scholarly journals Toward Islamization of the Non-Visual Arts

1989 ◽  
Vol 6 (1) ◽  
pp. 125-134
Author(s):  
Rasha Al Disuqi
Keyword(s):  
Present State ◽  
Visual Arts ◽  
Literary Theory ◽  
Recent Article ◽  
Fine Arts ◽  
Economic Institutions ◽  
The Arts ◽  
Large Numbers

In his recent article, "Religious Fascism and Art," Dr. Sa'ad al DTn Ibrahimconcludes with these words addressed to all scholars in the visual and nonvisualarts field: "Those who have the 'Islamic alternative or aJtematives'let them be obliged, if they truly believe in the existence of refined standardsfor aesthetic creativity different from those available, (let them) endeavorto present these refinements to society. They have endeavored and succeededin recent years in presenting alternatives in economic institutions, servicesand investments, which attracted large numbers . . . why do they not dothe same in the arts field?"1Frantic endeavors at lslarnizing the non-visual arts have reached a highpointat the present time. These endeavors are primarily due to the realization ofthe grave effect art has on shaping morals and channeling, or swaying themin certain directions, and to its easy accessibility to, and profound effect on,emotion and intellect. Many contemporary Islamistsi have found some basisfor Literary theory but have not arrived at one grounded in the Qur'an andthe Sunnah with a view leading to Islamization of the non-visual arts (literature)and the fine arts as a whole. Although this discussion does not present atheory, it attempts to draw attention to crucial issues which may invite furtherendeavors for the Islamization of these artistic disciplines.The Present State Of The Arts And Islamic ResearchContributionsThe problem oflabeling all kinds of written material "literature," is itself ...

Toward Islamization of the Non-Visual Arts

1989 ◽  
Vol 6 (1) ◽  
pp. 125-134
Author(s):  
Rasha Al Disuqi
Keyword(s):  
Present State ◽  
Visual Arts ◽  
Literary Theory ◽  
Recent Article ◽  
Fine Arts ◽  
Islamic Art ◽  
The Arts ◽  
Large Numbers ◽  
Sayyid Qutb ◽  
Poetic Expression

In his recent article, "Religious Fascism and Art," Dr. Sa'ad al Din Ibrahimconcludes with these words addressed to all scholars in the visual and nonvisualarts field: "Those who have the 'Islamic alternative or aJtematives'let them be obliged, if they truly believe in the existence of refined standardsfor aesthetic creativity different from those available, (let them) endeavorto present these refinements to society. They have endeavored and succeededin recent years in presenting alternatives in economic institutions, servicesand investments, which attracted large numbers . . . why do they not dothe same in the arts field?"Frantic endeavors at lslarnizing the non-visual arts have reached a highpointat the present time. These endeavors are primarily due to the realization ofthe grave effect art has on shaping morals and channeling, or swaying themin certain directions, and to its easy accessibility to, and profound effect on,emotion and intellect. Many contemporary Islamistsi have found some basisfor Literary theory but have not arrived at one grounded in the Qur'an andthe Sunnah with a view leading to Islamization of the non-visual arts (literature)and the fine arts as a whole. Although this discussion does not present atheory, it attempts to draw attention to crucial issues which may invite furtherendeavors for the Islamization of these artistic disciplines.The Present State Of The Arts And Islamic ResearchContributionsThe problem oflabeling all kinds of written material "literature," is itselfindicative of the obliterated sense of refinement needed in the existing nonvisualarts. Literature, such as drama, fiction, poetry, and even criticismhas been called, among its specialists, "art." But because it has not livedup to refined artistic standards, it has prompted many scholars to center theirdiscussions on the quality and value present in the different existing genres.At several points in history similar attempts have existed: al Asma'i (d.215 A.H./830 A.D.), Muhammad Ahmad Tabatba (d. 322 A.H./933 A.O.),al ·Amidi (d. 370 A.H./980 A.D.), al Farabi (d. 339 A.H./950 A.O.), andal Jurjani (d. 392 A.H./1001 A.O.) have concentrated their efforts on qualityof style, rhetoric, and means of expression in the work of art. In literaryCriticism: Roots and Methodology, Sayyid Qutb initiated a return to theQur'an and the Hadith as sources, by analyzing emotive values of the work,exploring the nature of Islamic art, describing its characteristics and its basicemergence from Islamic 'aqidah. Similarly, in Experiments in PracticalCriticism, al Qabsi touches on the Prophet's (SAAS) viewpoint of poetryand the legitimacy of poetic expression. In analyzing the significance of thework as a human product, it was learned that human expression, related firstand foremost to the human being, has not been explored. We must, then,first find the basis for such a theory in the Qur'an and the Sunnah in order ...

Social Dimensions of Epistemological Disputes: The Case of Literary Theory

1997 ◽  
Vol 40 (2) ◽  
pp. 243-263
Author(s):  
Mark A. Schneider
Keyword(s):  
Literary Theory ◽  
Fine Arts ◽  
The Other ◽  
Organizational Forms ◽  
Human Sciences ◽  
Social Dimensions ◽  
The Arts ◽  
A Current ◽  
Academic Study

Epistemological reflection has been a major source of innovation in the human sciences while having very little influence on the arts or sciences. This variation is explained using a sociological framework emphasizing the organizational forms that underpin or are implicit in epistemological positions. The fine arts and the harder sciences are, respectively, too weakly and too strongly organized to be open to epistemological influence. By contrast, the human sciences might plausibly be organized either more loosely or more tightly, and epistemological argument is used in part to urge movement in one or the other direction. This perspective is applied to the academic study of literature both historically and in relation to a current epistemological dispute between realist and relativist scholars. The argument is unresolvable in practice, it is argued, because of constraints on scholarly interpretation set by consumers. Parallels are drawn with circumstances in sociology.

scholarly journals Contextualizing Aesthetics as Social Engagement for Teacher Education

2020 ◽  
Vol 12 (1) ◽  
Author(s):  
Adam I Attwood
Keyword(s):  
Teacher Education ◽  
Visual Arts ◽  
Social Engagement ◽  
Historical Development ◽  
Fine Arts ◽  
Content Areas ◽  
The Arts ◽  
Arts Teachers ◽  
Meta Analyses ◽  
K 12

Aesthetics is a type of literacy; however, it has been missing in generalist meta-analyses of teacher education. This article adds to the literature by synthesizing aesthetics theory, especially for implications of the historical development of ideas related to visual arts and aesthetics broadly defined for inclusive teacher preparation that promotes social engagement. Various viewpoints are explored in this article for contextualizing the field of aesthetics education as it relates to the preparation of generalist K–12 teachers who are not training to be fine arts teachers. With context, generalist K–12 teachers can be equipped to integrate the arts across other content areas.

scholarly journals The Ingress Of World Artistic Experience In The Fine Arts Of The 1970s-1980s

2021 ◽  
Vol 03 (02) ◽  
pp. 198-202
Author(s):  
Khasanboy Umarjon Ugli Rakhimov ◽  
Keyword(s):  
Visual Arts ◽  
Fine Arts ◽  
Fine Art ◽  
Human Mind ◽  
Artistic Experience ◽  
Works Of Art ◽  
The Arts ◽  
History Of ◽  
The Individual

The work of writing discusses the history of Uzbek fine arts. It analyzes the different period works of art by Uzbek and Russian artists who lived in Uzbekistan. Fine art is one of the arts that quickly affects the human mind, arouses good feelings and enriches the spiritual world.At the same time, the visual arts are educators who contribute to the formation and development of the individual.

scholarly journals THE ARTS AND HUMANITIES

2020 ◽  
Vol 5 (1) ◽  
Author(s):  
Iwan Gunawan ◽  
Mochamad Aviandy
Keyword(s):  
Visual Arts ◽  
Performing Arts ◽  
Fine Arts ◽  
Contemporary Culture ◽  
Research Topics ◽  
Diverse Range ◽  
Art And Design ◽  
Arts And Humanities ◽  
Central Java ◽  
The Arts

The world of Visual Arts developed basically from the practice of art creation. From the practice of art creation, the method is increasingly advanced, revealed new concepts and approaches in art creation that are unique. Certainly from the work of the artists and designers, will later arise theories that support the process of new art creations. The studies of Arts appeared after the Art itself created. After there are works, a study of the works or the process of artwork is carried out. There is a need to introduce the arts to the wider community, bridging the gap between the expressions complexities of the artists and people's appreciation. There are also interests of the education field to pass on the knowledge to students or develop new approaches in art education. This understanding of the visual perspectives will also support other sociocultural research. Earlier studies on Visual Arts are generally carried out in the framework of History, and Art Criticism. As the sciences of humanities increasingly developed, the nature and form of art studies became more varied, becoming more interdisciplinary. The study of Visual Arts and Design may involve an analysis of contemporary culture, the media, and society. The cultural activities produce images that are important in understanding the dynamics of society. This special issue, "The Arts and Humanities" covering research topics in the field of Visual Arts and Design, encompasses a diverse range in Visual Art and Design study areas as well as different objectives of the writings. Written by scholars that also practitioners in the field of Visual Arts and Design from a variety of disciplines, the creative and critical research findings problematize critical issues based on art practices, policies, productions, and the aesthetic aspect of the art itself.Most of the topics discussed the fields of "science" which had formally been part of the discourse disciplines in Visual arts schools: Fine Arts, Design, and Crafts, while two of them explored issues in visual culture context that were part of the performing arts and culinary arts. These varied research topics and approaches show the many interests in Visual arts studies, especially in Indonesia.Madia Patra Ismar (2020) with Rayahu Pertiwi (2020) discussed the artistic gaze of two Papuan choreographers; Visual Perspectives Rooted in the Oral Traditions of the Kamoro and Asmat Tribe. Those choreographers based their work on their traditional roots and the choice of visuals and dramatic bodily expressions created by them was based on their deeply ingrained roots as indigenous Papuans. Sonya Indriati Sondakh (2020), realized that when food is served in high-end premises or special places for tourism purpose, the visual aspects become an interesting marker to read. She explores the visual perception in Indonesian food, discusses the negotiation of the visual and gustatory perception.The following three articles select topics around textiles and fashion works, with a gender perspective on the discussion. Lucky Wijayanti (2020) has done research on the resilience of Sasak women. This research concludes that art activities functioned as a 'liberation room' for Sasak women to express themselves. Adlien Fadlia (2020) researched the tradition of making batik in the Rifa’iyah community in the village of Kalipucang Wetan, Batang, Central Java. Batik with a characteristic motif of the Rifa’iyah can be sustainable until now because of the role of women in regenerating batik skills. Mangesti Rahayu (2020) also explored the clothing custom in Indonesia. She found that hijab is also part of the Muslim warriors identites in the era of Indonesia independence struggle. Hijab also had its role in fighting for the dignity of women at that time.

scholarly journals Le Corbusier y Lúcio Costa. Diálogos sobre la síntesis de las artes

2015 ◽  
Author(s):  
Fernanda Fernandes da Silva
Keyword(s):  
Visual Arts ◽  
Fine Arts ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Machine Age ◽  
International Conference ◽  
The Arts ◽  
Palabras Clave ◽  
The Relationship

Resumen: En la poética de Le Corbusier, el arte comparece como presencia continua y articulada propuesta en los diálogos entre pintura, escultura y arquitectura, procedimiento que confluye posteriormente en la noción de síntesis de las artes. Es en ese aspecto de su producción que nos detenemos en este trabajo con los textos del arquitecto que se refieren al tema y analizando la interlocución que establece con el teórico brasileño Lúcio Costa. Damos relieve a dos momentos importantes del análisis del tema de los dos arquitectos: primero durante la segunda visita de Le Corbusier a Brasil en 1936, cuando presenta La Arquitectura y las Bellas Artes, texto en el que incorpora a sus ya conocidos postulados arquitectónicos la noción de síntesis de las artes, considerada como forma de ofrecer a la arquitectura recursos expresivos que van más allá del lenguaje abstracto y técnico del funcionalismo. La segunda ocasión de diálogo entre Le Corbusier y Lúcio Costa tiene lugar durante el Congreso Internacional de Artistas, organizado por la UNESCO en Venecia, cuando desenvuelven consideraciones sobre la relación entre arte y arquitectura. Abstract: In the poetics of Le Corbusier, art appears as a continuous and articulate presence, as proposed in the dialogs between painting, sculpture and architecture, a process that converges, later, in the notion of the synthesis of the arts. It is on this aspect of his work that we focus exploring texts written by the architect on the theme. The proposed collaboration between the major arts—architecture, painting and sculpting—is recorded in a paper that the architect presented during his second visit to Brazil, in 1936, when he met Lúcio Costa, the Brazilian architect and theoretician, who was attuned to the poetics of Le Corbusier concerning the relationship between architecture and visual arts. The paper by Le Corbusier A Arquitetura e as Belas Artes [Architecture and Fine Arts], from 1936, emphasizes the idea of modern architecture in dialogue with the machine age, and to this well-known formula, a new topic is added: the collaboration between architecture and the major arts of painting and sculpting. In this way, Le Corbusier in 1952, participates in the International Conference of Artists, organized by Unesco in Venice, this conference was another opportunity for dialog between Lúcio Costa and Le Corbusier, emphasizing the poetic dimension of the architecture.  Palabras clave: síntesis de las artes; Le Corbusier; Lúcio Costa; arquitectura moderna. Keywords: synthesis of the arts; Le Corbusier; Lúcio Costa; modern architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.783

The Beaux-Arts Framework

2020 ◽  
pp. 275-288
Author(s):  
Robert O. Gjerdingen
Keyword(s):  
Eighteenth Century ◽  
Visual Arts ◽  
Fine Arts ◽  
Public Support ◽  
Ancient Greece ◽  
Next Generation ◽  
Visual Artists ◽  
Paris Conservatory ◽  
The Arts ◽  
Set Up

The Institute of France has for centuries controlled royal or public support for the arts in France. Under its wings it has both a School of Fine Arts for the visual arts and the Paris Conservatory for music, as well as many other institutions. The schools of fine arts and music were set up along the similar lines. The goal was to train the next generation of artists and musicians in the classic arts of a past golden age. For visual artists, sculptors, and architects, this meant the art of ancient Greece and Rome. For musicians, this meant the art of sixteenth- to eighteenth-century Italy. For young artists outside the official School of Fine Arts, instructional lithographs could be purchased and copied. These lithographs showed how to make a sketch, then to refine the sketch into a set of contours, and then to add shading and texture.

scholarly journals The presentation of a consolidated identity in "100 Years of Visual Arts at the Arts Institute at UFRGS: Three Essays"

2016 ◽  
Vol 20 (34) ◽  
pp. 170
Author(s):  
Paulo Silveira
Keyword(s):  
Visual Arts ◽  
Fine Arts ◽  
The Arts

Review on the commemorative volume "100 anos de artes plásticas no Instituto de Artes da UFRGS: três ensaios" [100 Years of Fine Arts at the Arts Institute at UFRGS: Three Essays], published by Editora da UFRGS in 2012 (264 pages, ISBN 978-85-386-180-7), written by professors Blanca Brites, Icleia Borsa Cattani, Maria Amélia Bulhões and Paulo Gomes

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

Zygmunt Krasiński wobec sztuk pięknych / Zygmunt Krasiński and the Fine Arts

2013 ◽  
Vol 54 (2) ◽  
pp. 145-160 ◽  
Author(s):  
Olga Płaszczewska
Keyword(s):  
Fine Arts ◽  
Literary Tradition ◽  
Individual Sensitivity ◽  
What Works ◽  
The Arts ◽  
The Aesthetic ◽  
A Current ◽  
Aesthetic Preferences

Summary This is an attempt at examining Zygmunt Krasiński’s opinions and preferences with regard to the fine arts, a theme many critics believed to be missing from his writings. While putting things right, this article looks at the issues involved in his artistic choices, for example, what works or artists attracted his attention, in general, and to the point of him actually drawing on them in his own work or provoking him to some response (critical, approving, emotional, etc.). Furthermore, the article tries to explore the reasons and circumstances which may account for Krasiński’s interest in a given painting, print, or sculpture. It may have been the work’s theme as in the case of his ekphrasis of Ary Scheffer’s Dante and Virgil Encountering the Shades of Francesca and Paolo Di Rimini, where literary tradition provided the impulse, or the mode of its execution, or the personal ties with its author, or, finally, some other factors, like a current vogue or simply Krasiński’s individual sensitivity. The ultimate aim of all these inquiries is to outline Krasiński’s relationship with the arts (beaux arts) in the context of the aesthetic preferences of the epoch.

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