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Literatura académica sobre el tema "Painting, Islamic"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 12 de febrero de 2022

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Artículos de revistas sobre el tema "Painting, Islamic"

Mohammed Alashari, Duaa, Abd Rahman Hamzah y Nurazmallail Marni. "The Journey of Islamic Art Through Traditional and Contemporary Calligraphy Painting". UMRAN - International Journal of Islamic and Civilizational Studies 7, n.º 3 (4 de octubre de 2020): 1–11. http://dx.doi.org/10.11113/umran2020.7n3.408.

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Islamic Art is considered as historical art and it is famous all over the Islamic world. The Islamic calligraphy art started around the time of the revelation of al-Quran. Islamic calligraphy art was famous for adorning the interior and exterior aspects of mosques and some famous Islamic buildings. The aim of this article is to highlight and study the traditional and contemporary Islamic calligraphy painting by well-known calligraphers. Calligraphers have been inspired by the Arabic language and they are expressing this language as a kind of unique art through traditional and contemporary painting. Indeed, this paper will provide a brief history of calligraphy art. Islamic calligraphy painting is expressed in a variety of styles and there are also different modes of traditional Arabic styles of writing. Islamic Calligraphers appreciate this sacred and spiritual art and as they carried on their journey, they began to create their art by adding some inspirational verses of the Quran as well as some historical poems. The most noticeable visible feature related to Islamic calligraphy traditional and contemporary painting has to do with the complex and intricate compositions that involve the overlapping of words integrated into a unique method. Islamic calligraphy painting, through either a traditional or a contemporary method, expresses movement and dynamism through the calligraphic lines. The study reveals that the traditional and contemporary calligraphy paintings are considered as innovative art based on their unique traditional scripts, the intricate contemporary identity of the handwriting and the materials. Calligraphers expressed their artistry, and their ability and creativity by applying the sacred language to create a fabulous and unique tradition which is referred to as contemporary calligraphy painting.

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Irnawan, Raden Dibi. "Narsisme sebagai Wujud Eksistensi Diri dalam Novel “My Name is Red” Karya Orhan Pamuk". Paradigma, Jurnal Kajian Budaya 4, n.º 2 (11 de marzo de 2016): 149. http://dx.doi.org/10.17510/paradigma.v4i2.49.

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<p>This paper discusses about socio-psychological dimension in paintings pictured in Orhan Pamuk’s novel My Name is Red. The novel shows us fi ne examples about how paintings can be a media of painters who lived in a repressive era of Sultan Murat III which established rigid rules adopted from Islamic principles of how a painting should be done. This idea manifested in the characters’ behaviour, especially Velijan Eff endi, who hold the Islamic or East principles, but dilemmatically fond of Western principles as an aesthetic way of painting. This kind of dilemma born from the presence of East and West principles intertwined in Turkey at the era pictured in the novel. Results determined that Velijan<br />Eff endi is narcistic as a result of his needs to be acknowledged, to exist in his repressed life. He uses his paintings as the media of expressing his needs.</p>

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Echevarria, Ana. "Painting Politics in the Alhambra". Medieval Encounters 14, n.º 2-3 (2008): 199–218. http://dx.doi.org/10.1163/157006708x366254.

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AbstractThis article endeavours to shed new light on the meaning of the ten Muslim male figures depicted in the central vault of the Hall of Justice in the Alhambra. First, new chronologies are attempted for the hall and the painting according to historical evidence contained in chronicles and literary sources. The study of the architectural frame of the paintings, interpreted as a madrasa-zawiya, suggests a relationship between the painting and the books intended to be kept below it. Therefore, an analysis of the emir's literary entourage is basic for the interpretation of the ceiling. Finally, the question of armouries and shields to be found in the vault is taken into account to demonstrate that some of this work may have been re-elaborated by Christians after taking possession of the palaces. The shields and the concept of the Order of the Band are too far from Islamic tradition as to belong to the original design of this painting, as critical examination of the Order's internal code shows.

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Wenzel, Marian. "Manuscript sources for some motifs in early Islamic glass painting". Journal of the Royal Asiatic Society of Great Britain & Ireland 118, n.º 2 (abril de 1986): 214–27. http://dx.doi.org/10.1017/s0035869x00139905.

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The study of decorated glassware from the early Islamic period hinges very largely on the classification and dating of fragments, since few complete vessels have survived. Perhaps for this reason the subject, though full of interest for the glass historian, has received rather scant attention in the literature. The purpose of this article is to suggest that surviving examples of painted lustre glass from this period enable us to identify several ways in which manuscript models were used by glass craftsmen in the sphere of early Islam.

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Raden, Agung Zainal Muttakin, Mohamad Sjafei Andrijanto y Wirawan Sukarwo. "Figurative Calligraphy: Artistic, Magic, and Religious Aspect of the Cirebon Glass Painting". Cultural Syndrome 1, n.º 1 (23 de julio de 2019): 1–13. http://dx.doi.org/10.30998/cs.v1i1.17.

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Cirebon glass painting is a particularly famous artwork related to Islamic art in Indonesia. Aside from its aesthetic values, Cirebon glass painting also contained the symbol and message behind its ornaments. Figurative calligraphy with Arabic script is frequently used by glass painting artisans to make Cirebon glass painting. The resulted figurative calligraphy can take form resembling those of human figure, plants, animals, wayang, and the imaginary entity or particular symbols. As it is, Cirebon is one of the busiest port city in Java island. Therefore, many cultural exchanges happened by the interaction of many nationalities visiting Cirebon which later on assimilated to the local culture. This makes Cirebon glass painting unique since it was influenced by a mixture of cultures. This research focused on the elements that are contained on the Cirebon glass painting based on the artistic, magic, and religious aspect. The result in this research has an implication to expose the symbols, message and meaning behindCirebon glass painting and its synergy with the artistic, magic, and religious aspect that makes Cirebon glass painting survived and still doing well in Cirebon society nowadays.

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Morris, James. "Imaging Islam: Intellect and Imagination in Islamic Philosophy, Poetry, and Painting". Religion and the Arts 12, n.º 1 (2008): 294–318. http://dx.doi.org/10.1163/156852908x271088.

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AbstractThis essay introduces the pioneering approaches of four classical Muslim thinkers (Ghazali, Biruni, Farabi, and Ibn 'Arabi) to the understanding of Islam and of religion more broadly, together with the subsequent artistic mirroring of their perspectives in two later masterpieces of Islamic mystical poetry (a ghazal of Hafiz) and painting (an illustration of the same poem by the early Safavid artist Sultan Muhammad). The discussion begins with the ways each philosopher's distinctive emphases on the relative roles of intellect, inspiration, and imagination highlight different but complementary dimensions (social, political, ritual, intellectual, and spiritual) of religious life and experience. The concluding section then illustrates how, just as in Plato's Symposium, each of those archetypal philosophical outlooks are powerfully dramatized and memorably integrated in the most influential poetic and artistic traditions of the Islamic humanities.

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Nurrohim, Nurrohim y Fitri Sari Setyorini. "Analisis Historis terhadap Corak Kesenian Islam Nusantara". Millati: Journal of Islamic Studies and Humanities 3, n.º 1 (15 de junio de 2018): 125. http://dx.doi.org/10.18326/mlt.v3i1.125-140.

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The history of Islamic development in Indonesia has different characteristics compared to other Islamic regions such as Turkey, India, Egypt, Syria, and Morocco. The journey of Islam in Indonesia brings different colors and patterns that distinguish it from other Islamic regions. This happens because Islam is spreaded in the archipelago peacefully and in a gradual long time, unlike the other Islamic regions islamization which is not infrequently through the power of the armed forces. This article will explain the results of Islamic interaction with society who previously embraced Hinduism, Buddhism and animist beliefs dynamism in the form of Islamic Nusantara arts. The analytical method used in this paper is a combination of theories of acculturation and assimilation of Nusantara culture and Islamic culture. The combination of Nusantara culture and Islamic culture produces an Islamic art with the uniqueness of Nusantara without eliminating the elements of the old culture. The form of pre-Islamic Nusantara cultural heritage with the Islamic culture can be found in the architecture of mosques, Arabic Malay script, literary arts, painting and sculpture.

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Tamimi Arab, Pooyan. "Islamic heritage versus orthodoxy: Figural painting, musical instruments and wine bowls at the Dutch National Museum of World Cultures". Journal of Material Culture 26, n.º 2 (5 de marzo de 2021): 178–200. http://dx.doi.org/10.1177/1359183521997503.

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Shahab Ahmed’s What Is Islam? The Importance of Being Islamic (2016) challenges anthropologists, Islamic Studies scholars, art historians and museum practitioners to question the theological assumptions underlying conceptions of Islamic art and material culture. This article analyses three object types key to Ahmed’s analysis – Islamic figural painting, musical instruments and wine bowls – from the vantage point of the collection of the Dutch National Museum of World Cultures. Based on the author’s experience as Assistant Curator for West Asia and North Africa in 2015–2016 and on exhibition developments up until 2019, Ahmed’s framework is demonstrated as a guide for critical interpretations of exhibitions of Islamic art and material culture. This perspective lays bare a tension that contemporary museums struggle with in response to nationalist pressures to integrate Muslim citizens in Western Europe: between a diverse Islamic heritage, on the one hand, and orthodox desires to materially purify the very idea of Islam, on the other.

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Kirom, Syahrul y Alif Lukmanul Hakim. "Kaligrafi Islam Dalam Perspektif Filsafat Seni". Refleksi: Jurnal Filsafat dan Pemikiran Islam 20, n.º 1 (6 de septiembre de 2020): 55. http://dx.doi.org/10.14421/ref.2020.2001-04.

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This article discusses Islamic calligraphy from the perspective of art philosophy. Islamic calligraphy (the art of letter painting) turns out to have values of beauty, uniqueness and spiritual value and has symbolic meaning for Islamic culture. Calligraphy art has religious spiritual meaning and value that causes a person to experience eschatology. Therefore, in this article the author is interested in analyzing Islamic calligraphy with an art philosophy approach. The method used is descriptiveanalytical. This Arabic calligraphy art writer studies by analyzing through its formal object is the philosophy of art. While the material object is to study the meaning of religious-spiritualism which is more philosophical in understanding Islamic calligraphy. The results of this study found that the fact that the art of Islamic calligraphy has beautiful aesthetic values is full of faith and devotion. The existence of Islamic calligraphy art provides meaning and understanding of the process of achieving a very transcendental idea to God.

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Mohamed, Hosam Abd Elkader Metwally. "The Invisible Painting Art between East and West". Academic Research Community publication 1, n.º 1 (18 de septiembre de 2017): 10. http://dx.doi.org/10.21625/archive.v1i1.132.

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The Art of painting relies on the employment of the painting's vocabularies in an idiomatic meaningful format under the framework of the dialogue form. Such methodology occurs at times and in a new style to create new systems and formats at other times (Form Structure). The dilemma lies between these two frameworks where there are reality and mind, sensory and mental or visible and invisible, that is, between what is perceived by the eye of idiomatic semantics forms and what is realized in accompanied suggestive or figurative meanings.The interpretation of the invisible in the vision of Oriental Art is different from the vision of the western art because the spirit of the culture is manifested in the first to incorporate the individual in the group. As in the universe, it removes intervals so that the individual may seem similar to his surroundings in order to reach the infinite and unlimited aspect. This vision is based on a type of intuitive knowledge in the form of detection or discovery, which is based on the dualism of the visible and the invisible. Therefore, the receiving process is unlimited to the aesthetic pleasure that focuses on the form alone, and it is an existential process that is based on the dialogue between the receiver and the artwork. Islamic Sufi aesthetic thought tries to find the sensory effects in the universe. It is not concerned with the mental abstract perceptions of geometric shapes associated with the western logic." Islamic abstraction would not seek to meet the formal requirements such as a mathematical current of Mondrian or freeing the spirit of the form extracted from the content, internal necessity of the structure or the internal empathy for the colors and meanings. It does not intend to reach ideal purity in the form so as to realize the artistic feeling in Malevich. It tries to find natural laws, including geometric shapes ,and then its loads them with facts and meanings towards the absolute. It results in a new standard vision that will create another independent reality which does not end with just watching the painting so as to combine the idea with the artistic vision to denote the meaning"(Abu Elmaggd, 2011).

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Tesis sobre el tema "Painting, Islamic"

Safwat, Nabil F. "The idea of 'Manzur' : the process of creating pictorial space in Islamic painting". Thesis, SOAS, University of London, 1986. http://eprints.soas.ac.uk/29136/.

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The approach followed by this study considers the paintings themselves as documents of visual activity rendered with its own grammar for painting. It is suggested here that one has to learn to read paintings as one has to read a text from another culture. Emphasis is laid on the Islamic concept of pictorial space, especially as it differs from the "Renaissance" interpretation of spatial representation. This dissertation is divided into four chapters. The first chapter is basically a survey of the general characteristics of Islamic painting. The second chapter is devoted to the identification of the problem: it will be shown here that understanding the perspective of time and place rather than the photographic accuracy, is the perennial problem facing the art historian. The third chapter points out the current conceptions of applying "principles" of interpretation which are, on the whole, quite alien to the environment in which Islamic paintings were conceived. The fourth chapter concerns the nature of images, and how they become a language, unique and recognizable to others within a culture. This chapter also deals with the idea of Manzur, a more descriptive and correct term that is extremely important in the analysis and study of Islamic painting; and why it is vital to present it as autonomous and not parasitic on another system of interpretation.

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Ali, Wijdan. "A survey of modern painting in the Islamic world and the development of the contemporary calligraphic school". Thesis, University of London, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365462.

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The fIrst part of the thesis deals with the development of modem painting in the Islamic world according to Western concepts and styles. It traces the inception of Western aesthetics from the 19th centmy onwards and touches on the political, social and economic determinants that aided their introduction in the following countries: Turkey, Egypt, Lebanon, Iraq, Algeria, Tunisia, Morocco, Iran, Syria, Jordan, Palestine, Sudan, and the Arabian Peninsula. The second part of the thesis analyzes the movements which sought to establish a modem art style in the Islamic world that would confirm a national artistic identity. It follows the different art movements which undertook this quest that eventually led to the development of the contemporary Calligraphic School of Art. It discloses the factors and artists which induced its inception. It establishes the main styles and various branches of the modem Calligraphic School of Art, including in-depth analysis and critique of each style, sub-style and its adherents. The placement of the Calligraphic School within the scope of international art is also mooted. The thesis ends by establishing a continuity between traditional Islamic art and the contemporary calligraphic school of art in the Islamic world.

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Carey, Moya Catherine. "Painting the stars in a century of change : a thirteenth-century copy of Al-Sufi's treatise on the fixed stars (British Library Or.5323)". Thesis, SOAS, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367524.

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Vernoit, Stephen. "Collectors and connoisseurs of Islamic calligraphy and painting : a study of acquisition and the formation of cultural identities through art". Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286838.

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Kurul, Mustafa Yaman Bahattin. "İslam resim sanatında Hz. İbrahim ve Hz. İsmail /". Isparta : Süleyman Demirel Üniversitesi Sosyal Bilimler Enstitüsü, 2007. http://tez.sdu.edu.tr/Tezler/TS00599.pdf.

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Prasertwaitaya, Leila. "The Construction of Female Identity in Mughal Painting: Portraits of Women from the Shah Jahan Period (ca. 1628-1658)". VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/607.

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Paintings of women as individual subjects were a popular theme in the Mughal court during the mid-seventeenth century, or the Shah Jahan period (ca. 1628-1658). These portraits depict idealized archetypes with subtle differences in facial and bodily features. The same portrait conventions were used for both historical and imaginary women. This thesis has three aims: (1) identify and explain the significance of three elements that visually represent an ideal Mughal woman using a case study from the Virginia Museum of Fine Arts called Page from the Nasir al-Din Shah Album: Portrait of a Mughal Woman (ca. 1630-45), (2) combine visual and textual sources to further the study of Mughal women, and (3) reinsert the portraits of Mughal women within a larger scope of female imagery in Indian art to show that Mughal paintings encompass just one part of a much bigger story. Paintings of Mughal women are not only aesthetic works of art—they are historical artifacts.

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Silva, Cássia de Castro. "Tramas em movimento: desenhos e pinturas inspirados nos mosaicos geométricos medievais". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-13092016-102451/.

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Este trabalho consiste numa pesquisa pictórica a partir de uma experiência de contemplação de mosaicos geométricos islâmicos medievais. A pesquisa busca fazer um percurso desde o estudo pictórico da urdidura dos mosaicos, mostrando a natureza de seu ritmo e seu movimento até a elaboração e apresentação de um corpo de trabalhos em desenho e pintura que se apropriam deste movimento \"encapsulado\" nos mosaicos, revelando-os.
This work consists in a pictorical research based on the contemplation of Islamic Medieval Geometric Mosaics. The research comprehends the trajectory from the study of Mosaics\' warp, in which are shown their rithm and movement, towards the preparation and presentation of a corpus of works in design and painting that reveals the countless possibilities of moves \"encapsulated\" in the Mosaics.

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Nour, A. I. "Developing African art : innovation and tradition seen through the work of two artists; Lamidi Fakeye and Ahmed Shibrain". Thesis, University of St Andrews, 2006. http://hdl.handle.net/10023/2620.

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The dissertation explores the work of two African artists: Lamidi O. Fakeye a Yoruba wood carver, and Ahmed M. Shibrain a Sudanese painter, as an exemplary development within African art during the second half of the 20th century. It examines their works through the sense of "tradition" as it is seen within the context of their cultures and their histories. It considers their works to be a reflection of their time, a hybrid art and a new tradition emerging within their respective cultures as a result of change in their societies. It argues against the notion that separates their art from their traditions and their histories based on the artificial barriers of "authenticity" in the literature on African art and the various categories that are related to it. It ponders on the contradictions and complexity that this situation has created and demonstrated that these categories negate historical realities. The dissertation is in two parts. The first part describes and analyses some of Lamidi's Christian and secular carvings. His work is placed in its appropriate historical perspective by revealing its close relationship to the carvings of his predecessors in terms of themes, design, content and clients. Innovation and change in his work through time and space is revealed. In the second part, the dissertation defines the connectivity of Shibrain's work to his tradition and its history, and that of his fellow artists who contributed to the development of a new trend in Sudanese art. It discusses their work on the basis of the 'idea' of art in Islam, their training and their heritage of decorative art and Arabic calligraphy. It argues that innovation, influence, borrowing and adaptation, are part of progress in art through the ages.

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Mihan, Shiva. "Timurid manuscript production : the scholarship and aesthetics of Prince Bāysunghur’s Royal Atelier (1420-1435)". Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277827.

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Considered one of the pinnacles of the arts of the book in the entire history of Persian art, the life of the Timurid prince, Bāysunghur (1397-1433) and his royal library-atelier have been studied for more than a century. Yet previous scholarship, although solid on it own terms, has not combined study of the entirety of production with sustained analysis of individual productions of Bāysunghur’s atelier. Prior to this study, a number of manuscripts were completely neglected, and several others were studied only briefly. What is more, the single extant document describing procedures and progress in the atelier, although well known, demanded further clarification on various levels. This dissertation discusses in six chapters the operation and productions of the library with particular attention paid to its highlight, Bāysunghur’s famous Shāhnāma. After an introduction to the field and an overview of previous studies, I turn to the report of the head of the atelier, clarifying some technical terms and establishing the date of the report. Secondly, the corpus of Bāysunghurī productions is examined chronologically and in relation to the librarian’s report, with individual manuscripts analysed with regard to their textual and aesthetic traits and their placement in an art historical context. Next, the Shāhnāma of Bāysunghur, which for many years has been inaccessible for close scholarly study, receives extended treatment. The final chapter presents a discussion of the textual and aesthetic content of the corpus and reconsiders the role of the atelier supervisor. The overall aim is to enhance and extend understanding of the arts of the book in a unique royal library, that of Prince Bāysunghur.

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Terndrup, Alison Paige. "Cross-Cultural Spaces in an Anonymously Painted Portrait of the Ottoman Sultan Mahmud II". Scholar Commons, 2015. https://scholarcommons.usf.edu/etd/5583.

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This thesis analyzes an anonymous portrait painting of the Ottoman Sultan Mahmud II (r. 1808-1839), called by its descriptive title Seated Portrait of Mahmud II, within the context of the extensive portrait campaign commissioned by the sultan. Surviving examples from this series of diplomatic portraits share a unique set of intercultural iconographic vocabularies as a reflection of their time as well as implicit reinforcement of the sultan's political goals. By focusing on Seated Portrait of Mahmud II, I argue that a closer inspection of the campaign within a context that pays attention to Ottoman, European, and Persian visual practices reveals a more accurate and comprehensive understanding of its cross-cultural histories and visual as well as ideological references. Structured to reflect the tripartite composition of the artwork itself, this thesis addresses the style and iconographies of the background, middleground, and foreground, respectively. Following a focused examination of the sultan's portrait, I compare Seated Portrait of Mahmud II to two contemporary paintings: Napoléon Bonaparte as First Consul (1808) from France and Portrait of Qajar Ali Shah Seated on a Chair Throne (1807) from Qajar Iran. While bringing attention to the art-historical implications of a hitherto understudied, yet significant portrait of Mahmud II, my work reexamines the early-modern history of Ottoman art within the larger framework of cross-cultural encounters.

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Libros sobre el tema "Painting, Islamic"

Studies in Islamic painting. London: Pindar Press, 1995.

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Brosh, Na'ama. Biblical stories in Islamic painting. Jerusalem: Israel Museum, 1991.

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ʻĪsá, Aḥmad Muḥammad. Painting in Islam: Between prohibition and aversion. Istanbul: Waqf for Research on Islamic History Art and Culture, 1996.

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Ottoman painting. 2^a ed. Ankara: Republic of Turkey, Ministry of Culture and Tourism, Publications, 2010.

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Islamic art: Architecture, painting, calligraphy, ceramics, glass, carpets. Munich: Prestel, 2010.

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Beach, Milo Cleveland. Mughal and Rajput painting. Cambridge: Cambridge University Press, 1992.

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Hosena, Ābula Bāśāra Mośārarapha. Isalāmī citrakalā. Ḍhākā: Khāna Brādārsa eyānḍa Kompāni, 2004.

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Mughal painting: An interplay of indigenous and foreign traditions. New Delhi: Munshiram Manoharlal Publishers, 2000.

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Lentz, Thomas W. Painting at Herat under Baysunghur ibn Shahrukh. Ann Arbor: University Microfilms International, 1985.

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ʻUkāshah, Tharwat. Mawsūʻat al-taṣwīr al-Islāmī. Bayrūt, Lubnān: Maktabat Lubnān Nāshirūn, 1999.

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Capítulos de libros sobre el tema "Painting, Islamic"

Fetvacı, Emine y Christiane Gruber. "Painting, from Royal to Urban Patronage". En A Companion to Islamic Art and Architecture, 874–902. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119069218.ch34.

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Mohamed, Sallehuddin, Mumtaz Mokhtar, Dzul Haimi Md Zain y Abd Rauf Hassan. "The Application of Qur’anic Verses in Malaysian Contemporary Islamic Painting and Fashion: 1991–2016". En Contemporary Management and Science Issues in the Halal Industry, 1–28. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-2677-6_1.

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Balafrej, Lamia. "Painting about Painting". En The Making of the Artist in Late Timurid Painting, 1–42. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474437431.003.0001.

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This book constitutes the first exploration of artistic self-reflection in Islamic art. In the absence of a tradition of self-portraiture, how could artists signal their presence within a painting? Centred on late Timurid manuscript painting (ca. 1470-1500), this book reveals that pictures could function as the painter’s delegate, charged with the task of centring and defining artistic work, even as they did not represent the artist’s likeness. Influenced by the culture of the majlis, an institutional gathering devoted to intricate literary performances and debates, late Timurid painters used a number of strategies to shift manuscript painting from an illustrative device to a self-reflective object, designed to highlight the artist’s imagination and manual dexterity. These strategies include visual abundance, linear precision, the incorporation of inscriptions addressing aspects of the painting and the artist’s signature. Focusing on one of the most iconic manuscripts of the Persianate tradition, the Cairo Bustan made in late Timurid Herat and bearing the signatures of the painter Bihzad, this book explores Persian manuscript painting as a medium for artistic performance and self-representation, a process by which artistic authority was shaped and discussed. In addition, each chapter explores a different theme: how painters challenged the conventions of royal representation (chapter 1); the role of writing in painting, its relation to ekphrasis and the context of the majlis (chapter 2); image, mimesis and potential world (chapter 3); the line and its calligraphic quality (chapter 4); signature (chapter 5); the mobility of manuscripts (epilogue).

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Creswell, K. A. C. "The Lawfulness of Painting in Early Islam *". En Early Islamic Art and Architecture, 101–8. Routledge, 2017. http://dx.doi.org/10.4324/9781315257280-5.

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"The Crucifixion of Christ in Indo-Islamic Painting". En Thinking the Divine in Interreligious Encounter, 201–21. Brill | Rodopi, 2012. http://dx.doi.org/10.1163/9789401207577_013.

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"Painting in a World of Images". En The Origins of Visual Culture in the Islamic World. I.B. Tauris, 2015. http://dx.doi.org/10.5040/9781350989009.ch-004.

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"Imaging Islam: Intellect And Imagination In Islamic Philosophy, Poetry, And Painting". En Traversing the Heart, 301–27. BRILL, 2010. http://dx.doi.org/10.1163/ej.9789004183803.i-504.100.

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Fitzherbert, Teresa. "Metalwork and Fourteenth-Century Persian Painting: A Footnote". En Metalwork and Material Culture In the Islamic World. I.B.Tauris, 2012. http://dx.doi.org/10.5040/9780755694099.ch-002.

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Seggerman, Alex Dika. "The Be auty of Uncertainty". En Modernism on the Nile, 141–78. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469653044.003.0005.

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Resumen

This chapter explores the postsurrealist paintings and drawings of Abdel Hadi el-Gazzar (1925–66) that “return” Islamic references to art. Gazzar’s early work indexes the Arab socialist concern for the urban poor and dispossessed, indicating Egypt’s postcolonial shift to transnational Arab alliances after the 1952 revolution. In The Green Man, Gazzar combines Islamic references of mystical talismanic imagery with European abstract oil painting. Gazzar’s later works lie between the opposing logics of social realism and abstract expressionism, and they parallel Egypt’s political status as a leading member of the Nonaligned Movement. Beyond national art and politics, this chapter connects Gazzar’s paintings with artworks from other postsurrealist turns to primitivism outside Europe in the postwar era. Seggerman argues that Gazzar heralds a new era of Egyptian modernism, which maintains its constellational nature, but with a dramatic shift in its main actors.

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"V. THE SUBJECT-MATTER OF ISLAMIC PAINTINGS". En Painting in Islam, A Study of the Place of Pictorial Art in Muslim Culture, 79–90. Piscataway, NJ, USA: Gorgias Press, 2002. http://dx.doi.org/10.31826/9781463209841-008.

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Actas de conferencias sobre el tema "Painting, Islamic"

Soliana, W. M. Z. W., I. Marzuki, S. Rushana y G. N. Hafiza. "The symmetry analysis in Sulaiman Esa paintings through Islamic art concept". En PROCEEDINGS OF 8TH INTERNATIONAL CONFERENCE ON ADVANCED MATERIALS ENGINEERING & TECHNOLOGY (ICAMET 2020). AIP Publishing, 2021. http://dx.doi.org/10.1063/5.0052186.

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