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Pakistani art (Urdu: پاکستانی فن) has a long tradition and history. It consists of a variety of art forms, including painting , sculpture , calligraphy , pottery , and textile arts such as woven silk.
Mountains and Sea is a 1952 painting by American abstract expressionist painter Helen Frankenthaler. [2] [3] Painted when Frankenthaler was 23 years old, it was her first professionally exhibited work. [4] Though initially panned by critics, Mountains and Sea later became her most influential and best known canvas. [5] [6]
The culture of Pakistan (Urdu: پاکستانی ثقافت Pākistāni S̱aqāfat) is based in the Indo-Persian cultural matrix that constitutes a foundation plank of South Asian Muslim identity. [1] The region has formed a distinct cultural unit within the main cultural complex of South Asia, Middle East and Central Asia.
Shan shui painting is a kind of painting which goes against the common definition of what a painting is. Shan shui painting refutes color, light and shadow and personal brush work. Shan shui painting is not an open window for the viewer's eye, it is an object for the viewer's mind. Shan shui painting is more like a vehicle of philosophy. [6]
The Kalasha Valleys (Kalasha-mondr: Kaĺaśa Desh; Urdu: وادی کیلاش) are valleys in Chitral District in northern Pakistan. The valleys are surrounded by the Hindu Kush mountain range. The inhabitants of the valley are the Kalash people, who have a unique culture, language and follow a religion similar to the Historical Vedic religion.
The genre was also used by artists & painting schools such as 'Bundi school of painting' to make several miniature paintings depicting different months of the year. There are about 138 Barahmasa painting in National Museum, New Delhi. Most of these paintings were belong to late 18th century to early 19th century. [18]
Female Nude is an 1876 painting by Pierre-Auguste Renoir, also known as Nude Woman Sitting on a Couch, Anna (after its model), After Bathing and Pearl.It is housed in the Pushkin Museum, in Moscow, and is an example of Renoir's many nude paintings, a recurring subject that preoccupied him throughout his life.
In this work, Rembrandt shies away from classical conventions by showing her not as a glamorous beauty but as a frightened naturalistic looking girl. No other figure is included, but her alarmed look out of the picture space to the right creates narrative tension. The painting is an example of Rembrandt's rejection of idealized beauty.