Islamic Art Research Articles

Türk Hat Sanatında Hz. Muhammed Sevgisini Konu Alan Çalışmalar

Calligraphy, which has an exceptional place in Islamic art and culture, has shown its historical development especially on the Qur’an inscription. Undoubtedly, besides the importance that Islam attaches to reading and writing, the encouraging attitude of the Prophet on this issue has also been effective in making writing an art. Calligraphy reached its highest level in history through famous calligraphers. It became prominent in the Ottoman period after the development and purification process that continued for centuries, and gained a universal dimension with examples found in various museums around the world. As well as an art branch by itself, calligraphy, which is combined with other art techniques, accordingly, has wide usage in Turkish Islamic art. In this article, calligraphy works about topics such as love of the Prophet Muhammed, his exemplary personality, words, and behavior are discussed. Manuscripts and especially Qur’ans are at the top of this kind of calligraphy. Hadith and schamail books, which contain the words and behavior of the Prophet Muhammed, also have an important place among handwritten books. Kit’as which are mostly composed of hadiths, murakkas (albums) created by combining kit’as, panels on which the verses about the Prophet and literary texts involving the love of the Prophet are written, hilyes in the form of verbal portrayal of the Prophet Muhammed were evaluated with visual examples.

Analysis of the reflection of traditional Islamic art in poster design with emphasis on posters of the thirty-fourth international competition of the Holy Quran

Analysis of the reflection of traditional Islamic art in poster design with emphasis on posters of the thirty-fourth international competition of the Holy Quran

An analysis of methods for understanding Islamic art and architecture

An analysis of methods for understanding Islamic art and architecture

Tastemakers, ‘Foreign Merchants’ and the Making of the V&A’s Islamic Art Collection.

The relationship of the V&A with three dealers, Krikor Minassian, Hagop Kevorkian and Dikran Kelekian, proffering goods from the Ottoman Empire they had recently fled, provides an interesting case study for viewing asymmetries of power in the 20th-century art world. Referred to by museum staff as ‘foreign merchants’, these dealers went out of their way to prove themselves as collectors. Museum staff continued to view them with suspicion and condescension into the 1930s and even 1950s. Keepers and Directors voiced the opposition of institutional values to the trade, but, after the death of Kelekian in 1951, they showed themselves to be motivated by financial gain. These relations draw attention to the ways in which the museum attempted to demonstrate its hegemony over ‘others’, beyond better-studied colonial relationships. The difference in dealings of these Armenians with American and British institutions indicates at the unusual role of the V&A and its preoccupation with social control.

Kesenian Arsitektur Islam: Alun-alun Kabupaten Gresik Pasca Renovasi

This study aims to determine the Islamic art architecture used in the Gresik Square building after renovation in 2016. This study uses qualitative research methods based on literature studies and field studies. Literature studies in this study use a journal reference written by Fikriani, Aulia (2010) entitled “Arsitektur Islam: Seni Ruang dalam Peradaban Islam” and a thesis written by Azzahra, Nofianda Fatimah (2018) entitled Konflik Pemanfaatan Ruang Publik Kota. Furthermore, the field data sources in this study uses (1) Interviews obtained from the speaker, Mr. Kris Aji, as historian and cultural observer of Gresik, (2) Observation, and (3) Documentation of the Gresik Square building after renovation. The results of this study are the Islamic architectural art used in the Gresik Square building after renovation including (1) Transfiguration of the hallway structure on the ground floor, (2) Transfiguration or ambiguity of function in open spaces decorated with date palm trees, and (3) Ornamentation with Islamic feature and style used on the second floor of the Gresik Square building fences. Overall, it can be seen that, the Gresik Square building after renovation using Islamic art architecture is used as an affirmation of Gresik's identity as an Islamic city or santri city.

مترجم یا سفیر: پرنس ارفع دانش

The nineteenth century was a transitional era in the history of Iran, and among all dynasties that had ruled over the country, it was the Qajar dynasty who had built a bridge between tradition and modernity. A big part of modernization in Iran was and has been the duty of translators throughout modern history. During the Qajar era, translators were mostly found among the students who had furthered their studies in Western countries. They were mostly employed in the government sector after graduation. One of the influential translators of the time was Mirza Reza also known as Prince Arfa’, who first had served as a translator in the Embassy of Iran in Tbilisi [in present-day in Georgia] and proceeded to be an ambassador of Iran to the Ottoman court. Based on historical shreds of evidence traced from six royal decrees displayed at the Islamic Arts Museum Malaysia, this study tries to draw a timeline on Prince Arfa’, highlighting his contributions in diplomatic services as well as the Persian literature. This paper draws on a descriptive framework based on a certain timeline to explain Prince Arfa’s biography in relation to historical context.

Metacomposite structure with sign-changing coefficients of hygrothermal expansions inspired by Islamic motif

A composite metamaterial honeycomb that exhibits sign-switching expansion coefficients has been introduced herein, in which at certain conditions the microstructures display resemblances of an ancient Islamic art. This is achieved by the use of two types of materials within each unit cell: a cross rod of very high expansivity and a frame linkage of insignificant expansivity. When the frame linkage material is of zero expansivity, sign-toggling of the thermal and moisture expansions occurs at the original state such that any deviation from the original environmental condition always result in overall shrinkage of the metacomposite. The capability of this metacomposite to exhibit sign-flipping of expansion coefficients not only demonstrates the tunability of composite properties in situ, but also to do so across opposing signs without any active control. In addition, the currently introduced metamaterial design pays homage to an ancient Islamic pattern.

Evaluasi Program Sekolah Rohani Islam dalam Pembinaan Akhlak di SMA Plus Negeri 17 Palembang

This study aims to determine the planning, implementation and evaluation of school programs in Islamic spirituality at SMA plus Negeri 17 Palembang. This research is motivated by school programs related to Islamic Education in implementing the results of the school program, because the school program hopes to shape Islamic character / character. So the success of a school, especially high school plus 17 Palembang state is determined by the success of the program. Research methods: this study uses qualitative methods that contain: (1) Research patterns / types (2) Research locations (3) Researchers presence (4) Data collection procedures (5) Data analysis techniques (6) Checking the validity of the data. The type of research used is a case study, which is one of the strategies and methods of qualitative data analysis that emphasizes specific cases that occur on the object of analysis. Research results: evaluation of school programs in the Islamic spirit in this research can be done through planning, implementing and evaluating. School program planning is determined by the school through a number of work procedures for school principals and vice-principals of the students who compile development programs, such as: 5S (smiles, greetings, greetings, courtesy and courtesy), BTA (Read Al Qur'an) and Islamic Art. The implementation of the school program process by taking into account its steps through its work programs and evaluations by verifying the existence of moral values instilled in school program activities. 5S moral values are not indivisualism, polite, BTA moral values is to be fluent in reading the Qur'an, hafidz and hafidzoh; and the moral values that are implanted can produce the soul of Islamic art.

“We Aren’t that type of Muslim”: exploring Islam and music-making in Istanbul

Much has been written in recent years on Muslim art practices in which there is an overt mobilizing urge to use music/art as a tool for communicating a moral-religious message, or a deliberate intention to transform individual subjects into better Muslims. But what of other forms of Muslim music-making that not only lack such a mission, but which are actually at odds with the project of art as piety mobilization or as missionary apologetics? Taking a vibrant artistic community of practice in contemporary Istanbul as its case study, this article analyzes how this practice of art relates to current debates in anthropology around Islam, piety, and music production. The paper argues that participation in this project of musical Islam fosters in practitioners an explorative way of knowing both music and Islam – a way of knowing one through the other.

The Myth of Turkish Islam: the influence of Naqshbandi-Gümüşhanevi thought in Turkish Islamic orthodoxy

ABSTRACT Turkish Islam has been defined as unique and exceptional, and it is suggested that it is an antidote to radical Islamic ideologies due to its adherence to the supposedly moderate and rational Hanafi-Maturidi theology, which is considered to have an inclusive and tolerant Sufi character. Turkish Islam is mostly defined by its Gümüşhanevi lineage, the most successful, though not theologically heterogeneous, of all active Naqshbandi communities in Turkey. Sharing a belief in its non-revolutionary character, some have asserted that it is open to democratic values. This study delves into the concept of ‘Turkish Islam’ in the belief that there is a lack of in-depth textual and methodological analysis to assess these claims. Based on a text-based analysis of primary sources, particularly the works of Ahmed Ziyaeddin Gümüşhanevi and Mehmed Zahid Kotku, two leading masters of the Naqshbandi-Gümüşhanevi discipline, this study uncovers the foundational religious motivation and codes behind Turkish Islam. As a research methodology, content analysis with purposive sampling was conducted, focusing on six of the most defining issues of Islam, al-wala’ wal-bara’, apostasy, jihad, the Islamic state, women, and art and philosophy. The study concludes that Turkish Islam is not unique or even exceptional either at the theological and discursive levels, nor does it necessarily demonstrate a willingness to embrace the values attributed to it.

التعبير الاصطلاحى ومشكلاته في ترجمة

Translation is a subject studied by students at any university in Indonesia. This subject has difficulties and special problems in its teaching, and many students from male and female students do not define it in depth, but they do not feel the most important of this study in the process of teaching and learning the foreign language, especially for non-native speakers. Many of them do not understand that the unity of the end of foreign language teaching at the Islamic University means skill and art of translation. Therefore, the writer writes in this writing translation problems that mean idiomatic expression and its problems in translation with the basic issue. Common mistakes in translating idiomatic expression in Arabic male and female students at the fourth level in the Islamic University of Bading Sadebwan. And this study, Al-Maktabi researched the descriptive and analytical method of translation material at the fourth level, the Arabic Language Department, by providing evidence that the researcher organized and sends the test to them using the Internet. From this study, the writer obtained the following: a) A lack of understanding of the skill of translation in Arabic male and female students, b) Common mistakes in the translation of idiomatic expression facing male and female students) Problems that guide male and female students in the study of translation from a linguistic aspect, including many Arabic vocabulary and rich so that they do not It is easy to give and choose the Arabic Fatat identical to another language. The conclusion of this study is concerned with the lecturer that upgrading the understanding of male and female students' translation in the subject matter of translation, especially the idiomatic expression

The Stylistics phenomenon of Ahmad Syauqi’s Poetry “The Noah’s Ark” (Semantic analysis)

The poetic tale is obviously considered as the high-level literary of the fine arts in the Arab art tradition. This is because of its inner factors that firmly influence the reader and audient apprehension and imaginativeness which, then, establish the thinking perception. One of the upmost examples of this story is the tales of the Prince of Poets ‘Ahmed Syauqy, the pioneer of the poetic tale in the modern era with consists of more than fifty five tales including the Noah’ Ark. This story is characterized by outstanding beautiful poetic style, which varying from the sounds to significance of the story. For this reason, this study aims to analyze semantically the stylistics side of the story. With regards to the methodology, this study primarily utilizes the descriptive methods with chiefly employees the contemporary semantic for analyzing the semantic phenomenon of this literary art. In the final result of this study are primarily encompasses two focuses; the semantic fields and the intertextuality of the story. The observation results variation of the semantic fields occurrence in this story that literalized in semantic fields on the animals, the silent nature, the feelings and traits, the locations, and parts of the body. Furthermore, this story contains two basic intertextuality stylistics, both are: external intertextuality derived from the Holy Qur’an and the internal intertextuality from the story of Noah's Ark its self.

MAKNA BUBUR SURA DALAM TRADISI BUKA LUWUR MAKAM SUNAN KUDUS PRESPEKTIF BUDAYA

This article describes the tradition of buka luwur which is a cloth that protects the tomb of Sunan Kudus which is commemorated by replacing the new flexural tradition in the Buka Luwur tradition every year. The tradition is carried out by the Foundation Board of the Mosque, the Tomb, and Menara Sunan Kudus in Central Java with the people of Kauman Village, Kota District, Kudus every month Muharam/Sura. The purpose of writing this article is to explore the symbolic meaning of Bubur Sura, which is located in the complex of the Tomb of Sunan Kudus, behind the Masjid al-Aqsa Menara Kudus. This research data were obtained by interview, participatory observation, and literature review. Data collection was analyzed using a qualitative descriptive approach. The tradition of open flexible has a characteristic that is the distribution of Asura porridge, nasi jangkrik, Islamic art attractions that are displayed to the public, and the replacement of old luwur with the new one. The meaning Bubur Sura to reference UU Nomor 5 Tahun 2017 tentang cultural progresiive, bubur sura tradition have mean tolerance, diversity, locality, between regions, partisipative, the benefits, sustainability, expretion freedom, coherent, equality, and mutual cooperation. Preserved tradition expressed to pray and care for ancestors, Sunan Kudus.

An Analysis of the Use of Terminological Determinants „Art of Islam“ and „Islamic Art“

This paper is a distinctive analysis of the phenomenological value of terms „Islamic art“ or „art of Islam“, which attempts to clarify the common treatment of such terms found in both Western and Muslim sources and which are inappropriate and ungrounded formulations from the viewpoint of traditional Islamic civilizational principles.
 By focusing on the cognitive and precognitive approach to the productive-reflective representation of elements of visual art within this topic (i.e. by offering a possible solution) this study „comes into conflict“ with stereotypes that contemporary theories and history of art in the spirit of Western understanding of civilization, which can apply the aspect of globalization to anything it considers within the scope of its scientific area and approaches any civilizational achievement in the same way, reducing it to classic Western postulates.
 In the explanation of this phenomenon (i.e. a prominent rather than appropriate need to reduce all forms of creative activity to common denominators whereby some lose and others win) the study introduces corresponding Latin and Arabic terms in parallel, and their possible lexical connections through theoretical tenets of Western civilizational circle to come closer to distinctive characteristics of Eastern/Islamic civilizational circle (homo faber, homo islamicus, homo fannān, and so forth).
 It is interesting and totally distinctive that it is by approaching this terminology both from the Eastern and from the opposite, Western side through a methodological process one comes to the conclusion that these are diametrically opposite phenomena, which the ultimate Western definition names „art“, while Islamic denotation is explained and defined by means of terms grounded in the sacral and profane productive-reflective discourse of homo islamicus’s action-design/qadar, respectively qadar/ṣināʿat. Thus, we will conclude that understanding and the essential meaning of the concept of „art“ in Islamic civilization from the one hand and in other civilizations on the other are not and cannot be the same. Also, many of the issues and dogmas raised earlier are mentioned and some are addressed in this paper.

BY THE PEN AND WHAT THEY WRITE: WRITING IN ISLAMIC ART AND CULTURE (THE BIENNIAL HAMAD BIN KHALIFA SYMPOSIUM ON ISLAMIC ART). Edited by SheilaBlair and JonathanBloom. New Haven: Yale University Press, 2017. Pp. 305. Hd. $75.

Religious Studies ReviewVolume 46, Issue 2 p. 242-242 Short Reviews of Recent Publications: Islam BY THE PEN AND WHAT THEY WRITE: WRITING IN ISLAMIC ART AND CULTURE (THE BIENNIAL HAMAD BIN KHALIFA SYMPOSIUM ON ISLAMIC ART). Edited by Sheila Blair and Jonathan Bloom. New Haven: Yale University Press, 2017. Pp. 305. Hd. $75. First published: 03 July 2020 https://doi.org/10.1111/rsr.14632Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume46, Issue2June 2020Pages 242-242 RelatedInformation

Locating Modern Arab Art: Between the Global Art Market and Area Studies

AbstractThis essay situates the publication ofModern Art in the Arab World: Primary Documentsin the context of an expanding global interest in modern Arab art as well as the study of modern Arab art as an academic discipline. The essay first examines the implications of the cultivation of a new museum and gallery infrastructure for modern Arab art in the Arab Gulf. It then considers how the academic study of modern Arab art has faced institutional barriers, due largely to the overwhelming academic focus on Ancient Studies and Islamic art. Finally, it suggests thatModern Arab Art in the Arab Worldprovides scholars with a comprehensive textual archive that calls for a historicized approach to theorizing the emergence of modernist aesthetics in Arab visual cultures.

Review: Ottoman Baroque: The Architectural Refashioning of Eighteenth-Century Istanbul, by Ünver Rüstem

Review: <i>Ottoman Baroque: The Architectural Refashioning of Eighteenth-Century Istanbul</i>, by Ünver Rüstem

THE PLASTIC POTENTIAL OF CERAMICS AND METALS AS AN ENTRY POINT FOR THE DEVELOPMENT OF CONTEMPORARY JEWELLERY CRAFTS

The idea of the research is based on making use of the plastic and metal potentials as raw materials that have a functional and aesthetic role to produce innovative jewelry crafts in their well-known functional framework and inspired by the Islamic heritage by relying on the vocabulary of Islamic decoration as a starting point for the formation and expression of its intellectual content and expressive connotations. In this context, the research aims to produce innovative designs for metal ceramic ornaments with a contemporary vision while preserving the Islamic character by employing the vocabulary of Islamic decoration, as well as strengthening the principle of synthesis between materials and fields as an entry point for innovation in plastic art, and the research followed the descriptive, analytical and applied approach among the most important results that the Islamic identity can be preserved by making metal ceramic jewelry with aesthetic character and formal features inspired by the decorative vocabulary of Islamic art.

THE USE OF DIGITAL TECHNOLOGY (2.5D) IN THE AUTHENTICITY OF A MANUSCRIPT FROM THE ISLAMIC ERA

One of the most important challenges to libraries and museums in many countries is the problem of forged Arabic and Islamic manuscripts, especially with the increasing global interest in the last three decades of Islamic art, in general, and the Arabic manuscripts, in particular. Forged manuscripts can be completely new manuscripts. They may also include added or deleted parts- called enhanced manuscripts- to achieve a target or to meet the global market demand for such Islamic manuscripts. The present study addresses the authenticity of a Quran manuscript dating back to 1834 AD using Digital Authenticity (2.5D). The image was divided into sections. Each section was analyzed by measuring the sensitivity of light absorption by (peaks). Then, the analyzed waves were divided into low and high frequencies that were compared. If there is a forged part, it appears in the frequencies in a way that highlights its difference from the other the frequencies on all bands. While the first band shows the form of nanometric details, such as the rough surface and the non-stable image, the second highlights the difference in the distribution of ink on the surface and the shape of the grain of the ink. The third one appears in the chromatic aberration with (peaks) from the different wavelengths in paper and ink in case of forgery words.

Reading Modern Art in the Arab World from Morocco and Qatar

AbstractModern Art in the Arab World is a collection of approximately 125 primary documents dealing with the debates around modernism in the Arab world dating between 1882 to 1987. This essay responds to the book from two perspectives: first, as an academic researching modernism in Morocco, and second, as a Qatar-based professor that teaches undergraduate courses about modern and contemporary Arab art. The book highlights a broadly defined and heterogeneous Arab world that extends from Morocco to the Gulf, and the selected texts create new conversations between these varied movements. It is evidence of the changing nature of this field of study. As a tool for teaching, the book offers signposts about what the editors consider to be the most significant debates and events in a given place while also creating the possibility for reading these movements transnationally.