Islamic Art Research Articles

Conservation of Sufism Values in the Study of Sufistic Literary Works at the Maulana Rumi Islamic Boarding School

The existence of literature in modern society is often considered and interpreted as a form of imaginative writing, including Sufistic works. If studied more deeply, Sufistic literary works contain Sufistic values worthy of valuable reference materials and reference sources, becoming one of the prides of art in Islam. This type of research is descriptive qualitative, with techniques taken through interviews, observations, and documentation involving caregivers, students, and pilgrims of the Maulana Rumi Islamic Boarding School. Meanwhile, analytical methods are in the form of data reduction, presentation, and inference of data. This study concludes that Sufistic literary works as a medium of learning, entertainment, confidence enhancer, and hope-giver. These four functions are an effort to form a close relationship between God and his creatures.

Rekam Jejak Keseruan Festival Generasi Pemenang Season 2

Festival Generasi Juara Season 2 is an event that attracts attention as a forum for developing young generation talents and also Islamic da'wah. This study aims to record and analyze the excitement and impact generated by this festival, especially in the context of developing the next generation in Islamic knowledge.The results highlight that this festival has become an inspiring platform for the younger generation to express their creativity in the field of Islamic art skills such as banjari and Musabaqah Hifdzil Qur'an (MTQ). In addition, the positive impact of this event can be seen in increasing self-confidence while celebrating the Prophet's Mawlid.

Высокорельефная чеканка в казанско-татарской ювелирной традиции: историко-технический анализ

The article is devoted to identifying the origins and regional features of the technology of high-relief coinage in the Kazan-Tatar jewelry tradition. The main source was the electronic database of Tatar jewelry from museum collections, collected within the framework of the academic project “Jewelry of the Turkic peoples of Eurasia: general and special” (Russian Foundation for Basic Research 2013–2014, No. 13-06-97056). The research was based on a systematic technical and stylistic analysis of traditional jewelry and a detailed synchronous-diachronic examination of Bulgar-Golden Horde and Tatar products with three-dimensional images. Reconstruction of technological techniques related to this type of artistic metal processing made it possible to identify specific features of the formation of decor. The manual method of obtaining a unique relief using punches with a figured striker predominated. The decorations are characterized by the following: two or three-level bas-relief, the absence of a “locking” profile, the principle of “compositing” that underlies the conventionally interpreted floral and plant motifs, geometric orderliness, subject to the laws of the central-radial composition. The completed form of the decoration corresponds to the typical features of “notch chasing”, which is a marker of the Tatar craft tradition: smooth relief and “grain” background. An integrated approach allowed us to conclude that the origins of the existing artistic and figurative system can be traced in artifacts of the Bulgarian and Golden Horde silver of the 11th–14th centuries, made by embossing, stamping, and punching on a matrix. The formation of technological features was influenced by the traditions of high-relief coinage, which received regional development among Kazan silversmiths in the 17th–18th centuries. The specifics of Tatar relief coinage as a whole were formed in the context of Islamic art.

The Art of the Faithful Heart: A Comparison of Classical Christian and Islamic Art Traditions

When a translation of a text is complete, the presentation of the text should, as much as possible, avoid any influence that could reduce the impact or acceptability of the contents of the text. This is especially true of faith-critical texts, whether they are of Christian or Islamic origin. The study and comparison of different art traditions can help us reduce the possibility of such unfortunate influences. Since Christians and Muslims have very different assumptions even about the nature of God (or Allah) as he reveals himself through sacred writings, it is not surprising that Christians and Muslims also have very different art traditions. The paper first introduces the principles of classical Western Christian art and of classical Islamic art, since these traditions were approximate contemporaries. It then compares differences in color symbolism, important symbols in each faith tradition (including Islamic calligraphy), and in the forms and functions of traditional architecture.

Thread Dolls: Bone Heads Belonging to Islamic Rag Dolls in the Collection of the National Archaeological Institute with Museum at the Bulgarian Academy of Sciences

In the collections of the National Archaeological Institute with Museum at the Bulgarian Academy of Sciences are stored four bone objects that are of an extraordinary and unconventional nature. They are anthropomorphic faces made of bone with an elongated irregular rectangular shape (in some places with rounded areas), pointed at one end. The aim of this publication is to present more information on the chronology, interpretation and cultural affiliation of these interesting artefacts. The artefacts were received by NAIM–BAS in the 1980s, with no information available on the circumstances of their acquisition and no receipt from the previous owner. There is no information whatsoever about their original archaeological environment, and whether or not they were acquired as a result of regular archaeological research, or whether they were the subject of unauthorised archaeological activity, such as the illegal trafficking of movable cultural property etc. Based on a brief overview, it can be said that the finds from NAIM–BAS can be attributed to the period of Islamic art generated during the Arab expansion in the lands of the Near East between the 7th–10th/12th centuries. Their interpretation as parts of several rag or dressed dolls is based on the definitions of similar finds from the territories of present-day Israel, Egypt and Palestine. This conclusion is based on the archaeological context in which these objects were found, as well as the hypotheses circulating in scholarly circles regarding their use and place in the daily life of people during this period. Taking into account the geographical area of their distribution, the archaeological context and the anthropomorphic specifics, it can be assumed that the finds from the NAIM–BAS collection are probably of similar origin, interpretation and chronology, although their natural area of manifestation is far removed from the borders of the Bulgarian lands and the European Southeast.

Attitudes of the Jordanian Public towards Advertisements by Artists in Satellite Stations and their Impact on their Purchasing Behavior: A Field Study

This study aimed to identify the Jordanian public’s attitudes towards advertisements by artists in satellite stationsand their impact on their purchasing behavior. The study falls within the scope of descriptive research, employing a survey methodology. A questionnaire was distributed among a sample of 491 Jordanian individuals residing in the Northern region, chosen using convenience sampling. The study applied the Dependency Theory and the AIDA model, reflecting them in the study's questions and objectives. The study reached the following results: It was found that there was an effect of advertisements by artists on satalleite stations on the purchasing decision, as the Jordanian public preferred advertisements of Arab artists and watched them on Arab satalleite stations in a large percentage, and that the most important factors attracting attention are colored photographs, the product presentation method, and the celebrity's personal charisma. Key factors in arousing interest included the presentation method, clear and appealing product display, and the use of a concise method to express the product suitable for various ages and education levels. The cognitive effects on the sample population included an increase in their knowledge of different cultures and a proper assessment of the product. Emotional effects involved a sense of satisfaction, and behavioral effects stimulated them towards making a purchase. A statistically significant relationship resulted between the degree of Jordanian audience engagement with celebrity advertisements on the stations and the existence of a statistically significant relationship between the effects (cognitive, emotional, and behavioral) of artists’ advertisements on satellite stations on the Jordanian public and the purchasing behavior.

Maghribi Mabsut Khat in Indonesia: History and Acceptance Factor Analysis

Islamic calligraphy or khat is the oldest Islamic art found in Indonesia and has experienced a long phase in its development. The peak phase is in Musabaqah Tilawatil Qur'an (MTQ) which includes a khat competition branch Musabaqah Khattil Qur'an (MKQ). MKQ has given many influences to the art of khat, one of which is to ground the seven styles of khat used practically by Indonesian khattat, namely Naskhi, Thuluth, Diwani, Diwani Jali, Farisi, Riq'ah, and Kufi. But, the development of khat in Indonesia does not stop here, 2010 there are Indonesian khattat who managed to achieve international achievements in the branch of the competition for writing khat Maghribi Mabsut, a type of khat from Morocco that has never been recorded in the Indonesian khat universe. The acceptance of this khat continues to expand, as evidenced by the emergence of khat}t}a>t who also managed to make their achievements in the international arena. This study was conducted to answer two questions (1) how is the process of introducing Indonesian khattat to the Maghribi Mabsut khat type? (2) what are the factors that encourage the acceptance of Maghribi Mabsut khat among Indonesian khattat By using field research methods and sociocultural approaches, the results of this study are (1) Maghribi Mabsut khat is known in Indonesia through Indonesian students studying in Egypt (2) there are three factors of acceptance of Maghribi Mabsut khat, namely: education factor, technology adaptation factor and the breadth of opportunity factor.

Interpreting Avian Imagery in Minangkabau Patterns: Insights from fiqh and Sufism perspectives

The ongoing study investigates the anomaly in decorative patterns within Minangkabau art. These ornamental designs, characterised by abstraction rather than naturalism, bear connections to Islamic thought and Sufism within Minangkabau culture in West Sumatra. This examination focuses on specific, selected decorative patterns and is considered part of the philosophy of Islamic art. The appropriate methodology involves field research encompassing hundreds of Minangkabau artefacts featuring these ornamental designs. The process of analysis includes looking into the connection between Islamic thought and specific examples of patterns used in Minangkabau art. This includes an inquiry into how the ornaments exclusively represent the characteristics of actual birds.

Jilali Gharbaoui and Decolonization

This paper proposes a new reading of Moroccan abstract painter Jilali Gharbaoui through the lens of decolonization. Gharbaoui fits uncomfortably into the narrative of modernism in Morocco. Unlike other painters, interested in direct connections between their shapes or abstractions and traditional visual culture or Islamic art as a postcolonial claim of local identity, Gharbaoui’s work is more elusive. Many critics have framed his abstraction primarily through his schizophrenia, as Gharbaoui died from suicide in 1971; this continual recourse to biography over the actual art objects puts Gharbaoui definitively at the margins of narratives of modernism. Moreover, this analysis precludes close attention to the ways in which Gharbaoui, like other painters of his generation, was shaped by the discourses of decolonization and the role that art could play in the new nation. Within this paper, in contrast, staying close to the work itself allows the possibility to understand the active ways in which Gharbaoui was negotiating questions of what postcolonial modernism could be. He sought to position himself as an international artist that was continually trying to bypass traditional aesthetics as a statement about modernity, but equally saw himself as deeply marked by his homeland. Read in dialogue and confrontation with cosmopolitanism, Gharbaoui’s oeuvre can be analyzed in terms of the multiple ways in which Gharbaoui tried to understand the materiality of the art itself, his relationship to the space of production, and the political stakes of abstraction.

Soft Skill and Hard Skill Training for Students at Eakkapapsasanawich Islamic School Krabi Thailand

Service activities carried out by STKIP Muhammadiyah Kuningan students on a training basis provide space for students to develop the soft skills and hard skills they have. This community service program was carried out at Eakkapapsasanawich Islamic School Krabi Thailand with the aim of developing students' talent interests in the field of public speaking and Islamic arts. This service method is carried out in a group discussion forum (FGD) between teachers, boarding school administrators, students, and KKN students. In addition to using training methods and providing assistance as a follow-up to the training. The result of this service activity is that students are able to develop their interests and talents in the field of public speaking and Islamic arts, with the material and training provided.

Review

Art can be particularly an effective means of building transnational understanding across cultural divides. Specifically, the act of making art to express conflict, sexuality and identity is significant as Arab women have frequently been marginalised and excluded from such a site of visibility and meaning. Contemporary Arab women artists not only contribute to global feminist theory but also deal with their aesthetic, visual and personal concerns. The Body in Twilight: Representation of the Human Body, Sexuality and Struggle in Contemporary Arab Art is a book by the Syrian professor of visual art and design Fassih Keiso. In this book, Keiso explores the representation of the human body in contemporary Arab art and its relationship to issues of sexuality and struggle. He argues that the representation of the body in Arab art reflects broader societal changes and struggles and that the use of the body as a site of resistance and political commentary is a common theme in contemporary Arab art. Despite the lack of images of artworks by the artists discussed in this book, the book provides a compelling contribution to comparative gender and feminist art and the broader international art on the centrality of sexuality in politics and society.

Jamalat al-Khat al-Arabi wal-Takwinat al-Khatiyah fi Kiswat al-Ka'bah al-Musharrafah: Dirasah Faniyah Tahliliyah

The covering of the Kaaba possesses aesthetic values ​​and dimensions that are embodied through the artistic composition of Arabic calligraphy, and this artistic composition is an exquisite aesthetic artistic issue that evokes admiration, appreciation, and reverence. Therefore, this study aims to reveal the aesthetic characteristics and systems with fine artistic values ​​for Arabic calligraphy and the linear formations embodied in the honorable dress of the Kaaba according to a methodological perspective and an artistic vision. The study found that the covering of the Kaaba, with its Arabic calligraphy and calligraphic formations, expresses the originality of the Islamic nation and the aesthetic dimension inherent within the scope of Islamic art. And that the Arabic calligraphy is characterized by aesthetic characteristics that make it a decorative element as it contains many artistic and aesthetic values, and in particular the complex clear third line. The study also found that the totality of the calligraphic formations was formulated in an eloquent and aesthetic artistic style that added to the beauty of the verbal meaning by the aesthetics of the linear composition, and in this, the visual rhetoric and the aesthetics of the textual structure were manifested based on the ability of Arabic letters according to a wonderful aesthetic style based on the characteristics and systems of the linear composition.

Visualizing Kingship in a Time of Change

Despite artistic engagement with photography in Iran almost immediately after the invention of the daguerreotype in 1839, the field of Islamic art history has had difficulty accepting the modern period and the medium of photography as part of its discipline. Studies on painted Iranian portraiture have often stopped before the introduction of photography, and only in more recent years has photographic portraiture and its influence on painting been examined. Due to this nascent state of the field, large gaps exist even on more traditional topics, such as the question of royal portraiture. This article presents the first examination of photographic royal portraiture and the visualization of kingship during the Iranian Constitutional Revolution (1905-1911). This topic, in comparison with earlier Iranian painted royal portraiture, has received considerably less attention. Photographic portraiture, together with printed and painted examples, from the reigns of the Qajar rulers Nasir al-Din Shah (r. 1848-1896), Muzaffar al-Din Shah (r. 1896-1907), Muhammad ʿAli Shah (r. 1907-1909), and Ahmad Shah (r. 1909-1925), will be analysed in connection with social and political developments in order to better understand the development of royal image making during a time of political turmoil.

Түркі халықтарының діни-философиялық дүниетанымының дамуына маламатилік, бекташилік және ясауилік тариқаттардың ықпалын зерделеу

Мақалада түркі халықтарының діни және философиялық дүниеге көз-қарастарының дамуында маламатилік, бекташилік және ясауилік тариқаттарының ықпалы көрсетіледі. Орталық Азия халықтарының түркілік болмысын сақтауларына және толық исламдануларына ықпал еткен факторлардың бірі – сопылық. Қожа Ахмет Ясауи, Маулана, Қажы Бекташ Уәли, т.с.с. сопы-ойшылдардың рөлі ясауилік, маулауилік, бекташилік сопылық тариқаттарды қалыптастыруда ғана емес, әлеуметтік және экономикалық өмір мен ислами өнердің дамуында, діни білім мен ағартуды жүзеге асыруда көрінді. Түркі халықтарының руханияты мен дүниетанымдық мәселелері мен сұрақтарының сопылық ілімі аясында шешіліп келуінің астарында Алла Тағаламен тығыз байланыс сезіледі, Оның даналығына құштар болу мен еліктеу, өмірлік ұстанымдарында діни және ұлттық тамырларды сабақтастыра ұстай білу сынды тұтастылықты сезіну байқалады. Осы орайда бекташилік, маламатилік пен ясауилік мәдениет іздері зерделеніп, олардың ортақ негіздері мен белгілері түсіндіріледі.

Symbolic Significance of Star Motifs in Islamic Geometric Decoration and Contemporary Trademark Design in Pakistan

Geometric decoration in Islamic art has a special significance having symbolic meanings. Star motif is one of the most prominent shapes employed in these geometric decorations. These motifs, as they originated with spiritual essence in Persia around nineth century, were carried on as an influential factor in South Asian art, particularly Mughal art. The surface embellishments of the Mughal monuments are flooded with geometries having various types of star motifs. Interestingly, the contemporary trademark design in Pakistan reveals great influence from these geometric star motifs. Having a symbolic significance, these designs create a profound visual impact in communication. This research puts forth the symbolic meaning behind the star used in Islamic geometric decoration, and presents its influence on contemporary visual communication design in Pakistan. The designs studied for this research are the trademarks of banks, universities, government departments, and other private companies and brands. The research, after examining the formal quality of the star motifs with reference to the respective meanings, establishes the significance of star motif in visual communication.

Metropolitan Sanat Müzesi Örneğinde Türk Hat Sanatında Şeyh Hamdullah Ekolü

The art of calligraphy, also known as "hüsn-i hat" in Islamic culture, involves writing Islamic script in accordance with aesthetic principles. Executed using Arabic letters, this art form emphasizes the aesthetics and meaning of writing. The calligraphers, known as "hattat," adhere to rules to create Imagely pleasing scripts. The essence of calligraphy lies in expressing the aesthetics and essence of writing. Influenced by Islam's emphasis on writing and avoidance of imagery, calligraphy has become one of the most valued forms of Islamic art. This study aims to examine the contributions of the prominent Calligrapher Shaikh Hamdullah, a pioneer of Turkish Calligraphy, to the art through the example of a " thuluth and naskh hadith and poetry panel." Conducted through a literature review, this research delves into the Ottoman calligraphy, aklâm-ı sitte(six scripts), and the Shaikh Hamdullah school, focusing on his muraqqa at the Metropolitan Museum of Art. During the Ottoman era, aklâm-ı sitte styles like thuluth and naskh; muhaqqaq and rihani; tawqi and riq'a, evolved under Hamdullah's influence. His style of naskh calligraphy became the preferred method for transcribing the Quran across the Islamic world, giving rise to the Shaikh Hamdullah School. His contributions encompass Qur'an manuscripts, calligraphic panels, and muraqqas, held in prestigious collections worldwide. The tradition of granting, or certification, has preserved Shaikh's style, allowing his teachings to endure. The discussed artwork, a part of Shaikh's muraqqa album, features thuluth headings and naskh text lines drawn with ink and reed pen on marbled paper. The calligraphy is characterized by its harmonious thuluth and naskh styles, with minimal gold-painted floral motifs and borders. This study provides insights into the Shykh Hamdullah School and its impact on Turkish Calligraphy.

Culture Malay Community Value Profane On Modern Malaysian Islamic Art Exhibition

Art and culture are two entities that are closely related and are suspended from each other. The arts have become an identity and practice essential to Malaysia’s cultural society, which is a multiracial nation. With the diversity of the art practices of multi-ethnic societies in the country, the identity of multicultural Malaysia has become more highlighted and recognizable. The objective of this paper is to gather visual artwork on Culture values found in the Islamic exhibition from 1957 to 1999. The artworks have been put into consideration and recorded accordingly, such as the artwork’s title, dimension or size of the artwork, media, and techniques used in producing the artwork. The researcher followed the integrative approach and applied the technique of the descriptive quantitative approach. The information gathered through data collection inclusive of three major issues, the concept, the national policies, and the events or exhibitions gathered from various sources, including academic books, journals, proceedings as well as exhibition catalogues cum books of painting, retrospectives, biographies, competition booklets, and website. The important events on Islamic art were also gathered through the articles presented at seminars and symposiums as well as newspaper cuttings and magazines. It is hoped that through visual arts, generations of Malaysians will be literate in culture, have high aesthetic values, critical, creative, imaginative, innovative, and inventive, as well as explore thought explorations, and design in a wide range of visual arts to allow the development of ideas and self-expression.

Islamic art and visualities of war from the Ottoman Empire to the Turkish Republic

AbstractThis article explores how Islamic art was produced and used in Turkey within the context of modern warfare during World War I, the War of Independence, and the nascent Republic – a subject still relatively understudied in Turkish history, as well as in international cultural histories of modern warfare and histories of modern art in the Middle East. Drawing on previously overlooked visual and textual sources such as calligraphic panels, miniature paintings, war posters, and religious timetables produced during the years 1914–1924, we examine the ways in which Islamic arts were articulated with the experience of war through both individual actions and official policies, revealing how Ottoman artists tried to make sense of war and how Islamic genres and motifs were appropriated, and sometimes subverted, in the service of the nationalist cause. We show that far from exhibiting a sharp discontinuity, the transition from Ottoman–Islamic to Republican–nationalist artistic content was gradual, involving the reappropriation and repurposing of Islamic motifs and techniques in a manner that reflected the religious mindset of the elites and masses in the early twentieth century.

Understanding of Aniconism in Islamic art through some miniatures of Imam ʿAlī

Understanding of Aniconism in Islamic art through some miniatures of Imam ʿAlī

The Plastic Elements in the Technical Design of the Linear Formations in the Kiswah of the Kaaba: An Analytical Study

The art of Arabic calligraphy with its artistic and plastic elements and vocabulary has a key role in highlighting the aesthetics of the covering of the Kaaba, in addition to the fact that all the plastic elements in the design of the structure of the linear formations result from the organization of linear relationships on the surface of the covering fabric, which are intertwined and intertwined in all formations and linear structures in the dress of the Kaaba. Therefore, this study aims to analyse the aesthetic relationships between the linear structural elements and the plastic artistic elements present in the design of the covering of the Kaaba according to an analytical artistic vision. The method used in this study is the content analysis method, which is an applied field study based on a careful and detailed analysis of the compositional, plastic and design elements within the dress of the Kaaba. The study concluded that the linear and artistic plastic elements had a prominent role in enhancing the aesthetics of the covering of the Kaaba. Islamic Art and Heritage. Keywords: plastic elements, artistic design, calligraphic formations, the covering of the Kaaba, Islamic art