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The hamsa hand can be represented in a drawing, a painting, an object, jewelry — just about anywhere in the home or on the body. There’s really no rule about who can use a hamsa.
A hanging hamsa in Tunisia. The hamsa (Arabic: خمسة, romanized: khamsa, lit. 'five', referring to images of 'the five fingers of the hand'), [1] [2] [3] also known as the hand of Fatima, [4] is a palm-shaped amulet popular throughout North Africa and in the Middle East and commonly used in jewellery and wall hangings.
The hamsa (Sanskrit: हंस, haṃsa or hansa) is an aquatic bird of passage, such as a goose or a swan. Its icon is used in Indian and Southeast Asian culture as a spiritual symbol and a decorative element. Hamsa is a part of the mythical love story of Nala and Damayanti. The hamsa is the vahana of Brahma & Saraswathi.
Enjolras painted portraits, nudes, interiors, and used mostly watercolours, oil, and pastels. He is best known for his intimate portraits of young women performing mundane activities such as reading or sewing, often illuminated by lamplight. Perhaps his most famous work is the "Young Woman Reading by a Window."
X-ray of painting showing original pose. Young Girl Reading, or The Reader (French: La Liseuse), is an 18th-century oil painting by Jean-Honoré Fragonard.It depicts an unidentified girl seated in profile, wearing a lemon yellow dress with white ruff collar and cuffs and purple ribbons, and reading from a small book held in her right hand.
Johannes Vermeer, for example, created numerous works around this subject, including A Woman in Blue Reading a Letter and Girl Reading a Letter at an Open Window. Despite this apparent acceptance of women readers, scholars have determined that the letters including in Dutch painting were almost exclusively love letters. [3]
Mir Sayyid Ali, the prophet Elias rescuing Prince Nur ad-Dahr from drowning in a river, from the Akbar Hamzanama. The Akbar Hamzanama (also known as Akbar's Hamzanama) is an enormous illustrated manuscript, now fragmentary, of the Persian epic Hamzanama commissioned by the Mughal emperor Akbar around 1562.
In his study of the Arabian epic, Malcolm Lyons [7] discusses Sirat Hamzat al-Pahlawan, which is a parallel cycle of tales about Amir Hamza in Arabic, with similarities of names and places to the Hamzanama: thus Anushirwan corresponds to Nausheravan, the vizier Buzurjmihr is synonymous to Buzurjmehr, and there are parallels for the Persian ...