{"id":11,"date":"2014-03-23T20:55:22","date_gmt":"2014-03-23T20:55:22","guid":{"rendered":"http:\/\/blogs.law.harvard.edu\/jomurphy\/?p=11"},"modified":"2014-03-23T20:56:47","modified_gmt":"2014-03-23T20:56:47","slug":"artistic-intoxication","status":"publish","type":"post","link":"https:\/\/archive.blogs.harvard.edu\/jomurphy\/2014\/03\/23\/artistic-intoxication\/","title":{"rendered":"Artistic Intoxication"},"content":{"rendered":"

\"\"<\/a><\/p>\n

In the article on Hafiz\u2019s Ghazals and Sultan Muhammad\u2019s \u201cAllegory of Drunkenness<\/em>,\u201d J.W. Morris articulates how these two works \u201cprovides us with an extraordinarily condensed representation of the entire Qur\u2019anic world-view\u2026\u201d This painted worldview described by Morris is situated on an architecturalscape. Angels and perfected spirits rest at the top of the house, while at the next level, as identified by Morris, the realm of imagination followed by all of the \u201cdivine knowers and friends\u201d reside. Much occurs both visually and spiritually in this cosmicscape, but Morris points to a particular decisiveness in the image of a:<\/p>\n

 <\/p>\n

spiritually central transformation of our experience and scattered practical loves into true inner knowing (the \u201cexaltation\u201d aspect), along with the illumination and awakened love that flows from its \u201clowering\u201d revelation to the historical, social world, are only visible and recognized here by those particular already intoxicated lovers\/seekers who are already inwardly standing outside in the promised \u201cGardens.\u201d\u2019<\/p>\n

 <\/p>\n

As both a viewer and reader of this painting, one can see the \u201cspiritual transformation,\u201d the idea of developing awakened love, and how all of this revelation is often only visible when \u201cintoxicated.\u201d In an attempt to feel this transformation, in an attempt to \u201cartistically intoxicate,\u201d I created this piece by changing the scape of a tall house to a bodyscape, a headshot almost. I altered the scape to one of a body in hopes that \u201cfilling\u201d a bodyscape with this scene would intoxicate. This piece explores the newness and unknown aspect of revelation, filling a body with layers and pieces, a body usually does not possess.<\/p>\n

 <\/p>\n

This piece explores truly feeling or wanting to feel \u201cfull of it all\u201d. The bodyscape is drawn so that it looks as if it might be receiving the \u201cpitcher of delight\u201d described in the line of the ghazal \u201cThe Angel of divine Love\u00a0grasped the pitcher of delight.\u201d This adds to the purpose of the piece being an attempt to receive and feel revelation though positioning oneself as a receiver of delight grounded in levels of knowledge of angels and knowers.<\/p>\n","protected":false},"excerpt":{"rendered":"

In the article on Hafiz\u2019s Ghazals and Sultan Muhammad\u2019s \u201cAllegory of Drunkenness,\u201d J.W. Morris articulates how these two works \u201cprovides us with an extraordinarily condensed representation of the entire Qur\u2019anic world-view\u2026\u201d This painted worldview described by Morris is situated on an architecturalscape. Angels and perfected spirits rest at the top of the house, while at […]<\/p>\n","protected":false},"author":6302,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-11","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/archive.blogs.harvard.edu\/jomurphy\/wp-json\/wp\/v2\/posts\/11","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archive.blogs.harvard.edu\/jomurphy\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.blogs.harvard.edu\/jomurphy\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/jomurphy\/wp-json\/wp\/v2\/users\/6302"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/jomurphy\/wp-json\/wp\/v2\/comments?post=11"}],"version-history":[{"count":3,"href":"https:\/\/archive.blogs.harvard.edu\/jomurphy\/wp-json\/wp\/v2\/posts\/11\/revisions"}],"predecessor-version":[{"id":19,"href":"https:\/\/archive.blogs.harvard.edu\/jomurphy\/wp-json\/wp\/v2\/posts\/11\/revisions\/19"}],"wp:attachment":[{"href":"https:\/\/archive.blogs.harvard.edu\/jomurphy\/wp-json\/wp\/v2\/media?parent=11"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/jomurphy\/wp-json\/wp\/v2\/categories?post=11"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/jomurphy\/wp-json\/wp\/v2\/tags?post=11"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}