Art
Ghufran Brimo; Effatolsadat Afzaltousi
Abstract
Illustrating children's book covers plays a significant role as a medium in conveying cultural concepts to them. Images that reference specific cultural concepts of a community or a region can indirectly strengthen the cultural identity of children.
The present study aims to answer the question ...
Read More
Illustrating children's book covers plays a significant role as a medium in conveying cultural concepts to them. Images that reference specific cultural concepts of a community or a region can indirectly strengthen the cultural identity of children.
The present study aims to answer the question of how the cultural identity of girls and women is depicted in the cover illustrations of children's stories in Arabic-speaking countries. Therefore, with the goal of understanding cultural identity, especially Arab identity among Arab-speaking girls and women, the study has conducted a comprehensive statistical analysis. In this regard, 249 cover designs from six Arab countries including Egypt, Iraq, Lebanon, Syria, Saudi Arabia, and the United Arab Emirates were examined for the age group (B). The research method is analytical-comparative.
The results show that Arab girls' identity is expressed through Islamic adornments, while the identity of adult women is depicted through botanical decorations, historical symbols, and wearing the veil. the identity of elderly women is emphasized with a focus on the veil, which is one of the most prominent visual symbols. However, this symbol is less prominent in Lebanon and Syria.The results indicate that the UAE is the richest country in terms of cultural visual symbols, while Syria is the weakest in this regard. Arab girls' and women's faces are prominent in most images, and the palm tree, a symbol of natural geography, plays a significant role in Arab identity, especially in Iraqi publications. Decorations also play an important role in representing the Islamic identity of these Arab countries, but they have had a minimal impact on showcasing the local identity of each country. Older women on the cover illustrations are often veiled, and the veil is one of the most prominent visual symbols. However, in Lebanon and Syria, this symbol is less prominent across all age groups. It seems that a general conclusion can be drawn that the identity of Arab girls and women on the covers of children's books in Arabic-speaking countries in the present study is a blend of Arab and Islamic identity, with a particular emphasis on geographical and natural symbols.
Effat Sadat Afzal Tousi; Mahdis Mohajeri
Abstract
Migration is now described not only as a geographical phenomenon but also as a cultural one, encompassing issues such as identity, language, alienation, nostalgia and roaming. These experiences can affect the process of creating a work of art. The art of migrants is known worldwide due to its representation ...
Read More
Migration is now described not only as a geographical phenomenon but also as a cultural one, encompassing issues such as identity, language, alienation, nostalgia and roaming. These experiences can affect the process of creating a work of art. The art of migrants is known worldwide due to its representation of important themes and issues. In this context, migrant artists from Islamic countries have been able to show their artwork in many aspects. One aspect of culture that develops during migration is language, followed by calligraphy. Calligraphy is an important part of the artworks created by artists from Islamic countries. In fact, its importance to language has made different functions. Among immigrant artists, female artists have also chosen calligraphy as an important element of their work. The main question of this paper is what the reason is for the use of calligraphy by migrant women artists. When looking at the artworks, it becomes clear that female artists from Islamic countries use calligraphy to represent their identity and otherness. Mikhail Bakhtin is one of the most important philosophers of the 20th century. One of his theories includes otherness. He believes that man always needs another man. In other words, man sees himself in the eyes of the other. This research, using the descriptive method of analysis and library sources, considers Bakhtin’s viewpoint when analyzing works of art. Among many works by female artists with migrant backgrounds from Islamic countries including Iran, Iraq, Morocco, Egypt, Palestine, and Algeria, three artworks by Moroccan, Iranian, and Iraqi women artists were selected to be specifically studied. The selected artists are Lala Esayyadi, Shirin Neshat, Havy Kahraman. These artists create their artworks in the position of otherness and they also want to highlight their identity with their otherness.
