Arabic
1019 creative works found
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Lianne / wrote an amazing poem about the desert Desert Wanderings Are the rare oases enough to / sustain the desert nomad? / And where is the desert boundary – / would the journeyman perceive / its end, or like me, see Canaan / and think it only temporary respite – / can he see beauty where I see none, / sculpture where I see sand – / has he more praise for palm trees / than I for all of Canaan’s promise? Deserts are but dry expanses of the mind / the hypochondria boredom breeds, / unirrigated months, parched and barren / where there is naught to slake one’s thirst / and coolness only stones beneath one’s tongue, / monotonous thoughtscapes, uninspired / wishing for rivers, never neared mirages / and longings so undefined / that even prayer is sterile. What happens to dreams that die? / Are they reborn in other minds / nourished in more fertile ground – / do the sands that cover them / windshift / reviving them again, or are they / preserved, like dried straw flowers, / still rich in color / but sapless, too fragile now to grow?
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This photo was taken in 2007 at Karnak temple (Egypt. Africa). The Karnak temple complex, universally known only as Karnak, describes a vast conglomeration of ruined temples, chapels, pylons and other buildings. It is located near Luxor in Egypt. This was ancient Egyptian Ipet-isut (“The Most Selected of Places”), the main place of worship of the Theban Triad with Amun as its head, in the monumental city of Thebes. The complex retrieves its current name from the nearby and partly surrounding modern village of el-Karnak, some 2.5km north of Luxor. / The complex is a vast open-air museum and the largest ancient religious site in the world. It is probably the second most visited historical site in Egypt, second only to the Giza Pyramids near Cairo. It consists of four main parts (precincts) of which only one is accessible for tourists and the general public. This is the Precinct of Amun-Re, and this it is also the main part of the complex and by far the largest part. The term Karnak is often understood as being the Precinct of Amun-Re only, as this is the only part most visitors normally see. The three other parts, the Precinct of Montu, the Precinct of Mut and the Temple of Amenhotep IV (dismantled), are closed to the public. There also are a few smaller temples and sanctuaries located outside the enclosing walls of the four main parts, as well as several avenues of human and ram-headed sphinxes connecting the Precinct of Mut, the Precinct of Amon-Re, and Luxor Temple. / The key difference between Karnak and most of the other temples and sites in Egypt is the length of time over which it was developed and used. Construction work began in the 16th century BC. Approximately thirty pharaohs contributed to the buildings, enabling it to reach a size, complexity, and diversity not seen elsewhere. Few of the individual features of Karnak are unique, but the size and number of features are overwhelming. Browse Palinchak Mikhail art by categories Art Nudes · Fractal Art · Egypt · Landscapes · Conceptual / / / /
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This is my tribute to Muntazer al-Zaidi. The legendary journalist who threw his shoe at George W Bush during his farewell visit to Iraq. Clearly it is based on Banksy’s “Flower Chucker” stencil which is based on a photo from the 1968 riots in Paris. I’ve tried to keep it faithful to both Banksy and Muntazer by illustrating his head as close as possible to the original press conference image, in the style of “Flower Thrower”. I also illustrated the shoe to fit his hand just nicely and added a bit of definition to the fingers. Love to know what you think. Good riddance George Dubbaya. Muntazer al-Zaid may be the thrower, but you certainly are the tosser. / / / / / / /
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Traveling on his way, the Fool first encounters a Magician. Skillful, self-confident, a powerful Magus with the infinite as a halo floating above his head, the Magician mesmerizes the Fool. When asked, the Fool gives over his bundled pack and stick to the Magician. Raising his wand to heaven, pointing his finger to Earth, the Magician calls on all powers; magically, the cloth of the pack unfolds upon the table, revealing its contents. And to the Fool’s eyes it is as if the Magician has created the future with a word. There are all the possibilities laid out, all the directions he can take. The cool, airy Sword of intellect and communication, the fiery Wand of spirituality and ambition, the overflowing Chalice of Love and emotions, the solid Pentacle of work, possessions and body. With these tools, the Fool can create anything, make anything of his life. But here’s the question, did the Magician create the tools, or were they already in the pack? Only the Magician knows – and on this mystery, our eloquent mage refuses to say a word. At #1, the Magician is the male power of creation, creation by willpower and desire. In that ancient sense, it is the ability to make things so just by speaking them aloud (“And God said ‘Let there be Light!’ and there was Light”). / —-—-—-—-—-—-—-—-—- / To read more go to this site
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This work is collaboration with the Al neaimi , i did this painting and Al Neaimi redesigned it digitaly , all the details and patterns are designed by him.
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Salam in arabic means peace... And this is what we need… It is also a lamb lying on its back, licking its front leg............... ;)
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I can not stop staring / a set of 2 Art works. / Original size 120×85 cm. Details /
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An old Arab man on an ancient backstreet – Aleppo, Syria.
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The talented Sally Omar / got inspired by This work and wrote this Poem to go with this Image , Thank you my friend. / —-—-—-—-—-— / YES MASTER Thank you for letting me sit for a while / We have walked many miles / I am tired and I have a heavy load / Traveling so far on this sandy road / See my Master I am shedding tears / Doing this for too many years / We have traveled this lonesome place / With sweat dripping down your face / Can we not find something else to do / This is alot of work for me and you / Perhaps we can take a trip / I hear that there are ships / Do they allow Camels inside / Or do you think I must hide / You are a good Master I must say / For allowing me to sit this way / When you speak I understand / And you always give me a hand / I know that you are tired too / Sorry I can’t sing a song for you / It’s really hot and I feel I can’t breathe / When you get up I’ll follow your lead / I guess it’s time to be on our way / We’ll be walking for several days / Now when you are tired sit on my back / I will keep us on the right track / Then again when we’ve walked more miles / Let’s sit down and talk awhile.
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Having decided what shape his future will take, the Fool strides forward. But he is impatient to make his future a full-grown reality. This is when he comes upon the Empress. Hair gold as wheat, a crown of stars, a white gown dotted with pomegranates. She rests back on her throne surrounded by an abundance of grain and a lush garden. It is possible that she is pregnant. Kneeling, the Fool relates to her his story. And she, in turn, smiles a motherly smile and gently gives him this advice: “Like newly planted grain or a child in the womb, a new life, a new love, a new creation is fragile. It requires fertile soil, patience and nurturing, it needs love and attention. Only this will bring it to fruition.” Understanding at last that his future will take time to build and create, the Fool thanks the Empress and continues on his way. Pregnant. Well, not in the Rider-Waite deck she isn’t. But she is in early decks, and it is an apt symbol for this card. The Empress is a creator, be it creation of life, of romance, of art or business. While the Magician is the primal spark, the idea made real, and the High Priestess is the one who gives the idea a form, the Empress is the womb where it gestates and grows till it is ready to be born. This is why her symbol is Venus, goddess of beautiful things as well as love. Even so, the Empress is more Demeter, goddess of abundance, then sensual Venus. She is the giver of Earthly gifts, yet at the same time, she can, in anger withhold, as Demeter did when her daughter, Persephone, was kidnapped. In fury and grief, she kept the Earth barren till her child was returned to her. —-—-—-—-—-—-—-—-—- / To read more go to this site*
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Digitally enhanced photo of an eye. I added some textures and used sparkle brushes to give it an oriental look. Original source: Arabica by Lilyas
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When I was there I had a very surreal feeling as if I was in another world . / one of my Favorite work in Black and white .
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This is an old Fort in Hata , Dubai , UAE.
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Blue door Marrakech
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Not long ago i came across the painting Tessellation: 1 by the Creative / Tania Donald i loved her painting as i am a big fan of Mosaic art, I asked Tania if i could do a collaboration work with her painting , to create something in my style,she was very happy and excited to see what I was going to do , I must say i but my heart and soul into this one and it took for ever to finish . / to see more of Tania’s work please visit her site , Thank you Tania for the inspiration. Tessellation: 1
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© Simone Byrne Photography, 2007. All Rights Reserved. 2nd May, 2007 Profile of an Arabian gelding. Lancefield, Victoria, Australia Camera: Canon EOS 350D Lens: Canon 18-55mm @ focal length 55mm Exposure: 1/500 sec, f5.6, ISO 1600 Filters: Hoya UV, Hoya CPL Processing: Adobe Photoshop CS More Images @ SimoneByrne.com.au Thanks for looking, all comments greatly appreciated, Simone.
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i Created this art when i was 17 .. the day i went London to study art this is what i took with me , and they loved it , and got me a place in uni … one of my old work that i still keep close. —-—-—-—-—-—-—-—— Lina / came up with this story to tell , please visit her pages for more great poems . / Thank you Lina . / —-—-—-—-—-—-— / My King I was with him in the desert, / I was 12 / He was ageless / Me and my mother traveled with him / We were fighting once again, / The tribes fought for many things, / This time it was water.. / Holy Holy Water He was our King in the desert, / We went with him everywhere / And inside my soul / Out there, / Burning the tears off with / The heat of 1,000 years I fell in love I was 12 and I could not be caught / Looking at him as if I were worthy / My mother was a widow / And our kind took care of each other / In the desert / In the heat that cleansed / Our Hearts and our Minds / Praise be to Allah, / Praise be to Allah, / Al ham dulAllah.. He took each of us in with his eyes / His men fought hard and we hurt very few, / He said we would only take / What Allah would give us, And he was right, / His fighting / Clean and Pure / He was our King in the desert, / Our Prince of survival I was 12 then.. And I loved him….
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In this abstract, I have attempted to capture the essence of an Arabic street market scene. / I worked quickly and used instinct and subconscious, rather than technical composition skill. I have used glued painted paper shapes, then painted an impressionist watercolour scene around the collage. 16th Sept 2008 update. / I’m currently working on a larger, watercolour-only, version of this 14”x10”. / less abstract and more real, but with impressionistic aspects.
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Me again. =) Just experimenting.
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