首页> 外文学位 >Artistic representation in contemporary Kuwaiti, Egyptian, and Iranian paintings and prints, and interpretations of these works according to Islamic law.
【24h】

Artistic representation in contemporary Kuwaiti, Egyptian, and Iranian paintings and prints, and interpretations of these works according to Islamic law.

机译:当代科威特,埃及和伊朗的绘画作品中的艺术表现形式,以及根据伊斯兰法律对这些作品的解释。

获取原文
获取原文并翻译 | 示例

摘要

The Quran (the Sacred Book of Islam) prohibits the making of idols, yet varying degrees of image-making may be observed in the Islamic world. This research explores the variations in contemporary artistic representation in Kuwait, Egypt, and Iran. The hypothesis was that artistic variations found in these countries could be accounted for by different interpretations of the Quran's prohibition of idols.Field research was conducted with four well-known artists from each nation chosen. Each work was analyzed to identify the characteristic artistic features, to determine the influence of religion on that work, and to place it in its tradition.In Kuwait, the aesthetic features were found to derive solely from Islamic art tradition and culture. Figures in two-dimensions were allowed (except nudes) in private exhibitions and galleries, but were not found in public. All three-dimensional figures were strictly prohibited.Egyptian artists incorporated subjects from national secular traditions and from Islamic art traditions. Two-dimensional works were restricted--nudes were not displayed in public and were not allowed in three-dimensions.Contemporary art in Iran followed a similar pattern. Two- and three-dimensional figures were displayed in public but the same restrictions applied to the use of the nude figures as in Egypt. For Iran and Egypt two- and three-dimensional themes were on view in public, while Kuwait was more restrictive with regard to two- and three-dimensional images.Two 'Ulama' (clerics) from each country were interviewed to clarify how Islam views art expression. A comparison of the 'Ulama's' differing interpretations tended to support the hypothesis that variations were influenced by interpretations of religious law, even though similar styles were practiced in Kuwait, Egypt and Iran.All the 'Ulama' interviewed were opposed to representational art in three-dimension. They disagreed, however, regarding two-dimensional figures. The disagreement was on the degree to which each 'Ulama' considered portrayals of the human form to be depictions of God. Such depictions are prohibited, yet incomplete human forms rendered in realistic style were acceptable. Although there is one Islamic law, the application of the doctrine differs from country to country because of the uniqueness of their culture, heritage and religious interpretation.
机译:《古兰经》(《伊斯兰教圣书》)禁止制造偶像,但在伊斯兰世界中可能会观察到不同程度的图像制作。这项研究探索了科威特,埃及和伊朗当代艺术表现形式的变化。假设是,这些国家中发现的艺术差异可以通过对《古兰经》中禁止偶像的不同解释来解释。来自每个选定国家的四位知名艺术家进行了实地研究。对每件作品都进行了分析,以确定其特征性的艺术特征,确定宗教对该作品的影响,并将其置于其传统中。在科威特,人们发现美学特征仅来自伊斯兰艺术传统和文化。私人展览和画廊中允许使用二维人物(裸照除外),但在公共场合则找不到。严格禁止所有三维人物。埃及艺术家将民族世俗传统和伊斯兰艺术传统的主题融合在一起。二维作品受到限制-裸体作品不得在公共场所展示,也不允许以三维形式展示。伊朗的当代艺术遵循类似的模式。公开显示了二维和三维图形,但是对裸露图形的使用也受到了与埃及相同的限制。对于伊朗和埃及,人们公开讨论了二维和三维主题,而科威特则对二维和三维图像的限制更为严格。每个国家的两位``乌拉玛''(文职人员)都接受了采访,以澄清伊斯兰的观点艺术表达。比较'Ulama'的不同解释倾向于支持这样一个假说,即尽管科威特,埃及和伊朗都采用了类似的样式,但变异受宗教法的解释影响。所有接受采访的'Ulama'都反对三种代表艺术。 -尺寸。但是,他们不同意二维图形。分歧在于每个“乌拉玛”在多大程度上认为人类形式的描写是对上帝的描绘。禁止进行此类描绘,但可以接受不完整的逼真的人体形式。尽管有一部伊斯兰教法,但由于其文化,遗产和宗教解释的独特性,该学说的应用因国家而异。

著录项

  • 作者

    Mohammad, Faridah Shaban.;

  • 作者单位

    New York University.;

  • 授予单位 New York University.;
  • 学科 Education Art.Religion General.Fine Arts.
  • 学位 Ph.D.
  • 年度 1995
  • 页码 183 p.
  • 总页数 183
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:49:41

相似文献

  • 外文文献
  • 中文文献
  • 专利
获取原文

客服邮箱:kefu@zhangqiaokeyan.com

京公网安备:11010802029741号 ICP备案号:京ICP备15016152号-6 六维联合信息科技 (北京) 有限公司©版权所有
  • 客服微信

  • 服务号