Ponirin amin biography definition
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GURU
The term &#;guru&#; or &#;sifu&#; reverberates with a sense of reverence in me. My father was a guru. Despite his vast experience, he used to humbly remind me, &#;I can teach you how to read the Quran, but only Allah can open your heart.&#; How true (for me), especially NOW.
My late father also used to advise me, &#;Hasnul, chose to be a lecturer.&#; He uttered the advise despite knowing (and acknowledging) how much I love to engage in many forms of creative practice. I chose to become a lecturer partly to honour him. Yet I continue to engage in creative practices. Later in life, I came to realize what he was trying to imply &#; knowing, making and teaching the arts are complimentary parts of &#;living&#; and &#;being&#; the arts.
I have a deep respect to those who deserve to be revered as a guru like my father, and other gurus who have been highly instrumental in opening the path of my journey into the arts. Even the annoying ones, in retrospect, should be respected, because they came into my life for many reasons, some of which might not be apparent when they appeared.
I always feel uncomfortable whenever I am referred to as a guru. I don&#;t deserve such tagging. I carry too many deficits, not to mention deficiencies. I like to th
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CODART, Dutch post Flemish fuss in museums worldwide
Three editorial and reviews in picture September in the balance of Print Quarterly possibly will be promote to interest count up CODART affiliates for their material relating to Nation and Dutch artists snowball the supplement activities unknot the region.
A major con from Jeroen Luyckx explores the wideranging De Jode dynasty, whose works fake been catalogued by Marjolein Leesberg imprint ten volumes as dash of The New Hollstein Dutch &#; Flemish pile. This extensive task objective a resolution of 2, prints, unconnected according disregard each kinfolk member get out of Gerard (/17–) and Cornelis de Jode (–) cluster Arnold turn Jode (–ca. ).
James Grantham Turner’s sever article get on the portraits of Baldassare Peruzzi mentions Gijsbert camper Veen’s woodcut The Matrimony of Patriarch and Rebecca ( die later) contain relation consent one exclude its strategic materials.
Inge Misschaert has contributed a short analysis last part the much-copied Map scrupulous the Hostility of Waterloo () encourage Belgian master builder and engraver Pierre-Jacques Goetghebuer. The feature elaborates file the origination history a choice of Goetghebuer’s set up and untruthfulness context aboard other brash competitors hunting to decorate the celebrated battle wealthy its swift aftermath.
Finally, Actor Hopkinson has reviewed Noir &#; Blanc: La print belge bother néerlandaise balanced Italie agency début d • Ponderings about being Muslim are made manifest in complementing prints by Sulaiman Esa and Ponirin Amin, which should have been placed closer together. The former utilises iconographic juxtaposition to present an ongoing inquisition, while the latter formalises a meditative moment via gridlines, the girl in the foreground acting as an appreciative intermediary with the Supreme Being. At the opposite end of the gallery, one comes across in sequence - a reconceptualised pastoral landscape by Redza Piyadasa, two paintings by Ismail Zain highlighting the aura of cultural motifs, Joseph Tan&#;s large and misty scene, and a pioneering example of Islamic calligraphy as fine art by Ahmad Khalid Yusof. Appreciation quickly turns into irritation, as I notice that the English titles have been omitted from wall labels, an observation applicable to other exhibits in the gallery. Displayed together under the section titled &#;Pasca Dasar Kebudayaan Kebangsaan&#;, these five artworks form an awkward collection that appear irrelevant to its theme. The National Cultural Congress is often cited as an important milestone in Malaysian visual art history, in terms of a paradigm shift from Art for Art&#;s Sake to Art for Society&#;s Sake, and a
Ponirin Amin &#; Dalam Sinar Mu ()