Picasso the Muslim: Or, How the <i>Bilderverbot</i> became modern (Part 1)

Flood, Finbarr Barry

doi:10.1086/693384

Cited by 4 publications

(3 citation statements)

References 10 publications

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“…The material culture belonging to non-Muslims is systematically ignored, if not re-appropriated, stolen, or destroyed (Karaca, 2021;Üngör and Polatel, 2011). In addition, the narrative about prohibitions of human representation in Islamic art perpetuated by the art historical literature (Flood, 2017) has contributed to the idea that the statues of Mustafa Kemal were the first to appear in Turkey's public spaces. In this context, every statue in the cityscapes in Turkey is in conversation with the ubiquitous statues of Mustafa Kemal (Ahıska, 2011;Tekiner 2010) and therefore with official historiography.…”

Section: The Memory Regime Of the Statues Of Mustafa Kemalmentioning

confidence: 99%

“…Pointing at bringing civilization and enforcing coevalness, the military operation cost the lives of over ten thousand people and thousands more were sent into exile. The destruction of kinship ties through policies of annihilation and brutal demographic engineering loosened ties to the closed sociopolitical system and led to detachment from the enchanted landscape in which the Munzur river is believed to be the material afterlife of Munzur Bava, a holy character whose corporeal presence vanished when his magical capacities were discovered (Gezik and Çakmak, 2010).…”

Section: şEywuşen's Cigarette Suspending Mustafa Kemal's Triumphmentioning

confidence: 99%

“…One reaches Dersim 1 by passing the Munzur river and mountains, considered by many Alevi Kurds in this region of eastern Anatolia as material features of the afterlife of a mythical character. Munzur, one of the main components of Dersim's mythology, was a shepherd who disappeared and became a secret force ( sır ) after his miracle was revealed (Deniz, 2012, Gezik and Çakmak, 2010, Gültekin, 2004). The enchanting journey ends in Dersim's city centre at one of the recent addition to the holy landscape, a statue of a holy-madman ( budela ) holding a cigarette, seemingly lost in contemplation.…”

Section: Introductionmentioning

confidence: 99%

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The aesthetics of open-ended mourning: The statue of a holy-madman in Dersim, Turkey

Ilengiz

2022

Journal of Material Culture

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What happens to the notion of commemoration when its object is not fixed in time? Intervening in scholarly discussions on the contested nature of public remembering, this ethnographic research analyses how the afterlives of genocidal violence, of people and of mythical characters, are intermingled in divergent temporalities of public memorials. Through the case of the statue commemorating a locally known holy-madman, Şeywuşen (1930–1994), inaugurated in 1995 in Dersim (Tunceli), Turkey, it examines the possibilities and limitations of the statue's aesthetic form in representing madness and holiness both of which lie beyond the bounded character of rationality in its normative form. The article first juxtaposes the fluctuating temporality generated by the statue of Şeywuşen with that of Mustafa Kemal Atatürk (1881–1938), representing the official memory regime of nationalism. Secondly, it contrasts the temporal multiplicity enabled by the statue of Şeywuşen with the statue of Seyyid Rıza (1863–1937), which commemorates the officially denied Dersim Genocide (1937–1938) and represents collective trauma. By putting it into conversation with monumental and counter-monumental aesthetic representations, the article illustrates that the statue of Şeywuşen paradoxically memorializes what is uncontainable within the political order and temporality of the nation-state. It argues that this case presents the possibility of joining different communities of loss by generating space for open-ended mourning for multiple injuries resulting from state violence.

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Section: The Memory Regime Of the Statues Of Mustafa Kemalmentioning

confidence: 99%

Section: şEywuşen's Cigarette Suspending Mustafa Kemal's Triumphmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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The aesthetics of open-ended mourning: The statue of a holy-madman in Dersim, Turkey

Ilengiz

2022

Journal of Material Culture

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Islamic Geometries: Spiritual Affects Against a Secularist Grid

Shaw

2022

SOPHIA

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Discussions of surface pattern in Islamic art resonate within broader tensions about the role of figural representation in communicating meaning. The question of whether geometric pattern communicates—whether it functions as a language without a code—reflects broader tensions about the relationship between secular and spiritual communication. Poised between discussions of modernism and Islam, the attribution of linguistic capacity to geometry serves as a measure for the possibility of abstracting pure reason from the religious roots of representationalism. This paper explores this question in four parts. First, it examines the articulation of geometric meaning in Islamic discourses. It then explores European discussions of geometry between language and ornament poised between a search for universal reason and universal spiritualism, both in modernist painting and in modern exhibitions. The final section the expressive capacity of artistic responses to historical Islamic isometric geometries in the adaptive reuse of historical Iranian arts as contemporary abstraction in the sculptures of Monir Shahroudy Farmanfarmaian (1928–1919) and in the popular transformation prints of M. C. Escher (1898–1972). It argues that the frequent recognition of intrinsic meaning in geometry, expressed in both premodern Islamic and modern secular interpretations, undermines art historical expectations of theorization as a necessary intermediary for communication. Geometry thereby functions as a language without a code.

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Aporia in Umayyad Art or the Degree Zero of the Visual Forms’ Meaning in Early Islam

Gonzalez

2021

J. Mater. Cult. Muslim World

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This article re-examines the established findings about Umayyad art as a transitional production essentially anchored in the Western and Eastern Late Antique traditions that have inspired it. It argues instead that the Umayyads brought about an aesthetic revolution laying out the foundations of what has become known as “Islamic ornament,” a predominantly aniconic art form. An epistemological shift from art history to critical inquiry allows us to show that, beyond the adaptive borrowing of pre-existing forms, the Umayyads redefined the art’s condition of meaning based on an unprecedented attitude to images and visual discourse informed by Islamic ontotheology and logocentric metaphysics.

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Picasso the Muslim: Or, How the Bilderverbot became modern (Part 1)

Cited by 4 publications

References 10 publications

The aesthetics of open-ended mourning: The statue of a holy-madman in Dersim, Turkey

The aesthetics of open-ended mourning: The statue of a holy-madman in Dersim, Turkey

Islamic Geometries: Spiritual Affects Against a Secularist Grid

Aporia in Umayyad Art or the Degree Zero of the Visual Forms’ Meaning in Early Islam

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