الثلاثاء، 26 مايو 2020

Princess Nouronnihar \PAINTING FOR QUSAY TARIQ


Princess Nouronnihar
Acrylic on the canvas                                                                       
15000.000$
36×48 IN 
The Sultan of the Indies has three sons, Hussain, Ali and Ahmed. His niece, Princess Nouronnihar, is old enough to marry, and the three princes each want to marry her. The Sultan declares a contest, and all three go traveling to find the most wonderful item they can. Hussain buys a magical flying carpet. Ali finds an ivory telescope that lets him see anything anywhere. Ahmed finds an apple that can cure any illness. The brothers reunite and compare their gifts, but Ali looks through his telescope and sees that Nouronnihar has fallen ill. They use the carpet to go home, and Ahmed uses his apple to cure her. However, afterwards no one can decide which prince should marry her, as they were all instrumental to curing her. The Sultan declares an archery contest. Ali's arrow flies the farthest, and he wins Nouronnihar's hand.Ahmed's arrow, however, cannot be found, and he goes looking for it. He winds up at a mysterious cave, where there lives a beautiful lady named Paribanou with all of her servants. They fall in love but Ahmed returns home to his father, who believes that he is dead after all this time. Paribanou instructs Ahmed not to tell anyone about her. Ahmed makes regular visits to his father, but people at court grow suspicious of his obvious wealth and prosperity, and encourage the Sultan's jealousy. A sorceress goes to spy on the prince and find out where he lives. When she can't get into the cave, she pretends to be ill, and he takes her inside. Paribanou realizes immediately that the sorceress is shamming. The sorceress, having seen the fairy's amazing palace, returns to the Sultan and suggests that Ahmed and his wife may try to dethrone him.As an excuse to imprison Ahmed, the Sultan demands he bring him a tent small enough to fit in a man's hand but large enough to house an army; a magical healing water from a fountain guarded by fierce lions; and a man one and a half feet high, with a thirty-foot-long beard and a huge iron staff. With Paribanou's help, Ahmed retrieves all of these things. The dwarf with the long beard is Paribanou's hideous and fearsome half-brother, Schaibar. When Schaibar arrives at the palace, the Sultan recoils from him, so Schaibar kills him, the sorceress, and most of the people of court with his iron bar. He then sets up Ahmed as the new sultan
 Qusay Orientalism art 

 Most Europeans and Americans will not have a chance to see these countries. Artist and writer Qusay has begun to illustrate these strange lands, where they depict beautiful women who wear ingenuity through silk cushions, or sit naked next to a shared harem bath without any reference to self-awareness. Hence, these are things of fiction. Of course there were female narratives of life inside these places, but they were calmer than what we saw in the visuals.
Another bustling market he was another popular theme, as it depicted the magnificent and artistic architecture of the East. qusay was exceptionally good at this latter genre, The East was seen as the female counterpart of the masculine West; Ying needed for the West Liang, a missing piece of the puzzle. Thus, it was depicted as a dream-like; generously, cheerful, feminine. Irrational, chaotic but sensual, when Europeans and Amercin women in  tight clothes were afraid of dressing, and expected to abide by strict behavioral laws. On the other hand, this oriental woman was dressed in luxurious loose colored clothes. Rather than wandering on the edge of hard rear seats, they (ostensibly) spent their days lazily spending a long time, lying on stacked cushions as flat light flowed through the lattice shutters, dancing through the marble floors. Slave girls used to bring them sweets, fruits, and tea, and heat them in the afternoon sun. In the Victorian context, the appeal of fictional depiction of the East may be understandable. Perhaps the western world was looking for some escape from the rationality it imposed on itself and its urgent and strict nature. Some Orientalist art steps into a world of snoopers, which limits these women (who become white to suit European and Amercin tastes at the time) to desirable things.

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