Abstract Geometric compositions in the understanding of ornamentation, which serve functions such as identification, identification and discrimination, have given their most original examples in Islamic art. As carriers of traditional aesthetics, these patterns inspire contemporary design not only visually but also conceptually. This study explores how interior design undergraduates reinterpret geometric motifs and transform them into original spatial forms using modern design principles. Within the “Traditional Ornamentation Techniques” course, students developed digital and physical prototypes based on triangle-based geometric patterns. The study analyzed the studio process, which includes pattern creation, material interpretation, prototyping, and integration into the digital space through artificial intelligence. Students’ development of geometric thinking, their ability to translate cultural references into contemporary solutions, and their creative use of digital technologies were evaluated. Findings demonstrate that reinterpreting traditional motifs through contemporary materials, technologies, and spatial contexts supports cultural sustainability. Overall, the study shows that combining tradition and innovation enhances cultural awareness, aesthetic sensitivity, and creative problem-solving in design education.

In the architecture of Kazakhstan, ornament is not just a decorative element but a significant expressive tool that shapes a spatial identity, lending meaning and cultural depth to the architectural environment. The ornamentation is particularly significant in the sacred space of the city of Turkestan, which has become the spiritual and cultural centre of Kazakhstan in accordance with the law on granting special status (2025). The ornamentation contained in the structure of the Azret Sultan Historical and Cultural Reserve, which includes the mausoleum of Khoja Akhmet Yassawi, a UNESCO World Heritage Site, acts as a semiotic element that carries spiritual and cultural meanings, not only following the canons of Islamic art, but also organically fitting into the local cultural tradition, forming a unique visual-sacred code that symbolises the identity of the region. The aim of the study is to analyse the results of the transformation and integration of ornamental heritage into the contemporary architectural environment of Turkestan. The following methods were used in this work: qualitative analysis of the visual, plastic and functional features of ornamental forms, comparative assessment of heritage and contemporary reforms, as well as semiotic examination of symbols and signs as a visual-semantic system in the context of Turkestan's cultural identity, and a review of the systematisation of ornaments by Kazakhstani scholars. Research into the reinterpretation of historical and cultural heritage, which ensures continuity and strengthens traditional memory, will determine the significance of contemporary ornamentation in shaping the visual identity of the city of Turkestan and reveal its potential for sustainable development.

Islamic calligraphy occupies a central position in Islamic art as it represents not only visual beauty but also profound spiritual values. In modern contexts, art is often reduced to aesthetic appreciation, which can diminish its spiritual function within Islamic teachings. This study aims to examine Arabic calligraphy as an Islamic art form that serves as a medium for spiritual reflection, meditation, and remembrance of God. The focus of this research is to understand how calligraphy embodies Islamic values and contributes to inner calm and religious awareness in Muslim life. This study uses a qualitative approach through a literature review by analyzing scholarly journals, books, and academic writings related to Islamic art, calligraphy, and spirituality. The findings show that Islamic calligraphy holds a distinctive status because it is directly connected to the Qur’an as divine revelation. Beyond its aesthetic dimension, calligraphy functions as a visual form of dzikir that encourages contemplation, focus, and spiritual awareness. The process of writing calligraphy is also identified as a spiritual practice that requires patience, discipline, and sincerity, which support the development of inner tranquility and religious devotion. In conclusion, Islamic calligraphy should be understood not merely as an artistic expression, but as a spiritual activity that integrates aesthetic experience with religious consciousness, making it a meaningful medium for strengthening spiritual life in Islam.

This qualitative study explores the integration of digital media in Cultural Arts learning at MAN 3 Palembang, a designated digital madrasah in Indonesia. Through observations, interviews, and document analysis involving 29 students and teachers, the research examines how tools like Canva, CapCut, and Quizizz enhance student creativity, engagement, and learning outcomes. Findings reveal that while digital tools foster motivation and collaboration, challenges such as internet access and digital literacy gaps persist. The novelty of this research lies in its exploration of digital transformation within an Islamic educational context, emphasizing the integration of technology with cultural and artistic values. Practically, the findings provide a model for implementing digital learning in art-based subjects that align with the vision of Madrasah Smart Digital. The study contributes to the TPACK and SAMR frameworks by demonstrating their applicability in Islamic arts education, offering a model for technology integration in culturally responsive pedagogy.

The subject of this article is a small manuscript in Leiden University Library (UBL Acad. 19), written ondluwang or Javanese treebark paper. The volume contains parts of the Qur’an and various supplications,with decorated frames around the Qur’anic text and drawings of Burāq and other creatures on thefirst page. As first noted by Petrus Voorhoeve in 1980, Acad. 19 looks and feels like a ‘rather old’manuscript, and recent radiocarbon dating (Gallop, Scheper, and Dee 2025) has confirmed with 95%certainty that the dluwang was made before 1634. This article has attempted to hone the date estimatefurther through a detailed palaeographical, paratextual and codicological study. The manuscript bearsannotations probably in the hand of Willem Leyel of Denmark, who served in the Dutch East IndiaCompany in Batavia. Leyel most likely acquired the manuscript in Java by the early 1620s, when itwas already old enough for some of the double-thickness dluwang folios to have separated into twothin leaves, with subsequent losses of text. This suggests that the manuscript may have been writtenseveral decades earlier, perhaps around 1600. As such, the illuminated frames around the text and thepolychrome drawings on the first page may be some of the earliest known examples of manuscriptillumination in maritime Southeast Asia, and valuable witnesses to early Islamic art in Java.

Indonesian youth are experiencing rapid social and technological changes, impacting their spiritual and emotional development. This study explores the role of Hadrah Al-Banjari, a traditional Islamic art form, in enhancing spiritual intelligence among mosque youth. Positioned within the broader context of spiritual education, Hadrah Al-Banjari fosters spiritual awareness, emotional sensitivity, and cultural pride. Using qualitative data collected through interviews, focus group discussions, and observations, the study employed Participatory Action Research (PAR) to involve youth in understanding and improving their spiritual practices. The results indicate that Hadrah Al-Banjari serves as a valuable medium for spiritual education, deepening religious devotion and reinforcing Islamic values. The research highlights the need to revitalize traditional Islamic arts to support youth spiritual and cultural development. Future studies should explore the broader integration of these practices into community programs to enhance spiritual growth across diverse populations.

This study aims to examine the stone ornamentation repertoire of the Hasan Padişah Tomb, dated to the second half of the thirteenth century, within the context of Seljuk art at aesthetic, typological, and interpretive levels. The research focuses particularly on the geometric arrangements, stylized vegetal motifs, and inscription bands located on the exterior façades of the structure, approaching them as components of a multilayered symbolic language. In the analytical process, an iconographic and iconological framework associated with Erwin Panofsky’s three-stage method is employed, enabling the evaluation of decorative elements not only in terms of their formal characteristics but also through their cultural, cosmological, and metaphysical dimensions. The universe of the study consists of the entire decorative program of the Hasan Padişah Tomb, while the sample is limited to its exterior stone ornamentation. Although architectural and typological studies on the monument exist in the literature, a comprehensive theoretical analysis addressing the motif, pattern, and compositional relationship between stone ornamentation and the art of illumination has not previously been undertaken. In this respect, the study seeks to establish a conceptual link between Seljuk stone decoration and illumination art, revealing a shared aesthetic and symbolic language between these two artistic traditions. Geometric networks, star and polygonal compositions, rumi and stylized vegetal motifs, as well as inscription borders are examined as visual codes of meaning production in Islamic art. The findings indicate that these decorative elements are closely associated with concepts such as unity, infinity, cosmic order, divine wisdom, and metaphysical thought. Accordingly, architectural surfaces are interpreted not merely as ornamental fields but as meaningful spatial constructs imbued with symbolic significance. The parallels observed between stone ornamentation and illumination art—particularly in terms of motif typology, compositional principles, rhythm, symmetry, and center–periphery relationships—point to an interdisciplinary continuity within Seljuk artistic production. These similarities suggest that Seljuk art operates through a coherent visual language that transcends material differences and disciplinary boundaries. In conclusion, through the case study of the Hasan Padişah Tomb, this research demonstrates that Seljuk stone ornamentation shares a common symbolic and aesthetic framework with illumination art. This relationship offers an original interdisciplinary perspective on the processes of cosmological and metaphysical meaning-making in Islamic art.

Purpose: This study aims to explore how campus-based art communities contribute to the revitalization of Islamic art within a modern academic environment. Focusing on the Ikatan Mahasiswa Pecinta Seni (IMPAS) organization at IAIN Metro, Lampung, the research investigates how students reinterpret Islamic aesthetics through creative expression, spiritual values, and cultural performance as part of their campus identity formation. Method: The research employs a qualitative descriptive approach using interviews, observations, and document analysis. Data were collected from student members and organizational leaders of IMPAS to capture their artistic practices, motivations, and socio-religious contexts. Thematic analysis was used to identify recurring patterns related to creativity, faith-based expression, and cultural adaptation. Findings: The study reveals that Islamic art activities in IMPAS—such as hadroh, calligraphy, qasidah, and Islamic theater—serve not only as creative outlets but also as vehicles for moral reflection and spiritual engagement. Students reinterpret traditional Islamic art forms with contemporary styles to make them more relevant to campus culture and youth audiences. Despite limited resources, their initiatives demonstrate a dynamic synthesis between aesthetic innovation and religious devotion. Significance: This research highlights the role of higher education communities in preserving and transforming Islamic cultural heritage. It underscores how campus art organizations can function as agents of cultural sustainability, spiritual education, and creative empowerment among young Muslims. The findings offer insights into integrating art, faith, and education to strengthen cultural identity in Indonesian Islamic universities.

With a focus on iconography, identity, and digitization, this study looks at the theology of visual sacredness in modern Islamic art in the digital age. The primary focus is on how representations of calligraphy, geometry, and light are exhibited as religious symbols that draw attention to the elements of tanzīh, taqdīs, and syi'ar. Curatorial publications of global exhibitions like the Islamic Arts Biennale in Jeddah supply the primary data for this investigation; it adopts a descriptive Qualitative approach: The Sharjah Islamic Arts Festival and Letters of Light at the Louvre Abu Dhabi provide secondary information derived from scholarly papers, news coverage, and online records. Analysis uses the Miles, Huberman, and Saldana paradigm; source triangulation is used to verify validity. The results show that modern art's use of Qur'anic imagery is not just sustained but also renewed by new media including multimedia installations, augmented reality, and virtual reality. The discourse of identity shows the conflict of Muslim artists with regard to their interior faith and the demands of the worldwide art market, with Strong emphasis on this among Muslim viewers is non-Muslim audience attention on appearance. Digitalization increases accessibility to sacredness yet raises questions about the fading of the aura of holy objects in digital forms. Modern Islamic art serves as a forum for public theology, fusing tradition, belief, and modernity, according to this study.

Keringkam is a traditional Sarawak Malay embroidery with gold or silver wrapped threads. The embroidered motifs function as visual symbols deeply embedded in both Islamic art and local cultural identity. This study employs Ferdinand de Saussure’s semiotic theory to analyze how the motifs in keringkam operate as signs, wherein the visual forms (signifiers) correspond to culturally constructed meanings (signifieds) derived from Islamic aesthetic principles and Sarawak Malay social traditions. By examining recurring floral, vegetal, geometric, and cosmological patterns, the research demonstrates how keringkam functions as a visual language that conveys local values. Drawing on primary data collected from Sarawak embroiderers and cultural practitioners, together with secondary literature on Islamic ornamentation and Malay material culture, this study challenges conventional interpretations that regard keringkam as merely decorative. Instead, it positions keringkam motifs as symbolic expressions of faith, identity, and heritage, thereby contributing to broader scholarly discussions on Islamic textile semiotics and Malay visual culture.

The mashrabiya is a permeable architectural element with a lattice-like decoration, considered an important part of Islamic architecture and is usually found on the second or higher floors of buildings. Although it is an important cultural heritage and facet of Islamic architecture that should be passed down from generation to generation, it does not have sufficient recognition within design education. While the mashrabiya is discussed extensively in texts on historical Islamic art, climate change, and energy management, it is not a topic specifically addressed in Eurocentric architectural curricula. In light of this problem, the aim of this article is to reveal the use of the mashrabiya as a trigger in the design process with the goal of raising awareness among young designers about this architectural element. This article demonstrates how student engagement with the mashrabiya in a Basic Design Studio course provided a rich educational experience, fostered innovative design solutions, and emphasized the importance of cultural sensitivity and heritage preservation. The findings from this experiment can contribute to a deeper understanding of how traditional architectural elements can be effectively integrated into modern design education and practice, enriching both the learning process and the resulting designs.

On December 18, 2007, a unique group of Kütahya plates appeared on the art market. They came from the collection of Jean Louis Thau, a famous collector who traveled around the souqs of Fez in his red Volvo and amassed a reputable Moroccan jewelry collection. In addition to this collection, Monsieur Thau had a passion for Islamic art, within the scope of which he acquired the four Kütahya ceramic plates shortly before his death. Depicting the popular folk tale of Genovefa, the plates were all signed by Minas Avramidis, a renowned ceramics master of Kütahya. After a fierce bidding process, the Suna and İnan Kıraç Foundation acquired the plates at auction and included them in its Kütahya Tiles and Ceramics Collection, one of the foundation’s three collections housed at Pera Museum.

The slogan “art for art’s sake” emerged in modern western aesthetics developed as a paradigm viewing the autonomy of art, free from ethical, religious, or practical purposes. According Théophile Gautier’s theory, this slogan emphasizes beauty as an end in itself. In the modern era, its influence is evident in artistic products that prioritize formal innovation, subjective expression, and aesthetic experience, such as abstract painting, experimental architecture, and conceptual art. Within the context of Islamic modern aesthetics, this paradigm interacts critically with traditional Islamic views that integrate beauty, ethics, and spirituality, producing both adaption and tension in contemporary Islamic art, design, and visual culture. This study employs a qualitative research method through philosophical analysis and critical textual interpretation of Kantian aesthtetics and modern Islamic discourse. The research indicates that “art for art’s sake” is characteristic of Western thinking, which is free from religious and spiritual values. Meanwhile, aesthetics in Islam involves the integration of ḥaqq, khayr, and jamāl. Beauty in Islam must contain goodness and truth, and be based on the values of tawhid and religion.

This study examines how contemporary Indonesian Islamic painting functions as a medium of spiritual reflection and as an intellectual project that negotiates Islamic tradition with global modernity. Focusing on the works of Ahmad Sadali and A.D. Pirous, the study responds to an academic concern regarding the persistent fragmentation in Islamic art scholarship among aesthetic, symbolic, and philosophical approaches, as well as the limited comparative readings of Indonesian Muslim artists within the global discourse of Islamic art. Employing a qualitative approach with an interpretive-analytical research design, the study collects data through direct observation of artworks at the exhibition Seabad Sadali: Menjejak Bumi Menembus Langit at Selasar Sunaryo Art Gallery and through visits to Studio Galeri Serambi Pirous, complemented by a literature review of theoretical works and previous studies on Islamic art, abstraction, calligraphy, and visual theology. The findings demonstrate that Ahmad Sadali and A.D. Pirous represent two distinct yet complementary aesthetic strategies within modern Indonesian Islamic painting. Sadali articulates tawḥīd through a quiet and contemplative mode of symbolic abstraction, whereas Pirous advances the deconstruction of calligraphy and heightened visual intensity as a dialogical expression of spiritual anxiety and faith. Together, their works affirm that Islamic painting does not operate merely as decorative art, but functions as a practice of visual theology—a mode of Islamic thinking enacted through symbols, color, and spatial composition. The implications of this study underscore the importance of visual art as an integral part of contemporary Islamic intellectual tradition, while also opening pathways for the development of more inclusive approaches to Islamic art education, curatorial practice, and public dialogue. The originality of this research lies in its comparative reading of Sadali and Pirous as an intellectual project of Indonesian Islamic art, positioning Indonesia not as a peripheral case but as a reflective and active contributor to the global discourse on Islamic art.

The implementation of religious activities in the commemoration of the Prophet Muhammad's birthday as a means of fostering the religious character of students at MTs Darussalam Kelbung Galis Bangkalan, is based on the importance of developing religious character from school age so that students are not only intellectually intelligent, but also have noble morals. This activity method is implemented in three stages: preparation, implementation, and evaluation. Through this Prophet's birthday activity, various Islamic arts activities include reading poems about the greatness of the Prophet Muhammad, with the aim of arousing students' love for the best role model figure who also encourages students to express their understanding and feelings about the figure of the Prophet Muhammad. In addition, these activities can also be a means or media to foster students' religious character

This study examines the integration of batik ornamentation into Islamic architectural and spatial design as a culturally grounded strategy to reinforce Indonesia’s national identity. Batik, as a symbolic visual language deeply rooted in Indonesian heritage, possesses philosophical depth that aligns with the spiritual and aesthetic principles of Islamic art. The research synthesizes literature on architectural identity, symbolic ornamentation, and cultural adaptation to trace how batik motifs can be meaningfully incorporated into façades, interiors, and urban religious environments. Findings reveal that successful integration requires careful selection of motifs, technological adaptation through digital processing, and collaborative interpretation between designers, scholars, and religious authorities to maintain symbolic coherence. Hybrid design approaches enable traditional motifs to coexist with contemporary Islamic architectural expressions without losing their cultural essence. This paper argues that integrating batik into Islamic architecture not only enriches visual harmony but also strengthens collective cultural consciousness among communities. Ultimately, batik-based architectural design presents a viable model for developing culturally resonant, spiritually grounded, and contextually relevant Islamic spaces in Indonesia.

This study explores the use of art and cultural practices as a means to instill Islamic values in the learning process of Islamic Religious Education. The background of this research arises from the challenges faced by Islamic education in the era of globalization, particularly the declining interest of students in Islamic-oriented activities and the strong influence of popular culture. Using a descriptive qualitative approach by reviewing relevant literature, the study finds that various forms of Islamic art such as nasheed, hadrah, calligraphy, and Islamic-themed drama can help students understand and appreciate religious values in a more engaging and meaningful way. These artistic activities serve as a bridge between Islamic teachings and everyday life, allowing values such as good character, piety, and love for the Qur’an to be internalized more effectively. However, the implementation still encounters several obstacles, including limited teacher competence and insufficient curriculum support. The study concludes that strengthening collaboration with the community, utilizing digital technology, and developing extracurricular programs are important steps to reinforce the application of Islamic values through art and cultural approaches within educational settings.

KESI/Silk Tapestries between Chinese and Islamic Arts "Artistic and Technical Exchange via the Silk Roads during the 7th–9th AH/13th–15th CE Centuries"

The paper investigates the depiction of the seven wandering planets (al-Kawākib al-Sayyārah) in human form in Islamic manuscript illustrations and art objects from the 7th AH-12th CE to the 10th AH-15th CE centuries. It analyses the symbolic and astrological contexts of these depictions, not as pagan effects, but as cultural and artistic representations without pagan significances, reemployed within a new framework serving talismanic, decorative, and scientific functions. The paper also examines the civilizational origins of this depiction, particularly the influences of Babylonian and Sabian-Harranite cultures, as well as those of Greek, Indian, Persian, and Chinese cultures, which collectively shaped a distinctive understanding of planets within Islamic culture, as reflected in astronomical and astrological manuscripts, as well as metal and ceramic artifacts. Results revealed that the representations of planets in Islamic manuscript illustrations and art objects in human forms were derived from the planetary characteristics observed by ancient astronomers and linking them to ancient deities. All ancient civilizations depicted planets in human sculptures, often associated with the deity they represented. The paper demonstrated how Muslim artists could integrate these representations without transgressing doctrinal boundaries by reformulating concepts and presenting them with a vision consistent with the scientific and symbolic spirit of Islamic art, while maintaining their talismanic and social functions.

A common feature of Islamic art is the covering of surfaces with geometric patterns that originate from a circle and involve many different polygons. Sometimes such geometric patterns lead to fun and challenging crochet projects. Here, we work on a design after Paul Marchant, which is based on elements of medieval designs typically found in Cairo. The pattern consists of underlying polygons such as hexagons, triangles, squares, dodecagons. In crocheting the different polygons involved, specific number of stitches are assigned to represent the measure of the central angle segments of the polygons. The process of crocheting each polygon and construction of the final design is explained.