In the ‘Unsulated Feats,’ Faig Ahmed artists distort the picture of the pious
It sounds good that the show of rugs from the southwestern Asia and North Africa (Siswana) is closed in the Gallery space The “Permanent Collections Submit is set by the Birmingham Museum of Art, which occurs within three walls to plan the shallow rosedor. This area of ​​space brings prayer to a faster and active sanctification, which invites a viewer to trust that what is transactions are true – yet trusting is the truth to disagree under close examination.
The flanking space gallery is a seven rug from the Dagestan Republic, Turkey, Iran, Azerbaijan and the Caucasus District, from the 19th and 20th district. Although produced in different cultural and local situations, rugs are combined by the shared synthetis of the Muslim and regional culture. Many show the visual Motifs such as Mihrabs and the Memoos-Lanternons traditionally used during Ramadan and Eids as their devices, tables designed and respectfully. Designed in order, diversity of form and origin is the availability of comprehensive Islamic Muslims and Muslim culture. Among them, to binding too much Mr. rug with mihrab, glass lights, and floral motifs . It is accorded under the litigation of gallery, with the calligraphic writing over its ground with glittering gold.
This meeting is disturbed by Shirvanshah (2024) Faig Ahmed. Running from the wall to the floor, the spring and direct examples of records around, although at Ahmed’s, the distorted weather to fary and lose their sensual design. A specific artampation between the killing of the dedication of dedication feels variation: From jarring from the historic line. Basic placement and comparison of the Ahmed’s Rugs in Gallery means it is impossible to escape its lasting influence – the authorized Auratorial decision. I felt always looking back when I watched some artworks. This feeling is not available, but mental distraction is available in the work of Ahmed.
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Living in the Egyptian “Fospeth” Era staying at a time when history is a constant speculation. Many modern methods use history as a healthy expansion area, that is, canon increase by lifting the wrong width. But this study study can have Nepharious. Does the historical custom move the historical culture and the context of today’s situation always lead to the net? This show seems to say something different.
The moment of respect to hear the deduction within devotion rugs always inappropriately distorted view of history in Ahmed’s Rug, which continues to remind us any History looks will be distorted. It is like global earthquakes in two features, it is impossible to present all the world’s aspects in a difficult way. Therefore, the key is to accept this distortion and select one that can be used for the best.
It is noteworthy that part of Shirvanshah That runs on the ground and facing the army does not meet. Taken in itself, it would pass as a prayer rage on his right hand. It is the only section hanging on the nearest wall. By this, Ahmed – represented by Azerbaijan in Venice Biennale-offering a poolely habit but created disrespectfully in their worship. On that, Shirvanshah Controlling religious habits next to the ongoing questions of those who put our hope.
“Lighting threads: Modern and indigenous rugs” are at the Museum of the Arts of Arts on April 13, 2025.
