scholarly journals SINO-ARABIC SCRIPT AND ARCHITECTURAL INSCRIPTIONS IN XI’AN GREAT MOSQUE, CHINA

2014 ◽  
Vol 3 (1) ◽  
pp. 39 ◽  
Author(s):  
Djamel Dilmi
Keyword(s):  
Field Work ◽  
Islamic Art ◽  
Religious Buildings ◽  
Special Character ◽  
Muslim Minority ◽  
Arabic Script ◽  
Local Tradition ◽  
The Subject ◽  
Islamic Civilization ◽  
Art And Architecture

The Islamic art have played a significant role in the development of Muslim Chinese community in China, it was<br />developed through time in response to cultural needs of the minority Muslim groups in China. The Islamic<br />calligraphy was widely used in architecture, especially in interior and exterior decoration of mosques and<br />other religious buildings. The aim of this study is to interpret the Islamic art and architecture in China through<br />application of Sino-Arabic script on mosques and crafts produced by Muslim minority in China in relation to the<br />Islamic civilization and Chinese civilization, in order to suggest some guidelines for the preservation of this<br />forgotten Islamic heritage. To achieve the aim of this paper the Sino-Arabic inscriptions will be examined in<br />order to determine their characteristics and the nature of the effects to which they have been subjected. A<br />broad range of information was collected from various sources and through a field survey that was carried out<br />in Xi’an Great Mosque in China. The collected information from field work will be analyzed with particular<br />regard to the special character of Chinese Islamic art and architecture. This study is an attempt to address<br />the important topic of Islamic calligraphy and its application on architectural buildings in China as part of<br />issues of Islamic architectural heritage and its integration with local tradition that have been occurred in the<br />Muslim world and it is hoped that it is going to be a significant contribution to the subject of Islamic art and<br />architecture in China as well as revival and preservation of this forgotten heritage. Detailed conclusion will be<br />arrived at the end and specific suggestions are intended to assist in examining the topic in depth and helping in<br />developing guidelines for regional expansion and adaptation of Islamic art and architecture with local<br />environmental condition to contribute more for the future of Muslim heritage and civilization.

Islamic Art and Architecture in The Encyclopaedia of Islam, 2nd ed.

1994 ◽  
Vol 28 (2) ◽  
pp. 158-162
Author(s):  
Sheila S. Blair ◽  
Jonathan M. Bloom
Keyword(s):  
Visual Arts ◽  
Late Summer ◽  
Islamic Art ◽  
Islamic Culture ◽  
Islamic History ◽  
The People ◽  
History Of ◽  
Islamic Civilization ◽  
Art And Architecture ◽  
Reference Tool

The second edition of The Encyclopaedia of Islam (EI/2), published since 1954 by E.J. Brill in Leiden, is well known as an unparalleled scholarly reference for the history and culture of the Islamic lands. By late summer 1994, the Encyclopaedia had reached the entry Riḍā Shāh in the middle of the eighth volume. The volumes, each approximately 1000 pages long, are lodes of information about the people, places, events and ideas of Islamic history and thought; but simply by handling the volumes, a reader would never realize that the visual arts were an important component of Islamic culture. There are very few illustrations, none of them in color. Even to the most unsophisticated eye, EI/2 is a dense, ponderous, and user-antagonistic reference tool. Nevertheless, it is a useful resource for the history of art and architecture in the Islamic lands, particularly to those who already know something about Islamic civilization, although the reader must be an experienced miner to discover the ore-bearing strata.

‫كتابات البيوت الدمشقية في العصر العثماني‬ (The Inscriptions of the Damascene Ottoman Residences)

Abgadiyat ◽  
2011 ◽  
Vol 6 (1) ◽  
pp. 105-120
Author(s):  
‫أحمد محمود‬ ‫أمين‬
Keyword(s):  
The Other ◽  
Islamic Art ◽  
Other Hand ◽  
Characteristic Features ◽  
Islamic Civilization ◽  
Art And Architecture ◽  
Shed Light ◽  
Important Significance

The extensive use of inscriptions characterizes Islamic art and architecture. In fact, calligraphy is one of the most characteristic features distinguishing the Islamic civilization among the other cultures. Islamic buildings generally, and the residential ones in particular, have an abundant number of inscriptions. These inscriptions have, in addition to their ornamental role, an important significance represented in the meaning of their contents. This paper will shed light on the Arabic inscriptions of the Damascene Ottoman residences in order to discuss the inscription styles of script, as well as the meaning of their contents. The inscription styles of script include square geometric Kufi, Naskh and Thuluth. The most significant item is the inscription content, it is noteworthy that a few examples represent unread inscriptions, in other words, just an ornamental figure composed of Arabic letters with no meaning. The meanings of the inscriptions of the Damascene Ottoman residences could be categorized according to their purpose, position, and context; in this regard, the inscriptions are classified into commemorative, Quranic, the Prophet’s sayings, poetic inscriptions. On the other hand, the meanings of the inscriptions reflect the beliefs and the culture of the residences. (Please note that this article is in Arabic).

scholarly journals Rationalizing the Permissibility of Mosque Decoration

2016 ◽  
Vol 4 (1) ◽  
pp. 14
Author(s):  
Spahic Omer
Keyword(s):  
Islamic Art ◽  
Niche Area ◽  
The Subject ◽  
Art And Architecture

<p>This paper discusses the subject of mosque decoration and some of the criteria which determine its permissibility or otherwise. Some aspects of the matter are somewhat sensitive and double-edged. Thus, the paper presents an objective, balanced and scientific account of the theme, steering clear of the sentimental aspects of the evidences often put forth by both the proponents and opponents of mosque decoration. The main thrusts of the paper are the issues pertaining to the legitimacy of decoration in general, the subject of the function of mosques vis-à-vis their decoration, as well as the broad guidelines that regulate mosque decoration emphasizing the decoration of the <em>mihrab </em>(praying niche) area and the <em>qiblah</em> wall. The paper concludes that in principle mosque decoration is permissible so long as it conforms to the requirements of the Islamic spirituality and the quintessence of genuine Islamic art and architecture.</p>

scholarly journals Bibliography of Art and Architecture in the Islamic World

2014 ◽  
Vol 31 (1) ◽  
pp. 120-123
Author(s):  
Tammy Gaber
Keyword(s):  
General Interest ◽  
British Library ◽  
Islamic Art ◽  
Islamic World ◽  
University Of Oxford ◽  
The Subject ◽  
Per Se ◽  
The University ◽  
Art And Architecture ◽  
Courtauld Institute

Index Islamicus, begun in 1906, is a database of bibliographic information ofpublications in all areas of studies connected with the Islamic world. Since thattime, interest in Islamic art and architecture has surged from specialists to manyscholars, students, and general interest worldwide. The recent and updated supplementsBibliography of Art and Architecture in the Islamic World, edited bySusan Sinclair, who was assisted by Heather Bleaney and Pablo Garcia Suarez,fills a serious void by listing the materials from 1906 to 2011.Sinclair, an independent scholar with a Ph.D. from the University ofLondon’s Courtauld Institute of Art, is currently researching material in themedievalArab world and has served as the co-editor of the Index Islamicussince 2007. With the support of the university’s renowned School of Orientaland African Studies, she was able to comb the archives of the United Kingdom’sleading institutions, including the National Art Library in London,the British Library, the library of the Warburg Institute, the Cambridge UniversityLibrary, and the University of Oxford libraries, as well as importantcollections located in Spain (e.g., the Biblioteca Nacional de España, theBiblioteca Islámica, and the libraries of Consejo Superior de InvestigacionesCientificas). The compilation of resources from these vast collections aswell as the material available online has brought this bibliographic collectionto a new level.At first glance, the material may seem to be no more than a listing ofsources on the subject, with no “content” per se to read. However, the valueof such texts and of this set in particular is that the bibliographic listings aregrouped by type and subtypes, which enable researchers in particular areas toaccess a wealth of information not necessarily accessible by other search enginesor mechanisms ...

scholarly journals Southeast Asian Islamic Art and Architecture: Re-Examining The Claim of the Unity and Universality of Islamic Art

2018 ◽  
Vol 1 (2) ◽  
pp. 171
Author(s):  
Lien Iffah Naf’atu Fina
Keyword(s):  
Middle East ◽  
Southeast Asia ◽  
Basic Principle ◽  
Southeast Asian ◽  
Islamic Art ◽  
Local Tradition ◽  
Asian Context ◽  
Art And Architecture ◽  
Geometric Designs ◽  
Artistic Tradition

This paper re-examines the claim of unity and universality of Islamic art, whose discussion usually disregards Islamic art and architecture in the Southeast Asian context. The question raised is where Islamic art in the Malay world should be put before the claim of the unity and universality of Islamic art and whether this claim is, thus, still valid. To meet this objective, the two heritages of Javanese Islamic art, Demak and Cirebon mosques and wayang, are presented and analyzed before such universal claim and pre-Islamic Javanese art. These Javanese expressions have unique features compared to those from the older Muslim world. The mosques lack geometric ornamentation and Qur’anic calligraphic decoration, and are rich with symbolism. However, both the mosques and wayang also clearly express the figurative designs. Thus, this paper argues that instead of geometric designs as the unified character of Islamic art as some argue, it should be the abstraction of motifs. This way, the universal claim of Islamic art accommodates the artistic expressions from the wider regions, including those from Southeast Asia. Besides the abstraction, these Javanese artistic expressions also shares other universal character of traditional development of Islamic art; its ability to always considering the local tradition while maintaining the basic principle of Islamic art. Javanese Islamic art is both Islamic and uniquely Javanese. In the midst of globalization and the contemporary tendency towards “Islamic authentication” by importing culture and tradition from the Middle East, including the mosque architecture, the latter character is vital. It tells that any direct import and implantation of other or foreign traditions to a certain region without any process of considering the local tradition and context has no basis and legitimation in Islamic artistic tradition.

scholarly journals ISLAMIC ARTS MUSEUM, MALAYSIA: EDUCATIONAL TOOL FOR REVIVING ARCHITECTURAL HERITAGE

2014 ◽  
Vol 2 (4) ◽  
Author(s):  
Djamel Dilmi
Keyword(s):  
Interior Design ◽  
Public Awareness ◽  
Educational Programs ◽  
Muslim World ◽  
Modern World ◽  
Islamic Art ◽  
Conservation Programs ◽  
Successful Model ◽  
Special Character ◽  
Art And Architecture

<p><strong>A</strong><strong>bstract</strong></p> <p>The Islamic art and architecture have played a significant role in the development of historic cities in the Muslim world; they were developed through time in response to socioeconomic and cultural needs of the society. The paper will focus on the experience of the Islamic Arts Museum in terms of its role in raising public awareness about Islamic art and architecture through its building that combines modernity and heritage in unique Islamic architectural style and educational programs and activities that educate people about conservation of Islamic heritage. The aim of this essay is to present the experience of IAMM in promoting Islamic art and architecture in order to share experience as a successful model. To achieve this aim the existing conditions of this museum were examined in  terms of its building, decorated element, cultural activities  and  conservation  programs using  traditional  ways and  modern technologies.  A  broad  range  of information was collected from various sources and through a field survey carried out in the selected museum from modern country leading development in the Muslim world. The collected information was analyzed with particular regard to the special character. This paper is an attempt to address the important issues of educational programs that raise public awareness about heritage through interior design and display of artifact from different regions of Muslim world matters that have been raised in many museums around the world and it is hoped that it is going to be a significant contribution to the subject of reviving Islamic architecture in the modern world.</p> <p><strong>K</strong><strong>eywords</strong>: Islamic art and architecture, museum, modernity and heritage, conservation programs, educational activities.</p> <p> </p> <p> </p> <p><strong>A</strong><strong>bstrak</strong></p> <p>Seni  dan  arsitektur  Islam  telah  memainkan  peran  yang  sangat  penting  dalam  perkembangan  kota-kota bersejarah di dunia Muslim; dibangun sepanjang masa sebagai respon terhadap kebutuhan sosial ekonomi dan budaya dari masyarakatnya. Makalah ini akan difokuskan pada pengalaman Museum Seni Islam dalam perannya meningkatkan kesadaran  publik tentang  seni  dan  arsitektur Islam melalui arsitekturnya yang  memadukan modernitas dan warisan budaya Islam di dalam gaya arsitekturnya, program-program edukatif, dan aktivitas- aktivitas yang mendidik masyarakat mengenai pelestarian warisan budaya Islam. Tujuan dari makalah ini adalah untuk menyajikan pengalaman IAMM di dalam mempromosikan seni dan arsitektur Islam, dalam rangka berbagi pengalaman sebagai salah  satu  model yang berhasil. Untuk  itu, pembahasan mengenai museum ini akan meliputi bangunannya, elemen dekorasinya, aktivitas-aktivitas kulturalnya, dan program-program konservasi menggunakan cara-cara tradisional dan  teknologi modern. Informasi yang sangat  luas mengenai topik ini diperoleh dari berbagai sumber dan survei lapangan di museum terpilih dari negara modern yang memimpin pengembangan di dunia Muslim. Makalah ini merupakan sebuah upaya untuk merespon isu-isu penting dari program-program edukatif yang meningkatkan kesadaran publik tentang warisan budaya melalui desain interior dan cara menampilkan artifak dari berbagai wilayah di dunia Muslim yang telah diupayakan di berbagai museum di berbagai belahan dunia. Diharapkan, terdapat kontribusi signifikan terhadap subjek revivalisasi arsitektur Islam di dunia modern.</p> <p> </p> <strong>Kata kunci</strong>: seni dan arsitektur Islam, museum, modernitas dan warisan budaya, program konservasi, aktivitas edukatif

scholarly journals Spinoza’s affective aesthetics: Art and architecture from the viewpoint of life

2021 ◽  
pp. 64-72
Author(s):  
Gökhan Kodalak
Keyword(s):  
Subject Matter ◽  
Aesthetic Theory ◽  
The Subject ◽  
Relationship Of ◽  
Art And Architecture ◽  
The Relationship

There is a peculiar aesthetic undercurrent traversing Baruch Spinoza’s philosophy, harbouring untapped potentials and far-reaching consequences for contemporary discussions on aesthetics. The relationship between aesthetics and Spinoza’s philosophy, however, has been nothing but a huge missed encounter, resulting in the publication of only a few books and a handful of articles throughout a vast period of more than three-and-a-half centuries. Which begs the question: might there be, despite our persistent negligence, much more to the relationship of Spinoza and aesthetics than first meets the eye? I will argue that there might be. For once Spinoza’s philosophy as a whole, ranging from his philosophical and political treatises to his private letters and unfinished manuscripts, is read between the lines, latent seeds of a peculiar aesthetic theory become visible—an aesthetic theory that moves beyond subjective and objective approaches that have come to dominate the field, and rather grounds itself on affective interactions and morphogenetic processes. A subterranean journey through Spinoza’s affective aesthetics constitutes the subject matter of this paper, which interweaves subtle aesthetic hints buried deep within his philosophical archive, while unfolding relevant ramifications of these promising discoveries for the current aesthetic discourse.

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