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The Transformation of Calligraphy from Spirituality to Materialism in Contemporary Saudi Arabian Mosques

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The Transformation of Calligraphy from Spirituality to Materialism in Contemporary Saudi Arabian Mosques The Transformation of Calligraphy from Spirituality to Materialism in Contemporary Saudi Arabian Mosques A dissertation submitted to Birmingham City University in fulfilment of the requirement for the degree of Doctor of Philosophy in Art and Design By: Ahmad Saleh A. Almontasheri Director of the study: Professor Mohsen Aboutorabi 2017 1 Dedication My great mother, your constant wishes and prayers were accepted. Sadly, you will not hear of this success. Happily, you are always in the scene; in the depth of my heart. May Allah have mercy on your soul. Your faithful son: Ahmad 2 Acknowledgments I especially would like to express my appreciation of my supervisors, the director of this study, Professor Mohsen Aboutorabi, and the second supervisor Dr. Mohsen Keiany. As mentors, you have been invaluable to me. I would like to extend my gratitude to you all for encouraging me to conduct this research and give your valuable time, recommendations and support. The advice you have given me, both in my research and personal life, has been priceless. I am also thankful to the external and internal examiners for their acceptance and for their feedback, which made my defence a truly enjoyable moment, and also for their comments and suggestions. Prayers and wishes would go to the soul of my great mother, Fatimah Almontasheri, and my brother, Abdul Rahman, who were the first supporters from the outset of my study. May Allah have mercy on them. I would like to extend my thanks to my teachers Saad Saleh Almontasheri and Sulaiman Yahya Alhifdhi who supported me financially and emotionally during the research. I would also like to particularly thank my family. I cannot put in words how thankful I am to my father, Saleh Almontasheri, my wife, Ameerah Alshomrani, and my sons Saad, Samer and Sanad for all kinds of sacrifices that they have made for me. I would also like to thank all of my brothers, sisters and friends who supported me during this journey, and motivated me to strive and achieve my goal. I also appreciate the participants from both the artists’ and the experts’ group, for being a fundamental part of my research. 3 Abstract Contemporary discourses by both Western and Muslim scholars on the subject of Islamic philosophy and art, especially the influence of globalisation on Islamic Art in general and the art of calligraphy in particular, have drawn attention to the new architectural styles of mosques in Saudi Arabia and the representation of calligraphy in them. The present study aims to analyse the impact of globalisation on the transformation of calligraphy in Saudi Arabian mosques, and investigate the paradoxical nature of authenticity in relation to the art of calligraphy. In this study, the historical, theoretical and qualitative data were amassed as part of the methodology. A qualitative descriptive method to a case study approach was the primary approach for data collection. The main aim was to understand the historical mapping of the origin and development of calligraphy, analysing its outcomes in the context of the contemporary mosques in Saudi Arabia. The results section focuses on the answers obtained from a questionnaire directed at artists and calligraphers, and in the interviews conducted with experts in calligraphy. The discussion section focuses on the detailed analyses of the answers. The study demonstrates the process of change and the misrepresentation of calligraphy and its applications inside the mosques selected for study, including forces that have been influencing such change. Consequently, the results show that there is a remarkable transformation of calligraphy in its form and function in contemporary mosques in Saudi Arabia. This transformation has been caused by due to several dominant factors including the way of representing calligraphic patterns, the impact of the local culture, and spread of the culture of materialism and globalisation. 4 Terms of References The following terms are defined according to their use in this study: • MATERIALISM: also called ‘physicalism’, is the way of promoting mass production over the cultural values and metaphysical beliefs. It suggests a ‘sameness’ consumer culture as society’s inspiration glorifies ownership of material objects rather than philosophical or non-physical socio-political ideals. Therefore, the value of materialism centres on the importance people place on material possessions as a way of defining, constructing, and maintaining their concept of self (stressing the outer world over the inner world). • MODERNISM: is the philosophical movement that arose after the development of modern industrial societies. It includes the activities and creations of those who felt, while appreciating the traditional forms of art, architecture, and literature that they were becoming ill-fitted to their tasks and outdated in the new environment of an emerging fully industrialised, modernist, world. • SPIRITUALITY or SPIRITUALISM: is where the mind focuses on the higher perceptions and non-material realities. It is the opposite of materialism. Thus, the concept focuses not on mere appearances in a material-minded or materialistic way, but on inner feelings rather than outward sophisticated appearance. 5 Table of Contents Dedication .................................................................................................................................................... 2 Acknowledgments ........................................................................................................................................ 3 Abstract ........................................................................................................................................................ 4 Terms of References ..................................................................................................................................... 5 Table of Contents ......................................................................................................................................... 6 List of Figures ............................................................................................................................................ 12 List of Tables .............................................................................................................................................. 15 CHAPTER I: INTRODUCTION ............................................................................................................... 16 1.1 Introduction ...................................................................................................................................... 16 1.2 Research Questions .......................................................................................................................... 16 1.3 Aims of the Research ....................................................................................................................... 16 1.4 Research Objectives ......................................................................................................................... 16 1.5 Scope of the Study (including its relationship to previous work) ..................................................... 17 1.6 Research Strategies and Methodologies ........................................................................................... 17 1.7 Thesis Structure ................................................................................................................................ 18 CHAPTER II: BACKGROUND AND LITERATURE REVIEW ............................................................ 20 2.1 Introduction ...................................................................................................................................... 20 2.2 Definition of Art ............................................................................................................................... 22 2.2.1 Introduction ............................................................................................................................ 22 2.2.2 Defining art philosophically .................................................................................................. 22 2.2.3 Summary ................................................................................................................................... 26 2.2.4 Art in Islamic societies .............................................................................................................. 26 2.2.5 Islamic ornament ....................................................................................................................... 28 2.3 Development of Writing ................................................................................................................... 32 2.3.1 Introduction ............................................................................................................................... 32 2.3.2 The phases of development ....................................................................................................... 32 2.3.3 Monoliterals .............................................................................................................................. 35 2.3.4 Biliterals and triliterals .............................................................................................................. 35 2.3.5 Semantic glyphs: Determinatives .............................................................................................. 36 2.4 Origins, Characteristics, the Rise and Types of Arabic
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