The Influence of Philosophy in the Establishment of Islamic Art

2021 ◽  
pp. 33-46
Author(s):  
Salauddin Bashar ◽  
Muhammad Faizul Haque
Keyword(s):  
Visual Arts ◽  
Thematic Analysis ◽  
Seventh Century ◽  
Islamic Art ◽  
Islamic Culture ◽  
New Approach ◽  
Traditional Art ◽  
Social Messages

Visual arts created by culturally Islamic people from the seventh century onwards are referred to as Islamic art. Islamic art has taken a way of unveiling the interior of the art and its cultural, conceptual, and social messages since its creation and separation from traditional art. This study aims to examine art from an Islamic viewpoint to gain a thorough understanding of Islamic art, its styles, and values. The key goals were to find out what factors influence the establishment of Islamic art and to comprehend the importance of art in Islamic culture. A thematic analysis based on literature was used as the methodology. According to previous scholars, Islamic art represents spiritual harmony, and appreciation of beauty was of great significance in art. The suggestion was drawn that art and what constitutes art are strongly influenced by the history and values of particular communities or religious affiliations. Islamic thinkers take a bold new approach to Islamic art, believing human to be the most divine being formed by Allah (swt).

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.

Indonesia and the Arab World, Then and Now

2021 ◽  
pp. 26-55
Author(s):  
Mirjam Lücking
Keyword(s):  
Middle East ◽  
Indian Ocean ◽  
Arab World ◽  
Seventh Century ◽  
Religious Leaders ◽  
Historical Overview ◽  
Islamic Culture ◽  
The Indian Ocean ◽  
The Relationship

This chapter provides a historical overview of ambivalent encounters between Indonesia and the Arab world through findings that show the relationship between Indonesia and the Middle East. It recounts the Indonesians' earliest encounters with Arab traders in the seventh century, from confrontations with Indo Persian Sufi up to the current democratization process that have been marked by contradictory dynamics. It also explains how Arabs have been acknowledged as teachers of Islam and allies in the postcolonial nonbloc movement. The chapter describes the gloomy counterimage of the Arab world against which Indonesian officials and religious leaders drew the picture of a tolerant, pluralist Indonesian Islam. It mentions the key role of the mobility across the Indian Ocean in the formation of Islamic culture in Indonesia.

The life of St Patrick : a new approach

1968 ◽  
Vol 16 (62) ◽  
pp. 119-137 ◽  
Author(s):  
T.Ó Raifeartaigh
Keyword(s):  
Seventh Century ◽  
Human Beings ◽  
The West ◽  
New Approach

The runaway British slave who called himself Patricius tells us in this Confession that on making land after his escape from Ireland the and the ship’s crew had to journey for twenty-eight days before coming across any other human beings. Bury (Life of St Patrick, London, 1905) offered the explanation that they must have found themselves in a part of Gaul which had just been devastated by the Vandals, who burst into the west in the first days of 407. The idea was tempting. The date 407, combined with 431 (the year which is known from Prosper’s contemporary chronicle to have been that in which Pope Celestine sent Palladius as ‘first bishop’ to the Irish Christians), not only gave a fairly firm chronological anchorage to Patrick’s career, but also forged for him an early link with the continent, whence, according to his seventh-century Irish biographers, Muirchú and Tírechán, he ultimately returned to Ireland as successor to Palladius.

On Paintings and Propositions: A New Approach to Syntax in the Visual Arts

Leonardo ◽  
1993 ◽  
Vol 26 (4) ◽  
pp. 353
Author(s):  
Elizabeth Saenger
Keyword(s):  
Visual Arts ◽  
New Approach

(Re-)Creating Order: Narrativity and Implied World Views in Pictures

Tekstualia ◽  
2015 ◽  
Vol 4 (43) ◽  
pp. 57-78
Author(s):  
Michael Ranta
Keyword(s):  
Cognitive Psychology ◽  
Visual Arts ◽  
Art History ◽  
Schema Theory ◽  
Human Existence ◽  
World Views ◽  
Philosophical Debate ◽  
Traditional Art ◽  
Narrative Structures ◽  
High Level

The philosophical debate on the nature of narrative has been mainly concerned with literary narratives, whereas forms of non-literary and especially pictorial narrativity have been rather neglected. Within traditional art history, however, the narrative potential of the visual arts has usually been taken for granted, though rarely by attempting to elucidate any deeper cognitive, semiotic, and philosophical aspects involved. Now, generally speaking, narratives contribute to the human endeavour to reduce the unpredictability of worldly changes, and human existence in particular, attempting to establish order in our experiences of transitoriness and existential vulnerability. The paper discusses some possible criteria of narrativity with regard to their applicability to pictorial objects. It demonstrates thatpictorial works may express or imply high- -level narrative structures or, put in another way, wider world views or schemata, and that our comprehension of and need for these schemata can be explained by taking recent research within cognitive psychology, schema theory, and narratology into account.

scholarly journals Sinkretisme Budaya Jawa dan Islam dalam Gamitan Seni Tradisional Janengan

2020 ◽  
Vol 4 (3) ◽  
pp. 161-176
Author(s):  
Wawan Hernawan ◽  
Tatang Zakaria ◽  
Aini Rohmah
Keyword(s):  
Qualitative Research ◽  
Policy Research ◽  
Cultural Patterns ◽  
Islamic Culture ◽  
Traditional Art ◽  
Historical Method ◽  
Central Java ◽  
Islamic Mysticism ◽  
Traditional Arts

The purpose of this research is to explore the practice of syncretism in Janengan traditional art in Kesugihan Village, Cilacap, Central Java. This study employs a qualitative research with a multi-disciplinary approach contained four historical method stages. The result of the research shows that Janengan traditional art in Kesugihan Village Cilacap is known as salawat Janengan or salawat illau. It contains Islamic teachings about faith and tasawuf (Islamic mysticism) combined with Javanese local cultural patterns. The community perform this traditional art in slametan events, especially at the commemoration of the Prophet's Birthday (Maulid Nabi Saw.). In conclusion, the syncretism of Javanese-Islamic culture in syi’ir or salawat singir with the Javanese genre as well as sajen (offerings) in each of these arts is strong. This study recommends conducting policy research in strengthening the preservation of Javanese-Islamic traditional arts and Indonesian contexts.

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 ...

Visual Arts Online Educational Trends

2013 ◽  
pp. 89-98
Author(s):  
Laura M. Rusnak
Keyword(s):  
Online Education ◽  
Visual Culture ◽  
Art Education ◽  
Visual Arts ◽  
Cultural Production ◽  
Mediated Learning ◽  
Traditional Art ◽  
The Arts ◽  
Computer Mediated ◽  
Educational Trends

The intent of this chapter is to understand the implications of online education for the visual arts and how the objectives of a traditional art education can be adapted to computer-mediated learning. The focus is on three trends affecting the arts: visual culture, cultural production, and originality in art and practice.

Teaching Essential Drawing Principles in Relation to the Human Figure

2000 ◽  
Author(s):  
Deborah A. Rockman
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Human Form ◽  
Traditional Art ◽  
Human Figure ◽  
Visual Artist ◽  
Principles Of Design ◽  
Changing Role ◽  
Applied Arts

There is perhaps no more significant experience in the study of drawing than the study of the human figure. One needs only to look to the ancient Greeks and to the Renaissance masters to recognize the historical importance of the human form in the study of the visual arts and the refinement of visual expression. Although the figure’s presence and significance during the period known as modernism and in contemporary art has ebbed and flowed, its influence is always felt to some degree, and no classical or traditional art education would be complete without a substantial focus on drawing and studying the human form. Much debate is currently taking place about the changing role and responsibility of foundation courses for students studying both the fine and applied arts. If we examine those aspects that the fine and applied arts have in common, we find that a concern for communication is paramount, whether it takes place in a gallery or museum, in a television or magazine ad, on a showroom floor, on a computer monitor, or in any number of other locales. The power of the human form to communicate cannot be overstated, primarily because it is what we are. We have things in common with other humans that we have in common with nothing else. Looking at a human form in any context has the potential to provide us with the experience of looking in the mirror, of seeing our own reflection, so to speak. It follows that any significant experience in visual communication must thoroughly examine the role of the figure, and for the visual artist this requires experience with drawing the figure. The fine and applied arts also have in common a concern for principles of design and aesthetics. If we acknowledge the presence of these principles in nature, then we may also recognize an element of universality. Quite simply, I can think of no finer example of the application of principles of design and aesthetics than the living, breathing human form, and the human form is universal.

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