The Role of Women and Their Form in Contemporary Kurdish Tablets
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Abstract
This research is entitled "The role of women and their form in contemporary Kurdish tablets" This work aims to showcase the talent of Kurdish artists, not to mention the beauty of women. To carry out this research, you have interpreted and analyzed the tablets of Kurdish artists. As he researched how to relate the subjects of these tablets to women and art, he became familiar with the walls of women and how they were depicted in the.
At the end of this study, I reached the following conclusions:
- Artists depicted women in their paintings in a very beautiful and artistic way. This means that their works have a high level of beauty and art, especially in representing women.
- In the artworks of the artists of Kurdistan, the feminine characteristics and capabilities are fully displayed, making the paintings look very beautiful and full of meaning, and the artists showcased the artistic abilities and characteristics of women in the paintings, making them very beautiful and appealing.
- In painting number 1, the artist Nabaz Baban paints a portrait of a woman using acrylic paint. In addition to the woman's portrait, she has also painted several other paintings and drawings beside it, which she worked on with a lot of brushwork and details. Nabaz Baban completed the work in a new form of expression and with intense colors. The aim of this painting is to showcase the beauty of women while at the same time highlighting the suffering and difficulties of Yezidi girls and women. (In the first image, Nabaz Baban paints a woman using acrylic paint. She has depicted her with precision and beauty, alongside other things. She painted her in a new way and with many colors. She aims to demonstrate the beauty of women while also addressing the sorrows and suffering of Yezidi women and girls.
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How to Cite
Bahar Anwar Haydar, & Zedan Rashid Bradosti. (2026). The Role of Women and Their Form in Contemporary Kurdish Tablets. QALAAI ZANIST SCIENTIFIC JOURNAL, 11(4), 358–388. https://doi.org/10.25212/lfu.qzj.11.4.10

This work is licensed under a Creative Commons Attribution 4.0 International License.