Manazir Journal最新文献_第3页

Through the Looking Glass of the Orient 《东方镜中奇遇

Manazir Journal Pub Date : 2022-03-07 DOI: 10.36950/manazir.2021.3.6

Ariane Varela Braga

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Eastern Light 东部的光

Manazir Journal Pub Date : 2022-03-07 DOI: 10.36950/manazir.2021.3.7

Francine Giese

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Wassily Kandinsky at the Exhibition "Meisterwerke muhammedanischer Kunst" in Munich, 1910 瓦西里·康定斯基在慕尼黑“Meisterwerke muhammedanischer Kunst”展览上，1910年

Manazir Journal Pub Date : 2022-03-07 DOI: 10.36950/manazir.2021.3.11

Emily Christensen

{"title":"Wassily Kandinsky at the Exhibition \"Meisterwerke muhammedanischer Kunst\" in Munich, 1910","authors":"Emily Christensen","doi":"10.36950/manazir.2021.3.11","DOIUrl":"https://doi.org/10.36950/manazir.2021.3.11","url":null,"abstract":"In 1910, Wassily Kandinsky attended the Munich exhibition Meisterwerke muhammedanischer Kunst and subsequently wrote a review of it for the Russian literary journal Apollon. His review, which almost exclusively discussed the Persian paintings on display, provides insights into Kandinsky’s way of seeing and understanding these objects at a significant moment in his artistic development. The most compelling aspect of his review is his repeated articulation of the sense of revelation that he experienced in front of these works. Conveying a sense of revelation through his own paintings was Kandinsky’s primary goal in this period, and was a concept he struggled to formulate in his art. I argue that Kandinsky developed one of his primary artistic strategies in response to a specific practice that he had first encountered at the Meisterwerke exhibition: the Persian artist’s practice of painting hidden forms within a composition. This article looks closely at a work from the exhibition, Sleeping Rustam (attributed to Sultan Muhammad, 1515-1522), which incorporates hidden figures in its rock formations, a practice described as demanding careful and sustained scrutiny by the viewer before the faces and forms reveal themselves. Kandinsky himself wrote later that his works from 1910, “dissolved objects to a greater or lesser extent within the same picture, so that they might not all be recognized at once and so that these emotional overtones might thus be experienced gradually by the spectator, one after another”; a process that the author believes he may have adapted from Persian paintings. ","PeriodicalId":257328,"journal":{"name":"Manazir Journal","volume":"329 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115967942","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Dittmar’s Turkish Ornamental Cabinet 迪特马尔的土耳其装饰柜

Manazir Journal Pub Date : 2022-03-07 DOI: 10.36950/manazir.2021.3.5

Elke Katharina Wittich

{"title":"Dittmar’s Turkish Ornamental Cabinet","authors":"Elke Katharina Wittich","doi":"10.36950/manazir.2021.3.5","DOIUrl":"https://doi.org/10.36950/manazir.2021.3.5","url":null,"abstract":"One of the most formative narratives of the reform movements around 1900 was a departure from earlier creative principles of imitation, now defamed as an inadequate approach. Thus, artists, architects, and designers were called upon to formulate freer approaches to artistic design. Precisely because this narrative of the new and the free, which had become a myth, excluded art of the later nineteenth century—which supposedly only imitated older styles—little attention was paid to how exactly the ornamentation of Islamic art was taken up and artistically exploited in the decorative arts around 1900. Yet, what else can be classified as stylistic imitation and what as freer abstraction? After all, the geometric derivation of Islamic ornamentation offered rich material for abstractions in the sense intended by the reform movements, before it was radically, and very lastingly, banned from the discourse a short time later along with all other ornament. It will be shown that the abstraction of Islamic ornamentation around 1900 was not only triggered by the objects that were increasingly accessible in exhibitions and as holdings of ethnological or applied arts museums at the turn of the century but was already influenced by scientific research and by the textbooks with historical models as they appeared in the course of the nineteenth century. ","PeriodicalId":257328,"journal":{"name":"Manazir Journal","volume":"24 12","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132062403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Persian-Punjabi/Urdu Identities of Traditional Geometrical Patterns Lost During the Colonial Rule of the Punjab (1849–1947) 旁遮普殖民统治期间丢失的传统几何图案的波斯-旁遮普/乌尔都语特征(1849-1947)

Manazir Journal Pub Date : 2022-03-07 DOI: 10.36950/manazir.2021.3.4

Nadhra Shahbaz Khan

{"title":"Persian-Punjabi/Urdu Identities of Traditional Geometrical Patterns Lost During the Colonial Rule of the Punjab (1849–1947)","authors":"Nadhra Shahbaz Khan","doi":"10.36950/manazir.2021.3.4","DOIUrl":"https://doi.org/10.36950/manazir.2021.3.4","url":null,"abstract":"Annexation of the Punjab by the British in 1849 brought about major modifications to the local visual culture. Expecting Indian crafts to remain frozen in time (for several reasons), the colonial administrators and art critics disapproved the changes employed by the craftsmen in their wares to cater to the new ruling class. Among the corrective measures adopted by the government to revive the ‘dying’ Indian art and craft, art schools were set up and surveys were conducted to publish illustrated monographs on individual crafts bringing once strictly guarded trade secrets out in the public. By the late nineteenth century, the ‘native craftsmen’ or mistrīs themselves emerged as authors of illustrated craft manuals carrying instructions in all three important vernaculars, Gurmukhi, Urdu and Sanskrit mixed with some English terms and designs. The most interesting among these publications are a few woodcarver’s manuals that laboriously enumerate a wide range of geometric designs for both architecture and furniture. Each shape, its construction methods and titles are given in an interesting mix of the three vernaculars. These terms were also mentioned by John Lockwood Kipling, the first Principal of the Mayo School of Industrial Art (1876-1893) in his essay on wood carving but abandoned by the time Percy Brown (1897-1909) took over. Except for some, today most of these terms and construction methods are unknown even to the traditional craftsmen of the Punjab. This paper aims to trace the history of traditional geometrical patterns going as far back as Mughal times (sixteenth to eighteenth centuries), their references in manuals published by local craftsmen during the colonial rule and the role of British art educators on social memory. ","PeriodicalId":257328,"journal":{"name":"Manazir Journal","volume":"142 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113996603","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Color and Geometry in the Alhambra 阿尔罕布拉宫的色彩和几何

Manazir Journal Pub Date : 2022-03-07 DOI: 10.36950/manazir.2021.3.2

O. Bush

{"title":"Color and Geometry in the Alhambra","authors":"O. Bush","doi":"10.36950/manazir.2021.3.2","DOIUrl":"https://doi.org/10.36950/manazir.2021.3.2","url":null,"abstract":"The dissemination of Owen Jones’ studies of the Alhambra and his color theory has been increasingly well understood as a cornerstone of the later Alhambresque style. And yet, curiously, Jones offers at once an accurate appreciation of the Alhambra and a basis for a striking divergence from Nasrid design in Alhambresque interiors. This article examines that discrepancy. It begins with a review of the aesthetics of the Alhambra in view of the eleventh-century optics of Ibn al Haytham, supported by conservation work that has confirmed Jones’ vibrant colors. The aesthetic key to the Alhambra is not color alone, however, but a principle of visual harmony integrating color and geometry. The Nasrid builders applied color in conjunction with principles of proportionate geometric relationships and measurable visual properties—height, distance, size, depth—in the architectural and decorative design. They also manipulated color through their consideration of the materiality of the polychromed surfaces, whose reflective and refractive potentials allowed for differing optical effects. By balancing attention between color, as transmitted through the innovative technique of chromolithography, and the drawings of plans and elevations, this article strengthens the understanding of Jones’ grasp of the visual harmony of the Alhambra. Second, it demonstrates the ways in which Jones’ plates of various ornament were often privileged over, or simply divorced from, his architectural drawings in Alhambresque interiors: e.g., the Salón árabe (1847-1851) in the Royal Palace of Aranjuez (Spain), the Salotto Turco in the Villa Mimbelli (1865-1870) in Livorno (Italy), and the Moorish Bath (1850-1854) at Schloss Albrechtsberg in Dresden (Germany). In conclusion, this article proposes that, in contrast to the Alhambra, a loss of visual harmony is a significant characteristic of the Alhambresque, or, otherwise stated, that the Alhambresque interiors feature a disproportionate emphasis on color, consistent with the ideological burden of Orientalism. ","PeriodicalId":257328,"journal":{"name":"Manazir Journal","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130302913","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Islamic Geometry Reinterpreted 伊斯兰几何重新诠释

Manazir Journal Pub Date : 2022-03-07 DOI: 10.36950/manazir.2021.3.3

Sarah Keller

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Starting Point of the Arabic-Andalusi Influence in Gaudi’s Ornamental Ceramic 高迪装饰陶瓷中阿拉伯-安达卢西影响的起点

Manazir Journal Pub Date : 2022-03-07 DOI: 10.36950/manazir.2021.3.9

Mireia Freixa, Marta Saliné

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Revisiting the Reception of Islamic Ornament and Color in the West 再论西方对伊斯兰装饰和色彩的接受

Manazir Journal Pub Date : 2022-03-07 DOI: 10.36950/manazir.2021.3.1

Sandra Gianfreda, Francine Giese, Axel Langer, Ariane Varela Braga

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Encounter with the Architecture of the Islamic World as Turning Point in the Transformation of Artistic Expression 与伊斯兰世界的建筑相遇，作为艺术表达转变的转折点

Manazir Journal Pub Date : 2022-03-07 DOI: 10.36950/manazir.2021.3.12

Ieva Kalnača

{"title":"Encounter with the Architecture of the Islamic World as Turning Point in the Transformation of Artistic Expression","authors":"Ieva Kalnača","doi":"10.36950/manazir.2021.3.12","DOIUrl":"https://doi.org/10.36950/manazir.2021.3.12","url":null,"abstract":"One of the most important Latvian artists of the early twentieth century, Jāzeps Grosvalds (1891-1920), was interested in the “Oriental” world since his adolescence. His first real meeting with the imagined Oriental atmosphere took place in 1913, when he traveled to Spain and visited Toledo, Córdoba, Seville, and Granada. The trip impressed him by the versatility of colors, light, ambience, and architectural forms, and was depicted in a sketch book. Nevertheless, the real transformation of Grosvalds’ artistic expression occurred during his travels through (then) Persia. Due to the circumstances of World War I, at the end of 1917 he joined the Mesopotamian Front under the English Command. The campaign took place in 1918, and he crossed Iran and Iraq. Despite at times very difficult conditions, throughout his travel Grosvalds captured his impressions in sketch albums and watercolors, being interested in architectural, scenic, and anthropological studies. His oeuvre from this period shows a certain level of abstraction, and almost nothing of the idyllic and luscious depiction, characteristic for many Orientalist painters. One of the most interesting evaluations of his Persian artworks was provided by the famous French artist Amédée Ozenfant (1886-1966) in 1940, when he published an article on Grosvalds’ art. Among other things Ozenfant emphasizes that Grosvalds had not depicted picturesque scenes, had not copied what he saw in front of his eyes as many others have done. Grosvalds’ watercolors have a special effect and power; they are fruits of creativity, being not superficially loaded with exotic charm, but synthesizing and transforming its magic. ","PeriodicalId":257328,"journal":{"name":"Manazir Journal","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127491272","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0