/Users/hussainavakil/Desktop/PHOTO-2023-12-03-18-35-42.jpg analise this art piece. it is a Kiswah (holy Kaaba covering )

Result #1

/Users/hussainavakil/Desktop/PHOTO-2023-12-03-18-35-42.jpg analise this art piece. it is a Kiswah (holy Kaaba covering ) in its pure state. Every part of it is exposed, covered with white paint so that even the black oil paint has an organic touch. The paint is light and translucent; it looks like translucent paper. The design on the surface is based on the shape of a cedar tree, but the branches are almost as tall as the cedar tree. The white paint is applied in a thickly applied coating that seems to absorb and transport the weight of the paint. The rest of the artwork is still white, and the painting is stuck on the wall, making it a permanent part of the wall.The message that the white paint conveys is obvious, and it is expressed through the artists solution to the surface. The wax/carbon paint was applied in a wet-on-wet process. A spray gun was used to push the paint up the surface and remove it. The spray gun comes in handy in this artist-run gallery, where there are no visible marks on the wall, even though it might have been used to adhere the wax/carbon paint to the wall. But even so, the spray gun is neither a means of covering the paint surface nor a means of applying it. The spray gun only acts as an introduction to the process of painting, which begins with placing wax in the spray gun and finishes with the spray gun spraying the paint on the wall. Even if the spray gun does not accomplish the process, it does completely cover the paint surface. The spray gun is not painted on a layer; it is sprayed on the surface.The reason for the painted surface is to tell a story. The paint gives the floor a color. The paint is not only covered with paint, but it is also covered with the decayed white substance of the wax/carbon paint. The decayed white substance, which has become a corpse, appears to be decaying. The decayed paint says, I will not die. This decayed paint says, I will not lose.

Result #2

/Users/hussainavakil/Desktop/PHOTO-2023-12-03-18-35-42.jpg analise this art piece. it is a Kiswah (holy Kaaba covering ) that makes it possible to look inside the box, to see the insides of the organ; this is why it is called a mur, a mashti. The enamel paint applied to the paint-coated metal is stretched to the canvas by the artist, who still uses the metal to support the painting. The decal that bears the words HUSSIN WASNT FORBIDEN in white on a blue background overlays on the painted metal and appears to have been applied by hand. The metal looks like a polished sheet. BAM! They are breathing down your neck! You feel the great heat of WALMARTS cathedral!The painting at SOHO was hung in a separate room. In it, the name of the Islamic religion is the same as that of the tradition of Islamic art, which has its roots in the Arabic tradition of painting. The tradition isnt limited to the Middle East, though; it is far from exclusive in its application of traditional art. As Mohammad Shahjahan wrote in 1924: The most beautiful painting in the world is in its extent; every object is equally beautiful. A collection of contemporary paintings by contemporary artists, signed by Shahjahan, is on display, and each of them is surrounded by the decoration of an Ottoman citadel.We need to find the white water of the holy Kaaba and the muslin of the white cloth covering the inside of the Mur. If we come closer to the Mur, we can see that it has been covered with a greenish-orange enamel. The room is bright and cheerful. The air seems to be very fresh. Painting is a mystery, even a magic. Painting is a mystery that does not belong to any religion. And, as we see in a painting that is very different from the one at SOHO, we can see that the paint has been applied by hand.

Result #3

/Users/hussainavakil/Desktop/PHOTO-2023-12-03-18-35-42.jpg analise this art piece. it is a Kiswah (holy Kaaba covering ) crafted from styrofoam and resin, a welcome representation of the Iraqi communitys process of interiorization after the 1991 Gulf War. Yet the museum did not manage to apply the same nuanced means to a pair of portable neomimetic vibrators, one model created by the Kurdish Inti-Globe Foundation, the other by the United Arab Emirates, whose governments have long faced geopolitical and economic barriers to international trade. To acknowledge both efforts to engage with contemporary art was a smart move, but its even more rewarding to consider the art-historical connections between the two countries, which have long exploited the demand for craftsmanship and craftsmanship-as-craftsmanship in contemporary art.Inevitably, several inaccuracies loomed large in the exhibition. The catalogue attempts to present a complex and nuanced reading of the relationships between the various actors, while its two display panels of Kilroy-like kimonos—each identified with the year of its production, with every line and text written in kenji (a traditional Iraqi script, printed on paper—thus crafted into ornate embroidery) and inscribed with the names of participants in the Iraqi revolution and its adherents, as well as members of the Saudi royal family—were less informative than the text on the subject of the kimonos, which is written in Shi'a script, meaning a precious but hard-to-get, and sometimes even impossible, alchemical substitute for an Arabic script. Meanwhile, the exhibition title suggested the implication of the fact that the juxtaposition of the two works may have been meant to suggest a duality—the of Shi'a and Sunni—while also hinting at the inherent biases of the cultures it represents. But this was not a metaphor for either side; in fact, the dissonance between the texts was more about the actual feelings that go on in the internal process of selecting, coordinating, and imposing orders on what remains.

Result #4

/Users/hussainavakil/Desktop/PHOTO-2023-12-03-18-35-42.jpg analise this art piece. it is a Kiswah (holy Kaaba covering ) that allows Muslims to adhere to Islamic traditions while taking part in other aspects of the dhimmi (unclean) art world.The image of an alabaster daub, made by a single hand, was a traditional form of aliya al-din in the Muslim tradition. The image of the Kabaa, by comparison, was an aliya masala (holy Koran)—a compilation of verses, usually dictated by a member of the clergy, to accompany the Quranic text. A classical manuscript copy of a verse from the Kabaa, held in the collection of the Musalla and annotated with the notes of alim, the alchemist, would constitute aliya masala. These two are marked by a profound mysticism. They exhibit a strong belief in the sacred texts of Islam. And they share a highly personal relationship with the heavenly objects—the moon, stars, and planets—that they study. The three-dimensional nature of aliya masala is evident in the three-dimensional alika, a standing alba (structure), or an upraised, erect penis. Al-Din (Three-dimensional aliya), al-Da (Three-dimensional alika), and al-Ahr (Three-dimensional alahr) are all aliya masala, such that al-Din has to conform to a certain geometric form and al-Da to a certain natural one. This is the same substance that gives aliya masala its title: al-Al-Din al-Da al-Al-Ahr (Three-dimensional aliya: the algaecium [moon] and the algaecium [sea]). As in many of the early modernist paintings of Surat, the algaecium and algaecium are given parallel and complementary forms. These three elements form a kind of aladdin or treasure chest.

Result #5

/Users/hussainavakil/Desktop/PHOTO-2023-12-03-18-35-42.jpg analise this art piece. it is a Kiswah (holy Kaaba covering ) , as one reads a peep show at a temple and the tapestries of Enki-Huf, the historical ruler of Babylon, a mythological deity who adopted the name Sukhrat Mardensch. The term is also used to designate the religious rituals of the Bayabudhist and Chaldean religions. However, Sukhrat Mardensch is not just a symbol of the ritual of cover, as the title itself suggests. In another work from the series Minorca, 2015–16, Sukhrat Mardensch (small temple covering) serves as a kind of religious cover, worn over a mummified head and presented in a simple rectangular frame. The head is covered by embroidered fabric and placed in a small wooden box, and the open mesh of the temple, which reveals no sign of defiled human skin, makes the interior look perfectly pristine. The headdress also reveals no sign of a skull or other body parts, as the pagoda-like structure of the cover suggests. In another series, 2013–14, the same headdress is shown in an open, linen-covered chest. As in the other works, the covered and uncovered surfaces of the temple cover the same canvas, while the cover is covered by embroidered fabrics. The headdress is also featured in a series of photographs of paintings by the artists Tammuzian, 2012–13, with their ornate embroidery and caps. The embroidery is literally a kind of embroidery, and the caps refer to the capes worn by the monks at the temple in Moosa, and to the hanja—the indigo string in the collection of Sukhrat Mardensch that fills the small pews of this museum—that are the calligraphic marks on the hanja.