Artist : A.D. Pirous
Year : 1990
Dimension 100 x 150 cms
A.D. Pirous is well known with his art works of the Islamic spirit. The expression in his painting through the construction of the plane structure with the background of the colour radiates the various imaginative characters. With the principals of that structure, the painter has got the every strong sensibility on the composition and deep understanding of the various colour characters. Such spirit, at one time appers in the bright colour image, at another time may be in the excellent dim colour, or appars rich in the vibrating colours. The touch of the Acehnese ethnic beauty contains the ornaments or Buraq motives, and also gives the Islamic sociocultural spirit in his painting. The accentuation of the Arabic caligraphy reciting the paragraphs of the Holy Koran is the peak of his spirit.
In the painting "Beratapan Langit dan Bumi Amparan ( The Roof of the Sky and the Bed of the Earth ) ( QS. Al Baqarah:22 )", 1990, Pirous also presented the touching spirituality. The background of ultramarine blue gives the image of the unending depth of cosmos. At the top, a part of a piece of ochre plane gives the image of wide sky. At the bottom, two white planes with the caligraphy from the Koran stand strongly erect for the image for the earth. Between the images of the sky and the earth, a white line like a ray splits vertically through the depth of cosmos. With the various characteristics that can be read through the textual phenomena, the line like a ray can be interpreted as the divine ray connecting the sky and the earth. In the others painting, the paintir often built the natural sitution to give the strong background relating to the paragraphs of the Koran. Through the structure of the planes, space, and certain colours, the situation in the painting can reflect the cloudy dusk, bright morning, or silent night. Therefore, it can be said that Pirous was also succesful in developing the symbolic abstract painting. All the exploration of ideas, medium, and the technique, finally not only places Pirous as the reliable painter of caligraphy, but also declares his achievement as the Islamic spiritual painter.