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Fir Trail

4,000.008,000.00
My snowscapes of Kashmir titled ‘Firdaus bar ru-yi Zamīn’ depict the majesty of the snow clad mountains of Gulmarg. Verdant fir trees, dusted with white powder glistening with the different hues of the mountain sky, stand out upon the canvas. Together, with the rising mountain peaks and the seemingly infinite firmament beyond, the vistas truly feel like a paradise on earth. .I re-create semi-abstract impressions of what my eyes witness. I use the term re-create with the firm belief that the beauty inherent to such landscapes is by virtue of their creation at the hands of the Almighty. I am simply re-creating them on a canvas in a humble, yet artistic, manner of emulation. For the main compositions, relying on vivid memories as well as my own photos, I indulge in some artistic liberty with the placement of the flora and the use of colors. .In some of my works, I make use of heavy gels and acrylics to create thick textures on the mountain’s surfaces to signify their solidity, the solidity of existence. These massive monuments, their beauty and breath-taking majesty, are testament that the Almighty has created everything with a purpose: “Our Lord! Thou created not this in vain. Glory be to Thee (Quran 3:191).” . The use of Japanese watercolours in composing the fir trees compliments the heavy acrylics by adding an air of lightness. It also, simultaneously, contrasts with the heavy mass of the mountains alluding subtly to the notion of seeking spiritual enlightenment and loftiness while ridding oneself of the burdens of the corporal, material world. It is in this state of unburdened spirituality where happiness is found, nay, happiness reigns.
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4,000.008,000.00
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Flowers of the East

1,999.00
Biomorphic art is one of the three main forms in Islamic art, the others being calligraphy and geometry. Biomorphic patterns vary greatly, and their application can be found in various crafts and architectural designs. The popularity of floral motifs was because traditionally, living creatures and humans were not supposed to be depicted in Islamic art. Therefore, the plant kingdom provided subjects that were non-controversial and capable of stylization. We find the traditional floral pattern carved on the textiles, ceramics, manuscripts, on the interiors and facades of famous architectural monuments ie. Madrasa, Masajids and tombs all over the islamic lands. However in Persia and central Asia the floral designs reached its Zenith especially in the Mughal era. These floral motifs are inspired by nature and drawn with perfection using simples geometry with the help of compass and ruler.
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Free Printable Tazyeen Templates by RadiantArts.

0.00
Khatt & Design done by Shk Tayyab bhai Shk Tahir bhai Jamali.
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0.00

INĀSH Series / 1

4,000.008,000.00
Meandering down the streets of Cairo, eyes cannot escape the grandeur of the 10th century Fatemi edifices standing tall on al Moiz le Deenillah Street (al-Qaaherah al-Moizziyah) and the architectural motifs laced with ArabicKufic inscriptions from the Quran. Ears pick up the bustle of the markets of Khan al-Khalili and the hanging ornate brass and trinkets with traditional Arabic calligraphy that move gently in the warm breeze. Hands yearn to touch the textured stained glass arabesque designs on bottles, wall plates and glasses. The waft of ‘qahwah masreeyah’(Arabic coffee) and the fragrant smoke from the mabkhara ( incense) intoxicate.Bringing these sights to life by daubing the canvas with vibrant acrylics in an abstract manner; graphically infused with traditional arabesque and motifs inspired from Fatimi and Arabic art and architecture.INASH revives the senses by transporting one to the wonderful world of Nostalgia.
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4,000.008,000.00

INĀSH Series / 2

4,000.008,000.00
Meandering down the streets of Cairo, eyes cannot escape the grandeur of the 10th century Fatemi edifices standing tall on al Moiz le Deenillah Street (al-Qaaherah al-Moizziyah) and the architectural motifs laced with ArabicKufic inscriptions from the Quran. Ears pick up the bustle of the markets of Khan al-Khalili and the hanging ornate brass and trinkets with traditional Arabic calligraphy that move gently in the warm breeze. Hands yearn to touch the textured stained glass arabesque designs on bottles, wall plates and glasses. The waft of ‘qahwah masreeyah’(Arabic coffee) and the fragrant smoke from the mabkhara ( incense) intoxicate.Bringing these sights to life by daubing the canvas with vibrant acrylics in an abstract manner; graphically infused with traditional arabesque and motifs inspired from Fatimi and Arabic art and architecture.INASH revives the senses by transporting one to the wonderful world of Nostalgia.
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4,000.008,000.00

INĀSH Series / 3

4,000.008,000.00
Meandering down the streets of Cairo, eyes cannot escape the grandeur of the 10th century Fatemi edifices standing tall on al Moiz le Deenillah Street (al-Qaaherah al-Moizziyah) and the architectural motifs laced with ArabicKufic inscriptions from the Quran. Ears pick up the bustle of the markets of Khan al-Khalili and the hanging ornate brass and trinkets with traditional Arabic calligraphy that move gently in the warm breeze. Hands yearn to touch the textured stained glass arabesque designs on bottles, wall plates and glasses. The waft of ‘qahwah masreeyah’(Arabic coffee) and the fragrant smoke from the mabkhara ( incense) intoxicate.Bringing these sights to life by daubing the canvas with vibrant acrylics in an abstract manner; graphically infused with traditional arabesque and motifs inspired from Fatimi and Arabic art and architecture.INASH revives the senses by transporting one to the wonderful world of Nostalgia.
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4,000.008,000.00

INĀSH Series / 4

4,000.008,000.00
Meandering down the streets of Cairo, eyes cannot escape the grandeur of the 10th century Fatemi edifices standing tall on al Moiz le Deenillah Street (al-Qaaherah al-Moizziyah) and the architectural motifs laced with ArabicKufic inscriptions from the Quran. Ears pick up the bustle of the markets of Khan al-Khalili and the hanging ornate brass and trinkets with traditional Arabic calligraphy that move gently in the warm breeze. Hands yearn to touch the textured stained glass arabesque designs on bottles, wall plates and glasses. The waft of ‘qahwah masreeyah’(Arabic coffee) and the fragrant smoke from the mabkhara ( incense) intoxicate.Bringing these sights to life by daubing the canvas with vibrant acrylics in an abstract manner; graphically infused with traditional arabesque and motifs inspired from Fatimi and Arabic art and architecture.INASH revives the senses by transporting one to the wonderful world of Nostalgia.
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4,000.008,000.00

INĀSH Series / 5

4,000.008,000.00
Meandering down the streets of Cairo, eyes cannot escape the grandeur of the 10th century Fatemi edifices standing tall on al Moiz le Deenillah Street (al-Qaaherah al-Moizziyah) and the architectural motifs laced with ArabicKufic inscriptions from the Quran. Ears pick up the bustle of the markets of Khan al-Khalili and the hanging ornate brass and trinkets with traditional Arabic calligraphy that move gently in the warm breeze. Hands yearn to touch the textured stained glass arabesque designs on bottles, wall plates and glasses. The waft of ‘qahwah masreeyah’(Arabic coffee) and the fragrant smoke from the mabkhara ( incense) intoxicate.Bringing these sights to life by daubing the canvas with vibrant acrylics in an abstract manner; graphically infused with traditional arabesque and motifs inspired from Fatimi and Arabic art and architecture.INASH revives the senses by transporting one to the wonderful world of Nostalgia.
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4,000.008,000.00

INĀSH Series / 6

4,000.008,000.00
Meandering down the streets of Cairo, eyes cannot escape the grandeur of the 10th century Fatemi edifices standing tall on al Moiz le Deenillah Street (al-Qaaherah al-Moizziyah) and the architectural motifs laced with ArabicKufic inscriptions from the Quran. Ears pick up the bustle of the markets of Khan al-Khalili and the hanging ornate brass and trinkets with traditional Arabic calligraphy that move gently in the warm breeze. Hands yearn to touch the textured stained glass arabesque designs on bottles, wall plates and glasses. The waft of ‘qahwah masreeyah’(Arabic coffee) and the fragrant smoke from the mabkhara ( incense) intoxicate.Bringing these sights to life by daubing the canvas with vibrant acrylics in an abstract manner; graphically infused with traditional arabesque and motifs inspired from Fatimi and Arabic art and architecture.INASH revives the senses by transporting one to the wonderful world of Nostalgia.
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4,000.008,000.00

INĀSH Series / 7

4,000.008,000.00
Meandering down the streets of Cairo, eyes cannot escape the grandeur of the 10th century Fatemi edifices standing tall on al Moiz le Deenillah Street (al-Qaaherah al-Moizziyah) and the architectural motifs laced with ArabicKufic inscriptions from the Quran. Ears pick up the bustle of the markets of Khan al-Khalili and the hanging ornate brass and trinkets with traditional Arabic calligraphy that move gently in the warm breeze. Hands yearn to touch the textured stained glass arabesque designs on bottles, wall plates and glasses. The waft of ‘qahwah masreeyah’(Arabic coffee) and the fragrant smoke from the mabkhara ( incense) intoxicate.Bringing these sights to life by daubing the canvas with vibrant acrylics in an abstract manner; graphically infused with traditional arabesque and motifs inspired from Fatimi and Arabic art and architecture.INASH revives the senses by transporting one to the wonderful world of Nostalgia.
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4,000.008,000.00

INĀSH Series / 8

4,000.008,000.00
Meandering down the streets of Cairo, eyes cannot escape the grandeur of the 10th century Fatemi edifices standing tall on al Moiz le Deenillah Street (al-Qaaherah al-Moizziyah) and the architectural motifs laced with ArabicKufic inscriptions from the Quran. Ears pick up the bustle of the markets of Khan al-Khalili and the hanging ornate brass and trinkets with traditional Arabic calligraphy that move gently in the warm breeze. Hands yearn to touch the textured stained glass arabesque designs on bottles, wall plates and glasses. The waft of ‘qahwah masreeyah’(Arabic coffee) and the fragrant smoke from the mabkhara ( incense) intoxicate.Bringing these sights to life by daubing the canvas with vibrant acrylics in an abstract manner; graphically infused with traditional arabesque and motifs inspired from Fatimi and Arabic art and architecture.INASH revives the senses by transporting one to the wonderful world of Nostalgia.
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4,000.008,000.00
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INASH- Revive your Senses

500.00
RadiantArts presents exclusive notecards with renditions of paintings by Zaenab Imaduddin from her INASH by ArtbytheBay collection. The box contains 8 cards sized 4.5 in x 7 in and an envelope for each. ----- About the INĂSH Collection:Meandering down the streets of Cairo, eyes cannot escape the grandeur of the 10th century Fatemi edifices standing tall on al Moiz le Deenillah Street (al-Qaaherah al-Moizziyah) and the architectural motifs laced with ArabicKufic inscriptions from the Quran. Ears pick up the bustle of the markets of Khan al-Khalili and the hanging ornate brass and trinkets with traditional Arabic calligraphy that move gently in the warm breeze. Hands yearn to touch the textured stained glass arabesque designs on bottles, wall plates and glasses. The waft of ‘qahwah masreeyah’(Arabic coffee) and the fragrant smoke from the mabkhara ( incense) intoxicate.Bringing these sights to life by daubing the canvas with vibrant acrylics in an abstract manner; graphically infused with traditional arabesque and motifs inspired from Fatimi and Arabic art and architecture.INASH revives the senses by transporting one to the wonderful world of Nostalgia.
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500.00
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Islamic Art Workshop (22nd May 2021)

2,000.00
Ismalic Art of illumination is a 13th century art form which originated in Persia and incorporates the heavy use of gold along with arabesque and floral elements to represent nature in a divine form. The basis of which lies in balance and symmetry.Illumination meaning light, Uses gold highlights for decorative painting of motifs traditionally used to decorate the pages of Quran. Later on, "Art of The Book" extended to embellishing other books of literature. Collection and gifting of such books eventually became a status symbol owing to the valuable art of Illumination.
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Islamic Calligraphy: Thuluth Style

1,199.00
Topic: The Art of Writing Thuluth Script with Shk Shabbir Bagichawala Date: 10th July, Saturday Time: 4:00 P.M. - 5:30 P.M IST Fees: ₹1199 Minimum age of participant: 15 yearsArt form: Islamic Calligraphy: Thuluth Style An introduction to the different styles of Arabic Calligraphy with demonstration of simple letters, some word formations, and the asmaa’ mubarakah of Khamsat Athaar AS (Thuluth and Naskh style variants) by Master Calligrapher Shk. Shabbir Bhai Bagichawala.Along with the history and origin of the script, we will also introduce mizaan al-niqaat (guidelines for the placement and spacing of dots and lines). Participants will be taught writing formations of khatt-e-thuluth, which will be the focus of this workshop.Further, a practice session within the workshop will demonstrate the formation of some Asmaa’ Allah al-Husnaa and the sacred names of Panjatan Paak AS. This will facilitate practice of the calligraphy skills needed to create one’s own tazyeen for Ashara Mubaraka 1443 H.Material List: Graphy Copy Calligraphy pen or marker Size: 2.0 & 3.0 mm
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Islamic Geometry

1,099.00
Art Introduction: Islamic geometric patterns are one of the major forms of Islamic ornament that are often built on combinations of repeated squares and circles, which may be overlapped and interlaced, to form intricate and complex patterns. These may constitute the entire decoration, may form a framework for floral or calligraphic embellishments, or may retreat into the background as motif.Workshop Objective:
  • Learn the construction of symmetrical geometry shapes to build a striking Islamic pattern
  • Know the symbolism and the terminology of Islamic Geometry with its origin.
  • In this workshop you will be able to learn ‘Circle of Life’ grid along with the six fold Geometric patterns. The role of grids in Islamic geometric design is an essential part which will be broken down in the workshop.
  • By the end of this session you will be able to understand how Islamic geometric patterns are constructed and can apply this technical knowledge to come up with your own pattern.
  • At the end of the workshop you will have a neatly drafted pattern handmade by you with live guidance and feedback from the instructor.
Fees: ₹1099 Duration: 1.5 hours Date: 26th June 2021 Saturday. Time: 4:00 pm IST
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Islamic Illumination Art

1,800.00
Islamic Art of illumination is a 13th century art form which originated in Persia and incorporates the heavy use of gold along with arabesque and floral elements to represent nature in a divine form. The basis of which lies in balance and symmetry.Illumination meaning light, Uses gold highlights for decorative painting of motifs traditionally used to decorate the pages of Quran. Later on, "Art of The Book" extended to embellishing other books of literature. Collection and gifting of such books eventually became a status symbol owing to the valuable art of Illumination.Our Artist: Alefiya Abbas AliAlefiya is a Karachi, Pakistan based Traditional Islamic Artist. She holds a degree in fine arts with distinction. Her major subjects were traditional printmaking and Mughal miniature painting. After her graduation in 2012 she participated in many exhibitions and workshops.Traditionalist to the core. Her passion to learn more about traditional Islamic arts- Geometry, Ancient Islamic manuscripts, Miniature painting and Illumination brought her to VM Center of Traditional arts(Karachi centre of Prince’s School of Art, London) She secured 1st position in the program.Alefiya believes that her skills and creativity got a golden touch of knowledge and understanding of Traditional Islamic art. Her art is inspired by intricate designs of ancient Islamic manuscripts and miniature paintings.Alefiya practices traditional methods. From creating her own paints from natural pigments extracted from minerals, rock, plants and animals to making pure shell gold.She aims to revive the traditional Islamic arts so they can be recognised, glorified and celebrated today, as they were in the past.Duration: 2 hours 4:30pm-6:30pm
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Ism al-Jalalah

4,000.008,000.00
Glory to Him, Lord of the universe and Creator of the worlds. The majestic Kufic script pays homage to ‘Allah’ Ta’ala, the most exalted of His noble Names.
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4,000.008,000.00

JFRA 1 Jame al Anwar

8,000.0015,000.00
Photographer: Sh Qusai Malindiwala
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8,000.0015,000.00

JFRA 10 Jame al Anwar

8,000.0015,000.00
As the custodian of Fatimi culture and thought, al-Dai al-Ajal Syedna Mohammed Burhanuddin RA provided the philosophical basis for the architectural restoration of al-Jami al-Anwar, and made key decisions pertaining to its structure during his numerous visits. The restoration reflected not only principles of Fatimi architecture in its physical form, but also its spiritual—the science that elevates and shapes the soul. Throughout the entire project, Syedna Mohammed Burhanuddin’s RA detailed instructions and deep insight helped overcome the many hurdles that were faced. His leadership was inspiring, his vision enlightening. The ultimate purpose in restoring al-Jami al-Anwar was to revive it as a place of worship. During his many site visits, Syedna Burhanuddin RA would often lead salaat or conduct a session of remembrance and zikr, known as a majlis, where the Holy Quran and other prayers are recited. Ultimately, these acts were just as responsible for the restoration of the masjid as were the physical acts of rebuilding. The renowned Egyptian architect, Dr Hasan Fathy, a strong advocate for the conservation of the historic buildings of al-Qahira, was brought on as chief architect of the project. Beginning with a series of discussions, regarding the nature of the restoration, guided by Syedna Burhanuddin RA, Dr Fathy supervised the preparation of detailed architectural drawings and plans by other architects and engineers. (Extracted with minor edits from page 85-87 of ‘al-Jami al-Anwar-The Luminous Masjid’)
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8,000.0015,000.00
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