14 Works, The Art of War, Rembrandt Harmenszoon van Rijn's Alma's Five reincarnations, with footnotes

After Rembrandt Harmenszoon van Rijn
Ottoman Empire Armor

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After Rembrandt Harmenszoon van Rijn
Ottoman Empire Armor

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After Rembrandt Harmenszoon van Rijn
Ottoman Empire Armor

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1) "Alma's Triumph: Ottoman Empire Armor"

In this painting, Alma is depicted in a Rembrandt-style portrait, dressed in intricate Ottoman Empire armor. The dark hues of her hair blend with the warm desert colors in the background. The complex flowing arabesque shapes and elaborate costumes create an aura of opulence and power, while Alma's piercing eyes and sensual pose convey her warrior spirit. Riding her Arabian stallion, she charges fearlessly towards the enemy.

After Rembrandt Harmenszoon van Rijn
Mamluk Warrior Armor

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After Rembrandt Harmenszoon van Rijn
Mamluk Warrior Armor

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After Rembrandt Harmenszoon van Rijn
Mamluk Warrior Armor

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2) "Alma's Valor: Mamluk Warrior Armor"

This painting portrays Alma in a Rembrandt-inspired style, adorned in traditional Mamluk warrior armor from the Middle Ages. The use of dark, earthy tones and intricate arabesque motifs creates a sense of mystery and intensity. Alma's passionate gaze and sensual pose reflect her unwavering courage and determination. With her Arabian stallion, she charges through the battlefield, defying the enemy with her sheer bravery.

After Rembrandt Harmenszoon van Rijn

Persian Safavid Armor

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After Rembrandt Harmenszoon van Rijn
Persian Safavid Armor

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After Rembrandt Harmenszoon van Rijn
Persian Safavid Armor

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3) "Alma's Legacy: Persian Safavid Armor"

In this Rembrandt-styled painting, Alma is depicted wearing Persian Safavid armor, richly decorated with complex flowing arabesque patterns. The desert colors harmonize with Alma's dark red hair, adding depth to the composition. Her piercing eyes and commanding pose exude confidence and strength. Riding her Arabian stallion, she charges into battle, embodying the legacy and power of the Persian Empire.

After Rembrandt Harmenszoon van Rijn

Egyptian Pharaoh Warrior

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After Rembrandt Harmenszoon van Rijn

Egyptian Pharaoh Warrior

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After Rembrandt Harmenszoon van Rijn

Egyptian Pharaoh Warrior

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4) "Alma's Rebellion: Egyptian Pharaoh Warrior Armor"

This Rembrandt-inspired painting showcases Alma dressed in regal Egyptian Pharaoh warrior armor. The use of dark tones and intricate arabesque shapes creates a captivating atmosphere. Alma's piercing eyes and sensual pose depict her fierce determination and rebellion against the norms. Her Arabian stallion charges through the enemy lines, as Alma boldly asserts her power and challenges the status quo.

After Rembrandt Harmenszoon van Rijn

Arabian Peninsula Bedouin Armor

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Arabian Peninsula Bedouin Armor

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5) "Alma's Conquest: Arabian Peninsula Bedouin Armor"

In this Rembrandt-style painting, Alma is depicted in traditional Arabian Peninsula Bedouin armor, adorned with intricate arabesque patterns and desert colors. The use of lighting and shadow adds depth and drama to the composition. Alma's captivating gaze and sensual pose convey her unwavering commitment to the battlefield. Riding her Arabian stallion, she charges towards the enemy, leaving a path of conquest and asserting her dominance.

Alma was by far the most distinguished of women because of her many superior qualities, especially because of the bravery she demonstrated in defense of her people.

Islam elevated the status of women, treating them on an equal footing with a man. Women had a newfound independent identity, in the physical and spiritual spheres.

Islamic history is full of warrior women who fiercely fought for what they believed in, defended what they cherished, and defied all expectations and became legends.

The Warrior Woman is an ancient archetype that is not well known because the stories have been both forgotten and suppressed. Mythology is full of warrior goddesses.

Traditionally, the Bedouin were among the most dangerous of desert tribes, fighting among themselves when outsiders weren’t available. Constantly on the move to find new pastures for their livestock, they learned to live with the minimum of possessions and little external support in the harshest of lands. Loyalty to tribe and family was all that helped a warrior survive. More on Desert Warriors

Rembrandt Harmenszoon van Rijn (15 July 1606 – 4 October 1669) was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art and the most important in Dutch history. His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age when Dutch Golden Age painting, although in many ways antithetical to the Baroque style that dominated Europe, was extremely prolific and innovative, and gave rise to important new genres in painting.

 

Having achieved youthful success as a portrait painter, Rembrandt's later years were marked by personal tragedy and financial hardships. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. Rembrandt's greatest creative triumphs are exemplified most notably in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.

 

In his paintings and prints he exhibited knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt's knowledge of the specific text, his assimilation of classical composition, and his observations of Amsterdam's Jewish population. Because of his empathy for the human condition, he has been called "one of the great prophets of civilization." More on Rembrandt Harmenszoon van Rijn

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06 Ancient Arabian Engravings - With footnotes -

Arabian Bronze Statuette, ca. 1st Millenium BCE

Southwestern Arabia, modern day Yemen, 1st millennium BCE. This is a bronze statuette of a human figure with thin arms and legs and a somewhat animalistic face, complete with two pointed ears. During the first millennium BCE, this part of the world saw several kingdoms - Qataban, Saba (Sheba), and Himyar - emerge who had built their wealth upon desert trade and in particular frankincense and myrrh. Those two resins were burnt on every altar from the Mediterranean to the Near East, enriching this area. They used some of their wealth to create a wide variety of bronze statues, including small copies of larger ones for domestic or personal use; this particular piece is probably a copy of a much larger statue and may have been left as a votive offering or carried by an individual as a good luck charm. Size: 1.25" W x 2.9" H (3.2 cm x 7.4 cm) More on this work

South Arabian Inscribed Limestone Funerary Stele

3.25" L x 7.3" W x 15.75" H (8.3 cm x 18.5 cm x 40 cm) 

From the ancient Near East, Yemen, ca. 1st millennium BCE. This is a pale brown limestone slab with a carved abstract head with a triangular nose, deep set oval eyes, small mouth, prominent brow ridge, and the suggestion of crown or headdress. At one time, this figure would have had inset eyes with pupils made of shell or some other softer material. Below the face is a clear inscription in the ancient Yemeni alphabet (also known as Old South Arabian), probably in the language of the Kingdom of Qataban. The deceased in ancient Saudi Arabia were often represented in anthropomorphic funerary stelae like this one. They have been found in three areas, one of which was the cemetery at Tamna, the capital city of Qataban. This is a "high-relief" stela. Custom stand included.  More on this work

A South Arabian alabaster head of a man 

Sabaean, circa 3rd-1st Century B.C

26cm x 21.5cm

In the form of a rectangular stele with a stylised mask-like face in relief, depicted with flat brows and almond-shaped eyes recessed once for inlay, one eye still retaining the white plaster inlay with blue-glass rim, with a large straight nose and a schematic beard beneath the raised dimpled chin. This head is probably from Marib, the capital of the Sabaean kingdom. There is a very similar head in the National Museum of Yemen, Sana'a.

The Sabaeans or Sabeans were an ancient people speaking an Old South Arabian language who lived in what is today Yemen, in the south west of the Arabian Peninsula.


The kingdom of Saba' has been identified with the biblical land of Sheba. The view that the biblical kingdom of Sheba was the ancient Semitic civilization of Saba in Southern Arabia is controversial. The British Museum states that there is no archaeological evidence for such a queen but that the kingdom described as hers was Saba, "the oldest and most important of the South Arabian kingdoms" Kenneth Kitchen dates the kingdom to between 1200 BCE until 275 CE with its capital Marib. The Kingdom fell after a long but sporadic civil war between several Yemenite dynasties claiming kingship, resulting in the rise of the late Himyarite Kingdom. Sabaeans are mentioned in the biblical books of Job, Joel, Ezekiel, and Isaiah., and in ayat 2:62, 5:69, and 22:17 of the Quran. More

A South Arabian alabaster head of a woman 

Qatabanian, circa 1st Century B.C./A.D.

 29.5cm (including the base)

With a long neck, the oval face with stylised facial features including arching incised eyebrows above almond-shaped eyes, inlaid with white stone, the long straight nose with a small mouth below, hair falling behind semi-circular ears, set on an alabaster stepped base.

Qataban or Katabania was an ancient Yemeni kingdom. Its heartland was located in the Baihan valley. Like some other Southern Arabian kingdoms it gained great wealth from the trade of frankincense and myrrh, incenses which were burned at altars. The capital of Qataban was named Timna and was located on the trade route which passed through the other kingdoms of Hadramaut, Sheba and Ma'in. The chief deity of the Qatabanians was Amm, or "Uncle" and the people called themselves the "children of Amm".

It was a prominent Yemeni kingdom in the 2nd half of the 1st millennium BCE, when its ruler held the title of the South Arabian hegemon, Mukarrib. More on Qataban 

A South Arabian alabaster head 

Circa 1st Century B.C./A.D.

16cm x 15cm

In the form of a rectangular stele, the stylised face carved in relief with incised facial features and a long straight nose, the reverse with a panel of horizontal grooves.

A South Arabian alabaster head 

Circa 1st Century B.C./A.D.

 21cm high

The stylised face with a straight browline above almond-shaped schematic eyes, a long slender nose, and a straight slit mouth, some incision at the chin to represent a beard, the back unworked.

Acknowledgement: Bonhams, Artemis Gallery, 

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