Religious art or sacred art is artistic imagery using religious inspiration and motifs and is often intended to uplift the mind to the spiritual. Sacred art involves the ritual and cultic practices and practical and operative aspects of the path of the spiritual realization within the artist's religious tradition. A religious image, sometimes called a votive image, is a work of visual art that is representational and has a religious purpose, subject, or connection. All major historical religions have made some use of religious images, although their use is strictly controlled and often controversial in many religions. Hajra Ahmed’s as a young artist of the present era engendering a unorthodox contribution towards contemporary art of Pakistan and out of the mundane she has done tremendous religious art with aura of religious places of Pakistan. She has captured the passing moment and grasped the essence of the moment transpiring on the religious spot just like a ceremony of a memory through which a observer can understand the same feel which has been captured by the artist. In her paintings she strives to depict the exact situation by the great combo of naturalism and realism. Fresh colors have been used to enhance the personification of tariqat. Apart from the moment she also painted the shrines architecture in an actual manner which represent a symbolism of Islamic art and spiritualism.
This research explores the combination of Eastern and Western amalgamation in the artwork of Farhat Ali painter. This East and West cultural diffusion discourses inquiries about cultural identity and its conceivable effect. During academics, curriculum studying, and practising Western art and in the paintings, the painter has to produce the-eastern approach. It was unsuccessful as it made the East and West divisions unspecified because the artist had to do such work, which belonged to the culture. The basic structures within the institutions are copied from the West and mainly affect the local art sector and most of the communication being done, which is a clear effect of post-colonialism. It is apparent from Farhat Ali’s work and his practice entirely that he has shrewdly noticed this conflict. Farhat Ali’s choreographed gestures and their placement make for highly dramatized illustrations. It might incorporate calligraphy, miniature painting techniques, or traditional patterns into a modernist painting or use contemporary materials and colours to create classic images. Ultimately, the researcher will prove the East and West combination is a trauma for Pakistani painters. This study also accentuates sociolect-psychoanalytical cultural conflicts and how to affect the feeling and behaviour of characters.
Art is a visible manifestation of human creativity and imagination. A song, a sculpture, or a painting, for example, are all the products of human expressions, as are all other forms of art. They are typically admired for their beauty or emotional impact, much like in art. The human eye will appreciate the skill and beauty of an artist when they are able to depict reality in paintings in such a realistic manner. Therefore, it indicates that an artist is experimenting with realism when we talk about portraying subject matter so truly and without any artificiality. In the visual arts, realism refers to the precise representation of live forms, perspective, and the nuances of light and color. Viewing the work of a realistic artist using a conventional media and style is extremely uncommon in Pakistani contemporary art. Viewing works that explore only methods, drawing, composition, and accurately duplicating reality is even more uncommon. This chance came about as a result of Ali Azmat's recent solo exhibition at the Canvas Gallery in Karachi. Despite his past vivid and stunning work, a series of large-scale, realistic black and white portraits of women stood out.
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