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Art of calligraphy in Islamic cultures
Art of calligraphy in Islamic cultures
Calligraphy in Islamic Art essay
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Arabic Calligraphy
1. Introduction
One of the major components of any culture is the way in which its constituents communicate among themselves. With respect to structure, Arabic calligraphy is considered to be a dynamic and versatile language that is used for the conveyance of form, space, and meaning. The artistic representation of its characters typifies Arabic calligraphy as an “elegant handwriting exhibited by the correct formation of characters, the ordering of various parts and harmony of proportions” (Arabiccalligraphy.com). It links the literary heritage of the Arabic language with the Islamic religion.
It is an artistic tradition that dates back to the Ottoman age and beyond. However, any attempt to trace the development of Arabic
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Modern Arabic calligraphy has over the years managed to create coexistence between traditional elements and modern technology. For centuries, Islamic calligraphy did not only continue to grow its significance in Islam, but also continued to evolve, which resulted to the emergence of different styles such as the Kūfī (c. 7th century – originating from Kufa, Iraq), the Maghribi (8th Century), Thuluth (originated in Turkey in the 11th Century), the Ta‘līq and Nasta‘līq (14th-15th centuries – originating from Iran), and the Dīwānī (16th -17th centuries – originating from Turkey), which is a complex style of intertwining characters. These styles have continued to evolve over the years as a result of continuous influence of different styles of art from different regions. However, the importance of calligraphy in Islam has never …show more content…
However, with the advancement of technology, sophisticated computer programs have been developed to facilitate different shape variations per character, which opens up new and creative possibilities of Arabic calligraphy. In addition, modernism in Arabic calligraphy has simplified the process of creating sophisticated Arabic literature. In fact, there is currently a number of computer software that gives artists/calligraphers the ability to enhance their designs. It is worth noting that the injection of modernity has revived Arabic calligraphy. The availability of a wide variety of materials and the used of new techniques, such as the employment of different colour schemes, have revived this great tradition and in the process enhanced a sense of cultural
The durability of clay has brought forth an immense abundance of Greek pottery, a craft mastered by Athenian artists. Archeologists have found hundreds of varieties in creation, shape, function, style, and artwork in Archaic vases. The museum has been blessed with one of these priceless artifacts; it is the duty of this establishment to accumulate as much data as possible surrounding the vase. In first identifying technique, dimensions, and condition, as well as describing shape, ornament, and figural scenery, one may then begin to analyze the vase. This serves the general purpose of understanding where the artifact stands in Greek culture and history. Through the examination and research of figural scenes, it is then possible to compare these to other scenes and styles of the same and other painters. Finally, one can then hypothesize where, why, and how this piece was used.
For the Formal Analysis Essay, the following artist and work of art to discuss is: Artemisia Gentileschi (Italian 1593-1653), Judith and Maidservant with the Head of the Holofernes, c. 1625, oil on canvas, approx. height: 72 1/2 x 55 3/4 inches. Detroit Institute of Arts. The following will mention the subject of the artwork, elements of design including: line, shape, and color. In addition, the principles of design will be discussed in termed of movement, emphasis, and balance.
Art has always been considered the effervescent universal tool of communication. Art does not require a concrete directive . One sculpture,drawing or written creative piece, can evoke a myriad of emotions and meaning . Artistic pieces can sometimes be considered the regurgitation of the artist's internal sanctum. In Richard Hooks graphic painting,Adoption of the Human Race, the effect of the imagery,symbols ,color and emotional content projects a profound unification of a spiritual edict.
Springfield, IL: Charles Thomas Publishers, 2009. Print. Necipoglu, Gulru. Muqarnas, Vol 25: Frontiers of Islamic Art and Architecture.
During the 20th Century artists began to challenge art and question the foundations and boundaries of artistic techniques and approaches. The main challenge artist faced during this time was breaking the barrier of realism and moving to representative art. Although, the creation of the camera made this change even more difficult. With this technological advance, anyone could buy a camera and snap a shot of a specific moment in time, without having to recreate it by hand. This was a very attracting concept to most, but also another impulse for those artists who were trying to break the artistic boundaries.
Ettinghausen, Richard, Oleg Grabar, and Sheila Blair. The art and architecture of Islam 650-1250. Harmondsworth, Middlesex, England: Penguin Books, 1987.
Art can mean many different things to many different people and was one of the earliest ways in which man has expressed him or herself to others, whether it was through cave drawings or hieroglyphics. It does not begin or end with just drawing or painting, items typically considered art, or the many other recognized facets of art including architecture, drama, literature, sculpting, and music. My research is based on Vincent van Gogh art, and two art paintings that I choose to study is The Starry Night, 1889, and the second art is The Sower 1888. Vincent van Gogh’s is known for Impressionism, that occurs to us in these times, much more to affirm close links with tradition, and to represent
Art has been around for as long as humanity has existed, and it is much more than just drawings or paintings. Art is what every a person makes of it. Art can be drawings, paintings, writings, or even dancing, but never is it contained to just one of those things. As we explore just two aspect of art it is important to realize that there is no right or wrong way to look at the art. Art comes in many different forms, in which they are all interpreted a little differently by different people. For me, when I read a poem I do not instantly know what the poet is trying to say and I don’t find it as interesting, but when I look at a painting so many more thoughts comes and I can’t help by imagine what that artist was thinking while he was painting.
"Modern art." Encyclopedia Britannica. Encyclopedia Britannica Online. Encyclopedia Britannica Inc., 2011. Web. 02 Dec. 2011. .
Sayre, H. M. (2010). A World of Art: Sixth Edition. In H. M. Sayre, A World of Art: Sixth Edition (pp. 511, 134, 29, 135, 152, 313-314, 132). Lake St., Upper Saddle River, NJ: Pearson Education, Inc.,.
While the medium of calligraphy has commonly been ink on paper, contemporary artists continuously stretch and challenge the boundaries this traditional art. Two artists in particular represent such efforts to provide new shape and life to calligraphy: Hassan Massoudy and Mattar bin Lahej. Transforming calligraphy from a static art, Iraqi artist Hassan Massoudy introduces theatrically-inspired form and movement to his letters, while Emirati artist Mattar bin Lahej transitions calligraphy to the third dimension by his sculptures. Despite the visual differences between these two artists’ works, both reflect to re-explore the expressive capacities of the word.
Ever since the arrival of the Renaissance, new ways of approaching art physically and emotionally have been introduced by some of the most prominent men of the rebirth and by many lesser known people. The innovators of the Renaissance have brought into the art world many new characteristics and techniques to paintings and sculptures. From experimentation, to observation, to getting in touch with the human body and mind, artists of the time period were able to learn and build upon that knowledge. The information and innovations they contributed sculpted the modern world of creativity for us to learn, use, and develop our own styles for future generations in the light of artistic encouragement.
The nexus between Western and Eastern Christian objects reveal that the two separate cultures remained intrinsically linked and dependent on one another, spawning syncretic art forms and objects. He marshals his empirical evidence of iconography and accompanying sources in a variety of different European languages that provides fascinating data and analysis on medieval art works regarding the history and legends associated with the visuals. However, Belting fails to deeply reflect on why religious iconography oscillated in its form and meaning throughout the period of study, preferring to focus his analysis on what was occurring to the images he chose to study. Nonetheless, Belting clearly articulates his belief that the study of religious iconography must remain insulated from psychological and anthropological frames of analysis because, he asserts, the viewer should occupy no place in studying iconography despite the division between the history of art and artists and the history of images. The difference between the two categories is predicated on the viewer’s own perceptions of the nature of the religious images and objects being studied.
Seemingly non-artistic creations such as shovels, or things that others might not see as having true artistic merit like finger paintings can yield powerful emotional and spiritual reactions. Such reactions are the core of traditional African art. The study of and response to African Art by artists at the beginning of the twentieth century created an explosion of interest in the abstraction, organization and reorganization of forms and the exploration of emotional and psychological areas unseen by Western Renaissance art. With the influence of traditional African art, art in the west ceased to be merely and primarily aesthetic, but became a true medium for philosophic and intellectual discourse. Overall, thanks to the discovery and influence of African art on such prominent figures as Pablo Picasso, Jørn Utzon, and Paul Rudolph, art in the west has become more truly and profoundly aesthetic than ever before, and continues to inspire and give people profound emotional and spiritual
Through these early stages of art discussed above, it shows how the foundation for today’s modern works was laid out. They show how art has developed from simple cave paintings, to the tremendous force in society that it is today.