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Realidades Alternas, alternative realities and altered states of the mind.
A question to Grok.
In the first centuries of the Muslim caliphates (primarily the Rashidun, Umayyad from 661, and early Abbasid from 750, roughly through the 9th–10th centuries), rulers and administrators developed significant infrastructure, urban projects, and centers of learning. These often expanded or maintained systems inherited from Roman, Byzantine, Sasanian, and other predecessors, while supporting a major translation and scholarly movement. Achievements were concentrated in core regions such as Iraq, Syria, and Egypt.Civil Works and InfrastructureEarly caliphs prioritized irrigation, water management, and urban foundations to support agriculture, growing populations, and administration in arid and riverine environments:
PACHER, Michael (b. ca. 1435, Bruneck, d. 1498, Salzburg) |
The picture shows one of the panels of the St Wolfgang Altarpiece.
The Resurrection of Lazarus deviates from iconographical tradition in a number of respects. Firstly, the scene is moved into an indoor setting whose architecture reveals an astonishing mixture of contemporary forms borrowed from both the sacred and the secular spheres. Secondly, the narrative unfolds not from left to right, but from foreground to background. It is true that Lazarus' sisters are kneeling parallel to the pictorial plane in the foreground, and that Christ is gesturing in the same direction, but Lazarus himself is seen from behind and foreshortened towards the rear. The main lines of the composition reinforce this inward movement - the vaulted canopy above the tomb, for example, the arrangement of the figures into lines resembling a guard of honour, and finally the view through the arch in the central axis out into the distant landscape. The New Testament subject is effectively obliged to take place in this demonstration of the painter's supreme mastery of perspective.
Pacher must undoubtedly have studied the works of Mantegna, and the figure of Lazarus almost seems to anticipate the latter's Dead Christ (Pinacoteca di Brera, Milan). The principle underlying Pacher's composition points even further into the future, however, insofar as the vanishing lines converge not upon one central object or figure, but rather allow the eye to escape, as it were, out into the open countryside.
https://www.wga.hu/html_m/p/pacher/wolfgang/3wolfgaj.html
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