Islamic Art Research Articles

Examples of Mamluk Bindings in the Museum of Turkısh and Islamic Arts

Mısır’da kurulan ve dönemin tarihçileri tarafından bir Türk Devleti ola-rak isimlendirilen Memlûkler, 1250-1517 tarihleri arasında Mısır, Suriye ve Hicaz’da hüküm sürmüştür. Memlûk sultanları sanatı ve sanatçıları himaye ederek devletin gücünü ve zenginliğini simgeleyen çok sayıda eser üretilme-sine aracı olmuşlardır. Üretilen bu eserler içerisinde dînî, edebî ve tarihi türde kaleme alınmış çok sayıda yazma eser de bulunmaktadır. Özenle yazılan ve tezhiplenen bu eserler yine kendisine yakışan cildlerle kaplanmıştır. Oldukça gösterişli olan cildler, dönemin ihtişamını yansıtır niteliktedir. Deri cildlerde daha çok kahverenginin tonları tercih edilmiş olup altın da bol miktarda kullanılmıştır. Bu makalede Türk ve İslam Eserleri Müzesi’nde bulunan ve XV. yüzyıl Memlûk cildlerine örnek teşkil eden 1817, 1601, 2146, 1621 envanter numaralı eserler, dönemin kitap kabı süsleme özelliklerini ortaya çıkarmak amacıyla incelenmiştir. Ayrıca hem iç hem de dış kapak süslemesi bulunan eserlerde kullanılan desen ve kompozisyon anlayışı değerlendirilmiş ve eserlerin Memlûk cildleri içerisindeki yeri tartışılmıştır.

"Aesthetics of Islamic architecture and its application to printed hotel furnishing fabrics"

Islamic art is the art of great creativity throughout the ages. It has appeared since the beginning of the first Hijri century and has evolved and flourished throughout the Islamic ages, influenced by the events and circumstances until it spread throughout the world. Islamic architecture came in the first place of the arts created by the Islamic artist and the development of Islamic architecture continued in conjunction with The development of other Islamic arts such as the arts of photography, sculpture, falcon and writings ... which was also an integral and complementary part of Islamic architecture, and the current research under the study includes identifying the concept of Islamic architecture and the sequence of ages in which architecture flourished and studying the distinctive features of it and that By highlighting the most famous mosques of old Cairo )Ahmed bin Tulun Mosque-Sultan Hassan Mosque-Muhammad Ali Mosque-Sultan Qalawun Group-Amr bin Al-Aas Mosque-Al-Rifai Mosque In which the most beautiful artistic richness of architectural construction, engineering and plant motifs, ceilings, shrines and domes are manifested Which is characterized by aesthetic values, different rhythms, harmony between the furniture, artistic elements, harmony between the mass and the emptiness, the wonderful color compatibility and the distinctive decorative formations through which contemporary artistic designs can be inspired by the authenticity that is derived from Islamic history that suit the printed hotel furnishing fabric To attract tourists and promote tourism activity, as it is an consolidation of the Egyptian identity and a presentation of Islamic culture in front of the world through units and elements that are used with the furnishing fabrics, whether it is suspended, radial, upholstery fabrics, bedspreads, beds, and many other distinctive units such as lighting units, pillows, and textile decorative units.

Toward New Feminist Aesthetics

Toward New Feminist Aesthetics

Lyrics Analysis of the Arab Singer Abdel ElHalim Hafez

In this work we analyze the lyrics of one of the most famous and influential Arab artists in the twentieth century, namely, (Abdel ElHalim Hafez). Lyrics analysis provides a deep insight into the artist’s career evolution and his interactions with the surrounding environment including the social, political, and economic conditions. In order to perform such analysis we had to collect and compile the lyrics of Abdel ElHalim accompanied with the necessary metadata into an organized and structured form. The data are preprocessed by removing stop words and doing some normalization operations over the songs’ prose. We did not perform any lemmatization or stemming as the original form of the tokens convey much more information than the source words. We performed a lexical analysis in order to study both the lexical density and diversity over the course of Abdel ElHalim’s career life. We have as well studied the most significant words, idioms, and terms played in the songs using tools such as word clouds and more quantitative measures such as term frequency-inverse document frequency. We have divided the career life of Abdel ElHalim into sub-decades of length 5 years and all analyses are done both in a yearly fashion and more coarsely over such sub-decades. We have found a strong correlation between our statistical analysis and the socio-political status in Egypt and the Arab world during that time. This is especially relevant knowing that Abdel ElHalim is very much truly considered the son of the generation of the 1952 revolution in Egypt. The significance of Abdel ElHalim and his lyrics stem essentially from being contemporaneous to radical changes in Egypt across all sectors including political (support of liberation movements across the world, and the conflict with Israel), and socio-economic (especially changing the social class structure in Egypt). We also investigated the potential effectiveness of PoS (Part of Speech) tagging in genre analysis and classification.

Instillation Of Character Values Through Peat Music Gambus at Islamic Boarding School al-Qurán al-Falah Cicalengka Bandung

One of the arts in the field of music which is called gambus is one of the arts that can be used as a tool in the struggle for da'wah because in this art Islamic values can be included through the choice of poetry, the chosen intonation, and the composition of the notes. All parts that are included in the art particle play a very important role in this art, both in the world of da'wah and the world of art. In the Islamic community, gambus music can be easily accepted because this work of art has Islamic content and can also increase the level of a servant's love for his god. The type of research used in this writing is an assessment with a qualitative descriptive method using data collection methods through observation, interviews and documentation. By means of analysis, namely reducing the data obtained in the field and then presenting it in the form of a narrative which will finally draw conclusions from the data in the field. The results of this study indicate: (1) The background of gambus music at the Al-Qur'an Al-Falah Islamic Boarding School is to maintain the existence of Islamic art which is starting to fade, then the students are equipped and instilled with a sense of love for Islamic art, especially gambus music. (2) Living Islamic religious values through Gambus music at the Al-Qur'an Al-Falah Islamic Boarding School is quite optimal, this is evidenced by the holding of gambus music at the Al-Qur'an Al-Falah Islamic Boarding School the students are equipped to instill the love for Islamic art, especially stringed music, is then recited and internalized from every verse learned. Because from each content of the poem there are messages about maddah poetry (praise to the prophet), munajat poetry (prayer) and mahabbah poetry (love). (3) The impact of gambus music is very positive on the students. This is evidenced by the results of the research, namely the gambus music activity program aims to channel interests, talents and develop the potential of the students to increase intelligence and become students with chaaracter.

Hadrah Spirit as an Islamic Arts in the Land of Papua

<em>The Land of Papua is synonymous with a non-Muslim population, and it is not uncommon for some people to think that there is no Muslim community in Papua. This assumption is increasingly supported by the inauguration of the capital city of West Papua, Manokwari as a city of the Bible. But on the contrary, the fact is that Islam entered the land of Papua since 1512, even before the entry of other religions. Therefore, in this study research will be conducted regarding the popularity of hadrah art as an Islamic art in Papua which can be used as evidence of the rapid development of Islamic civilization in Papua today. The method used in this research is a qualitative approach. In collecting data using direct observation in the field, survey media in the form of questionnaires and by using literature studies on previous research. From the research results obtained, it can be concluded that the existence of hadrah arts in Papua, especially the city of Manokwari is currently very popular, this is indicated by the many hadrah competitions and festivals being held, the many sholawat majlis which involve hadrah music as accompaniment to the Prophet's sholawat verses, and even the existence of hadrah as an extracurricular activity in educational institutions. The presence of this research is expected to increase one's knowledge of the development of Islam in the land of Papua, one of which is in the field of hadrah art as an Islamic art.</em>

Coming of Age in the Arab Diasporic Künstlerroman: Sinan Antoon’s The Corpse Washer (2013) and Nada Awar Jarrar’s An Unsafe Haven (2016)

This study explores the künstlerroman from an Arab diasporic viewpoint. It aims to illuminate the first years of the formative process that the Arab diasporic artist undergoes in The Corpse Washer (2013) by Sinan Antoon and An Unsafe Haven (2016) by Nada Awar Jarrar as Arab diasporic künstlerromans. The article traces the childhood of Antoon’s Jawad and Jarrar’s Anas as young aspiring Arab artists against the backdrop of the novels’ socio-political contexts, which include religion, family, and the political conditions in the protagonists’ countries. Since Arab diasporic writers relocate the genre into an Arab transnational setting, this study draws attention to the violence and suffering in the lives of artists as children and the fact that they are brought up in an Arab household that does not feature in the traditional genre plot. It as well explores the environment the characters grow up in like social class and religious milieu and expounds on the way each character has seeds of artistic sensibility from a young age. The Arab characters face the issue of generational conflict about art as a proper career choice. Their parents play a role in the suppression of their artistic aspirations since they assume that they have a better-planned future for their children. Due to family expectations, religion, and political unrest, the characters have their future planned for them by others. The article concludes that the Arab diasporic künstlerroman provides alternative coming-of-age stories where the artist of Arab descent faces more challenges than his counterpart in the traditional genre.

The Development of Islamic Art from The Umayyad Period Until The Early Phase of Malaysian Islamic Art

Islamic art in the world includes various fields and specialties. The value of Islamic art that is so subtle and has the concept of Tauhid is a conciliatory art. It can be divided according to religious importance and other functions such as architecture, carving, khat- calligraphy, painting, ceramics, gold, silver, jewelries and others. However, the development of Islamic art has received less attention because the journey of Islamic art has several periods and transitions of governments and empires. The purpose of this study is to summarize the journey and development of Islamic art so that it becomes a simple and compact reference for the audience. It is very important to conclude only the importance of it since there is a lot information has been recorded. This study covers the development of Islamic art starting from the Umayyad period, then the Abbasid, Fatimid, Seljuk, Mamluk, Safavid and then to Malaysia. Some examples of popular and elegant art of the time are also listed. This article examines, maps specific aspects of the development of Islamic art up to the nineteenth century. This study used a descriptive methodology whereby a few variables artwork includes: architecture, jewelries, coinage as well as the potteries. With regard to time, descriptive studies may examine Islamic art in these period. Based on the analysis of historical records founded and a compilations of contents, there was a gradual transformation in some of these works of art that took place around the period beginning with the Umayyads. The finding show that through the examination of some early collections, one can trace the origins and development of Islamic art that changed but still maintained the same concept of Tauhid. Although the focus of this article is the study of the development of the diversity of Islamic art, therefore it can be seen that each work produced has some similarities and consistency. Further research in more details about each period, the aesthetical value and interpretation of it is proposed.

“Arabesques”: The Making and Breaking of a Concept in Renaissance Italy

“Arabesques” (arabeschi) took shape as a term and concept in sixteenth-century Italy to describe motifs deriving from Islamic art. The formation of the concept reflects a complex interplay between art making and art theory, which played out differently across different media. In metalwork, the arabesque was conceptualized in tandem with conscious projects of imperialist appropriation, whereas in needlework it furnished a theoretical basis for a highly conflicted affirmation of female artists. In the long term, these countervailing developments laid the groundwork for increasingly racialized identifications between the arabesque and the grotesque.

On Pedagogy: Islamic Art and Architecture in the Classroom

IJIA’s Dialogues series brings together scholars and practitioners from across varied disciplines for discussions of critical contemporary issues that interrogate the boundaries between architecture, art, anthropology, archaeology, and history. Its second instalment, held as a webinar in January 2022, was hosted by Associate Editor Emily Neumeier and featured Christiane Gruber, Stephennie Mulder, and Fernando Luis Martínez Nespral. Their conversation addressed a number of pressing issues related to the teaching of Islamic art in a wide range of classroom settings. The speakers touched upon the impact of the COVID-19 pandemic, anti-racism and decolonizing initiatives within the field, and the future of several new and ongoing pedagogical endeavours. The following is an edited excerpt from the original discussion.

Livestreaming Islamic Arts: Digitisation as Translation in Shi'i Depictions of Karbala

At the Battle of Karbala (680 CE), the Umayyad Caliph ordered the deaths of the Prophet’s descendants who Shi’i Muslims believe should inherit leadership of Islam. This article explores the digitization of their commemoration, which has always been transmedial. It analyses livestreams of commemorative recitation to consider incorporation of digital technologies into commemorative arts as embodied translation through which symbolic materiality allows a cultural memory of Karbala to resonate with Shi’as. It argues, following McLuhan (1964), that technologies are ‘ways of translating’ the significance of compresent traditions. This article contravenes McLuhan, however, insofar as he finds the electric to ‘exceed ourselves’ by translating ‘our entire lives into the spiritual form of information’. In contrast, this article stresses intimacy and fmateriality, in which vein it demonstrates that affordances exist in relation to their environment and cultural contingency. Given the prevalence of contrary claims, it highlights the enduring value of ontological pluralism.

The Art of Logic in Muslim Scholarship: A Study of Mantiq Transmission and Reception in Indonesia

Although the Islamic art of logic (mantiq) has circulated for more than two centuries in Indonesia, the mantiq works and their functions obtain little academic attention. In this regard, the article aims to study how the mantiq works entered and spread in Indonesia and what functions they play in Islamic educational and scholarship settings. This writing employs a qualitative-historical approach by reading critically primary and secondary works of literature related to the study of logics in the Muslim world, especially in Indonesia, in order to analyze how those logical concepts and scholarship spread and are used in Islamic scholarly works in Indonesia. In the end, the article finds that the spread and development of mantiq works in Indonesia primarily stem from the international learning networks of Indonesian Muslim scholars (ʿulama’), centered in Mecca, Madina, and Cairo. The Indonesian ʿulama, who used to study in the Middle East, brought the mantiq to Indonesia. It is instrumental and required knowledge for understanding scientific and scholarly traditions in Islam, such as Islamic law (fiqh) and theology (kalam). Furthermore, mantiq plays a crucial role as an instrument for academic debates among scholars from different religious affiliations on whether religious or non-religious topics.

AESTHETICS AND RECEPTION OF THE QUR’AN IN THE CALLIGRAPHY OF MOSQUES IN PROBOLINGGO INDONESIA

The art of calligraphy, the greatness of Islamic art, was naturally born amid the world of architecture. This can be proven in the various calligraphic decorations that fill mosques and other buildings, combined with the noble Qur’anic verses, hadiths, or the wise words of wise scholars. The Qur’an is written in various models of calligraphy with dazzling and varied decorations. This study analyzes the Aesthetics and Calligraphy Reception of the Probolinggo Regency Mosque from the perspective of the Living Qur’an. With the living Qur’an method, God’s verbal revelation is expressed in a tangible form in writing, which has been a long debate and has influenced civilization. The Qur’an became the main factor in the development of the art of Islamic calligraphy, so calligraphy was expressed to devote the power of the revelation of the Qur’an. Meanwhile, ornamentation is the development of a sense of beauty that is free from natural myths and is done by developing abstract patterns taken from the processing of floral, leaf, and polygon motifs. This study concludes that the aesthetics and reception of calligraphy at the Probolinggo mosque can be considered uniform, both at the Badridduja, Ar Raudhah, and Raudhatul Jannah mosques, even though the texts chosen are not the same. The color choices converge on green and gold, indicating they are identical to Islam, where the symbolic meanings are plants, trees, leaves, and forests. Meanwhile, the psychological meaning of green is growth, renewal, balance, harmony, and the environment. Green color mixed with Gold color, the eyes that will look at it make you feel happy with all the artful writing.

IMPLIKASI INTRAKURIKULER KALIGRAFI DALAM PELESTARIAN SENI BUDAYA ISLAM DI MADRASAH TSANAWIYAH DARUN NAJAH KARANGPLOSO MALANG

The implementation of calligraphy intracurricular activities that have been carried out at Madrasah Tsanawiyah Darun Najah Karangploso Malang so far still has the aim of preserving Islamic art and culture and supporting the potential of students, so far the learning process has been going well, but there is a need for a more specific study of the implications of these intracurricular activities in students who take part in this activity. The main problems in this research are as follows; (1) How is the implementation of calligraphy intracurricular learning at Madrasah Tsanawiyah Darun Najah Karangploso Malang? (2) What are the factors that encourage and inhibit calligraphy intracurricular learning in preserving Islamic cultural arts at Madrasah Tsanawiyah Darun Najah Karangploso Malang? (3) What are the implications of calligraphy intracurricular learning in preserving Islamic cultural arts at Madrasah Tsanawiyah Darun Najah Karangploso Malang? This research belongs to the type of qualitative research. In data collection techniques, researchers used interviews, observation, and documentation. Then the techniques in data analysis using data reduction, displaying data, and drawing conclusions. The results in this study are (1) Calligraphy learning at MTs Darun Najah including intracurricular learning which is carried out every Thursday for two hours once a week, which uses the talaqi system starting with learning tahsinul kitabah then khattul 'Arabi. (2) The motivating factors for students to take calligraphy intracurricular are improving Arabic writing, a clear learning system, and the creativity of teachers' approaches and learning strategies in teaching. The inhibiting factor is the unstable spirit of the students, and the lack of experts/teachers which results in long queues in the guidance of calligraphy assignments, facilities, and infrastructure. (3) The Implications in calligraphy intracurricular can preserve Islamic cultural arts, love art, participate in calligraphy competitions, and can practice the values ​​contained and implied in calligraphy learning including patience, maintaining cleanliness, responsibility, sami'na wa atho'na (obedient), and honest.

Masjid Agung Sumenep: Akar Historis Toleransi Masyarakat Ujung Timur Pulau Garam

This paper discusses the history of the construction of the Sumenep Great Mosque and the symbolization of Islamic art in the architecture of the mosque which was built in the 18th century. Methodologically, the type of research used in this study is descriptive qualitative, with data collection techniques of library research, observation, interviews, and documentation. The results of the study show that the Sumenep Grand Mosque was built during the Panembahan Sumolo era (1763 AD). The architectural design of this mosque is influenced by various cultures: Chinese, Arab-Persian, Javanese, and European, which is a symbol of tolerance and peace for the people of the eastern tip of Salt Island

Akulturasi Musik Gembrung Sebagai Media Komunikasi Islam

Gembrung music is a traditional Islamic art that has developed a lot in Java. Its existence indicates a da'wah process in order to convey the messages of Islamic teachings in Java. The intersection of Muslim and Javanese groups creates a form of cultural acculturation, each of which represents two acculturated cultures. By using a qualitative methodology, the research focus is on literature and gembrung in Java, the aim of this study is to find the process of acculturation of the traditional Gembrung musical instrument. Where in Gembrung art it is found as a communication tool in preaching as well as a process of acculturation of music. Among them, several elements of gembrung music adopted Javanese music, including kenong and gong which were replaced with tambourines, which are musical instruments made of wood and goat skin. In addition to the form of abolition or omission, there is also musical pluralism, where one musical instrument can be accepted by another group but still places one musical instrument that represents each acculturation group. Among those that must still be included are drums as a representation of Java, and also tambourines as a representation of Islam-Arabism. What's interesting is that each musical instrument which is a cultural representation becomes the central determinant of other musical elements. The acculturation of this musical element has led to cultural acceptance by the Javanese people of the Gembrung art. Likewise, there is acceptance of Muslim groups as a representation of Islamic music.

Upcycling Fabric Waste for Home Decoration by Implementing Islamic Art Approach

Humanity's activities cause the destruction that occurs in the world as a caliphate, as stated in Surah Ar-Rum (30), verse 41 of the Quran. One of the products that might harm the ecosystem is waste. Various countries, including the Indonesian Government, have competed with numerous initiatives and policies to save environmental sustainability. The author of this study provided training on how to conserve the environment by processing trash, particularly fabric waste. Bina Nusantara University's community development initiative invites numerous assisted MSMEs to participate in a waste management training session. Participants are instructed on how to transform fabric waste into useful interior products. The techniques conducted start from joining fabric waste with patchwork, quilting, and applique connection techniques. From the connection results, the product's value can be increased again by adding a digital screen printing technique. Islamic Art is one of the many motifs that can be used. Implementing Islamic geometric patterns and floral, vegetal, and calligraphy designs on interior accessories are some examples of Islamic art motifs. Apart from being able to decorate the interior of the home, particularly by giving it an Islamic feel, the objective of creating this product is to conserve the environment through upcycling technology.

THE ROLE OF CALIGRAPHIC ARTS IN CIVILIZATION ISLAMIC CULTURE

Calligraphy, one of the Islamic arts, has received great attention in the Muslim community. Basically, calligraphy is artistic writing ( khat ) taken from the Al-Qur'an and it is named based on the place: Makki , Madani , Anbari and Baghdadi. By the time, names of ( khat ) are shown, seems like Khufi , Mutsallats , Mudawwar and some other types of writing. Calligraphy has a big role in developing Islamic civilization in the world. The influence of Islamic power the development of calligraphy and influenced the development of science especially in the Abbasid period. after the Abbasiyyah period, the phenomenal calligraphers like Ibnu Muqlah .

The Formation and Denouement of “Perso-Islamic” in Oriental History and the Case of Seljuk Art and Architectural History

This paper questions the validity of the term “Perso-Islamic,” a label invented in scholarship on the history of the Middle East to coin the presumed cultural union between former ancient Persia and later Islamic culture. From the nineteenth century on, particularly the European historians with Indo-European philological background introduced an idiosyncratic discourse to studies on Islamic civilization. The phrase Perso-Islamic has been almost extemporaneously employed by them in places where institutions, culture and etiquette in central Islamic lands hint at elements of preIslamic kingship. As a result, the elements of culture in Central Asia, Iran and Anatolia that are considered as “civilized” are habitually linked to ancient Persia, and non-Iranian elements are marginalized under that holistic term, Perso-Islamic. As a chief expression of a long fostered orientalist paradigm, “Perso-Islamic” then became one of the key concepts of the grand narrative on Islamic art and architecture. The objective of this paper is first to reveal what “Perso-Islamic” refers to in historical studies, then to illustrate virtually impetuous use of the term in recent scholarship on Seljuk art and architecture.

Review: Tree of Pearls: The Extraordinary Architectural Patronage of the 13th-Century Egyptian Slave-Queen Shajar al-Durr

Review: <i>Tree of Pearls: The Extraordinary Architectural Patronage of the 13th-Century Egyptian Slave-Queen Shajar al-Durr</i>