Art in the Muslim World
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'Ā'isha, MOTHER of the FAITHFUL the Prototype of Muslim Women
Naw Lily Kadoe & Fatimah Husein Ulama, State, and Politics in Myanmar Al-Jāmi‘ah: Journal of Islamic Studies - ISSN: 0126-012X (p); 2356-0912 (e) Vol. 53, no. 1 (2015), pp. 159-179, doi: 10.14421/ajis.2015.531.159-179 ‘Ā’ISHA, MOTHER OF THE FAITHFUL The Prototype of Muslim Women Ulama Fatih Harpci Carthage College Kenosha, Wisconsin, USA email: [email protected] Abstract Having a unique intelligence and assertiveness, ‘Ā’isha has been regarded Islam’s ideal woman scholar. She was not only as one of the earliest reporters of the authentic sayings of the Prophet Muḥammad, but also a great source for conveying his private family life. The article seeks to show that ‘Ā’isha’s life in the 7th century Arabia is especially remarkable when examined through the lenses of contemporary times. Her main characteristic was her critical, ever-inquisitive, and curious mind. Through the questions she was able to ask, ‘Ā’isha became a bridge between the time of the Prophet and the contemporary Muslim life. The important role she played in the scholarly efforts of Muslim men and women in learning and teaching knowledge needs to be examined and properly emphasized. Her sound scholarship in Islamic disciplines include but was not necessarily be limited to hadith, tafsīr, fiqh, literature, and poetry. Today Muslim women may take ‘Ā’isha not only as a pious example, but follow her intelligence, curiosity, and reasoning. [Dengan kecerdasan dan kepercayaan diri yang khas, Ā’isha terkenal sebagai seorang ulama perempuan yang ideal. Tidak hanya dikenal sebagai perawi hadis, dia juga merupakan rujukan yang hebat mengenai masalah-masalah pribadi dan keluarga. -
What Is Islamic Art?
What is Islamic art? What do we actually mean by Islamic art? A central feature of Islamic art is its emphasis on crasmanship. Creating a high quality object – something that is a delight to behold – is much more important than producing something new and innovative. Another characteristic of Islamic art is that it does not necessarily tell us anything about the artist’s personal ideas or feelings. Islamic artists and crasmen oen focus on a long, tried-and-true tradition. What is most important is creating something beautiful and well made, oen something with a practical use. In other words, Islamic art largely aims at beautifying everyday life and making utilitarian objects into works of art. en what does “Islamic” have to do with it? At the David Collection, we generally define Islamic art as works of art produced in the part of the world where the religion of Islam has played a dominant role for a long period of time. ey do not necessarily have to be works of art made by or for Muslims. e artists might also be followers of another religion, for example Christians or Jews. And the message conveyed by their art does not have to directly reflect the religion of Islam. It can also have a purely secular character. DURING THE GUIDED TOUR OF THE MUSEUM: When pupils are shown around the museum, the guide will focus on a number of common features of Islamic art: vegetal ornamentation, geometric patterns, calligraphy, and the stylized depiction of reality. Historical aspects will also be dealt with and, depending on the work of art, an object’s function and relevant cultural and historical aspects will be discussed. -
The Arts and Crafts Movement: Exchanges Between Greece and Britain (1876-1930)
The Arts and Crafts Movement: exchanges between Greece and Britain (1876-1930) M.Phil thesis Mary Greensted University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Contents Introduction 1 1. The Arts and Crafts Movement: from Britain to continental 11 Europe 2. Arts and Crafts travels to Greece 27 3 Byzantine architecture and two British Arts and Crafts 45 architects in Greece 4. Byzantine influence in the architectural and design work 69 of Barnsley and Schultz 5. Collections of Greek embroideries in England and their 102 impact on the British Arts and Crafts Movement 6. Craft workshops in Greece, 1880-1930 125 Conclusion 146 Bibliography 153 Acknowledgements 162 The Arts and Crafts Movement: exchanges between Greece and Britain (1876-1930) Introduction As a museum curator I have been involved in research around the Arts and Crafts Movement for exhibitions and publications since 1976. I have become both aware of and interested in the links between the Movement and Greece and have relished the opportunity to research these in more depth. It has not been possible to undertake a complete survey of Arts and Crafts activity in Greece in this thesis due to both limitations of time and word constraints. -
Excavation Coins and a Byzantine Weight From
!STANBUL ARA"TIRMALARI YILLI$I, 2 2013 EXCAVATION COINS AND ABYZANTINE WEIGHT FROM KÜÇÜKÇEKMECE LAKE BASIN O$UZ TEK!N* During the excavation seasons of 2010#12 at coin was of Arcadius, a bronze coin (AE3) with a Küçükçekmece Lake Basin (10 km west of !stanbul), reverse type of Victory crowning Emperor (cat. sixty coins (cat. nos. 1#65) and a Byzantine weight no. 1). (cat. no. 66) were found.1 Most of the coins date to Byzantine coins form the largest group (thirty the Byzantine and Ottoman periods; only ten coins two coins), among the coins found during the exca- date to the pre-Byzantine period, more specifically vations. Twelve of them could only be partly the Roman Imperial Period (mostly Late Roman, identified due to their corroded condition, resulting 4th#5th centuries).2 Six coins were joined together in them being largely illegible. Byzantine coins and very corroded; it was impossible to make a range from Heraclius (610#641) to Anonymous clear identification of them, as no cleaning process Folles (10th#11th centuries). There are two coins of has been carried out upon them. The only identifiable Crusader States; one of the Latin Rulers of Table 1: General distribution of the coins Late Byzantine Crusader Roman States Ottoman Uncertain TOTAL 10 31 2 19 (+1) 2 65 Table 2: Distribution of Byzantine coins Heraclius (610#641) 3 Constans II (641#668) 2 Constantine IV (668#685) 1 Justinian II (685#695) 1 6th#7th centuries 8 Leo III (717#741) 1 Leo IV (775#780) 1 Michael II (820#829) 1 Leo VI (886#912) 1 Constantine VII (913#959) 1 Anonymous Folles (10th#12th centuries) 8 10th#12th centuries 3 TOTAL 31 * Prof. -
Path(S) of Remembrance: Memory, Pilgrimage, and Transmission in a Transatlantic Sufi Community”
“Path(s) of Remembrance: Memory, Pilgrimage, and Transmission in a Transatlantic Sufi Community” By Jaison Carter A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Anthropology in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mariane Ferme, Chair Professor Charles Hirschkind Professor Stefania Pandolfo Professor Ula Y. Taylor Spring 2018 Abstract “Path(s) of Remembrance: Memory, Pilgrimage, and Transmission in a Transatlantic Sufi Community” by Jaison Carter Doctor of Philosophy in Anthropology University of California, Berkeley Professor Mariane Ferme, Chair The Mustafawiyya Tariqa is a regional spiritual network that exists for the purpose of assisting Muslim practitioners in heightening their level of devotion and knowledges through Sufism. Though it was founded in 1966 in Senegal, it has since expanded to other locations in West and North Africa, Europe, and North America. In 1994, protegé of the Tariqa’s founder and its most charismatic figure, Shaykh Arona Rashid Faye al-Faqir, relocated from West Africa to the United States to found a satellite community in Moncks Corner, South Carolina. This location, named Masjidul Muhajjirun wal Ansar, serves as a refuge for traveling learners and place of worship in which a community of mostly African-descended Muslims engage in a tradition of remembrance through which techniques of spiritual care and healing are activated. This dissertation analyzes the physical and spiritual trajectories of African-descended Muslims through an ethnographic study of their healing practices, migrations, and exchanges in South Carolina and in Senegal. By attending to manner in which the Mustafawiyya engage in various kinds of embodied religious devotions, forms of indebtedness, and networks within which diasporic solidarities emerge, this project explores the dispensations and transmissions of knowledge to Sufi practitioners across the Atlantic that play a part in shared notions of Black Muslimness. -
Decorative Arts’
Beyond terminology, or, the limits of ‘decorative arts’ Deborah L. Krohn George Kubler invites the reader to imagine a unified approach to the study of things in the first lines of his classic The Shape of Time, published in 1962: ‘Let us suppose that the idea of art can be expanded to embrace the whole range of man- made things, including all tools and writing in addition to the useless, beautiful, and poetic things of the world.’1 Following Kubler’s suggestion, supposing, in this case, that all ‘man-made things’ fall under the category of art, then the distinction implied by the question, ‘What is the role of the decorative arts within art historical discourse?’ loses much of its force. I’d like to tweak this question, posed here by Christina Anderson and Catherine Futter, to read something like ‘Do the various perspectives on cultural artefacts generated within material culture studies make the historical distinction between decorative arts and fine arts obsolete or redundant?’2 I will look first at the history of the term ‘decorative arts’ and what it has come to mean as a field of academic study as well as a collecting area. I will then reflect on an exhibition that I co-organized at the Bard Graduate Center Gallery in 2013 as a case study in both the utility and limitations of the category of decorative arts in the current intellectual climate. At the heart of this discussion is a firm conviction that the exploration of the forms of cultural production that populate our environment must not be fragmented by arbitrary and ill-defined categories. -
The Study of the Principles of Philosophy of Islamic Art Hasti Safavi University of Exeter Stocker Road, Exeter, United Kingdom, EX4 4PY
RUDN Journal of Philosophy 2020 Vol. 24 No. 1 23—38 Âåñòíèê ÐÓÄÍ. Ñåðèÿ: ÔÈËÎÑÎÔÈß http://journals.rudn.ru/philosophy DOI: 10.22363/2313-2302-2020-24-1-23-38 Research Article / Научная статья The Study of the Principles of Philosophy of Islamic Art Hasti Safavi University of Exeter Stocker Road, Exeter, United Kingdom, EX4 4PY Abstract. The main discourse on Islamic art in the western academia primarily views Islamic art through the lens of art history and sociology of art. Islamic art is considered as sacred in Islamic civilisation and culture, and derives its sanctity from the Quran as the fountain from which it has emanated, which Muslims consider to be the Word of God, much like Christ is the Word of God in Christianity. The Quran has played a formative role in shaping the trinity of sacred Islamic art which is Quranic recitation, calligraphy and architecture. However, another approach which not only is viable but can be considered of great importance to the study of Islamic art, is the employment and utilisation of principles of Islamic philosophy and Sufism which were the pillars of the intellectual milieu in which a given work of art is produced. The application of such principles allows a more comprehensive and detailed interpretation of a work of art. In this paper, the primary Islamic philosophy and sufi doctrines that will be dis- cussed are the concepts of imagination, colour, and calligraphy and examples of their applica- tion in the khānqāh and shrine ensemble of Shaykh Ṣafi al-Din Ardabīlī in Ardabil, Iran. Keywords: Islamic art, philosophy, Sufism, Quran, imagination, colour, calligraphy, Shaykh Ṣafi al-Din Ardabīlī’s shrine ensemble Article history: The article was submitted on 03.10.2019 The article was accepted on 06.11.2020 For citation: Hasti Safavi. -
A Translation of a Zosimos' Text in an Arabic Alchemy Book
Journal rrl' lhc Wilshinglon Academy ol' Scicnccs. Volumc 84. Numhcr 3, Pages 168-178. Septcmhcr 1996 A Translation of a Zosimos' Text in an Arabic Alchemy Book H. S. El Khadem The American University, Department of Chemistry, Washington D.C. 20016 Received February 13, 1996 ABSTRACT In a recent paper (El Khadem 1995). it was reported that an Arabic translation of a Greek text by Zosimos was found in a copy of a book entitled "Keys of Mercy and Secrets of Wisdom," written by the twelveth century alchemist Al-Tughra'i. Reported here is a descrip- tion of this rare book, which has recently been added to the Library of Congress' Near East Section collection. Tughra'i, Author and Translator The copy of "Keys of Mercy and Secrets of Wisdom" under consideration was written in two parts designated, "Part One, Introduction" by Al-Tughra'i", and Part Two, "From Keys of Wisdom by Zosimos" translated to Arabic by Al-Tughra'i. The author and translator's full name is Mu'ayed-ul-Din Abu Ismail Ibn Al-Hassan Ibn Ali Al-Tughra'i. He was born in 1062 A.D. in the city of Asbahan in Persia and was later appointed "Katib" (secretary) in the court of the Seljuq Sultan Malik-Shah and that of his successor, Sultan Muhammad. Because of his skills in calligraphy, he was assigned the duty of affixing the royal signature "Tughra" to the sultan's writs (hence his name, which means the writer of Tughras). After several years, Tughra'i moved to Mosul in Iraq where he was appointed Vizir to Emir Ghiyat-ul-Din Mas'ud. -
Yusuf Book Review
http://www.bmri.org.uk Book Review Aspects of Historical and Cultural Legacy of Muslim Bengal Historical and Cultural Aspects of the Islamic Inscriptions of Bengal: A Reflective Study of Some New Epigraphic Discoveries, by Mohammad Yusuf Siddiq, Dhaka: The International Centre for Study of Bengal Art, 2009, HB, pp316, Tk.2000/ US $ 45. Professor Dr Mohammad Yusuf Siddiq is a well-known scholar in the field of Islamic History, Culture and Civilization. Having studied and taught at a number of universities in the East as well as the West, he has also undertaken research in the field of Arabic and Persian inscriptions of Bengal. His writings have been received well and they have also been translated into numerous languages. At present he is the H. E. C. Professor of Islamic History, Civilization and Culture at the University of the Punjab, Lahore, Pakistan as well as a visiting faculty member at Lahore University of Management Sciences (LUMS). The book under review consists of eight chapters and four appendices as well as a bibliography and index. In the “Introduction: Epigraphy of Muslim Bengal”, the author observes that pre-Islamic Sanskrit and Pali inscriptions are generally informative rather than calligraphic in intent. The significance of calligraphy (viz. the art of writing and elegant penmanship) in Islamic culture has been discussed in the book in some detail, with particular focus on the role of inscriptions in Islamic buildings. He disagrees with the earlier scholars that inscriptions of Bengal were mostly rendered in Naskh character. On the contrary, he emphasizes that most of the Sultanate inscriptions are of Thulth character. -
Book of Islamic Arts Overview There Is Much Diversity Within Islamic Culture
Book of Islamic Arts Overview There is much diversity within Islamic culture. During this unit, students will learn about several significant forms of Islamic art (mosque architecture, geometric/arabesque design, and calligraphy) by completing a children’s book that is missing important information or images. The book is divided up into 5 class sessions with an optional 6th session to wrap up missing sections or create a cover. Through the exploration, students will learn that Islamic art around the world can include many different concepts, and they will apply new knowledge through note-taking, graphic organizers, drawing, calligraphy, and optional mosaic portions of the book. When finished, each student will have a completed book that reviews the arts covered in the unit and celebrates the diversity of Muslim culture around the world. Grade 5 Subject Visual Arts Essential Standards • 5.V.2.2 - Use ideas and imagery from the global environment as sources for creating art. • 5.V.3.3 - Create art using the processes of drawing, painting, weaving, printing, stitchery, collage, mixed media, sculpture, ceramics, and current technology. • 5.CX.1 - Understand the global, historical, societal, and cultural contexts of the visual arts. Essential Questions • How do pictures help to tell a story? • How do Muslim artists reflect their local culture through the arts? • What can we learn about Islamic culture from the diversity of Islamic arts? • Why is it important to learn about cultures other than our own? Materials • Copies of the children’s book for each student (attached). The student book is 10 pages long and can be printed on regular copy paper, or on stronger paper like Bristol or cardstock if the teacher intends to use paint. -
The Qur'an and Islamic
The Qur’an and Islamic Art Objectives As a result of this lesson, students will be able to: • explain how the Qur’anic prohibition of idolatry affects Islamic art. • define basic terms - Qur’an, tawhid, shirk, idolatry, Arabic, calligraphy, calligram • use the calligram form to express an idea or image for themselves • analyze how the Qur’an and Muslim culture have had impact upon the forms, techniques, and purposes of artistic work; explain the historical, cultural, and social context of representative works of Muslim calligraphy, e.g. a sultan’s seal, a contemporary calligram, a verse of the Qur’an, the name of Allah. (Meets PA Standards for the Arts and Humanities 9.2 A, C, E) Materials Student Handout: Art and the Qur’an Key Questions • What is the Qur’an? • How does it influence Muslim culture? • What does it have to say about images? • How does this affect artists? • How have Muslim artists learned to express themselves while remaining true to their faith? • How has the development of calligraphy affected the decorative arts? Sources Suggested Readings • Annemarie Schimmel. Calligraphy and Islamic Culture • Abdelkebir Khatibi and Mohammed Sijelmassi Hudson. The Splendour of Islamic Calligraphy Websites • There are many images of Islamic calligraphy to be found on-line with a simple Google search. • The Wikipedia entry under Islamic Calligraphy is substantial and contains an animated tughra explaining the writing. Continued on next page 43 Activities 1. Begin by exploring the idea of “image” – how could you describe someone you love if you could not show a picture? 2. Ask what students know about Islam, Muslim culture, the Qur’an. -
Decorative Arts & Contemporary Ceramics
Decorative Arts & Contemporary Ceramics Contemporary Arts & Decorative I Montpelier Street, London I 13 November 2019 I Montpelier Street, 25323 Decorative Arts & Contemporary Ceramics Montpelier Street, London I 13 November 2019 Decorative Arts and Contemporary Ceramics Montpelier Street, London | Wednesday 13 November 2019, at 1pm BONHAMS BIDS ENQUIRIES FURNITURE & FURNISHINGS Montpelier Street +44 (0) 20 7447 7447 Mark Oliver Whilst we take every care in Knightsbridge +44 (0) 20 7447 7401 fax Tel:+44 (0) 20 7393 3856 cataloguing furniture which has London SW7 1HH [email protected] [email protected] been upholstered we offer no bonhams.com guarantee as to the originality of Please note that bids should Duane Kahlhamer the wood covered by fabric or VIEWING be submitted no later than 24 Tel: +44 (0) 20 7393 3860 upholstery. hours before the sale. New [email protected] Sunday 10 November bidders must also provide proof All furniture and furnishings 11am – 3pm of identity when submitting bids. Emily Mayson produced after 1 January 1950, Monday 11 November Failure to do this may result in Tel: +44 (0) 20 7393 3997 comprising an element of soft 9am – 4.30pm your bids not being processed. [email protected] furnishing, is strictly regulated Tuesday 12 November by statute law in the interests of 9am – 4.30pm Live online bidding is [email protected] safety. Such items in the sale Wednesday 13 November available for this sale were not originally supplied for 9am – 11am Please email [email protected] PRESS ENQUIRIES use in a private home or now with “Live bidding” in the subject offered solely as works of art.