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In terms of elucidating inner meaning and symbolism, the study of medieval Islamic art has lagged almost a full century behind that of medieval Western art. This groundbreaking work suggests how it might at last prove possible to crack the allegorical code of medieval Islamic painting during its Golden Age between the fourteenth and seventeenth centuries. Barry focuses his study around the work of Bihzâd, a painter who flourished in the late fifteenth century in the kingdom of Herat, now in Afghanistan. Bihzâd became the undisputed master of the "Persian miniature" and an almost mythical personality throughout Asian Islam. By carefully deciphering the visual symbols in medieval Islamic figurative art, Barry's study deliberately takes a bold approach in order to decode the lost iconographic conventions of a civilization. The glorious illustrations, scholarly text, and extracts from Persian poetry, many translated into English for the first time, combine to create an essential new work of reference and a visual delight.
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Paul Presgrave
reviewed Figurative Art in Medieval Islam on June 28, 2015 Figurative Art in Medieval Islam
"Paintings & Drawings (1961), la primera exposición individual de Yoko Ono en Nueva York y la última celebrada en AG Gallery, tuvo un efecto especial. Cuando Maciunas invitó a Ono, le indicó que la exposición solo podÃa suceder durante el dÃa porque les habÃan cortado el suministro eléctrico. Esta contingencia amplió el campo de observación y convirtió cada lienzo en un soporte de las variaciones de luz y sombra proyectadas desde exterior. Pero no fue el único cambio que las obras experimentaron; cada una de las pinturas estaba acompañada de un texto que explicaba su función y podÃa ser completada por quienes visitaran la exposición. Los textos escritos por Toshi Ichiyanagi a pedido de Ono, quien en un principio se ocupó de narrar a los visitantes los procesos, inducÃan a una acción: "Pintura para ser pisada" o "Pintura para ser prendida fuego". Jon Hendricks sintetiza asà el procedimiento desarrollado por Maciunas a partir de este tipo de "partituras textuales", practicadas inicialmente por artistas como John Cage o George Brecht: "Un artista le comunicaba una idea, él interpretaba su contenido, y a continuación producÃa una edición de la pieza en forma de objeto de arte barato, repetible y producible en masa, socavando de tal modo, según él, la preciosidad del arte"
Fluxus escritos. Actos textuales antes y después de Fluxus (2019)
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