Abstract
The measurement of beauty might be a problem when a person claimed about the value of beauty. This had brought the issue of Islamic aesthetics (which was expressed in the works of art), less appreciated and mired in the stagnation for centuries. While in the West, the aesthetic value had been trapped in the dichotomy of subjectivity and objectivity and had led to the relativistic subjectivity by marginalizing metaphysical approach. Polarization of Islamic aesthetics on geometric themes, arabas and calligraphy had put the creativity of Muslim artists in the stocks, even up to the understanding of the aesthetic itself. Iconoclastic of the mainstream of Islamic artistic should have been one option only. As a product of classical thought and compliance, the iconoclastic should have no longer been representing the needs and been existing in the present context. This study was trying to make arguments both longstanding and recent findings. Realism became researchers’ choice, because realism had the richest footing both in the Qur’an and scientific findings. This study expected to break the shell of orthodoxy about the size of aesthetics in the frame of Islam and gave hope to both the perpetrators and the art connoisseur to the ultimate point
Highlights
The issue of aesthetics expressed in the works of fine art was less appreciated in the Islamic world
Why art was not tolerated for realizing various variants, such as variants of tropical, sub-tropical, desert, pole, or a variant of ethnics which were born in the history of indigenous peoples’ groups? Traumatic history of paganism might have been the biggest reason for this decline in addition to paganism itself was the biggest fallacy in the concept of Islamic theology
Arab paganism was not ignorance in the context of the history of Arab internal problems, so it is unfair when sins committed by Arab paganism in the past was generalized to justify the deprivation on the expression of Islamic artistic
Summary
Jamaly) expressed in the works of fine art was less appreciated in the Islamic world. Aesthetic expression of Islam in the form of art, especially in the Shiite neighborhood that pictures of men still considered clean image including an image of the Prophet Muhammad though The prohibition of such practices resulted Muslim artists turned to some available form of arts.. The Greeks recognized the aesthetic sense called symetria to the beauty of visual (e.g. sculpture and architecture) and Harmonia’s beauty was based on hearing (music), Subsequently, the Sophists in Athens in the 5th century, drew symmetrical lines of beauty as something fun to the vision and hearing Still in this period, Aristotle provided aesthetic limits on the embodiment of structured and systematic of Plato’s idea. If Plato tried to move toward the infinite beauty, the opposite direction from his teacher, Aristotle precisely was contrary from the symbolism of beauty
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