weisheng3302: Resonance of a Tradition
Resonance of a Tradition
Dec 3 2015 at 03:44am
Calligraphy has been a unique and pivotal feature when we talk about the Muslim Art and Architecture. Islam is a non-iconographic religion therefore; it encourages non-figural and non-imitating art forms. When the Muslims gained power and wealth in the Umayyad period (661-750 CE), they concentrated on the development of architecture. The great mosque of Demascus and the Mosque of Cordova are the masterpieces of that era. However, on a smaller scale under the intensive influence of the Syrian artisans who were actually hired for many architectural and decorative projects, in the privacy of castles and royal bedrooms, the figurative art was also in practice; the fresco paintings, found in the ruins of Qasr-e Amra are a solid proof and example of activity.
The next step was to ornate these sacred mosques, which may resemble to the local worship places, but were very different in terms of worship nature and the non-iconographic style that had to be adopted in carrying out decorative elements. Therefore, instead of grotesque designs of the Christians, the Muslims developed and used arabesque designs while the floral and geometric motifs took the place of the western canon of animal and reptile based motifs.
In addition to the floral, vegetal and geometrical designs, another strong element was the calligraphy that was used as a flowing motif as well as a tool to convey Quranic and Islamic ideology. The art polo ralph lauren of Calligraphy evolved and reached at its peak in the magical land of great Persia where this art was introduced to the rhythm and flow that an art piece should possess along with the skill and scale.
In Pakistan, traditional calligraphy is as old as the country itself. However, the art of calligraphic painting can be traced back in the 1960s when Shakir Ali, along with his semi-Abstract western style, experimented with the shape and form of Arabic alphabets. Shamza, one of Shakir Ali's student and successor, put in the element of design in calligraphy together with colourful palette of a painter. Later, Sadequain helped calligraphic painting with solid themes and strong texture while Gulgee gave attention to the natural flow and dynamism of the brush as well as the paint.
Arif Khan is relatively new talent in the art of Calligraphic Painting. His qualifications suggest him a Graphic Designer but after completing his degree, he simply fell in love with calligraphic painting.
It is the virtue of this genre, or his personal inclination towards the spiritualism, that forced him to choose his subject matter from the Quran. The traditional Islamic Calligraphy has always been an emblem of balance and flow that are very close to the basic concepts of Islam as well.
Arif Khan's brush and Qalam, present that flow which is considered as the soul of calligraphy whereas he creates a visual balance with the help of colour tonalities. Since he is a novice in this enchanting field of art, he is evolving his art with every new frame and looking for new possibilities at the same time. That is why at one place you may find him with large frames and grayish tones while at another place, he would express his art in small frames; resembling that of miniature painting!
In a very recent show, Arif Khan put on displayed a variety of calligraphic paintings with a combination of large and small words of Quranic verse, formed over and inside the rich absorption of red, blue and yellow colours. When these colours overlap footybingo.com.au/ each other, they create a rainbow effect of the red becoming orange, the magenta emerging out of the blue and the green when yellow embraces blue.
The artist speaks of his technique for this art ralph lauren sydney form in these words, "If painting is music, then I play it on canvases. My calligraphic symphonies run in low keys, smoothly! I subtly divide space by writing small pieces around the focal point and fill the focal point with a large word"
Keeping in view the painting qualities, in Arif Khan's calligraphic paining, one can find mature and valid tonal effect and colour gradations. On the other hand, as far as the flow and the rendering of the Arabic alphabets are concerned, there appears a need for some breath-holding, so the flow and rhythm of these alphabets, could rejuvenate with perfection.
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