Les Rendez-Vous de CharLes : LE MILIEU

Cari amici dell’Arte,

Fréquentez-vous d’autres Milieux?

The hawk came forward with his head held high

His boasts of grand connections filled the sky.

His talk was stuffed with armies, glory, kings.

He bragged: ‘The ecstasy my sovereign brings

Has turned my gaze from vulgar company.

My eyes are hooded and I cannot see,

But I perch  proudly on my sovereign’s wrist.

I know court etiquette and can persist

In self-control like holy penitents;

When I approach the king, my deference

Correctly keeps to the established rule.

What is this Simorgh? I should be a fool

If I so much as dreamed of him. A seed

From my great soveriegn’s hand is all I need;

The eminence I have suffices me.

I cannot travel; I would rather be

Perched on the royal wrist than struggling through

Some arid wadi with no end in view.

I am delighted by my life at court,

Waiting on kings or hunting for their sport.’

Extract – The Conference of the Birds – by Farid Ud-din Attar (Penguin classics) translated by Afkham Darbandi and Dick Davis

à lire: La référence de mon Milieu

Clin d’oeil:


CharLes by CharLes

by CharLes


emirati burqa

Emirati Burqa – An Intimate Object by Karima Alshomaly at Sharjah Heritage Museum (UAE) till June 4th, 18

The exhibition invites visitors to explore the Emirati burqa on a substantial level that is hidden from the naked eye. It is a dialogue between visual arts and significant heritage symbols, where the burqa is a visual text that authors the silent face’s memoir. It allows the onlookers a unique access to a world that highlights the daily life and rituals of the burqa owner. It contains a detailed dark text on a lively blank surface, confronting the eyes that directly reflect the human soul. It displays the beliefs associated with the practice of burqa wearing and its rituals, especially the ones used in the past, which some of them remain as they were, with the addition of modern adjustments. With the content’s solid presence, We stress on the importance of the emotional charge that intensifies at the meeting point with this artifact which the artist poised for display, or at the burqa’s place in heritage whether in the UAE community or beyond it, or what still needs to be interpreted and to be shown not as a piece of the past, but as an independent aesthetic system capable of establishing on it the leaps it took to fulfill an aesthetic need, and as an advanced form of expression towards physical and intellectual potential, and launching serene aesthetics of the human face, and especially that of a woman.

The Emirati burqa by Karima Alshomaly

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