Islamic Art Research Articles

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>

USING THE CHARACTERISTICS OF ISLAMIC CIVILIZATION IN TEACHING SKILLS

Islam is a universal religion that encourages science and considers it obligatory for every Muslim, and has never been the cause of retardation. Any science is acceptable unless it is a flag that contradicts Islamic law and its rules. Islam honors scientists and makes them inheritors of the prophets and orders knowledge from birth to death. Civilization meaning: "living and staying in urban area and civilization of the city, which is unlike Badia, cities, villages and countryside, so named because the people attended the places and houses of homes that have a decision, remember civilization in the language it means what is the opposite of the Bedouin, means, the inhabitants of cities and villages. A manifestation of Islamic civilization: - Foundations of the system of governance in Islamic civilization, including the method of choosing the ruler and the way of governance "Koran and Sunnah, Shura and justice and guarantee freedom of the Muslim and other freedom of choice for his religion. - Islamic civilization and economic life: - Islam built an integrated economic system and organized the methods of collecting money and methods of spending as well. - Islamic civilization and its influence on education through the Quran and Sunnah encouragement to acquire science. - Islamic civilization and social impact on life: The signs of Islamic social life and organization from the first moment of the Prophet's founding in the establishment of the mosque and the organization of relations of immigrants and supporters and the conclusion of treaties with non-Muslims in society. - Science: There was a special interest in Islam with science and its types and details such as translation, medicine, mathematics, agriculture and chemistry. - Science and the Arts: It is clear that the great impact of Islamic art in all fields and during the successive Islamic eras and Islamic controversies that continue to the present time on all other civilizations and until now Western societies are affected by Islamic science and art. Key words: Islamic Civilization, Teaching Skills

A STUDY ON SIMILE AND PURIFICATION IN THE “PHILOSOPHY OF DECORATION” OF IRANIAN ISLAMIC ART FROM IBN ARABI’S POINT OF VIEW

Iranian Islamic art refers to the works of culture and civilization of the Iranian Muslim nation in the Islamic era. In its thinking and epistemological nature, it has a different language from simile and purification and is associated with a rich philosophy called "decoration" based on spiritual manifestations. Therefore, in creating works based on a simile and purification attitude, the existence of truth has never been neglected and the art world has been considered as manifestations of truth. This research is a descriptive and analytical research. Through documents, libraries and field observations, various data were collected by examining the principles and components of simile and purification with emphasis on Ibn Arabi's point of view and analyzing of how the Muslim artist used and his goals of using the combination of the two components in the philosophy of decoration. The results show that "simile and purification", as a mystical approach, has led to the formation of a special language in the structure of Iranian art; therefore, in the philosophy of decoration, the mystic artist has used it as a tool to manifest the beauty and perfection of God in forms through the embodiment of unity.

A STUDY ON SIMILE AND PURIFICATION IN THE “PHILOSOPHY OF DECORATION” OF IRANIAN ISLAMIC ART FROM IBN ARABI’S POINT OF VIEW

Iranian Islamic art refers to the works of culture and civilization of the Iranian Muslim nation in the Islamic era. In its thinking and epistemological nature, it has a different language from simile and purification and is associated with a rich philosophy called "decoration" based on spiritual manifestations. Therefore, in creating works based on a simile and purification attitude, the existence of truth has never been neglected and the art world has been considered as manifestations of truth. This research is a descriptive and analytical research. Through documents, libraries and field observations, various data were collected by examining the principles and components of simile and purification with emphasis on Ibn Arabi's point of view and analyzing of how the Muslim artist used and his goals of using the combination of the two components in the philosophy of decoration. The results show that "simile and purification", as a mystical approach, has led to the formation of a special language in the structure of Iranian art; therefore, in the philosophy of decoration, the mystic artist has used it as a tool to manifest the beauty and perfection of God in forms through the embodiment of unity.

A STUDY ON SIMILE AND PURIFICATION IN THE “PHILOSOPHY OF DECORATION” OF IRANIAN ISLAMIC ART (FROM IBN ARABI’S POINT OF VIEW, WITH EMPHASIS ON TWO BRICKLAYING INSCRIPTIONS FROM THE DOME OF TAJ-AL-MOLK, THE GRAND MOSQUE OF ISFAHAN IN THE SELJUK PERIOD OF THE 5-6TH CENTURY AH)

Statement of the problem. Iranian Islamic art refers to the works of culture and civilization of the Iranian Muslim nation in the Islamic era. It has properties and descriptions, which in its thinking and epistemological nature, have a different language from simile and purification and are associated with a rich philosophy called "decoration" based on spiritual manifestations. According to the type of subject, nature and method, this research is descriptive and analytical. Through documents, libraries and field observations, various data were collected by examining the principles and components of simile and purification with emphasis on Ibn Arabi’s point of view, analyzing how the Muslim artist used and his goals of employing the combination of the two components in the philosophy of decoration, and also recognizing the sacred geometric patterns in Iranian Islamic art (with a sample of studies on two geometric inscriptions from the dome of Taj Al-Molk in Isfahan Grand Mosque). Results. The analysis of the data and the results show that since "decoration" means the refinement and separation of the individual from his/her individuality, and "simile and purification" , as a mystical approach, has led to the formation of a special language in the structure of Iranian art; therefore, in the philosophy of decoration, the mystic artist has used it as a tool to manifest the beauty and perfection of God in forms through the embodiment of unity and expressed his/her immediate and intuitive perception of his/her inner journey without relying on material concepts or purely aesthetic perceptions to manifest the idea of the holy by using symbol and irony in simile and purification. He/she decodes and expresses the most exalted realities of creation and the actual concept of real unity in a mental state, in material and abstract forms, and geometric patterns to be understood by all. His/her art in all its aspects has been based on the monotheism of wisdom and on the emanation issued by the Divine speech. In fact, in his/her art, the Iranian Islamic artist combines the two principles of beauty and spirituality with " simile and purification" in the " philosophy of sacred decoration " and manifests the " sacred art ".

Semiology of Art and Mysticism in Persian Architecture According to Rumi’s Mystical Opinions (Case Study: Sheikh Lotf-Allah Mosque, Iran)

A glimpse of the history of Islamic art indicates that Sufism and mysticism have long been among the most important intellectual and spiritual currents influencing Persian art and architecture. Accordingly, re-reading the symbolic concepts as well as the mystical and spiritual semiotics and seeking their reflection in the body of architecture is an obligatory instruction that should be considered in the process of architectural design. In this research, the authors endeavor to investigate the semiology in the physical elements of Sheikh Lotf-Allah Mosque in Isfahan and its relationship with Rumi’s mysticism using inferential–analytical methods and based on library studies and empirical observations. This research found that the Sheikh Lotf-Allah Mosque was constructed according to the mystical opinions of Rumi in order to demonstrate the semantic values of different levels of the universe in its physical form, structure and configuration. According to the findings, the use of Rumi’s mysticism propagates a God-centered semantic spirit to the body of Persian architectural elements, which always reminds human beings of their true home, which is the heavenly world. According to Rumi, the nature of architecture is beyond the material, and it is God-centered contemplation that turns the architecture into magnificent buildings.

Review: Art and Material Culture in the Byzantine and Islamic Worlds: Studies in Honour of Erica Cruikshank Dodd, edited by Evanthia Baboula and Lesley Jessop

Review: <i>Art and Material Culture in the Byzantine and Islamic Worlds: Studies in Honour of Erica Cruikshank Dodd</i>, edited by Evanthia Baboula and Lesley Jessop

Ceramic Raku Practice through the Context of Islamic Art Practice in Malaysia

In contemporary Malaysian art, the concept of authenticity has faced a dilemma, which emerges from ambivalence in the Malay/Muslim community in their belief towards the issues of representation in Islamic art practice. This research will attempt to answer the questions raised in addressing the dilemma of ceramic Raku; a traditional Japanese Ceramic firing practice through the context of Islamic art practice in Malaysia observed as contemporary Malaysia art.

Art Appreciation on Mughal Miniature Paintings from Islamic Art Museum Malaysia Kuala Lumpur

This paper discusses the art appreciation on Mughal miniature paintings from Islamic Art Museum Kuala Lumpur. The focus of appreciation is from five miniature painting had been exhibited at IAMM. Namely The exhibition of 14 Dynasties and a Region: The History and Culture of the Muslim World from 8th June until 16th October 2022. The analysis of the artwork is focused on the layout composition, variation of colors and the style The discipline of art history has been pioneered by the west and directly inevitably their formulas are also used in analyzing Islamic works of art.

Artistic Transfers from Islamic to Christian Art: A Study with Geographic Information Systems (GIS)

The aim of this article is to present the main aspects of the methodology employed in my research concerning artistic transfers in the late medieval Mediterranean from Islamic to Christian art, with a special focus on the Iberian Peninsula. The starting point of the research was the selection of certain artistic elements incorporated into western Islamic art during the Almoravid period (in particular, the muqarnaṣ and the pointed-horseshoe arches), to analyse their spread in western Islamic art and beyond. A Geographic Information System (GIS) was applied to create two databases and assess the distribution of these elements in the Mediterranean framework between the 12th and 15th centuries. As a result, different analyses and cartographic material developed with the GIS are thus included in this work. The GIS made it possible to analyse not only geographic aspects of the distribution of these elements but also other complex phenomena related to the muqarnaṣ and the pointed-horseshoe arches in a quantitative way, which allowed me to raise some preliminary hypotheses concerning the use and distribution of both elements in the Mediterranean framework.

Dual-cultural identities: An analysis of images by Arab art therapists in Israel

ABSTRACT Background The study explores the integration that art therapists from a collective society, such as the Arab society in Israel, a minority in a mostly Western society, create between the knowledge they acquire in their training and their fieldwork with members of their own cultural group. Aims The study aims to learn from the art therapists how they experience the two cultures and how they combine them when using art in the therapy they conduct. Method The study consisted of semi-structured in-depth interviews and an analysis of visual images drawn by 13 experienced and student Arab art therapists in Israel. Findings The findings showed that the therapists expressed different levels of integration between their training and their fieldwork: integration, lack of connection, and an attempt to create integration. The therapists whose work resembled integration reported that they choose artistic materials and tools that were suited to the clients’ culture and that they found unique ways to integrate art into the therapy. Findings also showed that the experienced therapists were more likely to create conditions for integration in their work, remember their training as a good and beneficial period compared to the students who experienced their training and their fieldwork as difficult. Conclusions and Implications Learning from therapists who have formed a unique dual-cultural identity can assist cultural minority therapists in their fieldwork to integrate between their studies and the cultural values and meanings of their own society, and to build art therapy curricula more suited to collective cultures. Plain-language summary Art therapists from the Arab society in Israel have to bridge gaps between Arab culture, which is characterised as collective, and Western knowledge, which is characterised as individual, which they acquire in their art therapy training. The current study examines to what extent and how they have been able to integrate between these different cultures, and how such integration manifests in fieldwork with members of their culture. The findings suggest that there were therapists who were not able to integrate the two cultural worlds, mostly students, while others managed various forms of integration. Most of the experienced therapists managed to bridge the gaps, used artistic materials and tools that were adapted to the client’s culture and found unique ways to integrate art into the therapy. In addition, the experienced therapists viewed the training process as a good and beneficial period, while the students experienced difficulties both in training and in the fieldwork. The research can assist therapists and construct curricula for art therapy tailored to collective culture.

TWO ARTISTICALLY FINISHED MUSLIM STELES OF THE 14th CENTURY FROM KUBACHI (DAGESTAN, RUSSIA)

The article describes two tombstones of the XIV century. in the form of high trapezoidal stone slabs (the lower end is narrower than the upper part) from the largest artistic center of Dagestan - the village of Kubachi. They are located in the medieval Muslim cemetery "Bidakh Khuppe" (in the lane with Kubach - "Cemeteries on the other side"), 1.5-2 km south of the old part of Kubacha, in the lower half of the northern slope of Mount Tsitsila. The monuments under consideration are decorated at a high artistic level with late Kufic relief Arabic inscriptions and floral ornaments. The inscriptions were made at different times in the “blooming kufi” style by the same master stone cutter, calligrapher and ornamentalist, which is proved by the commonality of the forms of both monuments, the technique of their carving, the peculiarities of their decorative finishes, the ornamental style, and the unity of the compositional schemes of the decor. The name of the master who made these monuments is unknown. The article clarifies the existing in the decor of the monuments and certain differences in the style of the letters of the Kufic inscriptions, the details of the ornamental compositions of the central fields, which, obviously, are associated with the different times of the manufacture of the stelae. On the monument number 2 there is a date - 783 AH / 1381-82. (according to the Gregorian calendar); there is no date on monument No. 1. The author of the article believes that monument No. 1 was made 12-15 years earlier than monument No. 2.In the article, both tomb stelae are considered as highly artistic works of Muslim art based on the features of the decorative finish of the letters of the relief Arabic inscriptions of the curb strips, their proportionality and proportionality, as well as taking into account the expressive floral ornament of the central fields and the framing epigraphic border strips, the unity and interconnection of the details of the compositions of the central field (stele No. 2) and upper side corners.

The Arts of the Book in the Aydınid Realm: Exploring a Neglected Medical Manuscript from Late Fourteenth-Century Western Rum

Abstract It is now well established in scholarship that the Turkmen principalities (beyliks) of late medieval Rum possessed lively, dynamic court cultures and that several of their members were enthusiastic supporters of art and architecture. Recent publications have shown that, like their more famous Ilkhanid and Mamluk contemporaries, several Turkmen princes were avid patrons of the Islamic arts of the book. For the most part, however, scholars have not examined the contributions of the Aydınid principality (1308–1425) to this art form. Before the emergence of Ottoman domination, the Aydınids were one of the most powerful and prosperous local polities, based on the western coast of present-day Turkey in and around Birgi, Ayasuluk (Selçuk), Tire, and İzmir. In an effort to contribute to ongoing discussions concerning the production and patronage of the late medieval arts of the book from Rum, this article analyzes and contextualizes an illuminated manuscript that was produced for Fakhr al-Din ʿIsa ibn Muhammad ibn Aydın (r. ca. 1360–90). This manuscript appears not to have been studied in any depth before. Given the small number of securely identified manuscripts from late fourteenth-century Rum, this material marks an exciting and welcome addition to the corpus.

Notes on the Aesthetics of Medieval Islamic Art—and of Medieval Persian Painting

AbstractThe article sets the discussion of Islamic art within the very animated discussions of the last few decades by many prominent scholars that have sought to pinpoint its nature and that have highlighted the twin dangers of over-generalisation and too narrow a focus. Given that the parameters of the discussion have undergone radical change, and the need to revise traditional paradigms, the article confines itself to Islamic art in the medieval period and the central Islamic lands, especially through the prism of nature. Problems of definition and of the usefulness of medieval texts, and the roles of abstraction and contemplation, are reviewed in turn and the article ends with an attempt to define more closely the aesthetics of a single branch of Islamic art, namely medieval Persian book painting.

The Technical Design Foundations for Linear Formations in the Kiswah of the Kaaba: An Analytical Study

The linear formations in the covering of the Kaaba are characterized by a number of design principles that have effectively contributed to giving the covering of the Holy Kaaba the aesthetic appearance that it possesses. Therefore, this study aims to reveal the technical design foundations of the covering of the Kaaba, according to a methodological and analytical perspective. The method used in this study is the descriptive analytical method. This study is classified under the applied field studies. The study concluded that the linear formations present in the covering of the Holy Kaaba enjoy a number of design foundations of an artistic and aesthetic nature. These foundations are balance, supremacy, rhythm, unity, contrast, coordination, proportionality, symmetry, and sequence. The study also concluded that the principles and principles of artistic design have been applied to the highest degree to achieve the aesthetic goal in designing the linear formations in the cladding and to enhance the artistic dimensions through a functional and aesthetic rhythm. KEY WORDS: Artistic design, design principles, calligraphy formations, Islamic art, the covering of the Kaaba.

The Influence of Islamic Art on the Development of Modern European Art

According to Toynbee, Islamic civilization is categorized in the Judaeo-Christian tradition. This civilization has developed far from the place of its birth. First headed to Southern Europe and switched to India, China and Indonesia or often known as Eastern civilization. Regarding art, initially Islam did not need it at all, but because of the demands of the situation and conditions, Muslims created various works of art to express a religious view of life. In the place where this religion was born, Islamic art is useful as a fence for expression because it prevents the influence of non-religious art, such as that of non-Muslims. It is different with Western or Christian art, where art is all works involving ideas in a harmonious form of beauty. In the Bible it is stated that everything in Christ is a new creation because the old has been forgotten. On the other hand, Islamic art does not have a basic source of holy books from the Qur'an or hadith but has a very Islamic character. The nascent Islam did not know art. Arab traders and caravan leaders had contacts with the Byzantine and Persian civilizations. Their interest in weapons, knick-knacks, and fabrics that make them look like aliens is fascinating and one of the most artistic works they can admire on their journey.

Acculturation of Islamic Art and Chinese Culture in Tengkera Mosque, Melaka

Acculturation is the process of acceptance of cultural elements between individuals or groups from other different cultures. A group of communities with a certain culture that are exposed to foreign elements are finally accepted and adapted to their own culture. The example of the acculturation can be found at the Tengkera Mosque located in Melaka. The long process of acculturation illustrates the relationship between the Chinese minority and the Malay community has been firmly established. Chinese people emigrated to Melaka in the 15th century. They brought their customs and culture and this was introduced to the Muslim Malay community. The introducing of the Chinese culture has led to the acceptance of the Muslim community in Melaka. This study aims to identify the background or history of Chinese migration in Melaka. The research was also carried out to study the types of Chinese art and culture that have been mixed as decorations in the Tengkera mosque. The research is qualitative in its form and to solve it, researchers used observation methods to study the types of Chinese art and culture in this mosque. The results of the study found that the Tengkera Mosque shows the influence of Chinese culture in terms of decorative patterns and symbols on the components of the mosque and each of these symbols has its own meaning according to Chinese philosophy.

Pemberdayaan Santri melalui Pelatihan Kaligrafi di Pondok Pesantren Darul Huda Mayak Tonatan Ponorogo

The development of students is critical to be improved through various training so that students like Islamic art in the form of calligraphy art and can preserve it, one of which is calligraphy training. The art of calligraphy can add to the aesthetics of the Qur'an because calligraphy is a reflection of the response to divine messages. The purpose of this community service was to improve the ability of students in the art of calligraphy. The approach used in this service is the ABCD (Asset-Based Community Development) method with students' assets at the Darul Huda Islamic Boarding School Mayak Ponorogo. The enthusiasm of the students was extraordinary. The calligraphy training participants were enthusiastic about participating in the training and producing contested and exhibited works. The evaluation results showed that the calligraphy skills of the participants had increased, and the participants continued to receive training and guidance after the exhibition.

Comparison of Miniature of Mughal School and Herat School based on Coomaraswamy Thought

This article aims to compare the paintings of Gurkani School( paintings of Mughal Court in India) and the paintings of Herat school, based on Coomaraswamy’s thoughts. Coomaraswamy’s thoughts have been used in comparing the two schools, because there is something unexpected in his works, that is, attributing undesirable elements to Islamic art! While, other proponents of the Traditionalist School, have been praising this art. Thus, our purpose is to show the undesirable elements do not exist in the whole structure of Islamic art. Rather, it exists only in a part of this art, especially in the paintings of Gurkani School unlike the Herat School, which is approved by Coomaraswamy, as one of the glory examples of Islamic traditional art. This purpose is pursued through a descriptive-analytical research method with a comparative approach. The findings reveal that the existence of non-traditional elements in the Gurkani School such as paying attention to the artist as a unique character, using historical subjects, imitating nature, employing worldly and luxury oriented views has separated this school of painting from Islamic art tradition. Whereas, the School of Herat is identified with its traditional characteristics, for example, having a traditional origin, conceiving the artist as a part of the traditional process, and encompassing metaphorical themes and styles.