013): 23–35 has been granted by Nathan Katz, editor. Excerpts from Joan G. Roland, “Transformation of Indian Identity among Bene Israel in Israel,” in Israel in the Nineties, ed. Fredrick Lazin and Gregory Mahler (Gainesville: University Press of Florida, 1996), 169–93, reprinted with permission of the University Press of Florida. CONN TE TS Acknowledgments vii Introduction 1 PART I An Anglophone Diaspora 1. The Sacrifices of the Isaacs: The Diffusion of New Models of Religious Leadership in the English-Speaking Jewish World 11 Adam D. Mendelsohn 2. Roaming the Rim: How Rabbis, Convicts, and Fortune Seekers Shaped Pacific Coast Jewry 38 Ava F. Kahn 3. Creating Transnational Connections: Australia and California 64 Suzanne D. Rutland PART II From Europe to America and Back Again 4. Currents and Currency: Jewish Immigrant “Bankers” and the Transnational Business of Mass Migration, 1873–1914 87 Rebecca Kobrin 5. A Taste of Freedom: American Yiddish Publications in Imperial Russia 105 Eric L. Goldstein PART III The Immigrant as Transnational 6. -
In Persian Traditional Painting, Greatly Influenced by Iranian Mystic Culture, May Have Lent Itself to Nineteenth-Century Iranian Photography by a Large Extend
A Comparative Visual Analysis of Nineteenth-Century Iranian Portrait Photography and Persian Painting Pérez González, C.M. del Citation Pérez González, C. M. del. (2010, February 2). A Comparative Visual Analysis of Nineteenth-Century Iranian Portrait Photography and Persian Painting. Retrieved from https://hdl.handle.net/1887/14653 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/14653 Note: To cite this publication please use the final published version (if applicable). 4. ARRANGEMENT OF SPACE The function of "space" in Persian traditional painting, greatly influenced by Iranian mystic culture, may have lent itself to nineteenth-century Iranian photography by a large extend. I will devote this chapter to explore the understanding of space in Persian painting and the influence that this may have had on nineteenth-century Iranian photography. I will analyze the formal use of space both in Persian miniature painting and photography. The main research issues related to the arrangement of the space in Persian miniature painting are topics such as the non-linear perspective approach or the isometrical perspective (also called parallel perspective) to project a three-dimensional space onto a two-dimensional picture plane; the existence of multiple centres of attention (diffuse composition); the grid layout structure; and the vertical composition/vertical perspective. I will introduce the kinds of compositions that can be defined on the basis of the arrangement of the elements in the pictorial or photographic space, and explore the ones that are peculiar to nineteenth-century Iranian photography as influenced by the Persian painting tradition. -
Art Works Grants
National Endowment for the Arts — December 2014 Grant Announcement Art Works grants Discipline/Field Listings Project details are as of November 24, 2014. For the most up to date project information, please use the NEA's online grant search system. Art Works grants supports the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and the strengthening of communities through the arts. Click the discipline/field below to jump to that area of the document. Artist Communities Arts Education Dance Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Page 1 of 168 Artist Communities Number of Grants: 35 Total Dollar Amount: $645,000 18th Street Arts Complex (aka 18th Street Arts Center) $10,000 Santa Monica, CA To support artist residencies and related activities. Artists residing at the main gallery will be given 24-hour access to the space and a stipend. Structured as both a residency and an exhibition, the works created will be on view to the public alongside narratives about the artists' creative process. Alliance of Artists Communities $40,000 Providence, RI To support research, convenings, and trainings about the field of artist communities. Priority research areas will include social change residencies, international exchanges, and the intersections of art and science. Cohort groups (teams addressing similar concerns co-chaired by at least two residency directors) will focus on best practices and develop content for trainings and workshops. -
The Bustan of Sa'di: an Illustrated Persian Manuscript Dated 850/1446
THE BUSTAN OF SA'Dl: AN ILLUSTRATED PERSIAN MANUSCRIPT DATED 850/1446 NORAH M. TITLEY and M. I. WALEY INTRODUCTION AMONG the notable items acquired in recent years by the Department of Oriental Manuscripts and Printed Books is a finely calligraphed and illuminated mid-fifteenth- century poetical manuscript in Persian (Or. 14237), containing three miniature paintings. ^ Despite their slightly damaged condition these miniatures are of particular significance for the study of what is an interesting phase in the stylistic development of Persian painting. They belong to a very small group, dating from the 1440s, in which elements associated with the style prevalent at Shiraz (in southern Persia) are intermingled with certain features characteristic of the work produced at Herat and Samarkand (in the north-east, and beyond the borders of modern Iran). Although in recent years several distinguished scholars have written on the Persian painting of this period,^ certain aspects of the subject merit further study; the style represented in Or. 14237 is one of them. Miss Titley's presentation and analysis of the miniatures in this manuscript, which follows, is a significant contribution towards this end. The text contained in the newly acquired manuscript is one of the best-known classics of Persian literature: the Bustdn (meaning 'Herb Garden' or 'Orchard') of Sa'dl of Shiraz {c.i2oo?-c.i2g2). The Bustdn is a poem comprising some 4,000 couplets in which Sa'dl skilfully and elegantly illustrates numerous maxims and ethical principles, using stories and anecdotes. Here, as also in Sa'di's equally celebrated Gulistdn^a. rather similar work, this time in prose interspersed with verses—it is sometimes difficult to distinguish fact from fiction. -
The S Tudy of Cypress Appearance in the Persian Art and Architecture In
International Journal of Architecture and Urban Development E-ISSN 2345-2331 © 2019 IAU Vol. 9, No.4. P 61-66. Autumn 2019 Development Urban and Of Architecture Journal International The s tudy of Cypress appearance in the Persian art and architecture in the light of Ges talt theory 1*Fatemeh Khozaei, 2Mina Safizadeh, 3Ahmad Sanusi Hassan, 4Qamar Ul Islam 1*Department of Architecture, Kerman Branch, Islamic Azad University, Kerman, Iran. 2School of Housing Building and Planning, Universiti Sains Malaysia, Penang, Malaysia. 3 Department of Electrical Engineering, School of Engineering & Technology, Baba Ghulam Shah Badshah University - Rajouri (J&K) India. 4School of Housing Building and Planning, Universiti Sains Malaysia, Penang, Malaysia. Recieved 08.12.2018; Accepted 07.10.2019 ABS TRACT: The impetus behind this s tudy is to discover the aes thetic and semantic patterns of the cypress tree and show how this element has been employed by Iranian artis ts. The ques tion of this research is how a cons tant element (the cypress tree) has been transfigured in different Iranian arts. Four categories of miniature, carpet, textile and architecture decoration. The present research is qualitative in nature and is descriptive-analytic and mainly uses the available published data. Data were analyzed inductively and interpreted in the light of Ges talt theory. Exploratory results reveal that the cypress as a cons tant element in Iranian art has been transfigured differently in different arts. With the aid of Ges talt laws, the visual appearance of the cypress tree was analyzed in the different samples a few of them are presented in the s tudy.