Her endless arabesques seem pinioned to a rack of pain.
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There was no decoration on the outside, no roses, no arabesques.
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JS: Some of your work involves pattern – lines and arabesques and repetitions of forms.
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To behold the pirouettes and arabesques of whales underwater is a lot like watching the Russian ballet.
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For instance, eL Seed's sweeping calligraphy transforms deteriorating ruins in Tunisia into elegant arabesques full of possibility.
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Repeatedly, at her moment of greatest anguish, she rises onto point as she turns through huge, plaintive arabesques.
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JS: You utilize a vocabulary of different kinds of painterly marks: lines, dots, arabesques and other gestural brushstrokes, even drips.
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Yet, although the dance loosens, it doesn't break out nearly as far as the music: a few kicks, hops, arabesques.
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" He never left behind completely the romantic sentimentality of early piano pieces like "Clair de Lune" and the "Deux Arabesques.
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All of it retains the delicate curlicues and arabesques of the source material, yet exudes 217st-century tough-girl panache.
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Then I took this whole other odyssey of working with planets, centers, and arabesques that were very non-symmetrical and gestural.
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He moves with complete restraint and yet in the language of classical ballet: arabesques and grand ronds de jambe à terre.
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A simple falling and rising figure, based on a whole-tone scale, is soon enshrouded with fluid arabesques and radiant sonorities.
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In a pas de deux with Eric Underwood, Mr. Watson is given steps (supported arabesques and lifts) more commonly associated with women.
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The image is an overall pattern of white and blue arabesques on a bright red background, each shape resembling a dancing figure.
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Buika's voice, which carries the taut, intricate arabesques and throat-tearing passion of flamenco toward rock peaks, is every bit its equal.
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The arabesques and other abstract signs that you see on Acheson's uneven surfaces are the "shadows that are forms" that have fallen there.
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Statues, stained glass, rose windows, arabesques, denticulations, capitals, bas-reliefs,—she combines all these imaginings according to the arrangement which best suits her.
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These signs, exquisitely painted, wreathed the text in networks of florets, medallions and arabesques, done in lapis-lazuli blue or light-catching gold.
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"Even the arabesques and the arms and the angles of the body tell us something about the character or the situation," Mr. Ratmansky said.
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And the guitar-and-pedals whiz Anthony Pirog has it in him to spin acid arabesques around your head till you can't see straight.
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Foreign diplomats trying to advance their own national interests on this shifting political terrain find principles and strategy replaced by Byzantine maneuvers and endless arabesques.
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"Lady Moth" (2017) has marbled arabesques stamped over a background of faint musical notation, while silhouettes of women march through the "Poetry Machine" series of canvases.
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His images of dancers making their grandes arabesques or bending at the barre, now schmaltzy stalwarts of dorm-room posters, were the projects of true mania.
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Musk did not name the piece, but it appears to be "Deux Arabesques" by Claude Debussy, a French composer active around the end of the 19th century.
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Bemis embellishes the conjoined fabrics with elegant arabesques, retraces lines and forms to accentuate their visual impact, and creates additional texture with extraordinary density, all in thread.
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The lines are long, stretched and balletic, women lifted in wide arabesques, then swirled to the ground like ice-skaters, or passed among the group with seamless lyricism.
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Some quick, large arabesques taken with the support of the prince's arm were piercing; the rapid quivers of one foot at the end of the main duet were softly enchanting.
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S.C.W. "Impermanence"; Lorelei (Sono Luminus) The calligraphic squiggles and vocal arabesques of Franco-Flemish Renaissance music come alive in the full-bodied and radiant sound of this female vocal ensemble.
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The lines oscillate smoothly between images and meandering trails: One second you see a transparent pennant or a one-eyed head, the next you see black arabesques and open curves.
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Not witty comedy with its verbal arabesques, nor intellectual comedy with its Paris Review name-checks, nor meta-comedy with its scrambled plotlines — but the vanilla kind that once dominated commercial theater.
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The sculptures on view reflect these characteristics via assemblages combining recognizable elements, like ladders and chains, with scrap metal forming S shapes and arabesques; these are painted in red, yellow, blue, and a silvery gray.
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It is sometimes a little startling to see that the traceries in the windows — rose and otherwise — of cathedrals like Amiens and Vendôme are alive with sinuous curves, arabesques and biomorphic shapes that could be given bodily interpretations.
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"Prosecutors and investigators never worked together, but since me and Kinoti came into office that has changed," Haji told Reuters at his Nairobi office, where leather-bound law books and the graceful arabesques of Islamic art line the walls.
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Neatly positioned arabesques and serpentine motifs translate the flight of fancy the characters experience when interacting with the Surreal Woman, those pages look like a maximalist hybrid of Dalí's style, art nouveau, and the anime-like ethereal artworks of artist Yoshitaka Amano.
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Once inside, the view changes radically: A marble double staircase spirals up to a ridiculously ornate central rotunda that's smothered in gold leaf and arabesques, and you realize that, hidden inside this small, soporific city is a minor masterpiece of Beaux-Arts architecture.
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His solos combine elements from traditional ballet classicism (the straight-leg lines of tendus and arabesques) with aspects of break dancing (spectacular ripples passing horizontally down one arm, through his shoulders, and along the other arm) and modern dance (powerful bendings of the torso).
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Absorbed by such a polyvalent painterly language built upon bravura draughtsmanship and nearly trompe l'oeil renderings of enamel, engraving, arabesques, and jewelry, the visitor to Nahmad might be excused for passing rather quickly over the twelve modern and contemporary paintings set among Moreau's, almost none of which match his layered intensities.
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The infinitesimal knot-work, teeming squibs, and countless dots and spirals populating the jam-packed masterpiece "Hieroglyph of Light" (1966-67) call to mind hypnotic plait-like designs, interlacing arabesques, and girih tiles of Islamic art or the Gaelic script and florid miniatures of the Christian The Book of Kells.
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In Act III, "Sorrow and Despair," all the male dancers in the show lie down, as if everyone in the world had died, and then the longest-legged woman in the troupe, Laurel Lynch, comes on and, bending over in sky-high arabesques, revives them one by one, as if raising the dead.
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With her songs on "El Mal Querer" (which could translate as "Bad Desire" or "Bad Love"), produced by the electronic musician El Guincho and others, she explores passion, jealousy and betrayal while handclaps interweave with minimal trap beats and the arabesques of flamenco singing segue into Auto-Tuned quavers: age-old sentiments expressed in the present tense.
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And unlike the stern religious moralizing of "Last Judgment" or the moral outrage inherent to the slave ships, Pollock's mural is free of judgment or moral concerns — which, Desiderio told VQR, was very appealing to him: As much as I am drawn to images of the Last Judgment, I am myself not all that judgmental — I don't like to think I am anyway — and with the Pollock, by contrast, you have this sublime evenness, all very muscular — this is still before the drips—that marvelous repetition of those strong vertical arabesques punctuating the lush all-overness of the whole, the sense that they could go on forever in either direction.
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The Two Arabesques (Deux arabesques), L. 66, is a pair of arabesques composed for piano by Claude Debussy when he was still in his twenties, between the years 1888 and 1891. Although quite an early work, the arabesques contain hints of Debussy's developing musical style. The suite is one of the very early impressionistic pieces of music, following the French visual art form. Debussy seems to wander through modes and keys, and achieves evocative scenes through music.
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General officer-equivalents wore green patches with generals' arabesques, similarly bordered.
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Beneath the surbase, the panels, as also those of the door, were covered with arabesques.
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Unlike most earlier examples of this feature, which were often carved in stucco or plaster, the columns and their capitals here are made of marble. The surfaces of the columns are carved in arabesques and Arabic inscriptions, while the capitals are carved with ornate arabesques and muqarnas forms which are reminiscent of decorative Ottoman capitals of the era.
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The tombs belonged to the most respected families in Gjakova. There also used to be a "hamam", but it was destroyed during World War II. The entrances are covered with floral paintings, geometrical shapes, citations from the Qur'an and arabesques. In 1999, the surrounding complex was burned to the ground and only the mosque and the minaret along with some damaged arabesques survived.
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The dershane is decorated with a frieze made of stucco arabesques in relief. The entrance of the court is adorned with a small Sebil.
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The triangular muqarnas hood at the top of the portal is also framed by an outer rectangular frame filled with carved arabesques, albeit relatively faded.
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Stylised plants or plant-like arabesques, architectural features and geometric patterns are common, chosen for subjects in panels, friezes dividing walls or in spandrels of arches.
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Apart from a few temples and chhatris, merchant monuments predating an 1818 treaty between Jaipur and the new British regime were lightly painted externally with floral motifs and arabesques.
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Interlace and scroll decoration are terms used for most other types of similar patterns. Arabesques are a fundamental element of Islamic art but they develop what was already a long tradition by the coming of Islam. The past and current usage of the term in respect of European art can only be described as confused and inconsistent. Some Western arabesques derive from Islamic art, but others are closely based on ancient Roman decorations.
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They are adorned by varieties of foliage, etc.; about each arch there is a large square of stucco arabesques; and over the pillars is another stucco square of filigree work.
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22mins – 2020 Solo: Steps volume 1. – 12 collected pieces for piano – dur. c85 mins – 2001-6 Steps volume 2: Studies of Invention – piano – dur. 48mins – 2006-7 Steps Volume 3: Arabesques – piano – dur.
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Arabesques () are collected works written and compiled by Nikolai Gogol, first published in January 1835.Николай Гоголь «Арабески» The collection consists of two parts, diverse in content, hence its name: ″arabesques,″ a special type of Arabic design where lines wind around each other. Articles on chronicles, geography, art and as well as few works of fiction merge the collection into one piece.К юбилею Гоголя впервые за 100 лет выйдет сборник «Арабески» Articles represent Gogol's opinions and ideas about literature and art.
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This theme of confused or failed communication between people appears frequently in his art. By emphasising the patterns of wallpaper and architectural decorations, Sickert created abstract decorative arabesques and flattened the three- dimensional space.
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Scholars have sometimes considered the geometric forms, both girih and the complex vaultings of muqarnas, as innovative, and arabesques as retardataire, but in Al-Andalus, both geometric and vegetal forms were freely used and combined..
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That was when he lost his second son Mekki. Hamda Fliss's activism encouraged and set off the political future of Mohamed Salah Fliss. Mohamed Salah Fliss, Oncle Hamda le docker, éd. Arabesques, Tunis, 2010, p.
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260 The ceiling panels are decorated with floral patterns of lotus flowers, peony blossoms, crimson four-leaf flowers (juhwa), and floating lotuses. The panels on the flat portion of the ceiling each display floral patterns against a background of red ocher while surrounded by arabesques of green, blue and salmon. On the slanted portion of the ceiling the panels feature a lotus flower surrounded by flowers and arabesques, or with a Chinese character written in each of its eight petals.Survey Report of Gakhwangjeon Hall 2009, p.
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This setting, now destroyed, is known from preparatory drawings. He was a decorative artist, and made a number of tapestries for the Gobelins. Audran's style included arabesques, grotesques and singeries. He died in Paris in 1734.
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The Minister of Foreign Affairs of Turkey invited him to exhibit Arabesques, as well as another complementary collection, Soleiman the Magnificent, at the Islamic Art Museum of Istanbul.TONGUÇ, Saffet Emre. “Bu Da Benim Beş Harikam.” Haberler, Hurriyet.com.
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Kitab al-Ayn was the first dictionary written for the Arabic language.Introduction to Arabesques: Selections of Biography and Poetry from Classical Arabic Literature, pg. 13. Ed. Ibrahim A. Mumayiz. Volume 2 of WATA-publications: World Arab Translators Association.
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Following is a brief description of the seven volumes along with notable content relating to essays, contributors and typefaces. # Edited by Oliver Simon. London, 1923. Among other articles, this issue includes Francis Meynell & Stanley Morison Printers' flowers and Arabesques.
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In heraldry, diapering is a technique in which those who emblazon, draw, paint, or otherwise depict achievements of arms decorate large areas of flat colour by drawing crosshatches or arabesques. There is no standard, and each artist is allowed individual idiosyncrasies.
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Jacobson, K., Odalisques and Arabesques: Orientalist Photography, 1839-1925, London, Bernard Quaritch, 2007, p. 277. By 1863 Felice was living and working in Japan.Bennett, T., History of Photography in China, 1842–1860, London, Bernard Quaritch, 2009, p. 141 and 241.
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The monastery is decorated with splendid Burmese architectural works such as carvings, floral arabesques, the ornamentation with curved figurines and the reliefs of birds and animals as well as small pillars decorated on the wall, the artistic works of Inwa Era.
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Jacobson, K., Odalisques and Arabesques: Orientalist Photography, 1839-1925, London, Bernard Quaritch, 2007, p. 277. Photographs taken by the Zangaki brothers are commonly found in tourists' albums assembled in the Middle East in the second half of the 19th- century.
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"The Portrait" () is a short story by Nikolai Gogol, originally published in the short story collection Arabesques in 1835. It is one of Gogol's most demonic of tales, hinting at some of his earlier works such as "St. John's Eve" and "Viy".
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A tall minaret and new domes were constructed. Decorations such as several calligraphic carvings of verses from the Quran, prayers and arabesques were carved on the mosque’s entrance doors and grills. The current uniquely carved mimbar was crafted by Mister Abdul Kadir.
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In hip-hop—even in lyrical hip-hop—there > are no pirouettes or arabesques and dancers do not perform on relevé (on the > balls of the feet). However, these methods are mostly used in jazz-funk and > in jazz dance in general.
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Interior of the Oratory. Front of mihrab. The rest of the walls of the mosque are decorated with blind mixtilineal arches linked and decorated throughout the surface with vegetable arabesques of Caliph's inspiration. These arches lean on columns topped with capitals of slender basket.
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He also devised fire-dogs, sideboards, cabinets, console tables, mirrors and other pieces of furniture. Le Pautre was long employed at the Gobelins manufactory. His work is often very flamboyant and elaborate. He frequently used amorini and swags, arabesques and cartouches in his work.
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Internally the westerly three bays of the north arcade are Norman and include zigzag carving and a carved ram's head. The two easterly arcades are Transitional. The south arcade is mainly Perpendicular in style. The pew ends are carved with Gothic tracery above Renaissance arabesques.
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The interior, much like the façades, is elaborately decorated. Blue is the main-focused color featured throughout the many painted decorations. There are many classical Ottoman details surfaced on many of the walls. These include blind niches, muqarnas, arch motifs, arabesques, and Chinese-inspired floral arrangements.
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Williamson also drew inspiration from his time in Morocco, becoming influenced by the song structures and vocal techniques. The album's compositions reflected upon these developments, Williamson's adaption of the Arabian oud to the guitar, and the vocal arabesques being major stylistic points in the album's overall sound.
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While in prison, he wrote at least four book-length manuscripts including a lyrical autobiographical novel, How It All Began, philosophical treatise Philosophical Arabesques, a collection of poems, and Socialism and Its Culture – all of which were found in Stalin's archive and published in the 1990s.
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The flying silver dove, embroidered on the armchair cushion, among rich colored arabesques, is identical to that of the Anguissola family crest. A Portrait of a Lady , at the Colonna Gallery in Rome, attributed to the Ferrarese Cancellieri, could be the work of Anna Maria Anguissola.
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Kitab al-'Ayn () is the first Arabic language dictionary and one of the earliest known dictionaries of any language.Introduction to Arabesques: Selections of Biography and Poetry from Classical Arabic Literature, pg. 13. Ed. Ibrahim A. Mumayiz. Volume 2 of WATA-publications: World Arab Translators Association. Philadelphia: Garant Publishers, 2006.
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Traditional Turkish music included wavering pitches, microtones, arabesques, different scale systems, and non-Western rhythmic patterns. Europeans thought of this type of music, as Wolfgang Amadeus Mozart once said, "offensive to the ears." Having short spurts of it in the operas were common, but just to add comedic affect.
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France- Paris :Cite de la Musique- France, Maison Des Cultures Du Monde, Institute de Monde Arab, Le Rond Point Theatre. Montpellier Festival Arabesques. Lyon: Opera House Hungary: World Music Festival, National Museum,Concert in Memoray of Munir Bashir Budapest. Art Festival-Zemplen, Palace of Arts,Kongress Hall,Vigadó Theatre.
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Raised two meters above the floor, it is decorated by a pigeon depositing the Bible and two angels holding candlesticks, all surrounded by a motif of arabesques and fruits. Both pieces seem to have been executed by the same sculptor.Monasteries of Antiochian Orthodox Patriarchate, University of Balamand Publications, 2007.
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In contrast with their appreciation for these pieces, Zambaccian and other members of Grupul celor patru expostulated the Balchik landscapes: Zambaccian remarked that his were "more like arabesques in colored tones, [...] at a time when Şirato evolved upward toward a nuanced painting of a beautiful representativeness in a luminous space".
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No earlier use of this decorative style is known, although it became common in the Mamluk period. There are carved brackets above the entrance arch, two of which have the head of a ram. This appears to be a survival of pre-Islamic symbolism. However, Fatimid arabesques decorate the brackets.
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Eleanor wears a heavily brocaded dress with black arabesques. In this pose, she is depicted as the ideal woman of the Renaissance. The painting is the first known state- commissioned portrait to include the ruler's heir. By including the child, Cosimo wished to imply that his rule would bring stability to the duchy.
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Interior ornamentation included "arabesques, muqarnas, ogee arches, and geometric tiling". The ceiling of the 911-seat auditorium was embedded with thousands of tiny colored lights. The theater was the fourth in the United States to install the Vitaphone sound system; Huffman was the first theater owner to negotiate a contract with Vitaphone.
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The image of the underground as manifested in magazines such as Oz and newspapers like International Times was dominated by key talented graphic artists, particularly Martin Sharp and the Nigel Waymouth–Michael English team, Hapshash and the Coloured Coat, who fused Alfons Mucha's Art Nouveau arabesques with the higher colour key of psychedelia.
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The ceiling is made of wood. The choir is also an elevated balcony made of wood and highly painted in a mudejar style with arabesques and designs. Some of the wooden supports have carved grotesque faces. The building was declared a Monumento Histórico Artístico in the BOE número 72, in March, 1978.
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Metal artefacts share the same geometric designs that are used in other forms of Islamic art. However, in the view of Hamilton Gibb, the emphasis differs: geometric patterns tend to be used for borders, and if they are in the main decorative area they are most often used in combination with other motifs such as floral designs, arabesques, animal motifs, or calligraphic script. Geometric designs in Islamic metalwork can form a grid decorated with these other motifs, or they can form the background pattern. Even where metal objects such as bowls and dishes do not seem to have geometric decoration, still the designs, such as arabesques, are often set in octagonal compartments or arranged in concentric bands around the object.
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In 1772 he built two additional wings, that on the south-east being a library (adorned with designs in arabesques and frescoes) eighty-four feet long, twenty-three wide, and twenty-three high. He also owned a house in Dean Street Soho in London.British History Online. Online reference He was a patron to several artists.
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When the angle is much greater than 90° and the body trunk leans forward to counterbalance the working leg, the position is called arabesque penchée. The arms may be held in various positions. Arabesques are described from the perspective of the dancer, in terms of the stage reference points used by the training system.
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Altman, E. and Evans, F. H., Scholars, Scoundrels, and the Sphinx: A Photographic and Archaeological Adventure up the Nile, Knoxville, Tenn., McClung Museum, 2000, p. 8 In the late 1860s, Antonio was in partnership with the French photographer, Hippolyte Arnoux.Jacobson, K., Odalisques and Arabesques: Orientalist Photography, 1839-1925, London, Bernard Quaritch, 2007, p. 277.
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First is prominent use of repeated patterns of geometric shapes, such as circles, squares, diamonds, and hexagons, which can be seen in the garb of some of Buddha's royal disciples. The second similarity is striped patterns, especially around deities' legs. Finally, textiles seen in the temple's murals use the motif of scrolls extended like arabesques into repeated circles.
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Traditionally, paper cuts made by Sephardic and Ashkenazi Jews differed from each other. Ashkenazi papercuts were rich, highly detailed, and colourful. In this style, artists tried to fill the free space with as many elements as is possible. By contrast, the Sephardic compositions were more minimalist, including motifs such as the menorah, columns, arabesques and lanterns.
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Debussy Cahiers no. 21 (Paris, France: 1997), 63. Copeland was not the first to perform Debussy in the United States; that honor went to Helen Hopekirk, a Scottish pianist who programmed the Deux Arabesques in Boston in 1902. From 1904 until his final recital in 1964, Copeland played at least one work of Debussy on each of his recitals.
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A. Monem Mahjoub A. Monem Mahjoub (born May 4, 1963) is a Libyan linguist, philosopher, poet, historian, and political critic. Sometimes described as "the last Sumerian",Walid Zribi, ed. (2016) Back to Sumer, Arabesques Books, Tunisia. p.25. his major works are in the fields of linguistics, philology, historiography, religion and humanistic thought, civilization development and politics.
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The Mansa had great forges in Niani. The emperor Musa I of Mali employed the Andalusian architect Ishak al- Tuedjin to build an audience chamber at Niani. It was "square, surmounted by a cupola, which he covered with plaster and decorated with arabesques in dazzling colours." 14th-century North African historian Ibn Khaldun described it as an "admirable monument".
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The palace is most famous for its decoration. Its walls feature stucco carved with Arabic inscriptions, geometric patterns, arabesques, and muqarnas. Its floors are paved with marble and zellij tiles. Among its most famous elements are the cedar-wood ceilings painted with colourful floral patterns, along with the carved and painted wooden canopies of major doorways.
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American composer, arranger, pianist and educator Frank Giasullo was born on December 2, 1950 in Somerville, New Jersey. He is the only child of Joseph and Michelina Giasullo. He attended public schools in his hometown of Raritan, NJ and recalls loving the piano as a very young child. He was enchanted in particular by Claude Debussy's Arabesques.
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All these reliefs correspond in subject to the icons above them. Vegetal motifs interweave throughout the iconostasis. To the right, the throne of the bishop or superior is topped by a cupola decorated with flowers, arabesques, and an angel holding a serpent, symbolizing victory over evil. To the left is an elevated pulpit for the deacon's readings.
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Arch of the entrance portico Towards the south, another dependence of similar size is poured that it pours to the courtyard by a portico of great polilobulated arcades. Again there is a tripartite space, and its east and west ends extend perpendicularly with two lateral galleries which are accessed by wide polyhedral lobes and which end at the end of their arms in separate pointed arches also polilobulated whose alfiz is decorated by complex laqueus and reliefs of arabesques. This whole structure seeks an appearance of solemnity and majesty that the scant depth of these stays would not give a spectator to access the king's room. In addition, all the ornamentation of yeserias of the palace was polychrome in shades of blue and red in the back and gold in the arabesques.
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The decoration within the palace comes from the last great period of Al-Andalus art in Granada, with little of the Byzantine influence of contemporary Abbasid architecture. Artists endlessly reproduced the same forms and trends, creating a new style that developed over the course of the Nasrid Dynasty using elements created and developed during the centuries of Muslim rule on the Peninsula, including the Caliphate horseshoe arch, the Almohad sebka (a grid of rhombuses), the Almoravid palm, and unique combinations of these, as well as innovations such as stilted arches and muqarnas (stalactite ceiling decorations). Columns and muqarnas appear in several chambers, and the interiors of numerous palaces are decorated with arabesques and calligraphy. The arabesques of the interior are ascribed to, among other sultans, Yusuf I, Muhammed V, and Ismail I, Sultan of Granada.
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Although the past has not > been forgotten by the young generation, they refuse to accept the new rules > established after the revolution. In his videopiece "What has befallen us, > Barbad?" Golshiri transforms the obligation to cut his long hair before > joining the army into a creative and intense moment. When used in neon- > boxes, the video stills appear as arabesques, resembling > calligraphy.
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Almost all of Cairo's Fatimid minarets were destroyed by an earthquake in 1303. Some "floating" mosques were located above shops. For the first time, the façade of the mosque was aligned with the street and was elaborately decorated. The decorations were in wood, stucco and stone, including marble, with geometrical and floral patterns and arabesques with Samarran and Byzantine origins.
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There is much variety among classical Persian carpets of the 16th and 17th century. Common motifs include scrolling vine networks, arabesques, palmettes, cloud bands, medallions, and overlapping geometric compartments rather than animals and humans. This is because Islam, the dominant religion in that part of the world, forbids their depiction. Still, some show figures engaged either in the hunt or feasting scenes.
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Their field often has a prayer niche design, with two pairs of vases with flowering branches symmetrically arranged towards the horizontal axis. In other examples, the field decor is condensed into medallions of concentric lozenges and rows of flowers. The spandrels of the prayer niche contain stiff arabesques or geometrical rosettes and leaves. The ground colour is yellow, red, or dark blue.
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It was built in 1461 by Mehmet II Fatih as witnessed by the Arabic engraving above the main door. It has a triangle shaped yard and painted floral decorations and arabesques grace the walls and ceiling on the inside. Sinan Pasha Mosque is located in Nenkalaja, on the right side of Bistrica river. It was constructed in the beginning of the 17th century.
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Stone relief with arabesques of tendrils, palmettes and half-palmettes in the Umayyad Mosque at Damascus The Islamic arabesque is a form of artistic decoration consisting of "rhythmic linear patterns of scrolling and interlacing foliage, tendrils" or plain lines, often combined with other elements. It usually consists of a single design which can be 'tiled' or seamlessly repeated as many times as desired.
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The sea wind blows the cloth into arabesques behind the daughter.José Luis Díez, Javier Barón: Joaquín Sorolla, 1863-1923, 2009, S. 402. Under the dress appears a brown leather shoe; on its side reflections emphasize the smooth surface. In her right hand Maria holds a yellow straw hat with a wide, sweeping brim, decorated with purple colored flowers and a turquoise bow.
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Built to a plan typical of mid-19th century wealthy residences, with a central hall and rooms laid out symmetrically. Its ceilings and door frames still preserve the original decorations. The interior and the exterior of the house are decorated with many Renaissance Revival ornaments. Many doors of the house are double and painted with various ornaments, similar with some Renaissance Revival arabesques.
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After his wife's death, he married Catharina van Wapenveldt, with whom he had three children. He is believed to have died on 25 or 26 August 1627. Adam van Vianen's son Christian was considered to be his father's equal in skill, according to Joachim von Sandrart. He became known along with his brother for the auricular style of cartilaginous arabesques in baroque art.
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He also wrote for some Hebrew newspapers. Some of his articles explored the problem of Arab identity in a Jewish state. Shammas is known mainly for his writing in Hebrew and Hebrew translations of Arabic literature, such as the novels of Emile Habibi. His acclaimed Hebrew novel Arabesques (1986) was translated into eight languages, including English, Spanish, French, German, Italian, although it has never appeared in Arabic.
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In sharp contrast with the introspective and passionate nature of the previous variation, this piece is another virtuosic two-part toccata, joyous and fast-paced. Underneath the rapid arabesques, this variation is basically a sarabande. Two time signatures are used, for the incessant melody written in sixteenth notes and for the accompaniment in quarter and eighth notes; during the last five bars, both hands play in .
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Door of the Chapel of la Anunciación. It shows a mixture of styles such as Renaissance pilasters, Mudéjar arabesques and Gothic arches, although it is from the beginning of the 16th century, it was built by Domingo Hergueta. This door gives entrance to the cloister, where is the chapel of San Valero, the oldest in the cathedral, with a Romanesque floor and a Gothic iron gate.
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Pietra dura detail with semiprecious stones inlaid into white marble at the Tomb of Jahangir in Lahore. Itmad-Ud-Daulah's Tomb in Agra, is decorated with arabesques and geometric patterns. Floral 'Parchin kari' work in the Taj Mahal, incorporating precious and semi-precious stone. Pietre dure is an Italian plural meaning "hard rocks" or hardstones; the singular pietra dura is also encountered in Italian.
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Thanks to his friendship with Pierre Soulages and Jean Bazaine, he developed a style of dark arabesques on a light background. Andersen's first major work in Denmark was Abstract decoration in the Central Library on Kultorvet (1959) which caused considerable discussion but there was more solid appreciation of his later assignments, including the Bochum Museum of Art (1981) and Sejs-Svejbæk Church near Silkeborg (1990).
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This mosque has only one dome and its interior contains many floral paintings. It is one of the best examples of the arabesques/baroque style buildings. This mosque offers warmth to the city and it is considered to be the most important mosque in Gjakova. One special thing about this mosque is that the dome stands above the constructive elements trompe, a particular example for Islamic architecture.
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King and Sylvester, p. 67 Though they look very different from Holbein Type I carpets, they are a development of the type, where the edges of the motifs, nearly always in yellow on a red ground, take off in rigid arabesques somewhat suggesting foliage, and terminating in branched palmettes. The type was common and long-lasting, and is also known as "Arabesque Ushak".Cambell, p. 189.
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Sicilian Rococo furniture tended to be highly unusual, and even though was based on the principles of French Rococo designs, usually included some traditional Sicilian elements. Commodes and console tables had cabriole legs, which were, however, plain, and usually had intricate scrollwork and arabesques. Sicilian tables were often painted, representing typical elements of Sicilian culture, society and life, such as festivals, fruits and Sicilian carts.Miller (2005) p.
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In 1772 he built on two wings, the one the south-east being a library (adorned with arabesques and frescoes). A printed account of this room and a view of the house are in John Hutchins's Dorset (2nd edit. iii. 12); views and plans are also in Woolfe and Gandon's continuation of Campbell's Vitruvius Britannicus. Merley House today Willett was high sheriff of Dorset in 1760.
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By the late fifteenth century, the design of the carpets depicted in miniatures changed considerably. Large-format medaillons appeared, ornaments began to show elaborate curvilinear designs. Large spirals and tendrils, floral ornaments, depictions of flowers and animals, were often mirrored along the long or short axis of the carpet to obtain harmony and rhythm. The earlier "kufic" border design was replaced by tendrils and arabesques.
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Desa et al. (2003), pp. 260–261, 277–278 Feraru's work was sampled in literary newspapers such as Victoria, Ateneul Literar, Junimea Moldovei, and Cafeneaua Politică și Literară.Desa et al. (1987), pp. 165, 227; (2003), pp. 65, 200–201, 550, 1017 His second and last book of Romanian verse came out in 1937 as Arabescuri ("Arabesques"), issued as a supplement by Pas' social democratic review Șantier.
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' by John Singer Sargent Léon Delafosse (1874 1955) was a French composer and pianist. His musical works included études, arabesques, waltzes and nocturnes. It has been claimed that he was the model for the character of Charles Morel, a violinist portrayed in Marcel Proust's novel In Search of Lost Time. Delafosse was also painted as the subject of a portrait by John Singer Sargent.
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This jungle vine is identified as being the plant Banisteriopsis caapi. Ott at 199–200. The tribal hunters then entered into what may be described as a shared experience of vision. After an initial chaotic flux of organic images and designs, arabesques in blues and greens, a collective fantasy developed in which a 'parade' of birds and animals began to pass into the group's awareness.
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Both closed designs (which do not repeat) and open or repetitive patterns are used. Patterns such as interlaced six-pointed stars were especially popular from the 12th century. Eva Baer notes that while this design was essentially simple, it was elaborated by metalworkers into intricate patterns interlaced with arabesques, sometimes organised around further basic Islamic patterns, such as the hexagonal pattern of six overlapping circles.
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From their Port Said studio, they were ideally situated to sell to Europeans visiting Egypt as part of a Grand Tour.Jacobson, K., Odalisques and Arabesques: Orientalist Photography, 1839-1925, Bernard Quaritch, London, 2007, p. 277 The Zangaki brothers traveled along the Nile accompanied by a horse-drawn darkroom wagon to document the Egyptian scenery, architecture and events.Encyclopedia of Nineteenth-Century Photography edited by John Hannavy, p. 1521.
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Ceccarelli was apt at capturing the gleam of chain mail and the arabesques of damask. In his work he pays attention to render precious with great care. In The Crucifixion in the Walters Art Museum, for instance, the shield of the centurion at the right is decorated with a deep blue pattern laid on a tooled gold ground giving it the basse-taille enamel.
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Detail of alt=Tiled mosque in Samarkand A doorway in alt=Doorway decorated with strapwork, arabesques and tilework Islamic geometric patterns are one of the major forms of Islamic ornament, which tends to avoid using figurative images. The geometric designs in Islamic art are often built on combinations of repeated squares and circles, which may be overlapped and interlaced, as can arabesques (with which they are often combined), to form intricate and complex patterns, including a wide variety of tessellations. These may constitute the entire decoration, may form a framework for floral or calligraphic embellishments, or may retreat into the background around other motifs. The complexity and variety of patterns used evolved from simple stars and lozenges in the ninth century, through a variety of 6- to 13-point patterns by the 13th century, and finally to include also 14- and 16-point stars in the sixteenth century.
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The western facade of the rotunda is decorated with arabesques which are stylized with a portal, the channeled half-cupola of the lancet conch is supported by a system of finely modeled stalactites (mucarnases). Overhead planes are covered with ornament. The portal leads to the canopy connecting the hall with the service rooms located one above the other. There are several versions of the appointment of Divan-khana.
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On each pendentive is a figure of one of the Four Doctors enthroned under a niched canopy. The bands which separate these pictures have elaborate arabesques on a gold ground, and the whole is painted with broad and effective touches, very telling when seen (as is necessarily the case) from a considerable distance below. No finer specimen of the decoration of a simple quadripartite vault can be seen anywhere.
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For example, he used a photograph as the template for the background in his painting of a pottery shop.Jacobson, K., Odalisques & Arabesques: Orientalist Photography 1839-1925, Quaritch, 2007, p. 71 Tarenghi's paintings: The Return from Work and Prayer by Muslims were exhibited the first in Turin, in 1880, the latter in Milan, the next year. In Rome, in 1883, he had two canvases: Abbey of San Gregorio in Venice and Fulvia.
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Musa embarked on a large building program, raising mosques and madrasas in Timbuktu and Gao. Most notably, the ancient center of learning Sankore Madrasah (or University of Sankore) was constructed during his reign. In Niani, Musa built the Hall of Audience, a building communicating by an interior door to the royal palace. It was "an admirable Monument", surmounted by a dome and adorned with arabesques of striking colours.
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Such hierarchies appear in both Muslim and Indian culture as important spiritual and atrological themes. The chamber is an abundant evocation of the garden of paradise with representations of flowers, plants and arabesques and the calligraphic inscriptions in both the thuluth and the less formal naskh script,Kennedy, p.105-120 Shah Jahan's cenotaph is beside Mumtaz's to the western side. It is the only asymmetric element in the entire complex.
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They are adorned by varieties of foliage, etc.; above each arch there is a large square of arabesques; and over the pillars is another square of filigree work. In the center of the courtyard is the celebrated Fountain of Lions, a magnificent alabaster basin supported by the figures of twelve lions in white marble. At present, the fountain is under restoration in an effort to preserve its integrity.
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Leipzig 1890, .) or anti-SemiticFriedrich Zöllner: Contributions to the German Jewish question with academic arabesques as documents for a reform of the German universities. Edited and with an introduction by Moritz Wirth. Mutze, Leipzig 1894, . Freimann Collection UniFrankfurt German contemporaries, but also (quote: "Some of the personalities were treated as object directly or through their friends to the fact that they were and are Jews, or are descended from Israelites".
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Or he would carve a surface full of tiny figures of two armies in battle, thin arabesques intertwining across the scene. he carved on another piece, a prodigious hunting scene with multitude of hunters and horses, and forests with parts that seem slimmer than a spider's web in a network of almost surpassing subtlety. Sadly, he died at the age of twenty-five years in Rome, about 1630. He died in Rome.
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It combined Greek, Roman, and what was loosely called Etruscan styles with arabesques and grotesques borrowed from Raphael and the Renaissance, and with chinoiserie and Turkish themes, Between 1780 and 1792, the style also appeared in architecture, in classically buildings including the Petit Trianon in Versailles and the Château de Bagatelle (1777). It also appeared in other art forms, including in particular the paintings of Jacques-Louis David, especially the Oath of the Horatii (1784).
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Maria Feodorovna in turn was annoyed by the bright polychrome decoration and Pompeian arabesques used by Cameron, and wanted more delicate colors, and Paul did not like anything that resembled the style of his mother's house, the Catherine Palace at Tsarskoye Selo. The tensions led to a parting in 1786. Cameron left to build a new palace for Catherine in the Crimea. He had finished entry vestibule and the five rooms of the private apartments.
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Gravestones in the cemetery date to the time the church was built to the present, as the cemetery has not been filled yet. The earliest, that of Hannah Lawrence, is dated 1760. The funerary art on those stones ranges from the death's head common on most New England tombstones of the period to arabesques and engraved Roman letters. Later stones, from the end of the 19th century, have human or angelic figures.
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The commission was led by famous architect Hugo Licht, who had won a reputation for his extraordinary design for the New Town Hall in Leipzig. After two days, it selected the Old German Gothic design by Karl Zaar. On 17 July, the first blueprints were drafted by Rudolf Vahl, who included the rosettes on the ceiling, arabesques on the stairs, and the mayor’s desk. The building as designed would have of floor area.
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This wall is decorated with white marble panes with medallions carved into them. Some carvings on the marble include arabesques, a mosque lamp, birds, and a pair of hands holding a stem. These carvings of actual figures, especially the bird and hands, are unique to Mamluk art and architecture. Mamluk art usually consisted of ornate designs that were almost militant in their intricacy; little of their art included figures or life forms.
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Equally colorful vegetal arabesques, composed of square and rectangular black-line tiles, decorate the spandrels. The mihrab niche's twelve rows of muqarnas and two ribbed columns feature similarly intricate and colorful tilework. In the sultan's loge, the walls and ceiling are covered in gilded black-line tiles that depict motifs of stars and polygons. In contrast to these geometric motifs, the black-tile border around the opening into the mosque is decorated with vegetal motifs.
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Vivian had shown that committee arabesques from the Palazzo del Te. In a group of 22 dominated by noblemen, patrons and politicians, Vivian represented connoisseurs and collectors, with Samuel Rogers and Thomas Wyse. After contracting malaria in the Campagna in 1846, Vivian never again enjoyed perfect health. He died on 5 January 1873, at 11 Grosvenor Square, London and was buried in Brompton Cemetery. His library was put up for sale in 1875.
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Her costume is fashioned in an antique manner,Hofer, 318: "antikisierend". with sandaled feet, one knee bared, wearing a decorative golden suit of armour adorned with bas-relief arabesques over her blue robes. At the feet of Justice, four smaller busts crowd the pedestal: a Pope, an Emperor, a Sultan and a Schultheiss, whose golden chain of office is believed to have originally borne the Bernese arms. All figures have closed their eyes as in submission.
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Tubular forms of organic ornaments create unique arabesques abundant with optical effects, either pulling the form deep, or drawing it from a flat surface. Jakić used allegory, a symbol and a metaphor as a means of contemplation. He most often worked in Indian ink, felt pen and less frequently used colour, pastel or gouache. In addition to drawing, he wrote a conclusion as a supplementary media in order to emphasize his observation with the use of a written text.
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The spiraling steps of the minaret are accessed from the northwest arcade. The mosque is made of baked bricks, covered with clay on the exterior and plastered white on the interior. The courtyard façade of the great iwan is simply ornamented with polychrome tiles composed into geometric patterns. Inside, the decorative effort is focused on the mihrab niche on the qibla wall, which is framed with multiple bands of ornate arabesques and inscriptions carved in relief out of stucco.
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In 1943 Allen abandoned printmaking in order to study abstract painting with Hans Hofmann. In two series of paintings he experimented in a new dreamlike style depicting “arabesques of figures flatly painted on a flat background with stylized suggestions of mountains.” In 1946 he became an art teacher of printmaking at the National Academy of Design in New York City. He retired from illustration in the 1950s but continued to exhibit his prints and paintings at fine art galleries.
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"Shadows & Echoes," Northwest Indiana Times, June 23, 2006. The series—formally unified by repetitions of line, module and motif (loops, arcs, arches, pyramids, wedges)—was inspired by disparate sources connected by inherent design structures: abstracted nature (e.g., Slither, Reach), geometry (Four Corners), industrial leftovers (Crank, Mirror), the arabesques of the Moorish Alhambra (Andalusia). Curator Geoffrey Bates describes them as sculpted with a "beautifully controlled" fine line rather than mass, "creating sculptural presence from empty space";Bates, Geoffrey.
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Its instinctive for us. And all of the upper torso work is not only like this, but also in torsion.” After the torso and pelvis movements, hip rolls, relevés, drops to plié and neck twists usually follow the warm up, starting on one side and repeating on the other. 276x276px Although the warm up includes many techniques derived from European ballet, such as relevés, pliés, tendus, and arabesques, the sequences themselves are composed of unparalleled elements.
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He followed it in 1832 with a second volume, and in 1835 by two volumes of stories entitled Mirgorod, as well as by two volumes of miscellaneous prose entitled Arabesques. At this time Russian editors and critics such as Nikolai Polevoy and Nikolai Nadezhdin saw in Gogol the emergence of a Ukrainian, rather than Russian, writer, using his works to illustrate supposed differences between Russian and Ukrainian national characters.Edyta M. Bojanowska. (2007). Nikolai Gogol: Between Ukrainian and Russian Nationalism.
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The top is closed by a single stone slab. The rings are not cemented but held in place by the immense weight of the roofing material above them pressing down on the haunches of the dome. The triangular spaces created when the dome springs from the centre of the square are filled with arabesques. In the case of square ceilings, the ceiling is divided into compartments with images of lotus rosettes or other images from Hindu mythology.
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This sonata seduces the listener with its intimate, less dramatic character and distinguishes itself by its special lyricism, "melodic and harmonic beauties" and ornaments and arabesques hinting at Chopin. In this sonata, as in many of Beethoven's late works, one interval is significant throughout. Here it is the interval of a third. It shares with other late Beethoven sonatas the shift of focus to the last movement, the dissolution into "pure sound" and the references to old baroque forms.
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Nearly all Bamar men were tattooed at boyhood (between the ages of 8 and 14), from the waist to the knees. The tattooed patterns were ornamented pastiches of arabesques and animals and legendary creatures, including cats, monkeys, chinthe, among others. For the Bamar, tattooing of the waist, done with black pigment, was done before or soon after temporary ordination into monkhood, a major rite of passage for men. Other parts of the body were tattooed with red pigments.
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However, this version was closed after a week of work because of an internet pool that has concluded that 53% of the users of the website were against using Tunisian Arabic in the website. Arabe classique ou dialecte tunisien?. Slate Afrique, 9 August 2011. In 2013, Kélemti initiative was founded by Hager Ben Ammar, Scolibris, Arabesques Publishing House, and Valérie Vacchiani to promote and encourage the creation and publication of written resources about and in Tunisian Arabic. Despiney, E. (2014).
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Handkerchief : a fine arabesque embroidery handkerchief used on the head or as a chin strap. Shirt: Wide open neck shirt, embroidered with arabesques on certain parts and buttoned with gold or silver. Garrasí/uña de pavo: According to Don Lisandro Alvarado was a baggy breech, a kind of Garrasí that was worn mid-leg and ended with some hanging pieces that looked like a turkey's claw, where its name comes from. The knee-length buttoned breeches with silver or gold buttons.
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The rooms are decorated in bas- reliefs, arabesques and other Italian styled ornamentation. The eighteenth- century English potter Josiah Wedgwood was said to be responsible for the plaster of Paris plaques decorating the library and the chapel. However, the plaques which depict classical and mythological subjects are thought to be of local construction. Orders for tons of imported plaster of Paris were discovered in Martin's letters, it is believed that they are in fact based on just one or two original models.
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32 – but Chopin's influence is found in other early works such as the Two arabesques (1889–1891).DeVoto (2003), p. 179 In 1914 the publisher A. Durand & fils began publishing scholarly new editions of the works of major composers, and Debussy undertook the supervision of the editing of Chopin's music. Although Debussy was in no doubt of Wagner's stature, he was only briefly influenced by him in his compositions, after La damoiselle élue and the Cinq poèmes de Baudelaire (both begun in 1887).
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A disparate, disjointed collection of songs that feels like less than the sum of its parts. Where Shock Value was fresh and innovative, much of the sequel could pass for leftovers from its predecessor. [...] He now seems to be lagging behind rivals like David Guetta and will.iam when it comes to driving the urban pop genre forward" Jon Pareles from The New York Times added "The productions flaunt Timbaland trademarks: vocal sounds imitating turntable scratching, quick keyboard arabesques, grunts as percussion.
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By the late fifteenth century, the design of the carpets depicted in miniatures changed considerably. Large-format medaillons appeared, ornaments began to show elaborate curvilinear designs. Large spirals and tendrils, floral ornaments, depictions of flowers and animals, were often mirrored along the long or short axis of the carpet to obtain harmony and rhythm. The earlier “kufic” border design was replaced by tendrils and arabesques. The resulting change in carpet design was what Kurt Erdmann termed the “carpet design revolution”.
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The other surfaces of the minbar feature a variety of different motifs. The steps of the minbar are decorated with images of an arcade of Moorish (horseshoe) arches inside which are curving plant motifs, all made entirely in marquetry with different colored woods. The inside of the staircase's balustrades were originally covered in panels of carved arabesques, but only one of these has survived. The bottom of the minbar's staircase is flanked by two much taller balustrades pierced with a horseshoe- arch frame.
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Vaughan, p.345-6 The two sections of the work also represent a contrast between the earthiness of the Gnossiennes in Monotones I – where the characters wear green costumes, engage in weighty and accented lunges, and shield their eyes from the sun – and the celestial, infinite and seamless qualities of the Gymnopedies in Monotones II, where the dancers are white-costumed, lit from above, and perform suspended arabesques, the men lifting the woman to "walk on air."Kavanagh, pp.486–7Vaughan, pp.
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The minaret was added later by the Mamluk amir Yalbugha al-Salimi as part of his restorations in 1393 or 1397. Only the lower part of al-Salimi's minaret survives, which is built of brick covered in stucco, topped with stone muqarnas, convex molding below, and a band of carved arabesques interrupted by openwork bosses in the middle. The upper part of the minaret by al-Salimi fell in 1412 and was replaced by a cylindrical finial most likely during the Ottoman period.
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Marble panels, a majority of which were replaced in the nineteenth century, overlay the mosque's edifice of hewn sandstone. The door is crowned by a half-dome with a cascade of muqarnas, whose face is covered with arabesques and Rumi inscriptions. Above the niches on each side of the entrance door is an inscription dedicated to Hacı İvaz Pasha, the mosque's designer. Between the inscription and the muqarnas is a small window that illuminates the path to the sultan's box.
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Nonetheless, the gate has preserved its rich stone-carved decoration from the Almohad period, again comparable to that of Bab er-Rouah and of Bab Oudaia in Rabat. The façade consists of sandstone, likely quarried in the Gueliz area near Marrakesh. The original arch of the gate is surrounded by alternating semi-circular bands that alternate between radiating lines and interlacing arch motifs. The spandrels (corner areas) are covered in floral motifs (arabesques), each with a carved shell in the middle.
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By the mid-16th century, S-holes morphed into the classic F-shaped holes, which were then used by viols and members of the violin family alike. By the mid- to late 16th century, the viol's C-holes facing direction was reversed, becoming outward facing. That configuration then became a standard feature of what we today call the “classic” 17th-century pattern. Yet another style of sound holes found on some viols was a pair of flame-shaped Arabesques placed left and right.
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Stained glass dates from the late 19th century to the mid-20th century and includes work by Lancaster designers Shrigley and Hunt. The pulpit was constructed in 1955 in the Jacobean style from the four sides of a 17th- century pulpit. It has arabesques and a portion of an inscription from the Book of Isaiah. vestry, constructed from carved pieces of family box pews In the south-west corner of the nave is a choir vestry, which was originally built as a baptistery.
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The first icon represents Christ as a bishop, blessing with his right hand and holding the open Bible in his left. He wears a tiara, above which is a halo decorated with spiral arabesques, and his gilded tunic displays floral and checkerboard motifs. The icon is covered with shimmering gilded lines outlining the hair and clothing, so that it almost resembles a work of gold jewelry. The second icon represents the Mother of God as Queen of Heaven with a golden crown.
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Together with the director Volodymyr Tykhy, Denis Ivanov produced almanacs of short films called "Mudaky. Arabesques"(2010) and "Ukraine, goodbye"(2012). In 2013, he became a general producer of the film "The Green Jacket" directed by Volodymyr Tykhy, the world premiere of which took place at the San Sebastian film festival. The film also took part in the international competition of the Warsaw International Film Festival and won the FIPRESCI prize for the best Ukrainian feature film at the Odessa Film Festival 2014.
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He has participated in many solo and group exhibitions in Australia and internationally since the early 1980s and is represented in all of the country's leading art museums. Considered among the first of the country's postmodern painters, Persson's early work is characterised by his eclectic source material, monochromatic palettes, the use of arabesques and a free interplay between abstraction and figuration. His more recent paintings have tended towards abstraction. In 2003 he won the inaugural Arthur Guy Memorial Painting Prize"Arthur Guy Memorial Painting Prize Previous winners".
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The golden mosaics in the mihrab and the central dome of the Great Mosque in Corduba have a decidedly Byzantine character. They were made between 965 and 970 by local craftsmen, supervised by a master mosaicist from Constantinople, who was sent by the Byzantine Emperor to the Umayyad Caliph of Spain. The decoration is composed of colorful floral arabesques and wide bands of Arab calligraphy. The mosaics were purported to evoke the glamour of the Great Mosque in Damascus, which was lost for the Umayyad family.
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In 1987 he played at Eileen Joyce's supposed 75th birthday party (she was actually 79). Fowke has taught at the RAM and at the Trinity College of Music. Since 2000 he has been pianist with the London Piano Quartet. He was a colleague and friend of Shura Cherkassky and has given lectures about Cherkassky's technique and approach to the piano.Musical pointers His recitals of traditional repertoire often end with lighter pieces such as Adolf Schulz-Evler’s Arabesques on themes from "An der schönen blauen Donau".
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Rare example of a corner building with a hanging garden, already existing in the year 1766, of which, however, there is no information on the origins. The main facade of the building and the side ones face along the two main streets and the one behind has a lush hanging garden. It retains the typical furnishings of the bourgeois home of the nineteenth century. It has four representative rooms on the main front with painted ceilings with various allegories, including the three halls with arabesques.
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Great Mosque of Kairouan also called the Mosque of Uqba (in Tunisia), the upper part of the mihrab (prayer niche) is decorated with 9th- century lusterware tiles and painted intertwined vegetal motifs. A prohibition against depicting representational images in religious art, as well as the naturally decorative nature of Arabic script, led to the use of calligraphic decorations, which usually involved repeating geometrical patterns and vegetal forms (arabesques) that expressed ideals of order and nature. These were used on religious architecture, carpets, and handwritten documents. Islamic art has reflected this balanced, harmonious world-view.
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Detail of the brocaded velvet. Eleanor is depicted wearing a formal gown over a camisa or smock of linen trimmed with narrow bands of blackwork embroidery at the neck and sleeve ruffles. Bronzino's painting captures the dimensionality of the brocaded silk velvet fabric in the gown with its loops of gold-wrapped thread and black pile arabesques against a white satin ground. Clothing made of such rich textiles was reserved for official occasions and was not typical of Eleanor's everyday wardrobe, which featured solid-coloured gowns of velvets and satins.
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Celadon wares were believed there to have the ability to detect poison, by sweating or breaking.Vainker, 136-137 The Islamic market was apparently especially important in the early years of Chinese blue and white porcelain, which appears to have been mainly exported until the Ming. Again, large dishes were an export style, and the densely painted decoration of Yuan blue and white borrowed heavily from the arabesques and plant scrolls of Islamic decoration, probably mostly taking the style from metalwork examples, which also provided shapes for some vessels.
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In line with the eclecticism of the period, Cavos described his work as "making the auditorium as magnificent as possible and to produce a light effect, if possible, in the Renaissance style in combination with the Byzantine style. White colour, the bright crimson drapings, overstrewn with golden interior decoration of the boxes, different on each storey, the plaster arabesques and the main effect of the auditorium – its grand chandelier...". Cavos retained a personal "architect's box" at the Bolshoi, which later passed to his descendants from the Benois family.
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Geschiedenis der vaderlandse schilderkunst by Roeland van Eynden and Adriaan van der Willigen, A. Loosjes, Pz., 1816 He first trained in Antwerp where he learned "sieraad schilderen", or decorative painting. Here he met Gerrit Malleyn and Cornelis van Spaendonck and through him, Gerard van Spaendonck and Jan Frans van Dael. He then travelled with them to Paris in 1782 where he at first spent time making decorative arabesques and painting flower arrangements in miniature on snuffbox lids. He became a good friend of Van Dael, who he stayed close to the rest of his life.
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The Academicians' swords (épées d'Académiciens), given to members on their induction, were originally designed by Salvador Dali, and when Dali became too frail to continue, he named his close friend Ilias Lalaounis to continue his work. In November 1987, Lalaounis was invited by Teddy Kollek, Mayor of Jerusalem, to present his collection Treasures of the Holy Land, in an exhibition specially organized by the Israel Museum and subsequently shown in New York, London and Paris. The following year he presented Arabesques, a collection of gold and silver creations set with precious and semi-precious stones.
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The main > entrance, on Bush street, is formed by a Roman arch of massive proportions > and striking design. The vestibule is rectangular in shape, is finished in > antique oak panelling, with pilasters and arabesques, and is lighted by > thirty-two 16 candle-power lamps and an electrolier of eight 82's. In the > beautiful foyer is another large electrolier. > > In the auditorium, behind the eight proscenium boxes, with dome-shaped > canopies supported by columns, rise arches of Indian fretwork carrying > pillars surmounted by 88 candle-power lamps enclosed in opalescent globes > shaped like pineapples.
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242 By the 1850s, tourist travel to Egypt created strong demand for photographs as souvenirs. A small group of early photographers, mostly of French origin, made their way to Cairo and the Nile Valley to capitalise on this demand. These pioneering photographers included Félix Bonfils (1831-1885); Gustave Le Gray (1820-1884), brothers Henri and Emile Bechard; the British-Italian brothers Antonio Beato (c. 1832–1906) and Felice Beato and the Greek Zangaki brothers. Jacobson, K., Odalisques and Arabesques: Orientalist Photography, 1839-1925, London, Bernard Quaritch, 2007, p. 277.
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Typical features of a Murano chandelier are the intricate arabesques of leaves, flowers and fruits that would be enriched by coloured glass, made possible by the specific type of glass used in Murano. The soda glass (famed for its clarity) that they worked with was unique and contrasted with other types of glass produced in the world at that time. Great skill and time was required to twist and shape a chandelier precisely. This new type of chandelier was called ciocca (literally "bouquet of flowers"), for the characteristic decorations of glazed polychrome flowers.
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He also wrote three "Letters on housing", in which he explains his working concepts in letters to a housewife. In 1942 he converted the circular Arts Pavilion, Trg žrtava fašizma, Zagreb, designed by the sculptor Ivan Meštrović, into a mosque by adding three free-standing minarets around the body of the central cylinder and designing a new interior richly decorated with arabesques. The mosque, a monumental and somewhat bizarre addition to the Central European appearance of its surroundings, was demolished in 1949 for political reasons, and Planić was anathemized because of it.
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Klaus Hofmann notes a "feeling of serene contentedness with life" in "elegiac tones" as the aria's expression. Musicologist Julian Mincham notes "that instant when body and soul come to rest and are resigned and in complete harmony. Bach encapsulates this experience of peace and acquiescent submission beyond anything that mere words can convey." He sees the "flowing oboe arabesques", which the singer imitates twice on the word "" (joy) as a "clear indication that their expressive function is to proclaim the Christian's personal bliss, an inextricable element of this important experience of life".
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The Dar el-Makhzen was the palace to which the last Sultan of independent Morocco, Moulay Hafid, was exiled when the French Protectorate of Morocco forced him to abdicate. He moved in with his entire harem, slaves and personnel, altogether consisting of 168 people, and stayed in the Palace when his brother Moulay Yusef took over power after the Treaty of FezW. Harris, Morocco That Was, The building is centered within two courtyards, which are decorated with wooden ceilings, marble fountains and arabesques. Some of the columns used are of Roman origin.
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Showman: The Life of David O. Selznik (Knopf, 1992). died shortly after completing the film. He was posthumously nominated for an Academy Award for Best Cinematography. Dimitri Tiomkin used themes by Claude Debussy, including Prélude à l'après-midi d'un faune (Prelude to the Afternoon of a Faun), the two Arabesques, "Nuages" and "Sirènes" from Nocturnes, and La fille aux cheveux de lin, with the addition of Bernard Herrmann's "Jennie's Theme" to a song featured in Nathan's book ("Where I came from, nobody knows, and where I am going everyone goes"), utilizing a theremin.
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A chiva (Spanish for goat) or escalera (Spanish for ladder and stairs) is an artisan rustic bus used in rural Colombia. Chivas are adapted to rural public transport, especially considering the mountainous geography of the Andean region of these countries. The buses are varied and characterized by being painted colorfully (usually with the yellow, blue, and red colors of the flags of Ecuador and Colombia) with local arabesques and figures. Most have a ladder to the rack on the roof which is also used for carrying people, livestock and merchandise.
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The Music Room was used by William to teach pupils how to play music. It contains a single action pedal harp, commissioned by Mademoiselle Henriette Peyrot-Magenest in 1795, made by George Cousineau and son Jacques-Georges Cousineau, and purchased by the museum in 2012. The harp is carved and decorated in Rococo style with scrolling leaves, flowers and garlands, and a soundboard decorated with classical arabesques. The music room also contains a modern sculpture of an orrery, created in 2009 and based on the 18th Century Brass Drum orrery held at the museum.
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Carved decorations exist along all exterior elements of the mosque, from the entryway to the mihrabs to the window frames. The front portal of the mosque is made of carved marble and features a tall, recessed muqarnas niche, with unique marble tympana (decorated with arabesques) framing the flanking windows. This portal, framed with floral carvings and scripture, references similar portals found in Seljuk mosques, madrasas, and mausolea. The two tabhane rooms connected to the central hallway, designed to provide lodging for travelers, contain carved plaster niches and ocaks (fireplaces with a tall hood).
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He designed a series of tapestries titles Les Mois Arabesques, some of which were used by the painted enamel industry of Limoges. Much of his output reflected an often overlooked function of artists of the time: the ephemeral festive decorations erected to celebrate special occasions in the court circle, for example, the decorations for the triumphal entry into Paris staged for Charles IX and his bride Elisabeth of Austria. His final pieces, in 1571, were 16 murals which were done with the assistance of his son Giulio Camillo. That year, Niccolò died in Fontainebleau, France.
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Plants are used in medicine, providing many drugs from the earliest times to the present, and as the feedstock for many industrial products including timber and paper as well as a wide range of chemicals. Plants give millions of people pleasure through gardening. In art, mythology, religion, literature and film, plants play important roles, symbolising themes such as fertility, growth, purity, and rebirth. In architecture and the decorative arts, plants provide many themes, such as Islamic arabesques and the acanthus forms carved on to classical Corinthian order column capitals.
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Louvre Art historians have long noted Chassériau's affection for his sisters, and their subconscious influence on the female figures in his art.Guégan 70 Perhaps drawing on the recollection of Chassériau's mistress Clémence Monnerot, who said "Adèle has superb arms; they appear everywhere", Jean-Louis Vaudoyer believed that the beauty of the artist's older sister could be found in Esther's "muscular, almost masculine, arms".Guégan 70 The Turkish Bath, Jean-Auguste-Dominique Ingres, 1862, oil on wood. The sensual arabesques of the female nude interested Chassériau and his teacher Ingres.
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Aljona Savchenko and Robin Szolkowy (2005) from Germany perform a spiral Pair teams must perform one choreographic sequence during their free skating programs.Tech Panel, p. 6 According to the ISU, a choreographic sequence "consists of any kind of movements like steps, turns, spirals, arabesques, spread eagles, Ina Bauers, hydroblading, any jumps with maximum of 2 revolutions, spins, small lifts, etc." It begins at the first skating movement and ends when the team begins to prepare to execute the next element, unless the sequence is the last element performed during the program.
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At Prince Eugene's Belvedere Palace, Vienna, a sunken parterre before the façade that faced the city was flanked in a traditional fashion with raised walks from which the pattern could best be appreciated. To either side, walls with busts on herm pedestals backed by young trees screen the parterre from the flanking garden spaces. Formal baroque patterns have given way to symmetrical paired free scrolling rococo arabesques, against the gravel ground. Little attempt seems to have been made to fit the framework to the shape of the parterre.
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The house is built from granite ashlar, Pentewan stone ashlar and stucco, and features hipped slate roofs and rendered stacks. The central doorcase is arched with a pulvinated frieze, and contains an 18th-century central panelled door with sidelights. In the interior, the central east room of the house is panelled with pine wood, while the central south room features arcaded screens and Roman-style Ionic entablatures, with rococo arabesques adorning the fireplace wall. The main staircase of Trewithen House is cantilevered, and set in a semi circular open well.
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Sébah was amongst a group of early photographers, who made their way to Cairo and Istanbul to capitalise on this demand. These pioneering photographers included Félix Bonfils (1831-1885); Gustave Le Gray (1820-1884), brothers Henri and Emile Bechard; the British-Italian brothers Antonio Beato (c. 1832–1906) and Felice Beato and the Greek Zangaki brothers. Jacobson, K., Odalisques and Arabesques: Orientalist Photography, 1839-1925, London, Bernard Quaritch, 2007, p. 277. By 1873 Sébah was successful enough to open a second studio in Cairo. He exhibited at Ottoman exhibition in Vienna, Austria in 1873.
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Back view The aghiasmatar (holy water basin) pavilion in front of the Cathedral The building resembles a very large and elaborate mausoleum, and was built in the Byzantine architectural style, with arabesques. The cathedral sits upon a raised platform, above the surrounding grade, and encircled by a stone balustrade. In shape the structure is oblong, with a many-sided annex at the back. A dome rises in the center, fronted by two smaller twisting and leaning cupolas, while a secondary dome, broader and loftier than the central one, springs from the annex.
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It uses elements of classical ballet, such as turn-out, demi-pointe, extensions, turns, arabesques, and other ballet steps. However, there is no pointe work or any other feature that could suggest virtuoso display. The gracefulness, elegance, ethereal quality, and other affectations of classical ballet are eliminated. As with the choreography of Antony Tudor, every step is used, not for its formal look, but for its intrinsic expressive value, and the meaning it conveys is often reinforced by the position of the hands: rather than the relaxed wrists of ballet, Jooss uses stretched palms, fists, reaching hands, and so on.
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McDermott described Cox's and Mitchell's approaches as "delicate interplay... more subtle and intricate", which was needed for R&B-influenced; songs, such as "Hey Baby". The trio debuted the song at the Forum in Los Angeles on April 25, 1970. Unlike the later studio version, Hendrix begins the song with solo guitar reminiscent of "the acoustic-guitar introductions found in Spanish flamenco music as, unaccompanied, Hendrix explores arabesques and altered scales", according to music writer Keith Shadwick. The solo guitar became a regular feature of Hendrix's live performances of "Hey Baby" and its length varied to suit his mood and the audience reaction.
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If you didn't know that it has been decked out after the American paradigm, you might suppose that you were being confronted with an entirely new style. This is something genuinely new for Berlin, and one must give Oskar Kaufmann his due, for he has understood how to bring to fruition something outstanding and appropriate to its purpose. The room, decorated in ivory colours, is completely carpeted in grey plush, against which the lilac folding seats are advantageously silhouetted. The ceiling gravitates downwards towards sumptuous, multi-coloured relief arabesques, and the light fixtures are of outstanding beauty.
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His poems in Hjemfalden are rhythmic arabesques, which comes through strongly in his public readings. He has also published two poetics, where he tries to define the essence of poetry and what happens in the process of creating a poem, Mit lys brænder. Omrids af en ny poetik ("In My Candle Burns: Outline of a New Poetics", 1985) and En dans på gloser, essays ("Dancing Attendance on the Word," 1996). As a writer Søren Ulrik Thomsen also participates in public debate and has published a book of essays with Frederik Stjernfeldt, Kritik af den negative opbyggelighed.
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He is also known to have been in contact with poet-musician Charles Coypeau d'Assoucy, who was composing for the French Embassy in Rome. A legend claims that Charpentier initially traveled to Rome to study painting before he was discovered by Carissimi. This story is undocumented and possibly untrue; at any rate, although his 28 volumes of autograph manuscripts reveal considerable skill at tracing the arabesques used by professional scribes, they contain not a single drawing, not even a rudimentary sketch. Regardless, he acquired a solid knowledge of contemporary Italian musical practice and brought it back to France.
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"Manufacturer's & Traders National Bank" on the left and "Fidelity Trust Company" on the right, 1916 The exterior of the building features many decorative details including: Leaf-and-dart molding with "F" (for Fidelity) carved in stone, a protruding cornice, block modillions, egg-and-dart molding, dentil molding, volutes in Roman Ionic columns, and bay leaves in spandrels. Above the entrance has fluted end brackets with guttae and dentils support broken pediment. The interior of the building also features decorative details including: plaster ceiling ornamentation with Arabesques, Corinthian capitals, brass acanthus vines and flowers, and brass guilloche.
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The air ached with the pain and joy of loving. It was the time that turned my mother to songs of love and longing. She put aside the hoops that held the cloth, where her needle and thread had wrought the most exotic rosebuds, open flowers and intricate patterns, and wove with her voice arabesques of sound that bested the embroidery. She sang me for the first time that exquisitely beautiful song: As I Roved Out, or The False Bride.”The Stone Fiddle: My Way to Traditional Song, Gilbert Dalton, Skerries, Co. Dublin, in 1979, p. 78.
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Neil Diamond performing at the Aladdin Theatre for the Performing Arts on July 2, 1976 A $250,000 porte-cochere continued the tower's arabesques. The Aladdin added a new $300,000 blockbuster sign with little neon, huge attraction panels and none of the arabesque of the Aladdin's original sign. The Aladdin celebrated the grand opening of their new "Aladdin Theatre for the Performing Arts" with singer Neil Diamond being paid $650,000 for four shows; July 2 through July 5, 1976. In 1981, heavy metal band Iron Maiden played at the Aladdin – it was their first ever concert in America.
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Pietro di Bagnara or Pietro Bagnara Bacchi (Imola, 16th century) was an Italian monk and painter. He is styled as a follower of Raphael, mainly by virtue of his use of colors. He was a member of the Augustinian order of Canons Regular of the Lateran. He lived in the monastery attached to the Basilica of Santa Maria in Porto of Ravenna, where circa 1550 he painted a St. Sebastian, and a St Lawrence altarpiece for a chapel, a large canvas of the multiplication of the bread in the refectory and beautiful arabesques with a crucifixion in the ceiling of said refectory.
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At that time, tourist travel to Middle East created strong demand for photographs as souvenirs. The Beato brothers were part of a group of early photographers who made their way to the East to capitalise on this demand. These pioneering photographers included Frenchmen, Félix Bonfils (1831-1885); Gustave Le Gray (1820-1884) and Hippolyte Arnoux, brothers Henri and Emile Bechard and the Greek Zangaki brothers, many of whom were in Egypt at the same time and entered into both formal and informal working partnerships.Jacobson, K., Odalisques and Arabesques: Orientalist Photography, 1839-1925, London, Bernard Quaritch, 2007, p. 277.
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The album was critically well received. In a 1994 review, The Hartford Courant described it as "delectable", with "Webster's big, breathy tone" wrapping "Tatum's arabesques in a warm, loving embrace." The Washington Post characterized it as "[a] great way to introduce two of the greats." The album is included in several books on the top albums in jazz, including Jazz: A Critic's Guide to the 100 Most Important Recordings, where it is listed at No. 42, and in The 101 Best Jazz Albums, where author Leonard Lyons calls volume 8 the "most exciting" among the Group Masterpieces collection.
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Notable features include the combined grand drawing room and library, designed by Thomas Stocking. Described by Newman as the "glory of Fonmon", the library, running east to west is lit by two Venetian windows, a stone one to the west wall and a sashed timber oriel window to the east. The room is divided into three sections, the largest central, with square end bays with segmental arches. There are trophies of the chase in the spandrels of the arches and arabesques and wreaths adorn the flat of the ceiling with an Apollo head in a sunburst at its centre.
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He loved to be in the natural setting full of delicate perception and conceived in terms of the individual's surroundings. His compositions are often made on the diagonal, with a horizon line, thus creating a more shallow space and in which decorative elements of design, the play of colour and flat shape and flat colour masses can be expressed in more striking patterns. He used colour in subtle touches as a kind of compositional counterpoint to the play of line and arabesques of movement. Azim taught at an art institute in Karachi and Dhaka (1956 - 1971).
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Each summit is crowned by an inverted pear-shaped stone, bearing a triple cross, emblematic of the Trinity. The windows are mere slits; those of the tambours (the cylinders on which the cupolas rest) are curved and slant at an angle of 70 degrees, as though the tambours were leaning to one side. Between the pediment and the cornice a thick corded moulding is carried round the main building. Above this comes a row of circular shields, adorned with intricate arabesques, while bands and wreaths of lilies are everywhere sculptured on the windows, balconies, tambours and cornices, adding lightness to the fabric.
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Ornamental (also known as novelty or sometimes display) typefaces are used to decorate a page. Historically complex interlocking patterns known as arabesques were common in fine printing, as were floral borders known as fleurons evoking hand-drawn manuscripts. In the metal type era, type-founding companies often would offer pre-formed illustrations as fonts showing objects and designs likely to be useful for printing and advertisements, the equivalent of modern clip art and stock photographs. As examples, the American Type Founders specimen of 1897 offered designs including baseball players, animals, Christmas wreaths, designs for cheques, and emblems such as state seals for government printing.
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"The Vagabond" introduces the traveller, with heavy "marching" chords in the piano that depict a rough journey through the English countryside. The vocal line in "Let Beauty Awake" unfolds over long arabesques in the piano, lending a Gallic flavour to the song, though Vaughan Williams would not study in France until 1908. Kaleidoscopic shifts in mood are presented in "The Roadside Fire", with a lively accompaniment in the piano that lends a playful atmosphere to the first part of the song. The latter half of the song turns more serious as the traveller envisions private moments with his love, until the sunny music of the opening returns.
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This were sometimes placed in cubic designs, or checkerboards, or representing arabesques, floral patterns, trophies, or picturesque scenes. Originally the plaques were about a centimeter thick, but by the end of the period plaques were only slightly more than two millimeters thick. Then the furniture was completed by the bronziers, who made the handles and knobs; the doreurs who gilded them; the fondeurs, who made metalwork; the chiselers or wood sculptors, who made the decorate details, legs, and other carvings; the laqueursand vernisseurs, who applied multiple coats of lacquer or varnish. After 1751 each work was signed by the master craftsman who oversaw the work.
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Above the three arches are medallions with prophets, of whom only the middle one (Isaiah) has been identified, thanks to the cartouche saying Ecce Virgo [concipiet]. Below, the scene is completed by a predella with four scenes: Visitation, Nativity, Adoration of the Magi and Flight into Egypt. These shows typical elements of the International Gothic style, such as the fine arabesques in the drapes and the delicate tonalities in contrast with the dark backgrounds. In the Adoration, the detail of the old king kneeling to kiss the Child is taken from a Ghiberti's tile, and was also used by Gentile da Fabriano in his Strozzi Altarpiece.
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He dealt with what he saw as historical and doctrinal errors contained in Voltaire's work.edited by J. Jefferson LooneyLes chrétiens n'avaient regardé jusqu'à présent le fameux Mahomet que comme un heureux brigand, un imposteur habile, un législateur presque toujours extravagant. Quelques Savants de ce siècle, sur la foi des rapsodies arabesques, ont entrepris de le venger de l'injustice que lui font nos écrivains. Ils nous le donnent comme un génie sublime, et comme un homme des plus admirables, par la grandeur de ses entreprises, de ses vue, de ses succès, Claude-Adrien NonnotteLes erreurs de Voltaire, Jacquenod père et Rusand, 1770, Vol I, p.70.
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While there is debate as to whether the tribute to Bob Dylan is a eulogy or a "harangue", Bowie invokes Dylan-esque musical progressions in "Song for Bob Dylan." The song is in A major and the "Dylanesque, though neither passively imitative nor parodistic" coda is described as "attain[ing] ectasy when...electric guitar weaves tipsy arabesques over broken chord pulses on two acoustic guitars." The simple, descending bass line that accompanies the folk- chord progression invokes Dylan circa 1965. Bowie also imitates Dylan's adenoidal voice throughout the song and the lyrics reflect Dylan's style of starkly contrasting narrow range-verse and swelling chorus.
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The Extravagant Shadows was recently named the one of the "Top 10 Undistributed Movies of 2012" by a Film Comment international film critics poll magazine. A hybrid 16mm/HD piece, By Pain and Rhyme and Arabesques of Foraging premiered at the British Film Institute in the London Film Festival and nominated for the Tiger award at the International Film Festival Rotterdam. Gatten is currently a Professor of Cinema Studies & Moving Image Arts in the Department of Cinema Studies & Moving Images Arts at the University of Colorado in Boulder, and a regular Visiting Artist to the MFA in Experimental & Documentary Arts program at Duke University in Durham, North Carolina.
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Pyx with Arabesques in Quatrofoil Frames, c. 13th century A pyx or pix (, transliteration of Greek: πυξίς, boxwood receptacle, from πύξος, box tree) is a small round container used in the Catholic, Old Catholic and Anglican Churches to carry the consecrated host (Eucharist), to the sick or those who are otherwise unable to come to a church in order to receive Holy Communion. The term can also be used in archaeology and art history to describe small, round lidded boxes designed for any purpose from antiquity or the Middle Ages, such as those used to hold coins for the Trial of the Pyx in England.
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In this first painting of the series, juxtaposed arabesques and distinctive diagonals interconnect dynamically, suggesting the bridge's complex architectonic engineering.Albert Gleizes, On Brooklyn Bridge (Sur Brooklyn Bridge), Guggenheim Museum, New York As in earlier works by Gleizes, this canvas is directly engaged with the environment. While highly abstract, Brooklyn Bridge maintains an evident visual basis. From 1914 to the end of the New York period, however nonrepresentational, works by the artist continued to be shaped by his personal experience, by the conviction that art was a social function, susceptible to theoretical formulation, and imbued with optimism.Daniel Robbins, 1964, Albert Gleizes 1881 – 1953, A Retrospective Exhibition.
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Geometric Zellij tilework, stucco decoration with Arabic calligraphy and arabesques at Bou Inania Madrasa, Fes Islamic art mostly avoids figurative images to avoid becoming objects of worship. This aniconism in Islamic culture caused artists to explore non-figural art, and created a general aesthetic shift toward mathematically-based decoration. The Islamic geometric patterns derived from simpler designs used in earlier cultures: Greek, Roman, and Sasanian. They are one of three forms of Islamic decoration, the others being the arabesque based on curving and branching plant forms, and Islamic calligraphy; all three are frequently used together, in forms such as mosaic, stucco, brickwork, and ceramics, to decorate religious buildings and objects.
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Born to a Palestinian mother and a Chaldean father, post colonialism, occupation and human rights inform her research and activism. Her notable academic research on North African-French diaspora- Re-writing Algerian Nationalism Through the Discourse of the Woman was published by the University of California Santa Cruz Press in 2006. She spoke on “Growing up Iraqi in the United States” at Boston College and won the Marjorie Rappaport Hopwood award for her poem “Olive.” Her poems “Palestine Fig”, first published in Arabesques, “Let the Land Choose”, “Warfire”, “The Dead Sea”, and “Blood, Sand, and Tears of a Young Boy” have been featured in various magazines, anthologies and textbooks.
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The Luck of Edenhall, mid-14th century V&A; Museum no. C.1 to B-1959 The "Luck of Edenhall" is an enamelled glass beaker that was made in Syria or Egypt in the middle of the 14th century, elegantly decorated with arabesques in blue, green, red and white enamel with gilding. It is now in the Victoria and Albert Museum in London and is 15.8 cm high and 11.1 cm wide at the brim. It had reached Europe by the 15th century, when it was provided with a decorated stiff leather case with a lid, which includes the Christian IHS; this no doubt helped it to survive over the centuries.
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The National Trust for Scotland did at one time consider making the house into a museum of painted ceilings - the house has several fine ceilings (beam and board painted in floral patterns and arabesques in egg tempura) in good, unrestored condition, but this plan never came to fruition. The Trust does have a continuing interest in the future of the house. In the former grounds of Northfield House stands a 16th-century beehive doocot (Scots for "dovecot"), also a Category A listed building. There are also some interesting garden features including brick-lined walls (18th and 19th century) and a mock bartizan accessible by a stone stair within the garden.
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Bukharin made several notable contributions to Marxist–Leninist thought, most notably The Economics of the Transition Period (1920) and his prison writings, Philosophical Arabesques,Monthly Review Press, 2005, , as well as being a founding member of the Soviet Academy of Arts and Sciences, and a keen botanist. His primary contributions to economics were his critique of marginal utility theory, his analysis of imperialism, and his writings on the transition to communism in the Soviet Union.Philip Arestis A Biographical Dictionary of Dissenting Economists, p. 88. His ideas, especially in economics and the question of market-socialism, later became highly influential in Chinese market-socialism and Deng Xiaoping's reforms.
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Of medieval origins, it was first enlarged in the late 16th century with the addition of a top floor. In the early 17th century it was acquired by Niccolò dell'Antella, together with a nearby one: he commissioned the repainting of the two façades, executed in 1619-1620 by a group of artists (including Domenico Passignano, Matteo Rosselli, Ottavio Vannini and others) under the direction of Giovanni da San Giovanni, and the design of architect Giulio Parigi. The painted decoration consists of a series of panels with allegorical representations, puttos, flowers, vegetable motifs and arabesques. At the centre is the bust of Cosimo II de' Medici.
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The Academic American Encyclopedia cited the work as an example of the "conflict between Gogol's idealistic strivings and his sad, cynical view of human propensities". First published in Arabesques, the story was received unfavorably by critics, and Gogol returned to the story, reworking it for the 1842 publication. Simon Karlinsky believes that the second version of the story, with its differing epilogue, works better within the context of the story, but writes that the work, while "a serious treatment of an important social problem", is "too slender a theme" to support the central thrust of the work, an attempt to portray "the great mystical concept of the Antichrist".
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Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject. A common mixture of high and low relief, in the Roman Ara Pacis, placed to be seen from below. Low relief ornament at bottom Rock reliefs are those carved into solid rock in the open air (if inside caves, whether natural or man-made, they are more likely to be called "rock-cut").
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Arabesques of a German Wehrmacht Generals Collar patches/gorget patches (de: Kragenspiegel, also Kragenpatte[n] or Arabesque[n]), are to be worn on the gorget (on both collar points) of military uniform in German speaking armed forces. However, collar patch insignia for General officers of the Heer (Army) are traditional called Arabesque collar patch, also Larish embroidery, Old Prussian embroidery, or Arabesquen embroidery (de: "Arabesken-Kragenspiegel", also "Larisch- Stickerei", "Altpreußische Stickerei" or "Arabeskenstickerei").Dictionary to the German military history, 1st edition (Liz.5, P189/84, LSV:0547, B-Nr. 746 635 0), military publishing house of the GDR (VEB) – Berlin, 1985, Volume 1, page 396, definition: „Versions of collar patches“.
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These pioneering photographers included Frenchmen, Félix Bonfils (1831-1885); Gustave Le Gray (1820-1884) and Hippolyte Arnoux, brothers Henri and Emile Bechard and the Greek Zangaki brothers, many of whom were in Egypt at the same time and entered into both formal and informal working partnerships.Jacobson, K., Odalisques and Arabesques: Orientalist Photography, 1839-1925, London, Bernard Quaritch, 2007, p. 277. These early photographers, including Antonio and his brother, were among the first commercial photographers to produce images on a large scale in the Middle East. In late 1854 or early 1855, the Beato brothers' sister, Leonilda Maria Matilda Beato, married her brothers' business partner, James Robertson.
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In an andalusian orchestra, those communities played side by side, so that only lyrics allowed to distinguish every group origin. These musics performed with long poignant nostalgic vocalises on a very slight background of strings and drums. All parts blow up in a tremendous festival of ornamented arabesques. In 2001, Françoise Atlan was involved in the creation of the composer Florence Baschet work, Femmes, a commission from Radio France, with the participation of the Ensemble Fa under the direction of Dominique My. That same year, accompanied by the Armenian Ensemble Goussan, she offered a program of classical and traditional Armenian Music (5th to 19th century) at the Festival d'Ambronay.
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The surfaces are decorated through a mix of marquetry and inlaid sculpted pieces. The large triangular faces of the minbar on either side are covered in an elaborate and creative motif centered around eight-pointed stars, from which decorative bands with ivory inlay then interweave and repeat the same pattern across the rest of the surface. The spaces between these bands form other geometric shapes which are filled with panels of deeply-carved arabesques, made from different coloured woods (boxwood, jujube, and blackwood). There is a wide band of Quranic inscriptions in Kufic script on blackwood and bone running along the top edge of the balustrades.
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Miniature painting was mostly patronized by the court circle and is a private form of art; the owner chooses whom to show a book or muraqqa (album). But wall- paintings with large figures were found in early Islam, and in Safavid and later Persia, especially from the 17th century, but were always rare in the Arabic-speaking world. Such paintings are also mainly found in private palaces; examples in public buildings are rare though not unknown, in Iran there are even some in mosques. Muqarnas in the gate to the Shah (Abbasi) Mosque of Isfahan, Isfahan In Islamic sacred architecture, ornamentation consists mainly in arabesques and geometrical patterns.
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He resumed living in Paris in 1919 and remained there, except for brief trips to Toulon and the Jura Mountains, until his death in 1949. During the last thirty years of his life, he painted in a style completely removed from that of his earlier colleagues and his contemporaries. Having abandoned the lively arabesques and brilliant colors of his Fauve years, Friesz returned to the more sober palette he had learned in Le Havre from his professor Charles Lhuillier and to an early admiration for Poussin, Chardin, and Corot. He painted in a manner that respected Cézanne's ideas of logical composition, simple tonality, solidity of volume, and distinct separation of planes.
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For example, although von Koch is famous for developing The Koch Curve in 1904, a similar shape featuring repeating triangles was first used to depict waves in friezes by Hellenic artists (300 B.C.E.). In the 13th century, repetition of triangles in Cosmati Mosaics generated a shape later known in mathematics as The Sierpinski Triangle (named after Sierpinski's 1915 pattern). Triangular repetitions are also found in the 12th century pulpit of The Ravello Cathedral in Italy. The lavish artwork within The Book of Kells (circa 800 C.E.) and the sculpted arabesques in The Jain Dilwara Temple in Mount Abu, India (1031 C.E.) also both reveal stunning examples of exact fractals.
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This revision concluded not with Apollo's ascent to Mount Parnassus but rather with moving the "peacock" tableau of the Muses in arabesques of ascending height beside Apollo, which originally happened slightly earlier, to the final pose. In the 1980 staging for the New York City Ballet, Apollo's first variation was restored. Suzanne Farrell restored the birth scene for her company in 2001, as did Arthur Mitchell for his Dance Theatre of Harlem performance at Symphony Space's Wall to Wall Balanchine in conjunction with City Ballet's Balanchine centennial and Iain Webb for The Sarasota Ballet's Tribute to Nureyev performance in February 2015 (staged by Sandra Jennings).
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It is decorated with a carved geometric pattern inside a square frame, typical of the Almohad and Marinid architectural legacies, filled with predominantly green tiles decorated with arabesques and small areas of mosaic tiles (zellij). Above the gate is an ornately carved wooden canopy, likely of cedar, also typical of Moroccan architecture, and further above and behind rises the minaret of the mosque. Inside the mosque is a wide courtyard (sahn) surrounded by arcaded galleries, at the center of is a rectangular water basin (to aid in ablutions) under a small roofed pavilion. On the east side of the courtyard is a large roofed prayer hall marked by rows of horseshoe arches.
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On 3 June 1967, accompanied by a street festival, the cornerstone of Hacklwirt in Feilitzschstraße 12 became a Drugstore, which was the beginning of the transformation of a Bohème district into a pop and hippie meeting place. The "giant salon with many mirrors, pop arabesques and protest posters" and daily 2,000 guests, including Mick Jagger or Romy Schneider, was well known in the region. While the bistro on the ground floor remained unchanged, the disco on the first floor was converted in 1987 into a Theater bar. For the first time, the revue theater "Bel Etage" was performed there for twenty years, and from 2007 to November 2009 it was the location of the Kammertheater Schwabing.
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On the mosque's eastern side, next to the base of the minaret, is the mosque's main entrance. The gateway is decorated with typical Moroccan motifs including interlacing semi-circles around the doorway's arch and a larger square frame with a band of darj-w-ktaf or sebka (a pattern with shapes similar to palmettes or fleur-de-lys). Above the door is a carved and painted wooden canopy, also characteristic of traditional Moroccan architecture. Next to this entrance, and adjoining the city wall, is a small outdoor gallery with wall fountains for ablutions (ritual washing before prayer), decorated with mosaic tiles (zellij) in geometric patterns as well as tiles painted with arabesques and Arabic calligraphy.
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These decorations consist of arabesques imitating palm trees, flowers or portraits of loved ones. Porsiacaso: the porsiacaso is a small cloth sack with bags at the ends, it serves to carry food on the horse for the road: casabe, papelón, coffee, cheese, arepa, dried meat and of course the chimó. Stirrups: Stirrups, ordinarily carved from a block of wood, offer the particularity of being as long and massive as in no other part of the world, and although called African, they are nothing like the Arabs. The sculptures of the stirrups reveal high taste, consisting of their main beauty, in the triangular pendants of the bases with which they stimulate the horses.
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Imád-ul-Mulk Rúmi, Ulugh Khán, and others joined to oppose him, and when marching against them he was cut down by Shirwán Khán. Mahmúd's persecutions had raised such bitter hate among the Hindus, that they regarded Burhán as a saviour. Mahmúd moved his capital from Áhmedábád to Mehmudabad, eighteen miles south of Áhmedábád where he built a palace and enclosed a deer park. At each corner of the park he raised a palace the stone walls and ceilings of which were ornamented with beautiful and precious gold traceries and arabesques. His strict regard for public morals led him to forbid Muslim women visiting saints’ tombs as the practice gave rise to irregularities.
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France had taken over from Italy as the center of artistic bookbinding during the early sixteenth century. Political upheaval in Italy, the Sack of Rome in 1527, the French occupation of Milan, and the Franco-Ottoman alliance had caused innovations such as gold tooling and the use of high-quality Morocco leather to reach to France, where they were swiftly embraced and refined. It has proved difficult to identify the binder(s) of many of the Mahieu books. In later years Mahieu favoured plainer styles of binding, but the earlier commissions are distincively rich: punched and gilded backgrounds show a surface of sprinkled dots as a foil for coloured interlacings and arabesques.
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Next to the door that leads into the church at the north end of this gallery, a second door opens onto a beautiful gate at the foot of the tower overlooking St. Paul's Square. This charming porch is remarkable for its deep ornamental arches and its curious decoration, partly ogival. It is dated from the Renaissance. This gate, closed by an iron gate and decorated with a central stone medallion framing a high relief depicting the Conversion of Paul the Apostle placed between two low reliefs and the arabesques of the lower panels frame two small low reliefs, one on the right side representing the Nativity, the other on the left showing the Resurrection of the Savior.
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The surfaces of the dome were repaired during four seasons: in years 1972-1974 and 1975. Gërguri has also worked in the Hadum Mosque in Đakovica and the Great Mosque (1969) in Pristina. He later worked on restoration of the arabesques and decorative mural paintings of the other historical monuments. Gërguri has worked on the Patriarchal Monastery of Peć – Saint Apostles in Gračanica, in Saint Prentia also. While he was working at the Institute for Protection of Cultural Monuments in Pristina, on conservation of frescoes, icons, and other monuments, he also worked in Saint John’s Church in Hoca, Saint Peter of Korishtë in Kabash and Saint Nicola’s Church on Sicevë which were built in the 14th century.
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Combs is also a jazz aficionado. His Combs-Novak Sextet is one of the headliners at the 1999 Chicago Jazz Festival; he cut an album with jazz clarinetist Eddie Daniels, called "Crossing the Line"; and the Chicago Reader's Ted Shen wrote that he is "a Benny Goodman-like chameleon who can execute breathtaking arabesques and add a touch of eloquence to the plainest phrase." He was a clinician for the G. Leblanc Company, which made the Opus II clarinets he helped to design, and the Larry Combs models of clarinet mouthpieces. He is married to Gail Williams, a horn professor at Northwestern University, and retired Associate Principal Horn of the Chicago Symphony.
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Owen Jones published The Grammar of Ornament in 1856 with colored illustrations of decoration from Egypt, Turkey, Sicily and Spain. He took residence in the Alhambra Palace to make drawings and plaster castings of the ornate details of the Islamic ornaments there, including arabesques, calligraphy, and geometric patterns. Interest in classical architecture was also fueled by the tradition of traveling on The Grand Tour, and by translation of early literature about architecture in the work of Vitruvius and Michelangelo. During the 19th century, the acceptable use of ornament, and its precise definition became the source of aesthetic controversy in academic Western architecture, as architects and their critics searched for a suitable style.
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Celadon wares were believed there to have the ability to detect poison, by sweating or breaking.Vainker, 136–137 After about 1450 celadon wares fell out of fashion in China, and the continuing production, of lower quality, was for export. The Islamic market was apparently especially important in the early years of Chinese blue and white porcelain, which appears to have been mainly exported until the Ming; it was called "Muslim blue" by the Chinese. Again, large dishes were an export style, and the densely painted decoration of Yuan blue and white borrowed heavily from the arabesques and plant scrolls of Islamic decoration, probably mostly taking the style from metalwork examples, which also provided shapes for some vessels.
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Grecian columns of singular disproportion form the main structure of bedsteads, tables, and cabinets. These columns are noted for their clumsy thickness, and in one of the first misapprehensions of the classic that mark the style, they rise from huge spherical clusters of foliage, usually the acanthus. At about half their length, these columns are frequently broken by another huge spherical cluster; on this sometimes half the foliage growing downward, half growing upward, and divided in the middle by a careful strap and buckle; occasionally the upper half of this globe is absent. The lower part of the columns is often covered with arabesques, and the upper half merely fluted, or else covered with a fine imbricate carving.
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The most decorated area is that around the mihrab (a niche in the qibla wall symbolizing the direction of prayer). This section, which was rebuilt/restored in the late 16th century (Saadian period), likely still preserves the model and layout from the Almohad era and resembles the mihrab of important Almohad mosques like the one at Tin Mal. However, the stucco decoration that covers the wall around the mihrab is very similar to the decoration of mihrabs of Saadian buildings like the Ben Youssef Madrasa and the Bab Doukkala Mosque, and thus likely dates from the Saadian restoration. This decoration features elaborate arabesques in high relief, with pinecones and seashells featured among the decorative repertoire.
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The minbar is smaller than its famous predecessor (measuring 2.87 meters high, 2.25 meters long, and 76 centimeters wide) but also displays remarkable artistic quality. The minbar is made of wood (including ebony and other expensive woods), is decorated via a mix of marquetry and inlaid carved decoration, just like its famous predecessor. The main decorative pattern along its major surfaces on either side is centered around eight-pointed stars, from which bands of decorated with ivory and bone inlay then interweave and repeat the same pattern across the rest of the surface. The spaces between these bands form other geometric shapes which are filled with wood panels of intricately carved arabesques.
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Cuban art critic Severo Sarduy has said of Cortot, in the introduction to his Inscription and intention: "While the conceptual history of writing in the West is vast, its graphic history remains extremely poor. The concern for elegance in the stroke, for the projection of the line, for curves and flourishes, we assigned to the civilizations of ideograms and arabesques, leaving our script with a purely informative role, a role devoid of ornament, script reduced to its austere legibility .... and it is precisely in its contradiction thereof that Jean Cortot's work derived its singularity."Rolando Pérez, (2011), Severo Sarduy and the Neo-baroque Image of Thought in the Visual Arts, Purdue University Press, p.259.
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Loosely, scholars have grouped literary works that are focused on the failings of society (such as Arabesques) during the mid to late 1800s as Petersburg Texts. Dostoevsky is generally considered to be the most influential author of these texts, but many others contributed to them, including Gogol. Part of the reason Gogol felt the need to write stories showcasing the true nature of Saint Petersburg and the toxic atmosphere the city (and indeed, the country) bred was that he himself had lived there; he worked briefly there as a government clerk and was struck by “the utter lack of social interaction” among his colleagues at the time.Shapiro, Gavriel. “Nikolai Gogol' and the Baroque Heritage”.
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Often, quatrains by Persian poets, sometimes related to the destination of the piece (allusion to wine for a goblet, for example) occur in the scroll patterns. A completely different type of design, much more rare, carries iconography very specific to Islam (Islamic zodiac, bud scales, arabesques) and seems influenced by the Ottoman world, as is evidenced by feather-edged anthemions (honeysuckle ornaments) widely used in Turkey. New styles of figures appeared, influenced by the art of the book: young, elegant cupbearers, young women with curved silhouettes, or yet cypress trees entangling their branches, reminiscent of the paintings of Reza Abbasi. Numerous types of pieces were produced: goblets, plates, long-necked bottles, spittoons, etc.
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The present glass in the windows is considered of no great antiquarian or artistic interest; the east window, completed in the nineteenth century, is a possible exception. It was with this in mind that the decoration of the interior and the stained glass in the windows were considered in 1886 in a report on the Wordsworth Memorial. The report suggested that the glass was dark and heavy; that elaborate decoration was of no use owing to the darkness of the building, and more light should be let in. It suggested a wall decoration of arabesques and a new and complete scheme of windows, with figures on a clear ground, like those in Trinity College Chapel.
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When rinceau borders are used, they build in the corners into > arabesques that spray their energy into space in a series of diminishing > dots that suggest the foam from a cresting wave. Robert Sayer, in The > Florist (London, 1760) said that flowers should be ‘ripened to a degree of > looseness subject to be folded and play in the wind’, and no soundboard > painting better illustrates this dictum. The Stehlin painter’s curved lines > get lower, leaner, and longer, more forceful and energetic, as his personal > style gains in authority from 1765 onwards. The noisy blue macaw on the 1770 > Dedeban soundboard...is an astonishing expression of exuberance, and it is > unlikely that this soundboard took much longer than ten or twelve hours to > paint.
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The 1904 and 1913 sets have been transferred to compact disc.Timbrell, p. 261 Contemporaries of Debussy who made recordings of his music, included the pianists Ricardo Viñes (in "Poissons d'or" from Images and "La soirée dans Grenade" from Estampes); Alfred Cortot (numerous solo pieces as well as the Violin Sonata with Jacques Thibaud and the Chansons de Bilitis with Maggie Teyte); and Marguerite Long ("Jardins sous la pluie" and "Arabesques"). Singers in Debussy's mélodies or excerpts from Pelléas et Mélisande included Jane Bathori, Claire Croiza, Charles Panzéra and Ninon Vallin; and among the conductors in the major orchestral works were Ernest Ansermet, Désiré-Émile Inghelbrecht, Pierre Monteux and Arturo Toscanini, and in the Petite Suite, Henri Büsser, who had prepared the orchestration for Debussy.
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In art, grotesques are ornamental arrangements of arabesques with interlaced garlands and small and fantastic human and animal figures, usually set out in a symmetrical pattern around some form of architectural framework, though this may be very flimsy. Such designs were fashionable in ancient Rome, especially as fresco wall decoration and floor mosaic. Stylized versions, common in Imperial Roman decoration, were decried by Vitruvius (c. 30 BC) who, in dismissing them as meaningless and illogical, offered the following description: > For example, reeds are substituted for columns, fluted appendages with curly > leaves and volutes take the place of pediments, candelabra support > representations of shrines, and on top of their roofs grow slender stalks > and volutes with human figures senselessly seated upon them.
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The castle also received an impressive collection of paintings and sculptures purchased mainly during numerous trips made by the couple and later by the Duchess, who was very creative and constantly looking for artistic inspirations. In fact, even today, in spite of all the later alterations and modernisations, the castle largely retains the character which it received in the course of the few decades, until Duchess Izabela Lubomirska's death in 1816. The castle's interior features several rooms designed for her. For instance, on the ground floor, the oriental style of the Turkish Apartment was arranged in the old 17th-century vaulted chambers; the refined elegance of the View Room decorated with arabesques; and the intimacy of the Brenna Apartment which looks like a white-green vanity box.
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Jama Masjid in Mandu, India (15th century) geometric motifs and inlay work on the Minbar of al- Ghamri at the Khanqah of Sultan Barsbay, Cairo (15th century) Woodwork was the primary medium for the construction of minbars in much of the Middle East and North Africa up until the Ottoman period. These wooden minbars were in many cases very intricately decorated with geometric patterns and carved arabesques (vegetal and floral motifs), as well as with Arabic calligraphic inscriptions (often recording the minbar's creation or including Qur'anic verses). In some cases they also featured delicate inlay work with ivory or mother-of-pearl. Many workshops created minbars that were assembled from hundreds of pieces held together using an interlocking technique and wooden pegs, without glue or metal nails.
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Windows are completely suppressed on the south and the east fronts; the mouldings throughout, though large in size because of the tremendous scale, are extremely refined, cold and quite unornamented." Henry-Russell HitchcockHitchcock (1954), pp311-312 The following is about the Small Concert Hall: "Exquisite in color and covered with most elegant decoration in low relief, this room is above all a masterly exercise in the use of those 'shams' Camdenians most abominated. The balconies are of cast iron designed to look like some sort of woven wickerwork; of iron also are the pierced ventilating grilles along the front of the stage and in the ceiling panels around the central skylight. The delicate arabesques of the pilasters and friezes are papier-mâché.
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The hotel retains elements representative of the Gothic style, especially for the parts built by Huc de Boysson, but also Renaissance elements, in the parts added by Jean de Cheverry. In the first gothic courtyard, on the first floor of the tower a large Renaissance-style mullioned window was opened in 1535: the columns and the mullion were replaced by three caryatids and the pilasters are covered with arabesques. The second courtyard was formerly the garden of Huc de Boysson, and on the east side of the courtyard, in the part which belongs to the Hotel de Boysson, there is a remarkable window: the Gothic frame is overloaded with scorching scrolls of Finely carved thistles. The arcaded gallery is supported by columns of stone Doric style.
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That minbar established a prestigious artistic tradition, originating from formerly Umayyad Al-Andalus, which was imitated and emulated in subsequent periods, though subsequent minbars varied in their exact form and in the choice of the decorative methods. Like the Kutubiyya minbar, the Bou Inania Minbar, made of wood (including ebony and other expensive woods), is decorated via a mix of marquetry and inlaid carved decoration. The main decorative pattern along its major surfaces on either side is centered around eight-pointed stars, from which bands of decorated with ivory inlay then interweave and repeat the same pattern across the rest of the surface. The spaces between these bands form other geometric shapes which are filled with wood panels of intricately carved arabesques.
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The clay earth of Urbino, which still supports industrial brickworks, supplied a cluster of earthenware manufactories (botteghe) making the tin- glazed pottery known as maiolica. Simple local wares were being made in the 15th century at Urbino, but after 1520 the Della Rovere dukes, Francesco Maria I della Rovere and his successor Guidobaldo II, encouraged the industry, which exported wares throughout Italy, first in a manner called istoriato using engravings after Mannerist painters, then in a style of light arabesques and grottesche after the manner of Raphael's stanze at the Vatican. Other centers of 16th century wares in the Duchy of Urbino were at Gubbio and Castel Durante. The great name in Urbino majolica was that of Nicolo Pillipario's son Guido Fontana.
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The structure is a triple-arched gate that makes use of Moorish architectural forms, with pointed horseshoe arches and a crenelated top. Both the inner and outer facades are covered in polychrome tiles featuring arabesques and Moroccan geometric motifs, with the outer facade predominantly blue and the interior facade predominantly green-ish. Strangely, the actual doors of the gate seem to close and lock from the outside; perhaps an indication that the French administration saw it partly as a means of controlling the movement of the inhabitants inside the medina. Beyond the gate, a small square ringed by shops and restaurants today gives access to both Tala'a Kebira and Tala'a Seghira, the main streets of the city leading towards the Qarawiyyin and the heart of the medina.
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In that portion of the Elizabethan which is often considered as the Jacobean, although it was but the completer development of the former, the globular excrescences of the columns elongated themselves into equally vast and far uglier acorn-shaped supports. A good deal of inlaid work was then used, and the carving did its best to reach and render the ideas of the cinquecento. It is, indeed, styled the cinquecento period of English art, every surface being rough with arabesques of griffins, vases, rosettas, dolphins, scrolls, foliages, Cupids, and mermaids with double tails curling round them on either side. Meantime the cartouche and its straps — ligatures they were called in Italy, cuirs in France and Flanders, were still often used.
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One can also credit Ismail with the restoration of the Masjed-e Jameh de Saveh, in 1520, of which the exterior decoration has disappeared, but of which the mihrab combines a use of ancient stucco and a delicate decor of arabesques in ceramic mosaic. Another mosque of Saveh, the Masjed-e meydan, received a similar mihrab, dated by inscriptions to between 1510 and 1518. Dormish Khan Shamlu, brother-in-law of Ismail, partially compensated for this lack of construction beginning in 1503. This governor of Isfahan, who lived more often at the court of Tabriz than in his city, left the reins to Mirza Shah Hussein Isfahani, the greatest architect of the period, who built there in particular the tomb of Harun-e Vilayat in 1512-1513.
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Most of the yeserias of arabesques, which carpeted the walls of these stays with decorative panels plastered with plaster, as well as an alabaster base of two and a half meters high and the white marble floors of the original palace, have been lost. The remains that have been preserved, both in museums and the few that are in this royal hall, nevertheless allow to reconstruct the appearance of this polychrome decoration, which, in its day, should have been splendid. Ceilings, wood carvings, reproduced the sky, and the whole room was an image of the cosmos, clothed with symbols of the power exercised over the celestial universe by the monarch of Saragossa, who thus appeared as heir to the caliphs. The access to the Golden Hall is made through a canvas with three vanes.
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If we leave aside the initial and final material of the work (specifically, the Aria, the first two variations, the Quodlibet, and the aria da capo), the remaining material is arranged as follows. The variations found just after each canon are genre pieces of various types, among them three Baroque dances (4, 7, 19); a fughetta (10); a French overture (16); two ornate arias for the right hand (13, 25); and others (22, 28). The variations located two after each canon (5, 8, 11, 14, 17, 20, 23, 26, and 29) are what Kirkpatrick calls "arabesques"; they are variations in lively tempo with a great deal of hand-crossing. This ternary pattern—canon, genre piece, arabesque—is repeated a total of nine times, until the Quodlibet breaks the cycle.
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Deruta, maiolica tiles The local clay was good for ceramics, whose production began in the Early Middle Ages, but found its artistic peak in the 15th and early 16th century, with highly characteristic local styles of maiolica, such as the "Bella Donna" plates with conventional portraits of beauties, whose names appear on fluttering banderoles with flattering inscriptions. The lack of fuel enforced low firing temperatures, but from the beginning of the 16th century, Deruta became (with Gubbio) a specialist centre for metallic lustreware in golds and ruby red, added over the glaze. In the 16th century Deruta produced the so-called "Rafaellesque" ware, decorated with fine arabesques and grottesche on a fine white ground. Deruta, with Gubbio and Urbino, continues to produce some of the finest Italian maiolica.
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The boudoir of Queen Marie-Antoinette (1786) The boudoir next to the Queen's bedroom was created for Queen Marie-Antoinette in 1786, and permitted the Queen to have a measure of privacy. The room is the best surviving example of the decorative style just before the French Revolution, inspired by ancient Roman models, with delicately painted arabesques, cameos, vases, antique figures and garlands of flowers against a silver background, framed by gilded and sculpted woodwork.Carlier, Yves, ‘’Histoire du chateau de Fontainebleau’’, pp. 91–93 The room was made for the Queen by the same team of artists and craftsmen who also made the game room; the design was by the architect ; the wood panelling was sculpted by Laplace, and painted by Michel-Hubert Bourgeois and Louis-François Touzé.
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Similar motifs made up of straight lines and right angles, such as the "Greek key", are more often called meanders. In art history, a "floriated" or "flower scroll" has flowers, often in the centre of the volutes, and a "foliated" or "leaf scroll" shows leaves in varying degrees of profusion along the stems. The Ara Pacis scrolls are foliated and sparingly floriated, whilst those in the Dome of the Rock mosaics are profusely foliated with thick leaves forming segments of the stems. As in arabesques, the "leaf" forms often spring directly from the stem without a leaf stalk in ways that few if any real plants do; these are generally derived from the ancient half-palmette motif, with the stem running along the bisected edge of the palmette.
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The large triangular faces of the minbar on either side are covered in an elaborate and creative motif centered around eight-pointed stars, from which decorative bands inlaid with bone and coloured woods then interweave and repeat the same pattern across the rest of the surface. The spaces between these bands form other geometric shapes which are filled with panels of deeply carved arabesques. These panels are made from different coloured woods including boxwood (for lighter shades), jujube (originally of reddish colour), and, for the central star-shaped panels, dark acacia wood (previously assumed to be ebony but identified by recent closer studies as African blackwood). There is a wide band of Qur'anic inscriptions in Kufic Arabic script on blackwood and bone running along the top edge of the balustrades.
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The third chapel on the south is that of Girolamo Basso della Rovere, nephew of Pope Sixtus IV, and bishop of Recanati. The Basso Della Rovere Chapel contains a fine altarpiece of the Madonna enthroned between Four Saints, and on the east side a very nobly composed fresco of the Assumption of the Virgin. The vault and its lunettes are richly decorated with small pictures of the Life of the Virgin, surrounded by graceful arabesques; and the dado is covered with monochrome paintings of scenes from the lives of saints, illusionistic benches, and very graceful and powerfully drawn female figures in full length in which the influence of Luca Signorelli may be traced. In the Costa Chapel, Pinturicchio or one of his helpers painted the Four Latin Doctors in the lunettes of the vault.
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Diana McIntosh (born March 4, 1937 in Calgary, Alberta) is a contemporary Canadian composer and pianist who is based in Winnipeg, Manitoba. Hailed by the Canadian Encyclopedia as "a champion of 20th-century Canadian music", she has premiered piano works by such Canadian composers as Peter Allen (Logos, 1977), Norma Beecroft (Cantorum Vitae, 1981), Robert Daigneault (Corridors, Reminiscences, 1977), Alexina Louie (Pearls, 1980), Marjan Mozetich (Apparition 1985), Boyd McDonald (Fantasy, 1974), Jean Papineau-Couture (Les Arabesques d'Isabelle, 1990), Ann Southam (Four Bagatelles, 1964 & Integruities, 1973 & Inter-views, 1975), Robert Turner (Homage to Melville, 1974), and John Winiarz (Vortices, 1977). In 1977, she and Southam co-founded Music Inter Alia (MIA), a concert series of "contemporary music for people who don't like contemporary music". She served as the MIA's director until 1991.
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This space is also further marked off from the rest of the mosque by another wooden screen with painted panels and a central door to give access, a feature not typical to most other mosques. At the northern end of the central aisle, just behind the anaza, is an elaborately ornate ribbed dome, similar to the slightly earlier examples of this type found in front of the mihrabs of the Great Mosque of Taza and the Great Mosque of Tlemcen, ultimately deriving from the domes of the Great Mosque of Cordoba. The ribs of the dome form a star pattern, at the middle of which is mini- cupola of muqarnas. Between the ribs are rich arabesques carved in stucco which also form a screen allowing some light in from the outside.
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""I would have a workshop attached to every school...I have seen only one such school in the United States, and the was in Philadelphia, and was founded by my friend Leland. I stopped there yesterday, and have brought some of their work here to show you." Report of Wilde's New York lecture, Montreal Daily Witness, May 15, 1882. See also Wilde's letter to Leland, May 1882, MS, Yale University, "When I showed them the brass work and the pretty bowl of wood with the bright arabesques at New York they applauded to the echo, and I have received so many letters about it and congratulations that your school will be known and honoured everywhere, and you yourself recognised and honoured as one of the great pioneers and leaders of the art of the future.
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Josias English was an amateur etcher. He was originally thought to have died in 1718, but upon the discovery of his will it transpired his death actually occurred in 1705. English was a gentleman of independent means who resided at Mortlake which was then in Surrey and is now a district of London. He was an intimate friend and a pupil of Francis Cleyn, the manager of the Mortlake Tapestry Works, and etched numerous plates in the style of Wenceslaus Hollar, after Cleyn's designs; these include a set of eleven plates, etched in 1653, entitled "Variæ Deorum Ethnicorum Effigies, or Divers Portraicturs of Heathen Gods", a set of four representing "The Seasons", a similar set of "The Four Cardinal Virtues", and a set of fourteen plates of grotesques and arabesques.
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In one, published in the review L'Art décoratif in 1901, he disclosed that he hoped to create a new kind of building adapted to modern needs that might be able to capture the building's "raw character" that he claimed was lost upon its completion.Franco Borsi and Ezio Godoli, Paris 1900: Architecture and Design (New York: Rizzoli, 1979), 247. That same year, he completed probably his best-known work, the townhouse on the avenue d'Iéna for the singer and cabaret performer Yvette Guilbert (now demolished), whose façade might be described as a wedding cake of arabesques and contours translated into stone. Schoellkopf's opportunity for creativity seems to have declined as the popularity of Art Nouveau quickly vanished for a variety of reasons, chiefly political, over the first decade of the twentieth century.
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I believe that the people are > right when they continue to be moved by Córdoba, Mallorca, by the copla of > the Sevillanas, by the Serenata, and Granada. In all of them I now note that > there is less musical science, less of the grand idea, but more colour, > sunlight, flavour of olives. That music of youth, with its little sins and > absurdities that almost point out the sentimental affectation ... appears to > me like the carvings in the Alhambra, those peculiar arabesques that say > nothing with their turns and shapes, but which are like the air, like the > sun, like the blackbirds or like the nightingales of its gardens. They are > more valuable than all else of Moorish Spain, which though we may not like > it, is the true Spain.
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Completing the tour of the 11th-century palace, one arrives at the south portico, which consists of an arcade on its southern flank that gives access to a portico with two lateral stays. This portico was the vestibule of a great south hall that would have the same tripartite disposition of the existent one in the north side, and of which only the arcades of access of mixtilineal arches of geometric decoration remains. Perhaps in this southern sector the greatest daring in arches, through the interlocking of lobulated forms, mixtilinea, and the inclusion of small reliefs of shafts and capitals with exclusively ornamental function. The complexity of laqueus, arabesques and carvings leads to a Baroque aesthetic, which is a prelude to the filigree of the art of the Alhambra and which are some of the most beautiful of all Al-Andalusian art.
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The German Classroom The German Classroom was designed by German-born architect Frank A. Linder to reflect the 16th century German Renaissance as exemplified in the Alte Aula (Great Hall) of the University of Heidelberg. The woodwork of the room was done by German-born Philadelphia decorator Gustav Ketterer and includes walnut paneling framing the blackboards, columns carved with arabesques flanking the two entrance doorways, and support broken-arch pediments surmounted by carved polychromed crests of the two oldest German universities: Heidelberg (1386) and Leipzig (1409). The doors are mounted with ornate wrought-iron hinges and locks, and their upper panels are decorated with intarsia depicting the central square of Nürnberg on the front door and the fountain of Rothenburg on the rear door. Carved in the architrave above the paneling are the names of famous philosophers, poets, musicians, artists, and scientists.
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This seems to be the only explanation for the so-called canones first found in the collection of Andrew of Crete. While a canon is a combination of a number of hymns or chants (generally nine) of three or four strophes each, the "Great Canon" of Andrew actually numbers 250 strophes, a "single idea is spun out into serpentine arabesques". Pseudo-classical artificiality found an even more advanced representative in John of Damascus, in the opinion of the Byzantines the foremost writer of canones, who took as a model Gregory of Nazianzus, even reintroducing the principle of quantity into ecclesiastical poetry. Religious poetry was in this way reduced to mere trifling, for in the 11th century, which witnessed the decline of Greek hymnology and the revival of pagan humanism, Michael Psellus began parodying church hymns, a practice that took root in popular culture.
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Many of the muqarnas compositions are further decorated with intricate reliefs of arabesques and Arabic inscriptions in both Kufic and cursive letters. Additionally, there are several elaborately carved bronze chandeliers hanging in the nave which were gifted to the mosque during the Almohad and Marinid eras; at least three of which were made from bells (probably church bells) brought back from victories in Spain. To the right of the mihrab is the minbar (pulpit) of the mosque, which could also be stored in a small room behind a door in the qibla wall here. The minbar is most likely of similar origins as the famous Almoravid minbar of the Koutoubia Mosque, made by a workshop in Cordoba not long after the latter and installed in the Qarawiyyin Mosque in 1144 (at the end of the Almoravid works on the mosque).
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Her installation Roba Vecchia was presented in 2006 at the Townhouse Gallery in Cairo, in 2007 at the Sharjah Biennal and in 2009 at Arabesques, an exhibition of Arab contemporary art at the Kennedy Center in Washington and described as a "human-scale kaleidoscope", that "incorporated images from pop culture, then shattered them in constantly changing geometries", and in which "the participant becomes immersed in a psychedelic environment where rapidly yet systematically changing imagery engulfs the viewer". Borg el Amal (Tower of Hope), an ephemeral construction and sound installation, won the Grand Nile Award at the 2008/2009 Cairo Biennale. The inspiration for the tower comes from the slums surrounding Cairo known as ashwa'iyat (haphazard things). Her own tower in Borg el Amal was constructed of similar materials to the ashwa'iyat and allowed the audience to experience music under the oper sky.
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The Alhambra features various styles of the Arabic epigraphy that developed under the Nasrid dynasty, and particularly under Yusuf I and Muhammad V. José Miguel Puerta Vílchez compares the walls of the Alhambra to the pages of a manuscript, drawing similarities between the zilīj-covered dados and the geometric manuscript illuminations, and the epigraphical forms in the palace to calligraphic motifs in contemporary Arabic manuscripts. The texts of the Alhambra include "devout, regal, votive, and Quranic phrases and sentences," formed into arabesques, carved into wood and marble, and glazed onto tiles. Poets of the Narsid court, including Ibn al-Khatīb and Ibn Zamrak, composed poems for the palace. Most of the poetry is inscribed in Nasrid cursive script, while foliate and floral Kufic inscriptions—often formed into arches, columns, enjambments, and "architectural calligrams"—are generally used as decorative elements.
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Combaz mixes the Japanese print style with Art Nouveau elements such an arabesques. Through these posters Combaz gave the Art Nouveau a very powerful and modern form.Hadewych Hernalsteen, Brussel Bedrukt Affiches voor de tentoonstellingen van Brusselse kunstenaarsverenigingen 1880-1914, Masters thesis submitted to the Faculty of Arts and Philosophy, Department of Art, Music and Theater Sciences of the University of Ghent to obtain the degree of Masters, Supervisor: prof. Dr. M. Sterckx. Universiteit Gent Academy Year 2011-2012 Postcard representing the Element Air Combaz was very effective in transposing the Japanese wood block print style known as ukiyo-e to the medium of posters. In his Poster for the 1895 Expositions Peinture, Sculpture, Architecture, Arts Appliques at La Maison d’art, Brussels, Combaz succeeded like the Japanese masters to express the maximum with a minimum of resources.
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Richard Gallo then lived at 40 rue du Rocher in Paris, near the apartment of Gustave Caillebotte and his brother Martial of 31 Boulevard Haussmann, in a modern and prestigious district inhabited by the upper middle class of finance. Caillebotte also painted his friend with him in his studio in Autoportrait au chevalet (1879-1880) which proves their closeness and their agreement on the cultural, artistic and political life of that time. This painting was exhibited at the last impressionist exhibition in 1882, but it went relatively unnoticed. The influence of the master of Caillebotte, Leon Bonnat, seen in the rendering of the face and the black suit, but the diagonal perspective (with the play of angle), the look of Richard Gallo and the decoration of arabesques and stripes of the fabric of the sofa, express the impressionist point of view of the artist.
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After the 1857 Ghadar and during the early 20th century, this was the temple referred to as the Jain temple of Delhi by several European visitors. E. Augusta King in 1884 describes the temple as:The Diary of a Civilian's Wife in India, 1877-1882, By E. Augusta King, Robert Moss King Published by R. Bentley, 1884 :The frontage: The Jain temple has a fine frontage of carved stone, carved so profusely in such delicate airy tracery that it is difficult to believe it is stone. We went up a flight of steps and came to a courtyard surrounded by what we call Moorish arches, with colonnades having groined roofs, every inch of which was painted elaborately with graceful arabesques, the effect being rich and soft in the extreme. :The decorations: On one side of the courtyard is the temple proper, on a raised dais four feet high.
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The geometric designs in Islamic art are often built on combinations of repeated squares and circles, which may be overlapped and interlaced, as can arabesques (with which they are often combined), to form intricate and complex patterns, including a wide variety of tessellations. These may constitute the entire decoration, may form a framework for floral or calligraphic embellishments, or may retreat into the background around other motifs. The complexity and variety of patterns used evolved from simple stars and lozenges in the ninth century, through a variety of 6- to 13-point patterns by the 13th century, and finally to include also 14- and 16-point stars in the sixteenth century. Geometric patterns occur in a variety of forms in Islamic art and architecture including kilim carpets, Persian girih and Moroccan/Algerian zellige tilework, muqarnas decorative vaulting, jali pierced stone screens, ceramics, leather, stained glass, woodwork, and metalwork.
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Girih geometric pattern at the Darb-e Imam, Isfahan The geometric designs in Islamic art are often built on combinations of repeated squares and circles, which may be overlapped and interlaced, as can arabesques, with which they are often combined, to form intricate and complex patterns, including a wide variety of tessellations. These may constitute the entire decoration, may form a framework for floral or calligraphic embellishments, or may retreat into the background around other motifs. The complexity and variety of patterns used evolved from simple stars and lozenges in the ninth century, through a variety of 6- to 13-point patterns by the 13th century, and finally to include also 14- and 16-point stars in the sixteenth century. Bowl decorated with Kufic calligraphy, 10th century Geometric patterns occur in a variety of forms in Islamic art and architecture including kilim carpets, Persian girih and Moroccan zellige tilework, muqarnas decorative vaulting, jali pierced stone screens, ceramics, leather, stained glass, woodwork, and metalwork.
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He designed furniture, mantelpieces, ceilings, chandeliers, doors and mural ornament with equal felicity, and as an artist in plaster work in low relief he was unapproached in his day. He delighted in urns and sphinxes and interlaced gryphons, in amorini with bows and torches, in trophies of musical instruments and martial weapons, and in flowering arabesques which were always graceful if sometimes rather thin. The centre panels of his walls and ceilings were often occupied by classical and pastoral subjects painted by Cipriani, Angelica Kauffman or her husband Antonio Zucchi, and sometimes by himself. These nymphs and amorini, with their disengaged and riant air and classic grace, were not infrequently used as copies for painting upon that satinwood furniture of the last quarter of the 18th century which has never been surpassed for dainty elegance, and for the popularity of which Pergolesi was in large measure responsible; they were even reproduced in marquetry.
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Bunin's travel sketches were lauded as innovative, notably Bird's Shadow (1907–1911). "He's enchanted with the East, with the 'light-bearing' lands he now describes in such beautiful fashion... For [depicting] the East, both Biblical and modern, Bunin chooses the appropriate style, solemn and incandescent, full of imagery, bathing in waves of sultry sunlight and adorned with arabesques and precious stones, so that, when he tells of these grey-haired ancient times, disappearing in the distant haze of religion and myth, the impression he achieves is that of watching a great chariot of human history moving before our eyes," wrote Yuri Aykhenvald. Critics noted Bunin's uncanny knack of immersing himself into alien cultures, both old and new, best demonstrated in his Eastern cycle of short stories as well as his superb translation of Henry Wadsworth Longfellow's The Song of Hiawatha (1898). Bunin was greatly interested in international myths and folklore, as well as the Russian folkloric tradition.
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Describing Walker's strengths—in regard to the 2012 performance of La sonnambula—Anne Midgette, the Washington Post music critic, noted: :One reason the whole thing sparkled is that conductor Antony Walker....approaches music with the kind of spark and verve that made some of us fall in love with it in the first place. He got a kind of precision out of the WCO orchestra...[and]...also actively supported the singers, or got out of their way — for instance, at the end of [Eglise] Gutierrez’s and [Rene] Barbera’s exquisite duet at the end of the first scene, in which they engage in a series of a capella vocal arabesques simply to say good night.Anne Midgette, "WCO's La Sonnambula is live and wide awake", The Washington Post, September 17, 2012. Retrieved 25 April 2014 In an interview with Gary Tischler, who believes that "the work [Walker] does with the WCO is close to his heart", Antony Walker presented his own "take" on what concert opera means to him: :"...We have a slogan", he said. "It’s all about the music".
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This involved not only embellishing some of the arches with new forms but also adding a series of highly elaborate cupola ceilings composed in muqarnas (honeycomb or stalactite-like) sculpting and further decorated with intricate reliefs of arabesques and Kufic letters. Lastly, a new minbar (pulpit), in similar style and of similar artistic provenance as the famous (and slightly earlier) minbar of the Koutoubia Mosque, was completed and installed in 1144. Made of wood in an elaborate work of marquetry, decorated with inlaid materials and intricately carved arabesque reliefs, it marked another highly accomplished work in a style that was emulated for later Moroccan minbars Elsewhere, many of the mosque's main entrances were given doors made of wood overlaid with ornate bronze fittings, which today count among the oldest surviving bronze artworks in Moroccan/Andalusian architecture. Another interesting element added to the mosque was a small secondary oratory, known as the Jama' al-Gnaiz ("Funeral Mosque" or "Mosque of the Dead"), which was separated from the main prayer hall and dedicated to providing funerary rites for the deceased before their burial.
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As well as the many augmented and adapted editions of Raspe's text, the fictional Baron has occasionally appeared in other standalone works. In 1838–39, Karl Leberecht Immermann published the long novel Münchhausen: Eine Geschichte in Arabesken (Münchhausen: A History of Arabesques) as an homage to the character, and Adolf Ellissen's Munchausens Lügenabenteur, an elaborate expansion of the stories, appeared in 1846. In his 1886 philosophical treatise Beyond Good and Evil, Friedrich Nietzsche uses one of the Baron's adventures, the one in which he rescues himself from a swamp, as a metaphor for belief in complete metaphysical free will; Nietzsche calls this belief an attempt "to pull oneself up into existence by the hair, out of the swamps of nothingness". Another philosopher, Ludwig Wittgenstein, references the same adventure in a diary entry from 11.4.1937; his note records his having dreamt saying “But let us talk in our mother tongue, and not believe that we must pull ourselves out of the swamp by our own hair; that was – thank God – only a dream, after all.
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By introducing Art Nouveau elements in the form of three-part windows, of the аrabesque secondary plastic, modern designed details on the shop windows on the ground floor and the mezzanine, with the elements of French decorations, the authors achieved the luxurious facade program. The architectural plastic in the shape of floral arabesques, garlands and Art Nouveau masks, got a new dimension in the attic in the form of full sculpture of the symbolic meaning. The central motif of the main facade is the sculpture composition The Goddess Nika joining the trade and industry, whereas almost identical sculptural compositions The woman with the children were placed on the corners of the central protruding bay. One of those female sculptures is holding a torch in her hand, and the other one a pigeon.Đ. Sikimić, Fаcade Sculpture in Belgrade, Belgrade 1966, 64–65; D. Šarenac, Myths, symbols, Belgrade 1991, 24–25; М. Маrinković, Architectural plastic of the Public objects in Belgrade, master's thesis, Faculty of Philosophy, University of Belgrade, Belgrade 2005, 122–123.
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Its principal entrance, with Arab façade, is in the Plaza de la Monteria, once occupied by the dwellings of the hunters (monteros) of Espinosa. The principal features of the Alcázar are: the Patio de las doncellas (Court of the Ladies), restored by Charles I, with its fifty- two uniform columns of white marble supporting interlaced arches and its gallery of precious arabesques; as well as the Hall of Ambassadors, which, with its cupola, dominates the rest of the building—its walls are covered with fine azulejos (glazed tiles) and Arab decorations. The Giralda From the late 11th century to the mid-12th century the Taifa kingdoms were united under the Almoravids (of Saharan origin), and after the collapse of the Almoravid empire, in 1149 the town was taken by the Almohads (of North African origin). These were boom times economically and culturally for Ishbilya; great architectural works were built, among them: the minaret, called Giralda (1184–1198), of the great mosque; the Almohad palace, Al-Muwarak, on the present site of the Alcázar; and the pontoon-bridge connecting Triana on the opposite bank of the Guadalquivir to Seville.
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In order to remember the appearance of the palace at the end of the 11th century, we must imagine that all the vegetal, geometric and epigraphic reliefs were polychromed in shades in which red and blue predominated for backgrounds and gold for reliefs, which, together with the soffits in alabaster with epigraphic decoration and the floors of white marble, gave the whole an aspect of great magnificence. The various avatars suffered by the Aljafería, have made disappear from this layout of the 11th century a large part of the stuccos that made up the decoration and, with the construction of the palace of the Catholic Monarchs in 1492, the entire second floor, which broke the ends of the Taifal arches. In the current restoration, the original arabesques are observed in darker color and in white and smooth finishes the reconstruction of plaster of the decoration the arches, whose structure, however, remains undamaged. The decoration of the walls of the Golden Hall has disappeared for the most part, although remains of its decoration are preserved in the Museo de Zaragoza and in the National Archaeological Museum of Madrid.
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Ceiling of mudéjar carpentry, Segorbe town hall (former ducal palace), Valencia Region In architecture, Mudéjar style does not refer to a distinct architectural style but to the application of traditional technical, ornamental and decorative elements derived from Islamic arts to Romanesque, Gothic, and Renaissance architectural styles in the Christian kingdoms of Iberia (now Spain and Portugal), mostly during the 13th, 14th and 15th centuries, although it continued to appear in Spanish and Portuguese architecture as well as in other regions, most notably Hispanic America, in the 16th and 17th centuries. The main sites of Mudéjar architecture in Spain and Portugal: Early examples (grey) and regional subtypes: Aragon (yellow); Castile & León (red); Toledo (purple); Portugal (blue); Andalusia (olive green); other (white) Mudejar decoration and ornamentation includes stylized calligraphy and intricate geometric and vegetal forms. The classic architectural Mudéjar elements include the horseshoe and multi-lobed arch, muqarna vaults, alfiz (molding around an arch), wooden roofing, fired bricks, glazed ceramic tiles, and ornamental stucco work. Mudéjar often makes use of girih geometric strapwork decoration, as used in Middle East architecture, where Maghreb buildings tended to use vegetal arabesques.
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