Art Urges for realization (original) (raw)
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.
METHODICAL APPROACHES TO ABSTRACT PAINTING: INSIGHTS FROM ABHIJIT PATHAK
Granthaalayah Publications and Printers, 2023
This research emphasises the manner in which Abhijit Pathak, an Indian artist, imbues his abstract paintings with energy through careful and precise techniques, capturing the profound essence of his thoughts. By analysing Pathak's creative process, the study endeavours to identify the strategies and methods he employs in his art. Through interviews with Pathak, this paper reveals his thought process and approach to painting, thereby providing invaluable insights into his art. He deploys a variety of materials and techniques to achieve the desired effect in his paintings, while his approach is marked by discipline and focus. This research illuminates the intricate interplay between cognitive processes, techniques, and outcomes in abstract painting, as observed through Pathak's artistic process. The findings affirm the value of Pathak's systematic approach as inspiration and guidance for other artists, empowering them to develop their unique visual language. His work exemplifies the importance of planning, preparation, and comprehensive knowledge of abstract painting methods and materials. By exploring Pathak's methodology, this paper aims to advance knowledge of abstract painting as a multifaceted and nuanced art form.
Abundance on Canvas Cultivating Peace and Floral Expressions in Lida Sherafatmand s Paintings
Peace Review A Journal of Social Justice, 2024
In this study we discuss the relationship between the concepts of abundance, peace and painting. After a general look at different definitions and approaches to the concept of abundance, we will choose the cultural and artistic approach and, in this context, take a brief look at the painters who used the concept of abundance together with peace. Then we will look at the style of Florescencism, invented and introduced by the contemporary painter Lida Sherafatmand, and the related paintings that have been shown in many prestigious exhibitions around the world, in the context of one of the main approaches of this style, which is to represent the concept of abundance. The abundance of fresh and bright flowers with vivid and promising colors in Lida Sharafmand’s paintings is formally and conceptually in line with one of the clauses of the Florescencism manifesto, which refers to the concept of abundance as a way to develop peace. The paintings selected and presented in this review have been examined in the same two basic analytical directions, namely form and meaning, so that the depth of the concept of abundance and its use in line with the goal of peace in these paintings can be broken down and presented to the reader.
Her imagery began to include opposing elements that addressed the stereotypical in everything and anything. For example she puts the veil on a Hindu goddess or superimposes abstract loose daubs of color over intricately done miniatures to highlight and experience the tension that two polarities create on various levels of content as well as technique. Her expression combines her lived and learnt experiences in the form of traditional techniques and motifs, surreal forms, her identity, sexuality and growing up memories. 10 "The Red Dress" (fig. 85) is an early painting done as a student at the Rhode School and offers a good comparison with "Mirrat II" and "The Scroll" done in Lahore. Her precise and well finished Lahore painting has given way to loosely applied paint, the use of gestural strokes, non objective and geometric symbols and a loosely delineated border done with roughly applied lines, may well be from her new environment. The use of a stylized figure in the foreground which is a replica of a copper figure discovered from the Gangetic plain (fig. 86) shows how Shazia had begun to amass images and sensibilities of both the East and the West. The vague form of a red dress, with tiny white splashes, is visible through a loosely painted red in the center of the painting. Though one sees indistinct references to the miniature in the small figure and the tiger, the overall effect is totally taken over by abstract symbols and gestural application of paint. Another painting from the same year titled "Space in Between" (fig. 87) also uses loosely painted areas that contrast with the delicately rendered fragment of a gazelle. The upper half of a burqa with a single eye looking through the cap radiates into roots and forms the central image here. These roots attach themselves to a veil-like shape on the right and an amoebic form on the left.
Arts and Design Studies, 2019
This study sets out to demonstrate with relevant images and literature how the relevant streams phenomenology, philosophy and painted objects are viewed as one indivisible aesthetic element. These elements operate a closure in basic terms in making meaning out of daily life fundamental principles: one using the word for coherence and consistency while the other employs space, line and colours to infer meaning. The practice of phenomenological theories and the practice of painting seem to have one soul and one purpose in which elements are explored with individual understanding, and, that is; it is an experiential knowing that the artist or author tries most times without much success to relate to their audience, their lived experience for discussion, because of its complex text or meaning of images found either in painting or philosophical text these experiences could be difficult in a clear dialogue. Three distinctive examples are studies in terms of paintings and the philosophical theories of Heideggerian school examine to clearly exemplify these thoughts into contemporary dialogue of phenomenology to contextualise these difficulties within the body of phenomenological theories and painted objects as one source of creative force whether in text or image.
Kiarostami’s Visual Style and the Influence of Iranian Painting
2011
Kiarostami's Visual Style and the Influence of Iranian Painting Khatereh Khodaei This thesis investigates the visual style of filmmaker Abbas Kiarostami through the lens of Iranian art. Kiarostami's films are widely noted by Western critics for their originality and poetic sensibility, both evident in a distinctive aesthetic approach that harkens back to Iranian painting. In order to explore this connection, my research draws upon a variety of sources-including Iranian art history, aesthetic theory and criticism, along with interviews with the filmmaker-that situate Kiarostami's films within a wider cultural and historical context. I argue that, while there has no doubt been a significant European influence upon Iranian painting, Kiarostami's work represents a deliberate attempt in Iranian modernism to develop more distinctive visual approaches outside of the European tradition. Woven into the heart of this dissertation, with every word and line, is a palpable sense of gratitude towards an artist without whose original angle of perspective, the sheer joy of research would not have manifested itself. To my dear friend and lifelong mentor, Abbas Kiarostami. I am heartily thankful to my supervisor, Peter Rist, whose encouragement, guidance and support from the initial to the final stages enabled me to develop an understanding of the subject. My parents deserve special mention for their support and prayers. My Father, Hossein Khodaei, is the person who laid the foundation for my inquiring nature, showing me the joy of intellectual pursuit ever since I was a child. My Mother, Parvaneh Foroughi, raised me is sincerely with her caring and gentle love. Alireza, Taraneh, and Shahrzad, thanks for being supportive and caring siblings. Words fail me in expressing my appreciation to my friends, Farshid Solimanpour, Farbod Honarpisheh, Alireza Tadjalli, Shani Hormozi, Denis Wong and Abigail Lapell who supported me in different periods of my study. I am indebted to my friend Hassan Yazdi, who has made available his support. And I would like to dedicate this thesis to my dear friend Omid Yaghmazadeh. Lastly, I offer my regards and blessings to all of those who supported me in any respect during the completion of the project. v
Form and Meaning in Figurative Painting. Lyvia Morgan
Proceedings of the First International Symposium: The Wall Paintings of Thera, vol. II, 2000
In figurativepainting, the human form communicates through individual, social and cultural traits which reveal personal type as well as the context of the specific action. This paper considersthe communicative devices used by the Theran artists under the headings 'Action and Communication' (conventions of the human figure; gesture, posture and expression); 'Status' (clothing, jewellery and hair; position, orientation and focus in pictorial space); and 'TheSocialIndividual' (youth, age and gender).