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Journal articles on the topic 'Arab Art'
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1
Gaber, Tammy. "Modern Arab Art." American Journal of Islam and Society 26, no. 1 (January 1, 2009): 114–17. http://dx.doi.org/10.35632/ajis.v26i1.1422.
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This book endeavors to define a specific term for modern Arab art, which ismost often considered a continuation of Islamic or ethnic art or a subordinatecopy of western trends. This academic text, which targets audiences interestedin contemporary art or the Arab world, or both, is divided into threeparts: “Background and Definitions,” “Modern Arab Aesthetics,” and “The Arabic Letter in Art.” It contains forty images within the text and thirty-twoplates of contemporary works of art by Arabs ...
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Bahoora, Haytham. "Locating Modern Arab Art: Between the Global Art Market and Area Studies." Review of Middle East Studies 54, no. 1 (June 2020): 25–36. http://dx.doi.org/10.1017/rms.2020.15.
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AbstractThis essay situates the publication of Modern Art in the Arab World: Primary Documents in the context of an expanding global interest in modern Arab art as well as the study of modern Arab art as an academic discipline. The essay first examines the implications of the cultivation of a new museum and gallery infrastructure for modern Arab art in the Arab Gulf. It then considers how the academic study of modern Arab art has faced institutional barriers, due largely to the overwhelming academic focus on Ancient Studies and Islamic art. Finally, it suggests that Modern Arab Art in the Arab World provides scholars with a comprehensive textual archive that calls for a historicized approach to theorizing the emergence of modernist aesthetics in Arab visual cultures.
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Khair Allah, Raad. "Review." Exchanges: The Interdisciplinary Research Journal 11, no. 1 (October 26, 2023): 85–91. http://dx.doi.org/10.31273/eirj.v11i1.1349.
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Art can be particularly an effective means of building transnational understanding across cultural divides. Specifically, the act of making art to express conflict, sexuality and identity is significant as Arab women have frequently been marginalised and excluded from such a site of visibility and meaning. Contemporary Arab women artists not only contribute to global feminist theory but also deal with their aesthetic, visual and personal concerns. The Body in Twilight: Representation of the Human Body, Sexuality and Struggle in Contemporary Arab Art is a book by the Syrian professor of visual art and design Fassih Keiso. In this book, Keiso explores the representation of the human body in contemporary Arab art and its relationship to issues of sexuality and struggle. He argues that the representation of the body in Arab art reflects broader societal changes and struggles and that the use of the body as a site of resistance and political commentary is a common theme in contemporary Arab art. Despite the lack of images of artworks by the artists discussed in this book, the book provides a compelling contribution to comparative gender and feminist art and the broader international art on the centrality of sexuality in politics and society.
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A. M. Lutfi, Dina. "Challenging Perceptions of Modern Arab Art." Contemporary Review of the Middle East 7, no. 3 (May 11, 2020): 286–300. http://dx.doi.org/10.1177/2347798920921708.
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The understanding of modern Arab art is, more often than not, based on individual and collective perceptions that relate to beliefs, culture, and social constructs. Defining qualities or characteristics that make a work of art “Arab” is not a clear-cut endeavor. Many Arab artists appropriated Western techniques, while they strived to combine their newly acquired artistic processes with content inherent in their respective cultures. Some audiences appreciated the new direction the Arab art was taking; however, many artists were harshly criticized of advocating cultural colonialism. A struggle in the field of art, and in other aspects of life took place, due to the increasing fear of losing one’s own tradition and Arab identity in the face of Western culture. This article explores the nature of modern Arab art and Arab identity, its place within a global modernism, and the ways in which Western influences have shaped its development, in addition to understanding the different particularities that have shaped Arab modernism in art specifically.
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Lenssen, Anneka. "“Muslims to Take Over Institute for Contemporary Art”: The 1976 World of Islam Festival." Review of Middle East Studies 42, no. 1-2 (2008): 40–47. http://dx.doi.org/10.1017/s0026318400051506.
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The terms “Islamic” and ‘Arab” are not ideal instruments for classifying modern or contemporary art, for they are meta-categories that can variously encompass Muslims and non-Muslims, and Arabs and non-Arabs. Nonetheless, as historians of modern art in Islamic regions, we seem to have inherited a longstanding commitment to Islamic art as an epistemologically unique practice that produced limitless abstract patterns and other “non-Western” visual expression. It is time to move beyond such overburdened lineages. In this paper, I aim to historicize the formulations of a specific Arabo-Islamic aesthetic that emerged in the 1970s. I do so by a study of a single event and its metacultural claims: the World of Islam Festival held in London in 1976. The Festival projected optimistic countercultural options for art and civilization that remain instructive today, while the complexity of its organizing structures demonstrates the limitations of the West/rest paradigm in interpreting its artistic products.
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Shabout, Nada. "Art Without History? Evaluating ‘Arab’ Art: An Introduction." Review of Middle East Studies 42, no. 1-2 (2008): 16–18. http://dx.doi.org/10.1017/s0026318400051464.
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The Association for Modern and Contemporary Art of the Arab world, Iran, and Turkey (AMCA) is a private, non-profit, non-political, international academic organization. Our goals include initiating the much-deserved recognition of a neglected and misrepresented field, and to open up institutional spaces for discussion, research and study. We seek to connect artists, scholars and others from around the world by sponsoring conferences, holding meetings, and exchanging information via a newsletter and website.
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Adrian von Roques, Karin. "Situation of Contemporary Arab Art." SGMOIK-Bulletin, no. 23 (October 1, 2006): 4–9. http://dx.doi.org/10.12685/bul.23.2006.806.
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Salameh, Mohammad Ahmad Bani, and Yakup Mohd Rafee. "The Political Dimension in Arab Contemporary Art through the Marcuse Aesthetic Theory: A Descriptive Analytical Study." International Journal of Contemporary Research and Review 10, no. 04 (April 29, 2019): 20632–37. http://dx.doi.org/10.15520/ijcrr.v10i04.695.
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This paper discusses the political dimension in Arab contemporary art based on the Marcuse aesthetic theory. The researchers believe there is a high correlation between Arab contemporary art and Marcuse aesthetic theory when the three main axes of this theory are tested and reflected on contemporary Arab artworks (study sample). This study attempts to describe and analyze the artworks (study sample) and link this analysis to Marcuse theory. The study sample contains three Arab contemporary artworks from 2010-2015 to clarify the political dimension in Arab contemporary art in accordance with the Marcuse aesthetic theory. The findings prove strong correlations between Arab contemporary art and Marcuse aesthetic theory.
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Keshmirshekan, Hamid. "Modern Art in the Arab World, Primary Documents: A Review Essay." Review of Middle East Studies 54, no. 2 (December 2020): 342–51. http://dx.doi.org/10.1017/rms.2021.4.
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The study of modern and contemporary art from Islamic lands, and particularly the Arab world, is a developing field. Over the past few decades, a variety of publications on modern and contemporary art from the Arab world and its diasporas has appeared in art magazines, journals, and exhibition and auction catalogues. There is, however, still a lack of scholarly literature and reliable resources on the subject. Many such existing sources have focused on productions that are largely in line with certain interests or agendas pursued by the particular magazine/journal, exhibition, or art market in question. Therefore, although recent scholarly output has played a crucial role in introducing modern art in the Arab countries in the Middle East and North Africa, these publications have not sufficiently filled the gap of discussion regarding certain aspects of the subject. Modern Art in the Arab World, a collection of critical writings by Arab intellectuals and artists, offers an unparalleled source for the study of modernism in the Arab world. Mapping the primary documents with additional entries written by the editors and other scholars, this book addresses the major historical, conceptual, theoretical, and aesthetic issues that inform the modern art paradigm in the Arab world. Arranged largely in a chronological order, it explores the art of the Arab world by tracing the main discourses that have shaped artistic practices and transformations in the region from the mid-nineteenth century until the late 1980s.
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Latifah Al-Ma'yuf, Latifah Al-Ma'yuf. "Francophone History and its Effects in the Arabs World." journal of king abdulaziz university arts and humanities 25, no. 1 (May 6, 2017): 179–200. http://dx.doi.org/10.4197/art.25-1.8.
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Francophone represents one of the methods of alienation and subordination which was carried out in the Arab’s world. It has gone through several stages and different styles, which began with the protection of Christians minority in the Levant (in the eighteenth century during the Ottoman rule), then it ended with the colonial military invasion of the Maghreb. Francophone worked towards the capture of the sources and resources of the Arab nations, and worked towards obliteration of the Arabian Islamic identity. After the liberalization of the Arab countries from military occupation, Francophone continued the abuse of the Arabs. However, the methodology of Francophone was defeated in the Arab’s world, but it left behind its existence serious effects, (for instance on the Arabic language, education and culture).
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Mikdadi, Salwa. "Arab Art Institutions and Their Audiences." Review of Middle East Studies 42, no. 1-2 (2008): 55–61. http://dx.doi.org/10.1017/s002631840005152x.
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Leaders of Arab art institutions are negotiating new grounds for the arts with new money, new audiences, and—in the case of the Gulf countries—also new locations. They are playing a key role in devising alternate strategies to reach audiences and create civic dialogue through the arts, while negotiating economic, political, and artistic concerns that are helping to shape future cultural policies in the region. This paper explores the institutionalization of Arab art practices in Jordan, Lebanon, Palestine, and the United Arab Emirates, and the relationship of these arts organizations to their audiences. The reasons for selecting these four countries is that compared to other Arab countries, they have a large number of individual art initiatives, as well as new and diverse types of institutions. Each country has a specific context in which the art organizations were established and function. However, the focus of this paper is the relationship of the art institutions to their audiences and the strategies they use to encourage discourse on art and its content in the public sphere. The paper is based on discussions with twenty-one art professionals who represent almost all leading art institutions in the Jordan, Lebanon, Palestine and United Arab Emirates (UAE).
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Choucair, Saloua Raouda. "How the Arab Understood Visual Art." ARTMargins 4, no. 1 (February 2015): 119–28. http://dx.doi.org/10.1162/artm_a_00107.
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This introduction and commentary on Saloua Raouda Choucair's article “How the Arab Understood Visual Art” (translation by author in this issue) sets the context in which a private rebuke Choucair addressed to a former colleague for his ethnocentric cultural criticism became a quasi-manifesto for art (and social) modernism. It inventories the conceptual shifts Choucair pursued in her reevaluation of cultural criticism: shifts in the approach to time, matter, visuality, and Arabness. It explicates the lessons Choucair learned from Sufic Arab science, math, and philosophy (particularly Alhazenian optics) toward extracting an essentialist view of matter, which allowed art a serious public role for teaching people the possibilities available in modern social existence. It relates these findings to Choucair's own visual art.
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Buana, Cahya. "Nilai-Nilai Moralitas dalam Syair Jahiliyah Karya Zuhair Ibnu Abi Sulma." Buletin Al-Turas 23, no. 1 (January 31, 2017): 87–101. http://dx.doi.org/10.15408/bat.v23i1.4803.
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Abstrak Masa Jahiliyah selalu identik dengan dengan kebodohan dan amoralitas. Namun demikian, berdasarkan fakta sejarah, bangsa Arab pada masa Jahiliyah telah mengenal seni sastra yang berkualitas tinggi, baik dari segi isi maupun gaya bahasa. Syair sebagai karya sastra yang sulit dan rumit ternyata telah lama berkembang di Jazirah Arab, sebagaimana berkembang di kerajaan-kerajaan besar sekitarnya seperti Romawi dan Persia yang terkenal dengan peradabannya yang sangat tinggi di masa itu. Syair sebagai karya seni tidak terlepas dari unsur emosi, imajinasi, ide, dan gaya bahasa yang indah. Unsur-unsur ini tentu saja sulit diekspresikan oleh masyarakat yang tidak memiliki rasa seni dan budaya yang tinggi. Jika demikian, benarkah bangsa Arab Jahiliyah adalah bangsa yang benar-benar tidak mengenal peradaban dan tidak mengenal nilai-nilai moralitas? Melalui kajian Strukturalis genetik terhadap syair karya Zuhair ibnu Abi Sulma seorang penyair sekaligus filsuf bangsa Arab Jahiliyah, penulis mengungkap nilai-nilai moralitas yang terdapat dalam kehidupan bangsa Arab pada masa Jahiliyah. Berdasarkan hasil analisis, terbukti bahwa bangsa Arab Jahiliyah telah mengenal nilai-nilai moralitas universal baik yang bersumber dari pengalaman hidup, maupun nilai-nilai keimanan. Secara umum, nilai-nilai moralitas yang mereka pahami bukan bersumber dari keyakinan terhadap Tuhan, melainkan bersumber dari pengalaman hidup.---Abstract Period of Ignorance always synonymous with ignorance and immorality. However, based on historical facts, the Arabs at the time of Ignorance had known literary art of high quality, both in terms of content and style. Poem as a literary work difficult and complicated turns have long been grown in the Arabian Peninsula, as developed in the kingdoms surrounding large as the Roman and Persian civilization is known for very high at that time. Poem as a work of art can not be separated from the element of emotion, imagination, ideas, and style that is beautiful. These elements are of course difficult to be expressed by people who do not have a sense of art and high culture. If that, did the Arabs Ignorance is the nation that really knows no civilization and do not know the values of morality? Through genetic studies of the poetry works Structuralists Zuhair Ibn Abi Sulma poet and philosopher of the Arabs of ignorance, the authors reveal the moral values contained in the life of the Arabs at the time of Ignorance. Based on the analysis, it is evident that the Arabs of ignorance have known values of universal morality both from life experiences, as well as the values of faith. In general, the values of morality they understood not from belief in God, but rather comes from life experience.DOI: 10.15408/al-turas.v23i1.4803
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Муталова Гулнора Сатторовна. "ОСОБЕННОСТИ РАННЕСРЕДНЕВЕКОВОГО ЭПИЧЕСКОГО ТВОРЧЕСТВА АРАБОВ." International Journal of Innovative Technologies in Social Science, no. 1(13) (January 31, 2019): 28–34. http://dx.doi.org/10.31435/rsglobal_ijitss/31012019/6326.
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The article is devoted to the most interesting phenomenon in Arabic literature - tribal legends, included in the Arab medieval literature called “Ayyam al- Arab” (“Days of the Arabs”). Oral narrative is an incomparable genre of Arab culture. Containing folklore origins and genetically related to the epic, it is at the same time quite distinctive and distinctly separate from other literary genres. The prose of Days, as well as poetry, is a work of high art with its own laws and its own poetics. And considering that for a long time, Arabic prose has not received proper development, the appearance of Ayyam Al- Arab should be regarded as one of the sources of historiographic prose, actually as the beginning of narrative prose in the history of Arabic literature.
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Auji, Hala. "Locating Primary Documents: Global Modernism and the Archival Turn." Review of Middle East Studies 54, no. 1 (June 2020): 14–24. http://dx.doi.org/10.1017/rms.2020.5.
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AbstractThis essay considers the contribution of Anneka Lenssen, Sarah Rogers, and Nada Shabout's Modern Art in the Arab World: Primary Documents to global art history. In particular, the essay addresses the archival turn, the challenges of language and translations in the publication of primary sources, and the continued need to challenge Eurocentric views of and approaches to global modernism. This includes considering how Modern Art and the Arab World's contributions aim to upend Western preconceptions about modern art from the “Arab world,” and demonstrating how such publications can serve as sources for critical evaluations and reconsiderations of the history of global modernism in general.
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Lenssen, Anneka, Dina Ramadan, Sarah A. Rogers, and Nada Shabout. "Introduction The Longevity of Rupture: 1967 in Art and its Histories." ARTMargins 2, no. 2 (June 2013): 14–18. http://dx.doi.org/10.1162/artm_a_00045.
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This introductory essay by members of the Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey provides a quick overview of the significance of the 1967 defeat of Arab military forces by the Israeli army for the historiography of modern and contemporary Arab art. It then details a recent turn to more critical engagement with that historiographic framework, as exemplified by the 2012 conference The Longevity of Rupture: 1967 in Art and its Histories, and introduces the four articles published in ARTMargins that came out of the conference.
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Fouad Selim, Yasser. "Performing Arabness in Arab American Stand-up Comedy." American, British and Canadian Studies Journal 23, no. 1 (December 1, 2014): 77–92. http://dx.doi.org/10.1515/abcsj-2014-0028.
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Abstract This article deals with the dramatic art of stand-up comedy. It locates Arab American stand-up comedy within a broader American humorous tradition and investigates the way Arab American performers use this art to negotiate and (re)construct their identity. The main question in this article is the way Arab American stand-up comedians define their relationship to the Arab and the western worlds in the process of establishing their Arab American identity. Three humor theories - the relief theory, the incongruity theory, and the superiority theory - are deployed in the study to examine the representation of Arabness in selected Arab American performances. The study argues that Arab American comics minstrelize their own diasporic origin through reinscribing a range of orientalizing practices in order to claim their Americanness.
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AL-BAZAY, SAAD. "Arab Identity in Wordsworth's Dream." Journal of King Abdulaziz University-Arts and Humanities 3, no. 1 (1990): 209–28. http://dx.doi.org/10.4197/art.3-1.9.
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ALWAN, Jolan Hussien. "THE AESTHETIC DISCOURSE OF DECORATIVE ART )ISLAMIC CIVILIZATION AS A MODEL)." RIMAK International Journal of Humanities and Social Sciences 04, no. 01 (January 1, 2022): 635–55. http://dx.doi.org/10.47832/2717-8293.15.44.
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Islam is a major turning point in the life of the nation in particular and humanity in general, because the impact of the Arab-Islamic civilization on human life as a whole is still visible. Art was a manifestation of the Arab Islamic culture and that it represents a pattern of human civilization patterns. Arab Islamic art is one of the important tributaries that accompanied the life and development of the Arab Muslim man. Islamic religious buildings, such as statues, pictures, and other tools used by the Christian churches in their rituals, as these teachings prevented from imitating nature completely. The abstract of the reality of the Creator. This spiritual identity of art is the prominent feature that has marked the history of Islamic art, in all its diverse fields, from diagnosis to abstraction. The Arab-Islamic personality crystallized under the Islamic religion, and art and its aesthetics became a source of interest for Muslim philosophers of beauty, including Al-Ghazali, Abuhyan Al-Tawhidi and Al-Farabi, because Islamic religious thought is far from everything that is analogous in Islamic art so as not to be an emulation of the Creator. From here, the research problem started with the following question: What distinguished the decorative art from the rest of the Islamic arts through its vast civilization from the other arts? And to what extent does it include the aesthetic dimension within the opinions of Muslim philosophers who are interested in the aesthetics of art? 1-As for the importance of the research, it focused on: the possibility of considering it a source for those interested in studying decorative. 2-The possibility of seeing the aesthetics of decorative art and the artist's orientation to this type of art.
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Belting, Hans. "Perspective: Arab Mathematics and Renaissance Western Art." European Review 16, no. 2 (May 2008): 183–90. http://dx.doi.org/10.1017/s106279870800015x.
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This paper deals with the transfer of Arab visual theory in the Middle Ages, as it is believed that the cultural significance of this transfer needs a new emphasis. Mathematical perspective was invented in Florentine Renaissance Art. However, except in the history of science, it is a little known fact that this visual theory was based on the Book of Optics, written by Ibn al Haithan, also known as Alhazen, and was translated, probably in Spain, with the Latin title Perspectiva. We therefore can speak of a double history of perspective, as visual theory and as pictorial theory. The main argument is to identify the importance of images, which separate Arab thought from Western thinking. It was the transformation of mathematics into art, in the Western sense, that allows us to distinguish two different cultures. In this process, the invention of mathematical space by Biagio Pelacani was an important step. Thereafter, the gaze and its looking space became a new concern of the Renaissance.
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Sanni, Amidu. "On taḍmīn (enjambment) and structural coherence in classical Arabic poetry." Bulletin of the School of Oriental and African Studies 52, no. 3 (October 1989): 463–66. http://dx.doi.org/10.1017/s0041977x0003456x.
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The importance of poetry as the chief aesthetic experience of the Arabs as well as the principal repository of materials on their life and thought had long been recognized by the Arab and, following them, non-Arab students of Arabic culture. The fact that all the technical terminologies of Arabic verse which were formalized in ‘ilm al- ‘aruḍ (Prosody) are derived from the components of the bedouin tent—a highly prized possession—indicates the significance of the art to the Arab mind. The pride of place enjoyed by poetry in Arabic literary thought derives primarily from the hieratic idiom associated with it, as well as from its structural coherence, which relies on the harmony of prosodic factors (al-‘awāmilal-‘arūūiyya) associated with poetic praxis.
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Abdel Ghafar Bazheir, Nargis. "Arab theatre and plays: developmental stages and challenges." ARTSEDUCA, no. 34 (December 7, 2022): 167–76. http://dx.doi.org/10.6035/artseduca.6642.
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Arab stage plays took their time in the development and making their place in the world throughout the ancient times. The article shines a light on the phases and struggles Arab theatre went through in making such majestic art and performances that are a source of entertainment for people from all over the world. Mainly the struggles were because of religious issues that initiated many other issues like the censorship and not having enough popularity in the Arab states that put up a limit to the theatre establishments forcing the artists to make journeys in order to seek their audience as many things did not sit well in the mindsets of the religious Arabs. However, later on, the theatre started stretching its roots in the hearts of the audience. Performances like Shadow Puppetry and Passion plays took over many viewers and became an important part of the Arab culture. One of the most important eras in the history of Arabic drama development was that of the Egyptian era, which holds a reputation to this time and tells a lot of religious and historic stories through its innovative art play. The article also highlights the great contribution of Ibn Danyal Al-Khuzai to the plays through his three phenomenal theatre scripts that were enacted upon by many diverse cultures and ethnicities, furthermore, the influence Western drama culture made in Arab states and its impact that came with series of events.
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Alamrani, Gamil. "Modern Arab Women and Traditional Morality." Humanities and Management Sciences - Scientific Journal of King Faisal University 22, no. 2 (2021): 1–7. http://dx.doi.org/10.37575/h/art/0091.
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This study uses a descriptive–analytical methodology, based on a postmodern deconstructive feminist approach, to analyze the struggle of modern Arab women fighting against patriarchal biases, violence, and the hypocritical morality system that dominate most tribal Arab societies. Applications for the study are taken from major Arab contemporary novels that continue to create strong independent female characters to expose the misogynistic nature of selected traditional tribal Arab societies. Many of these characters challenge the existing tribal moral codes that incite physical and psychological violence against women who are suspected of violating accepted social and cultural codes of family honor. The study highlights that the existing morality system is biased and unjust, resulting in the continuous subordination and manipulation of women. The analysis also reveals that modern Arab women challenge the hegemony of the long-standing and traditional patriarchal system, fight for an equal distribution of social rights and responsibilities, and reject any form of psychological and physical violence inflicted on women under a misguided masculine system of honor.
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Isnaini, Rohmatun Lukluk, and Nurul Huda. "KALIGRAFI SEBAGAI MEDIA PEMBELAJARAN BAHASA ARAB." al Mahāra: Jurnal Pendidikan Bahasa Arab 2, no. 2 (December 19, 2016): 110–20. http://dx.doi.org/10.14421/almahara.2016.022-06.
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The art of writing or calligraphy or better known in Arabic as khat has given a touch of art in learning Arabic. This article describes teaching Arabic with calligraphy. This media is proven to be a stimulant and a tool that teachers use to encourage students' interest to learn Arabic. In the learning process as well as in the form of the work, it has made the Arabic and calligraphy into a unity. The model with a touch of calligraphy art is aimed at learners who are just getting to know Arabic to have a sense of joy and affection to learn Arabic. The impact of pleasure can change the mindset of learners that Arabic is easy and fun.
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Alrasheed, Ibtesam S., and Mohrah Hamed Sakr. "Role of Arabian female plastic artists in the art market: A comparative analysis study on selected samples of Arab countries." Arte, Individuo y Sociedad 32, no. 4 (July 23, 2020): 1009–38. http://dx.doi.org/10.5209/aris.66088.
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When we try to recall the most famous artworks, what immediately comes to mind are works by male western artists, which makes us wonder about the role of women, especially Arabian women in the art world. This research utilizes the comparative analytical method to discuss the role of female Arabian artists in the Arab region and the western world’s art market. By first gathering data pertaining to works sold at auctions by female Arabian artists from the 20th and the 21st centuries, and who belong to both the eastern and western ends of the Arab world. Then analyzing and comparing the data to understand where women artists of the Arab world fit in the Arabian and Middle Eastern region art market. And to also understand the status of female versus male artist by comparing the highest prices reached by a work of art sold at an auction for artists of both sexes Arabian or western. Results show clear supremacy of male versus female artists in the art market whether in the Arab or the western worlds leading to the conclusion that women’s work is still valued significantly lower than that of men.
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الاء عيسى كريم and علي عبدالله عبود. "Fashion Aesthetics in Contemporary Arab Sculpture." Basrah Arts Journal, no. 27 (November 30, 2023): 136–42. http://dx.doi.org/10.59767/2023.11/27.10.
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The art of sculpture in the Arab world formed a solid foundation in the field of art through the various sculptural products presented by Arab sculptors in employing art through which they contributed to the reflection of the cultural heritage due to the forms, symbols, images, forms of clothing and their external formal influences that were included in their works, which reflected the aesthetics of fashion in Arab sculpture. Contemporary, which necessitated highlighting the knowledge of its aspects from the cognitive, social, artistic and cultural aspects, and the connotations expressed by the Arab sculptor in dress, and to know the cultural value and employ it in the sculptural work, through which it is possible to differentiate between one country and another in terms of culture, traditions, and knowledge of the segments of society that were the basis for the variation in people's daily lives. The current research includes four chapters, the first chapter of which includes the research problem, which becomes clear through the following question: What are the aesthetic values achieved by fashion in contemporary Arab sculptural work, as well as the importance of research and the need for it, which lies in the fact that it represents a reflection of the aspects of traditional Arab life. The current research aims to identify the aesthetics of fashion in contemporary Arab sculpture. The research is limited spatially to sculptural works in the Arab world, temporally from 1950 to 2020, and objectively by studying sculptural works that reflect the aesthetics of contemporary Arab fashion.
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Fatim, Al Lastu Nurul, Ahmad Faizal Amin, Tsabit Nurrahman, and Zakiyah Arifa. "Manajemen Perencanaan Program Festival Jazirah Arab untuk Mengembangkan Bahasa dan Seni Arab." An Nabighoh: Jurnal Pendidikan dan Pembelajaran Bahasa Arab 22, no. 01 (June 30, 2020): 37. http://dx.doi.org/10.32332/an-nabighoh.v22i01.1755.
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This study describes the model of approach, scope, and planning process of the Arabian Peninsula Festival (FJA) program to develop Arabic language and art learning. This research uses the descriptive qualitative method. The Data collection used is the method of interview, observation, and documentation. The results of this study are: first, the FJA program uses a bottom-up planning approach model, which overall program planning starts from the proposal or idea of some BSA HMJ management members and lecturers as compilers of the objectives of developing Arabic language and art learning. Second, the scope of this program includes short-term activities that are held regularly once a year and are incidental on a national scale. Third, the planning process has been carried out optimally with a preparation time of two months, then the stages of the activity procedure are clear and easily understood by the participants, namely the assistance of activity guidelines that determine the race by reflecting the development of Arabic language and arts such as speech, singing, poetry, calligraphy, debates, essays, reading news, and MQK in Arabic.
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Powers, Holiday. "Reading Modern Art in the Arab World from Morocco and Qatar." Review of Middle East Studies 54, no. 1 (June 2020): 5–13. http://dx.doi.org/10.1017/rms.2020.24.
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AbstractModern Art in the Arab World is a collection of approximately 125 primary documents dealing with the debates around modernism in the Arab world dating between 1882 to 1987. This essay responds to the book from two perspectives: first, as an academic researching modernism in Morocco, and second, as a Qatar-based professor that teaches undergraduate courses about modern and contemporary Arab art. The book highlights a broadly defined and heterogeneous Arab world that extends from Morocco to the Gulf, and the selected texts create new conversations between these varied movements. It is evidence of the changing nature of this field of study. As a tool for teaching, the book offers signposts about what the editors consider to be the most significant debates and events in a given place while also creating the possibility for reading these movements transnationally.
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Salameh, Mohammad Ahmad Bani, Yakup Mohd Rafee, and Tamara Adnan Al Smadi. "The Political Factors that affect Contemporary Art in the Arab world, Descriptive Analytical Study." International Journal of Contemporary Research and Review 10, no. 08 (August 3, 2019): 20645–53. http://dx.doi.org/10.15520/ijcrr.v10i08.722.
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This paper examining the determine the political factors that affect contemporary art in the Arab world. through what the Arabic artworks (study sample) contained ideas, there was internal and external political factors that affect contemporary Arabic art. the researcher will extract these factors by evaluating the findings made in respect to the political factors (internal and external) that influence the selected artworks (sample study). This step also includes the drawn conclusions in respect to the political factors (internal and external) that cause these political situations in the Arab world. The study sample contained seven Arabic contemporary installation artworks from 2010-2015 to determine the political factors that affect contemporary art in the Arab world. The findings were list combines the external and internal political factors that influence contemporary Arabic art in general because these factors include all the political factors and its comprehensive and appeared in contemporary Arabic artworks.
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Bani Salameh, Mohammad Ahmad, Yakup Mohd Rafee, and Tamara Adnan Al Smadi. "The Political Factors that affect Contemporary Art in the Arab world, Descriptive Analytical Study." International Journal of Contemporary Research and Review 11, no. 01 (January 29, 2020): 20702–10. http://dx.doi.org/10.15520/ijcrr.v11i01.787.
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This paper examining the determine the political factors that affect contemporary art in the Arab world. through what the Arabic artworks (study sample) contained ideas, there was internal and external political factors that affect contemporary Arabic art. the researcher will extract these factors by evaluating the findings made in respect to the political factors (internal and external) that influence the selected artworks (sample study). This step also includes the drawn conclusions in respect to the political factors (internal and external) that cause these political situations in the Arab world. The study sample contained seven Arabic contemporary installation artworks from 2010-2015 to determine the political factors that affect contemporary art in the Arab world. The findings were list combines the external and internal political factors that influence contemporary Arabic art in general because these factors include all the political factors and its comprehensive and appeared in contemporary Arabic artworks.
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Gräf, Bettina, and Laura Hindelang. "The Transregional Illustrated Magazine Al-Arabi." Middle East Journal of Culture and Communication 15, no. 3 (September 6, 2022): 301–28. http://dx.doi.org/10.1163/18739865-01503002.
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Abstract This article investigates the transregional cultural magazine Al-Arabi (al-‘Arabi) during the late 1950s and 1960s under its first editor, the Egyptian scientist Ahmad Zaki. Founded in Kuwait, the magazine’s establishment and sociocultural-political agenda are reconstructed within the context of Kuwait’s cultural diplomacy and pan-Arabism during decolonization and early Cold War politics. Al-Arabi offered timely discussions on Arab cities, gender, literature, politics and science, and readily embraced color photography for illustrations as a way of stimulating transnational understanding during times of substantial change in the region. Consequently, an analysis of Al-Arabi provides insights into historical strategies for re-imagining the region from within. Overall, the magazine can be situated in a long-standing tradition of Arab printing and publishing, while also forming part of a global illustrated magazine culture. Using a transdisciplinary approach, the article combines archival research and interviews with the media-historical and art-historical analyses of text, image and graphic design.
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جوهر, ياسين أكبر. "فن السيرة الذاتية في الأدب العربي تاريخه وملامحه." الدراسات الإسلامية 56, no. 1 (March 31, 2021): 59–73. http://dx.doi.org/10.52541/adal.v56i1.1000.
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This article aims to explore the historical background and features of the art of writing autobiography in Arabic literature. Autobiography is a form of literature. This research examines the art of writing autobiography in Arab history and traces its origins to the ancient Arab customs and traditions. There are several examples of autobiographies in classical Arabic literature that shed light on the art of writing autobiography in Arabic literature. These examples include the autobiographies of Ḥunayn b. Isḥāq, Abū bakr al-Rāzī, and Ḥakīm al-Tirmiḏī etc.
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Azizah, Salma, and Hikmah Maulani. "Pengaruh Perkembangan Seni Kaligrafi Arab Terhadap Budaya di Indonesia." Shaf: Jurnal Sejarah, Pemikiran dan Tasawuf 1, no. 2 (March 26, 2024): 22–37. http://dx.doi.org/10.59548/js.v1i2.102.
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This research discusses the influence of the development of Arabic calligraphy art on culture in Indonesia. The art of Arabic calligraphy, with its beauty and philosophical meaning, has become an integral part of Islamic culture. In Indonesia, Arabic calligraphy is not only considered a form of visual art, but also as an expression of spiritual values and Islamic aesthetic beauty. This research identifies and analyzes the impact of the development of Arabic calligraphy on various aspects of culture in Indonesia. First, Arabic calligraphy art has made a significant contribution to the development of Indonesian fine arts. His influence is visible in the decorative arts, architecture, and other works of art. Arabic calligraphy is not only an aesthetic element, but also a means of conveying religious and spiritual messages. Second, the art of Arabic calligraphy plays an important role in enriching language culture in Indonesia. Many Arabic words used in calligraphy became part of the local vocabulary, creating linguistic synergy between Arab and Indonesian cultures. Third, the art of Arabic calligraphy also has an impact on religious culture in Indonesia. The use of calligraphy in religious contexts, such as in mosques and other places of worship, creates a deeply spiritual environment and adds value to religious practices. Thus, this research details how Arabic calligraphy not only functions as a visual art medium, but also as an agent of cultural and spiritual change in Indonesia. It is hoped that this in-depth understanding of the impact of Arabic calligraphy art can enrich perspectives on cultural dynamics and diversity in Indonesia.
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Dietrich, Linnea S., and Fran Lloyd. "Contemporary Arab Women's Art: Dialogues of the Present." Woman's Art Journal 26, no. 1 (2005): 56. http://dx.doi.org/10.2307/3566541.
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Yarmohammad Touski, Golnar. "Modern Art in the Arab World: Primary Documents." Contemporaneity: Historical Presence in Visual Culture 7 (October 30, 2018): 110–12. http://dx.doi.org/10.5195/contemp.2018.264.
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Book Review: Anneka Lenssen, Sarah A. Rogers, and Nada M. Shabout. Modern Art in the Arab World: Primary Documents. New York: The Museum of Modern Art, in association with Duke University Press, 2018. 464 pp.; 49 ills.; 51 b/w ills. Paperback, $40 (1633450384, 9781633450387)
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Highet, J. "Dialogue of the present: CONTEMPORARY ARAB WOMEN'S ART." Nka Journal of Contemporary African Art 2000, no. 11-12 (September 1, 2000): 34–39. http://dx.doi.org/10.1215/10757163-11-12-1-34.
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Belting, Hans. "The Double Perspective: Arab Mathematics and Renaissance Art." Third Text 24, no. 5 (August 23, 2010): 521–27. http://dx.doi.org/10.1080/09528822.2010.502771.
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Gencer, Yasemin. "Translation, Print Media, and Image in Arab Modern Art." Review of Middle East Studies 54, no. 1 (June 2020): 37–49. http://dx.doi.org/10.1017/rms.2020.6.
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AbstractThe anthology of primary sources presented in Modern Art in the Arab World reveals a wealth of ideas, attitudes, hopes, fears, and concerns surrounding the many facets of modernism and art. The essays therein provide first-hand accounts of developing art scenes from across the Arab world and their relationships to their audiences on local, national, transnational, and global scales. These documents, many of which have been translated from Arabic or French into English for the first time, offer individual, in situ insights into a broad range of issues pertaining to art in the twentieth century while furnishing readers with numerous threads that connect these geographies with changes through time. Four matters in particular – the centrality of translation, print media, art, and image management to modernization – permeate this anthology's content and will be explored further in the following essay.
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Moosa, Ebrahim. "Aesthetics and Transcendence in the Arab Uprisings." Middle East Law and Governance 3, no. 1-2 (March 25, 2011): 171–80. http://dx.doi.org/10.1163/187633711x591512.
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Politics is regarded as a science for it tells us what to do, when it deals with measurable concepts. But politics is also an art—a form of practice, telling us how and when to do things. Lest we forget, the arts of persuasion and inspiration are part of politics. And, every art also produces an aesthetic. By aesthetics I mean, the ways by which we think about art: recall, art is what we do and how we do things. Th ose things and acts that become visible when we do and produce certain actions—jubilation, conversations, speeches, greetings, protests, banners, deaths, wounds and other expressions—all constitute the means by which thought becomes visible, eff ective, and sensible. Th ese forms and visible expressions of the sensible constitute the aesthetics of politics. Only the patient will know where the momentum for change in the Arab world is heading. But, if the outcome of the Arab uprisings is unclear, then there is one certainty: the people have changed the order of the sensible. Th anks to peaceful protests in the face of regime brutality, tens of millions of people have performed change in myriads of expressions: aesthetics. Th eir feelings have cumulatively changed, and how people feel about governance is ultimately what politics is all about.
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Qureshi, Bilal. "Reclaiming Arab “Skin”." Film Quarterly 75, no. 1 (2021): 84–87. http://dx.doi.org/10.1525/fq.2021.75.1.84.
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FQ columnist Bilal Qureshi turns a spotlight on Kaouther Ben Hania’s provocative and daring feature film The Man Who Sold His Skin (2020). Nominated for the Oscar for Best International Feature as Tunisia’s first official nominee, Skin is a long-overdue satirization of that earnest and recurring narrative about the helpless migrant refugee and noble white saviors. In telling the story of Sam Ali (Yahya Mahayni), a Syrian refugee who makes a Faustian bargain with an art world superstar, Skin asks what it means to be free. Turning the psychological experience of marginalization into a work of palpable and visceral storytelling, the film explores urgent themes that encapsulate the centuries of violence—both physical and psychological—that cultural colonialism has inflicted on brown bodies.
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Nader, Myrna. "From Medieval Sacred Art to Modern Photography." Religion and the Arts 27, no. 4 (October 6, 2023): 427–53. http://dx.doi.org/10.1163/15685292-02704007.
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Abstract In this study of image-making, it is argued that from the Middle Ages to the Modern period in Lebanon, coexistence between Christians and Muslims, who maintained contact alternately as a minority or dominant culture, was defined by fundamental ideas about sacred art, namely, the embodiment and depiction of the divine. The central premise holds that in Christianity paintings of a religious character are of importance because they reaffirm belief in the doctrine of incarnation, and thus Christ’s humanity. In Islam, by comparison, such art is idolatrous and deserving of censure. The opposite is asserted: God is invisible, and, therefore, paintings of the divine are impermissible. However, denunciation by Islamic scholars was not absolute; there was no disapproval if imagery did not violate Qur’anic proscription against idol-worship. A more nuanced discussion of the Arab literature demonstrates not only Muslim disavowal and episodes of iconoclasm, but also fascination with and commentary on Christian art. Such views informed Christian-Muslim debate over the value and validity of image-making in Modern-era Lebanon, which was further aroused by European developments in the science of optics, based partly on the works of Arab scientists. The advent of photography offered new ways of seeing the world, and discussion among Lebanese Muslim scholars focused on the efficacy and malevolence of optical technology in Arab society and culture. Outright condemnation of image-making was tempered by views condoning certain artistic practices.
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Scheid, Kirsten. "Toward a Material Modernism: Introduction to S. R. Choucair's “How the Arab Understood Visual Art”." ARTMargins 4, no. 1 (February 2015): 102–18. http://dx.doi.org/10.1162/artm_a_00106.
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This introduction and commentary on Saloua Raouda Choucair's article “How the Arab Understood Visual Art” (translation by author in this issue) sets the context in which a private rebuke Choucair addressed to a former colleague for his ethnocentric cultural criticism became a quasi-manifesto for art (and social) modernism. It inventories the conceptual shifts Choucair pursued in her reevaluation of cultural criticism: shifts in the approach to time, matter, visuality, and Arabness. It explicates the lessons Choucair learned from Sufic Arab science, math, and philosophy (particularly Alhazenian optics) toward extracting an essentialist view of matter, which allowed art a serious public role for teaching people the possibilities available in modern social existence. It relates these findings to Choucair's own visual art.
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Mahmoud-Mukadam, Abdur-Rasheed. "Study of the echoes of the Arabic story in Nigerian Arabic literature: Ilorin as a case study." Nady Al-Adab 16, no. 1 (May 20, 2019): 1. http://dx.doi.org/10.20956/jna.v16i1.6002.
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The story is an art of prose literature. Arab writers and others have done valuable works of fiction, showing the extent of their artistic ability; however, this art has witnessed in the modern era developed and developed to add to it another form known - in Western literature - poetry story; which has no era - before - in literature Old Arab, and the poems appeared stories woven on the Western vein. After looking at the story in Arabic literature, this article looks at some of the echoes of the Arab story in Arabic literature, with an emphasis on what the thinkers of the city of Eulen produced as a living model reflecting the many stories that were presented at the Arab literature table in Nigeria. For a commendable effort by the writers of Nigeria to expand the Arabic language and create a clear atmosphere for artistic creativity and conscience.
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Dr.Khalid bin Abdul-Aziz al-Saif, Dr Khalid bin Abdul-Aziz al-Saif. "The Philosophical Foundations of Feminism (Presentation & Criticism) And the Impact of that on Islamic Feminism." journal of king abdulaziz university arts and humanities 26, no. 2 (January 12, 2018): 45–72. http://dx.doi.org/10.4197/art.26-2.3.
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Feminist movements are one of the most controversial movements, and these movements would not have been around had it not been for philosophical support. In general, their philosophy is based on postmodern philosophies, which are considered general knowledge of the overall pan of what is raised in feminist criticism. The importance of knowing these Western philosophical foundations of feminism comes to light when unveiling them from the joints of Arab feminist thought where it becomes clear to the critic that Arab feminist thought is only an echo of Western feminist thought.
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Kim, Han-Byul, and Soel-Ah Kim. "Communicative Implications of Resistance Art in Egypt’s ‘Arab Spring’." Humanities Contents 68 (March 31, 2023): 461–84. http://dx.doi.org/10.18658/humancon.2023.03.461.
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Alashari, Duaa Mohammed. "THE ROLE OF VISUAL ART IN FACING THE CORONA PANDEMIC." JADECS (Journal of Art, Design, Art Education & Cultural Studies) 7, no. 1 (April 25, 2022): 30. http://dx.doi.org/10.17977/um037v7i12022p30-37.
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Art is constantly inspired by what happens in its social and cultural context. The arts cannot be separated from life and the significant events in the world, whether it is a war, a natural disaster, or the spread of a disease an epidemic. Today, the whole world is witnessing the Coronavirus (Covid-19) pandemic, one of the worst in human history. The current scene has taken hold of artwork and the visual arts. The spread of the virus has inspired many artists to produce paintings, posters and artwork. This study aims to reveal the role and importance of Arab artists regarding the message they present regarding the situation at hand. In this study, the qualitative data was amassed as part of the methodology. The qualitative descriptive method and the case study approach are the primary approaches for the data collection. The results section focuses on the answers obtained from Arab artists through their artwork. It is held via a virtual exhibition. The discussion section focuses on a detailed analysis of the paintings. The study results concluded that art is a kind of documentation of all of the events that happen to humans. Art is a record of historical events, so it is a bright spot in times of crisis and darkness. Through these paintings, Arab artists have provided a light to those who feel gloomy in these difficult times, indicating that those in the Arab world focus on the unity of place, language and religion. Therefore, this artistic movement moves between all its countries so that no matter how harsh the situation, people will remain unified.
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Alashari, Duaa Mohammed. "THE ROLE OF VISUAL ART IN FACING THE CORONA PANDEMIC." JADECS (Journal of Art, Design, Art Education & Cultural Studies) 7, no. 1 (April 25, 2022): 30. http://dx.doi.org/10.17977/um037v7i12022p30-37.
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Art is constantly inspired by what happens in its social and cultural context. The arts cannot be separated from life and the significant events in the world, whether it is a war, a natural disaster, or the spread of a disease an epidemic. Today, the whole world is witnessing the Coronavirus (Covid-19) pandemic, one of the worst in human history. The current scene has taken hold of artwork and the visual arts. The spread of the virus has inspired many artists to produce paintings, posters and artwork. This study aims to reveal the role and importance of Arab artists regarding the message they present regarding the situation at hand. In this study, the qualitative data was amassed as part of the methodology. The qualitative descriptive method and the case study approach are the primary approaches for the data collection. The results section focuses on the answers obtained from Arab artists through their artwork. It is held via a virtual exhibition. The discussion section focuses on a detailed analysis of the paintings. The study results concluded that art is a kind of documentation of all of the events that happen to humans. Art is a record of historical events, so it is a bright spot in times of crisis and darkness. Through these paintings, Arab artists have provided a light to those who feel gloomy in these difficult times, indicating that those in the Arab world focus on the unity of place, language and religion. Therefore, this artistic movement moves between all its countries so that no matter how harsh the situation, people will remain unified.
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AI-Jehani, Nasir. ".Verbal Self-disclosure in a Middle Eastern Arab Community." Journal of King Abdulaziz University-Arts and Humanities 7, no. 1 (1994): 1–16. http://dx.doi.org/10.4197/art.7-1.1.
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مها محمد ناصر and بدور عبدالله منصور. "A proposed program for the development of creativity in the Arabic calligraphy course among visual arts students." Basrah Arts Journal, no. 27 (November 30, 2023): 5–33. http://dx.doi.org/10.59767/2023.11/27.1.
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The research deals with a proposed program to develop the creative ability associated with Arabic calligraphy among students of the fifth level of the Department of Visual Arts at the College of Design and Arts according to the creative activities and strategies used, and this study seeks to prepare a teaching program to develop the creativity of visual arts students to produce artworks related to Arabic calligraphy and Islamic art in a way General, and aims to raise the level of skill and technical performance of students at the fifth level in the Arabic calligraphy course based on the strategies and creative activities used for teaching, and allowing visual arts students to create artworks related to Arabic calligraphy and their Islamic heritage and to enhance the identity and pride in the Arab-Islamic heritage among visual arts students, and finally, after studying the investigations and objectives, The researcher reached some results, the most important of which is Arabic calligraphy, which is part of the Arab heritage and Islamic art, and is characterized by its ability to continue and communicate, which helped the students to create contemporary works of art derived from the Arab heritage and Islamic art. Islamic, and also Arabic calligraphy enjoys a huge amount of creative aesthetic values and rhythmic systems, and the multiplicity of their relationships, forms and types, which led to the presence of calligraphy in contemporary art and facilitated the production of creative works among visual arts students.
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Lucie-Smith, Edward. "Beyond fundamentalism." Index on Censorship 26, no. 3 (May 1997): 99–105. http://dx.doi.org/10.1177/030642209702600317.
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