Mother of dragons
Contemporary artist Shirin Neshat uses photographs to represent the complicated position of Muslim women in Islamic society (Naeem, 2004). In the Mother of dragons, a completely covered Muslim woman stands next to a male child, who is entirely naked, while holding her hand. In this photo, Neshat concentrates on three symbolic components, which include the gaze of the woman, the text across the image, and the veil worn. The woman in the photograph wears a Niqab, which acts as a material that hides the face of a woman and leaves only a gap for the eyes. Having the woman in the photograph wear garments that mimic the space that surrounds them seems to make her blend into the interior of the photo. This may be a method that Neshat uses to show how these women are bound to their homes by laws and social implications that prevent them from engaging in certain tasks such as walking down the street without being protected by a man.
Next to the naked male model, the woman appears to detach, not persuading the viewer, while also not avoiding the gaze. This shows a highly recontextualized image, as stripped of color and completely covered, the Muslim woman is protected from the gaze of the viewer. The woman is wholly veiled, with the exclusion of her arm while the boy next to her is completely naked. Hence, her coverage is highly emphasized by his coverage. This contrast seeks to express the privilege that exists between the two genders and the privileges provided to the male figure in the Islamic world. In this way, space between elements and the subjects within the photo seek to emphasize the lack of power of the female subject. Standing side by side, the image seems to be dissected in two between the veiled woman and the naked young boy. This ends up in the representation of the young boy as being stronger. The women are portrayed as being weak and submissive as the audience is directed to question her ability to express herself while entirely covered by the veil.
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This shows the use of the element of exaggeration by the artist, as a tool to express the skewed perceptions and reality that she believes are associated with her religion. The composition of the image is defined by the hard edge of the woman's Niqab and veil against the white background. This makes it appear sparse, measured, and symmetrical. The use of two subjects makes the photograph a host to internal contradictions regarding binaries such as the male and female privileges along with traditional and modern perspectives.
Another element used by the artist in this photograph is the text. This also exists in the rest of the ‘Women of Allah’ series (Firat, 2006). She utilizes direct calligraphic text for the creation of a pure and interactive visual feeling while acting as an ornament that enhances the meaning of the image. It acts as the voice of the woman in the portrait. The word are not from the Quran but of poetry, acting as a voice for the photograph itself. This technique works to seduce the audience and viewer by alluring them with the intelligence of the coordination between the photograph and the text itself. Furthermore, the use of Arabic calligraphy has been used to fascinate westerners, who are invigorated with the flow and movement of the words. The veil of the calligraphy is used to increase the expressivity of the image.
Adoration of the Magi
The adoration of the Magi is a sculpture made by Juan de Balmaseda. Neshat’s photograph can be contrasted with the adoration of the Magi due to the uneven balance of the subjects within both pieces of art and the different symbolic meanings held by each subject. The adoration of the Magi is an example of a late medieval trend towards the use of backgrounds to detail the travels of the Magi. The culture is highly dynamic with various elements and subjects with the only tranquil aspects being the mother sitting with her baby on the left side. The background of the scene references the extensive journey that the kings across several lands.
Due to its depiction of a highly significance scene in the bible, this sculpture possesses a religious importance. The family of the Holy child, is position to hold the focus of the viewer, placing them above the other subjects. Much in the same way that the naked young boy is placed over the veiled woman in Neshat’s work. Moreover, the Holy child is centralized through the placement of the directive star on top of him. The three Magi and their attendants present their gifts to offer increasing the centralization of the family. This makes a suggestion that this family is deserving of worship. While the sculpture emphasizes the importance of the scene, it also holds an element of humble realism. This is because, despite being Holy, the family is depicted as regular humans.
Like Nashet, Balmaseda uses a method referred to as Chiaroscuro, in which light is contrasted to the dark. This increases with the advancement towards the center of the image. The sculpture is full of biblical symbolism, the holy family, the three magi, the roman building that exists at the top-left, and the star that guided the three magi themselves (O’Kane, 2005). The artists stress the religious aspect of the piece. Every figure in the sculpture expresses piety, with the posture of the hands and bodies of the three magi acting as a revelation of devotion and contemplation of the divine mystery that they exist before.
However, while being full of symbolic meanings, as also seen in Neshat’s work, Balmaseda uses a completely medieval style in his work. The contrast between dark and light elements has been skillfully directed towards the center of the sculpture where the baby Jesus is being held. The adoration of the Magi can, therefore, be divided into two: the Holy family and the three Magi. As already stated, the artwork clearly expresses the difference between the holy family and their visitors. While the artist places the holy family on the right, the three Magi are placed on the west. The gazes of the six subjects are directed towards each other, creating a feeling of symmetrical balance.
Conclusion
The two pieces of art, while being created in completely different periods, are both highly symbolic. Neshat attempts to depict the powerless existence of women in Islamic society through her photograph, while Balmaseda aims to depict the religious significance of the adoration of the Magi through his carved sculpture. However, the use of symbolism is the only similarity between the two. Neshat uses black and white within the photograph to allow the female subject to blend into the background. On the other hand, Balmaseda uses Chiaroscuro to emphasize the contrast between the two different groups of subjects. Through the use of various elements, both pieces of art have been able to establish a balance between the elements in their work.
References
Fırat, B. Ö. (2006). Writing with the Body; Writing over the Body: On Shirin Neshat’s ‘Women of Allah’Series. Sign Here! Handwriting in the Age of New Media .
NAEEM, A. (2004). Shirin Neshat's Women of Allah series: the differentiation and degeneracy of Islam.
O'Kane, M. (2005). The artist as reader of the Bible. Visual exegesis and the adoration of the Magi. Biblical Interpretation , 13 (4), 337-373.
