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拍品專文
Much like the previous lot The Last Supper, Al Burak, also from 1974 is a seminal example from Fateh Moudarres' oeuvre that offers an underlying social commentary on the political crises that affected Syria following the implementation of the Baa'th Party under Assad's rule in 1971.
Instead of choosing perhaps the most well-known Biblical scene of the Last Supper, in the present work, Moudarres chooses to capture the scene of Ascension, whereby the prophet Mohammed (PBUH) ascends to heaven on Al Burak/Buraq, a mythical creature, which carried Him from Mecca to Jerusalem and back during the Isra and Mi'raj. In Moudarres' enchanting composition the artist captures Al Burak as large beautiful centaur in free-flowing blue lines implying a sense of spirituality and movement while two figures, one of which appears to be the Prophet with a large tall hat, are held in an endearing embrace. It is interesting that Moudarres has chosen to capture this poignant scene figuratively using inspiration from Persian and Mughal manuscripts in a region where figurative representation of Islamic characters, and specifically Mohammed (PBUH) are considered heretic. It thus reflects Moudarres' brash and mischievous character. Additionally, as with many of Moudarres' paintings, this work also draws inspiration from ancient Assyrian statues and iconography through his use of totemic style characters with thick lines and black slits for eyes, while the light colour palette and faint brushstrokes hark back to the limestone tombstones of Palmyra. Using a combination of many symbols, historical references and legends the success of Al Burak lies in Moudarres' ability to link the past with the present, and using tragedies from the ancient history as a way to tackle current affairs in Syria and the Middle East.
1974, the year this work was painted, was a significant year in Syrian political affairs. It followed the Yom Kippur War whereby Syria had lost its battle against Israel over territory in the Golan Heights, but most specifically followed the year in which the Permanent Constitution was implemented cementing Assad's power as president. This caused friction as the Constitution did not account for sectarian tension between the majority Sunni Muslims and the minority ruling Alawites and many riots erupted with a number of demonstrators killed and wounded in clashes. This consequently led to the declaration that Alawites were a sect of Islam and thus rightfully afforded the leaders of the Baa'th Party the ability to lead the Syrian Arab Republic. It is of no surprise that Moudarres has thus chosen to capture one of the most important moments for Muslims in his painting as a way to clearly offer his sentiments and offer a deep rooted social commentary using symbols that are only characteristic to Syrian history. In doing so, the viewer comes to realise that Al Burak is perhaps one of the strongest images conjured up by the artist and is an exceptional collector's piece.
Instead of choosing perhaps the most well-known Biblical scene of the Last Supper, in the present work, Moudarres chooses to capture the scene of Ascension, whereby the prophet Mohammed (PBUH) ascends to heaven on Al Burak/Buraq, a mythical creature, which carried Him from Mecca to Jerusalem and back during the Isra and Mi'raj. In Moudarres' enchanting composition the artist captures Al Burak as large beautiful centaur in free-flowing blue lines implying a sense of spirituality and movement while two figures, one of which appears to be the Prophet with a large tall hat, are held in an endearing embrace. It is interesting that Moudarres has chosen to capture this poignant scene figuratively using inspiration from Persian and Mughal manuscripts in a region where figurative representation of Islamic characters, and specifically Mohammed (PBUH) are considered heretic. It thus reflects Moudarres' brash and mischievous character. Additionally, as with many of Moudarres' paintings, this work also draws inspiration from ancient Assyrian statues and iconography through his use of totemic style characters with thick lines and black slits for eyes, while the light colour palette and faint brushstrokes hark back to the limestone tombstones of Palmyra. Using a combination of many symbols, historical references and legends the success of Al Burak lies in Moudarres' ability to link the past with the present, and using tragedies from the ancient history as a way to tackle current affairs in Syria and the Middle East.
1974, the year this work was painted, was a significant year in Syrian political affairs. It followed the Yom Kippur War whereby Syria had lost its battle against Israel over territory in the Golan Heights, but most specifically followed the year in which the Permanent Constitution was implemented cementing Assad's power as president. This caused friction as the Constitution did not account for sectarian tension between the majority Sunni Muslims and the minority ruling Alawites and many riots erupted with a number of demonstrators killed and wounded in clashes. This consequently led to the declaration that Alawites were a sect of Islam and thus rightfully afforded the leaders of the Baa'th Party the ability to lead the Syrian Arab Republic. It is of no surprise that Moudarres has thus chosen to capture one of the most important moments for Muslims in his painting as a way to clearly offer his sentiments and offer a deep rooted social commentary using symbols that are only characteristic to Syrian history. In doing so, the viewer comes to realise that Al Burak is perhaps one of the strongest images conjured up by the artist and is an exceptional collector's piece.