Art Urges for realization (original) (raw)
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Kurdish Visionary, Tahir Fatah: "Painting in metaphors is like the Kurdish language" by Sheri Laizer
''In my work I present images that can speak for themselves, that are metaphoric and that work on several levels to evoke a response in the viewer, to have him or her reflect on their deeper sense, to enter the painting like a door to another world. " Sulaimaniyah-born Tahir Fatah has a long and illustrious career behind him in the United States living from his art work following retirement from the long hours of labour in California's top film studios including Universal and Disney where he painted sets used on some of the best known shows 1. Maintaining a keen focus on Kurdistan in relation to international developments Tahir's latest canvasses have moved away from the abstract forms of previous periods to rich irony and visual metaphor. Speaking by Skype, Tahir explained his symbolism to me: in one of his latest canvasses, a youthful Mulla Mustafa Barzani sits astride a pale horse that leaves behind a dark past – that of the background with the Islamic crescent in the sky, progressing to the Kurdish destiny of nationhood and the light of future history. The four vivid red poppies the mythic hero holds represent the four parts of Kurdistan. Above him in the sky, the first lines of the Kurdish national anthem, Ey Raqib, are lettered. In another painting of this most recent period, Tahir explains how he was roused by anger over the Jihadist forces assaulting the region to put his feelings down in paint. In a reference to classical art, Venus can no longer see her beauty in the mirror: instead a bestial female, her head encased in a green hijab with animal ears protruding above, blocks the celestial vision with ugliness and corruption. In another work, the symbol of victory has lost a wing and the light of the sun is blocked by the emblem of the Turkish flag in a swirl of surrounding darkness. The ancient world of noble philosophy and classical beauty is being dismembered. In yet another vivid rendition of Tahir's intellectual vision, the cupids, or angels, have grown old. Obama plucks the string of his lyre. Again, the Turkish emblem replaces the light of the sun. Earlier paintings from the period of the 1991 Kurdish uprising and mass exodus are soon to be pledged to the new museum being constructed in Kurdistan, a gift from the painter. But like other hardworking artists, the painter must sell his work to survive. Living in the desert this is not so easy. Tahir left Los Angeles for the quiet beauty of the desert south towards Palm Springs but found himself alone and cut off. Painting day and night, often till after midnight, his external environment sometimes feels like a place of lonely exile. 2 His planned visit home to Kurdistan to visit the extended family still living there has been delayed time and again by the economic crisis hitting the United States. " People aren't buying art like before, even the wealthy and every amateur that starts painting fruit or a portrait of their pet thinks himself an artist or applies paint to paper as a form of therapy. It's mostly superficial. In the Kurdish language we speak in images, we use symbols, but here in the US they don't understand what we are saying. In my work I present images that can speak for themselves, that are metaphoric and that work on several levels to evoke a response in the viewer, to have him or her reflect on their deeper sense, to enter the painting like a door to another world.
2016
Ascension event as one of the most miraculous events of Islam history has attracted attention of scholars and artists over different ages and eras and has been manifested within many artistic works directly or symbolically. Meanwhile, painting art has paid special attention to this astonishing event either in conceptual or in aesthetic part. Many images have been created in Iranian painting with centrality of ascension (mi’raj) of Islam prophet. However produced works vary in terms of quality and narrations based on Iran painting style and affected by doctrinal conditions of its own time and viewpoint of proponents. In this respect t, famous and prominent painting of ascension from Safavid era of Khamsa version painted by Sultan Muhammad with unique and noticeable features. This paper aims to examine feature of Iranian painting art and visual components of art through descriptiveanalytical approach and with documentary method. For doing so, ascension image of Sultan Muhammad, famous...
Indian Painters: A citadel of creativity
Menaka Magazine ,Marathi Journal , 2009
Drawing and picture painting are two of the oldest arts, but it is rather a peculiar experience that those who visit a drawing and painting exhibition, rarely show any will to understand the exhibits. We are normally unaware that it gives us a special joy, increases our maturity of thinking. The ability to understand the shot began to acquire importance while we see a film or a serial one the screen. But we are still indifferent to drawing and painting literacy. This article is an attempt to make readers a part of this tour de force of the process of the cameraman Nemai Ghosh, who has to his credit the photography of fifty two artists.
2016
This critical analysis is about the study on symbolism of Malay Islamic cultural heritage in Malaysian visual arts found in Syed Ahmad Jamal artworks particularly on the Sirih Pinang (1982), Tulisan (1961) and Mandi Laut (1957). The reason why this particular painting was chosen as the medium for a critical analysis was because of Syed Ahmad Jamal’s profound involvement in pioneering the Abstract painting movement in Malaysia with brilliant employment of symbolism of cultural elements in his works. He can be considered as one of the earliest Malaysian painter between the era of 1960s and 1970s to masterfully use the symbolism elements in translating metaphors and professing intrinsic meanings in his artwork (Syed Ahmad Jamal Sempena Malam Anugerah Seni Negara, 1995). This research is looking at the meaning behind the symbol of cultural heritage employed by the artist on his art work. It is hoped that this research would reach out to the public and further provide a bridge linking th...
Unit Penerbitan Universiti Teknologi MARA, Kelantan, 2017
This research covers constituents of symbols and metaphors based on "Hikayat Inderaputera" and it is connected to the intrinsic and extrinsic elements in visual art. The research is actually related to the view of possibilities of metaphor applied in the study of painting. "Hikayat Inderaputera" can be translated into expressions, imaginations, and perceptions through painting and it also gives meaning and connection in semiotic approach. In a creative process, paintings are always related to narrative as a visual language and it is a part of structure in picture making. To understand metaphors, we need to consider semiotic as a methodology and it requires language as a structure, arguing that structuralism could equally be applied to any system of meaning making. It is actually a set of signal or codes. This research also explains how the researcher remarks and relates "Hikayat Inderaputera" to previous works. In painting, artists always apply metaphors to create visual narratives while they are also being reflected writers. In addition, the researcher realized "Hikayat Inderaputera" as a way of expressions in creating symbols and metaphors. It can be translated into new possibilities of readings, visual languages, signs and can also be developed in new directions to represent other associations in images making especially in painting.
A Legacy on Canvas - A Painter's Progress
When we (Bannu, nee, Rohini, and I) became schoolmates, we were barely ten and now as we are seventy plus, he seeks to record his questful journey as a painter to which, by and large, I was privy to. It seems as if life, at the dictates of destiny, had shaped his creative instincts in the mould of applied art, though without robbing him of the artistic impulses of his genes. Now, urged by his artistic impulses to pass through the pathless woods as he sets on a new artistic plane, here I seek to set his biographic course in an auto-biographic mode.
Intrinsic and Extrinsic Analysis of Abid Husain Qureshi’s Art
Al-Qantara, 2024
Figurative art has historically been a trendy subject among Pakistani artists. Abid Husain Qureshi, on the other hand, has concentrated especially on human sorrow and loss from a variety of perspectives, which provides us with views into Pakistan's whole past and history. He has also researched human psychology and its intricacies. His paintings are enhanced by the way he arranges the materials to represent the subject matter best. To emphasize the meaning of the subject matter even more, he also used color. Therefore, the current paper's goal is to examine and thoroughly analyze all the artwork that Qureshi created during his life. This study's method is based on both intrinsic and extrinsic analysis. It will pay special attention to its aesthetics and underlying philosophical ideas, which have shaped his entire body of work.