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Microfilmed 1994 Information to Users I I * t UMI MICROFILMED 1994 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMJ films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. Hie quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed through, substandard margins, and impi ope r alignment can adversely affect reproduction. In the u nJikely event that the author did not send UMI a complete manu&cti pt and there are missing pages, these will be noted. Also, if unautho: rized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectio niig the original, beginning at the upper left-hand corner and contimuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced :orm at the back of the book. Photographs included in the original manuscript have been reproduced xerographlcally in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 0411003 AnalyiU of three Islamic art historians' explanations of the characteristics and formation of Islamic art: Implication for model development Bajouda, Hamza Abdulrahman, Ph.D. The Ohio State University, 1993 Copyright ©1094 by Bajouda, Hams* Abdulrahman. All rights reserved. UMI 300 N . Zeeb Rd. Ann Arbor, MI 48106 ANALYSIS OF THREE ISLAMIC ART HISTORIANS' EXPLANATIONS OF THE CHARACTERISTICS AND FORMATION OF ISLAMIC ART: IMPLICATION FOR MODEL DEVELOPMENT DISSERTATION * Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Hamza Bajouda The Ohio State University 1993 Dissertation Committee: Approved by Nancy MacGregor Howard Crane Adviser Department of Art Education Arthur Efland ACKNOWLEDGMENTS I would first like to thank God Almighty, who gave me the health, patience, strength, and courage to meet the challenge of writing this dissertation. I would also like to express my sincere appreciation to many individ­ uals who, directly or indirectly, assisted me in accom­ plishing the goal of successfully completing this work. I am in debt to Professor Nancy MacGregor, my adviser, who has been behind me with her tireless encouragement, critical remarks, and sincere guidance. I am also most grateful to Professor Howard Crane, whose assistance and guidance have been of great help to me. My sincere appreciation is also due to Professor Arthur Efland for his advice and encouragement. My wife deserves special thanks for her patience, support, and understanding of my continuous absence from home, burying myself in books at the library. Her marvelous job of taking care of the children and personal sacrifice will always be appreciated. My children, Nada, Shaza, Nuha, Reem, Weal, and Nojood, deserve special thanks for their support and understanding of my work. Finally, X would like to thank Linda Caine, my typist, for her wonderful job of typing this dissertation. ii VITA July 3, 1958 ............ B o m - Makkah, Saudi Arabia 1976.......................Diploma In Art Education, Art Education Institute, Riyadh, Saudi Arabia 1976 - 1984 ............. Art Education Teacher in elementary school 1977 - 1982 ............. Director of Visual Art Department in Art and Culture Society 1983.......................B.A. in Art Education, Umm al-Qura University, Saudi Arabia 1988 M.A. in Art Education, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: Art Education Studies in Research Design: Professor Nancy MacGregor Studies in Curriculum Development and Evaluation Model: Professor Arthur Efland Studies in History of Islamic Art: Professor Howard Crane iii TABLE OF CONTENTS ACKNOWLEDGMENTS..................................... ii VITA .................................................. iii LIST OF T A B L E S ...................................... viii LIST OF FIGURES..................................... ix CHAPTER PAGE I. BRIEF OVERVIEW OF THE HISTORY OF SAUDI ARABIAN EDUCATION . '................................... 1 Introduction ................................. 3 Educational Objectives ....................... 4 Islamic Art and Art Education............ 6 Problem Background ........................... 7 Art Education Guidelines ..................... 11 Summary.......................................... 12 Purpose of the S t u d y ........................... 14 Significance of the S t u d y ....................... 17 Research Questions ........................... 18 Method and Procedure ........................... 20 Limitation of the S t u d y ......................... 23 Definition of Terms ............................. 24 II. REVIEW OF LITERATURE ........................... 26 Introduction ................................. 26 Early Initiatives in the Study of Islamic Art . 27 Approaches to the Study of Islamic Art .... 33 The Problem of M e t h o d o l o g y ..................... 39 The Achievements of the Study of Islamic Art . 43 Adequacy......................................43 AcceBsability............................... 44 Theoretical Framework .......... 45 The Study of Islamic Art from an Educational Perspective......................................47 iv > CHAPTER PAGE III. METHODOLOGY .............................. S3 Criteria for the Selection of Art Historians . 54 K. A. C. Creswell.............................. 54 International Recognition ................ 58 Major Publications........................... 58 Richard Ettinghausen ......................... 61 Publications ............................... 63 Oleg G r a b a r ..................................... 64 Instrumentation ............................... 65 IV. PART A - ANALYSIS OF THE WRITINGS OF K. A. C. C R E S W E L L ........................................67 Introduction ................................. 67 The Genesis of Islamic Art and Architecture 71 The Development and Evolution of Mosques and Their Furnishings............................... 77 High Caliphate Period .................... 80 The Furnishings of the M o s q u e ................... 83 Outer Structure of the M o s q u e ...............83 The M i n a r e t ............................... 83 D o m e ..................................... 84 Interior Furnishings of the Mosque ...........85 The M i n b a r ............................... 85 M h i r a b ................................... 87 The Concept of Absolute and Relative Time of the Formation of Islamic A r t ...................87 The Characteristics of Islamic A r t .............90 The Method of C r e s w e l l ......................... 98 C o n c l u s i o n .................................... 104 Description ................................ 105 Physical Description, Analysis, and Interpretation of the Monument..............106 Qusayr Amera ................................ 107 The Outside Appearance of the Building . 110 Overall Description of the Building . Ill Material and Technique of the Building . Ill Technique and Architectural Origin . 112 The Vaulting System ...................... 113 The Architectural Origin of the Pointed A r c h .................................... 115 The Painting of Qusayr A m e r a ............116 Artistic Analysis ....................... 117 The Painting of the Alcove (Description and Analysis)............................ 118 The W a l l s ................................ 118 Inspiration of the Painting of Qusayr A m e r a .................................... 120 v CHAPTER PAGE The Floor Mosaic o£ Qusayr Amera .... 121 The Patterns of the Mosaic of Qusayr A m e r a .................................... 122 Stylistical Analysis .................. 122 PART B - ANALYSIS OF SELECTED WRITINGS OF RICHARD ETTINGHAUSEN ......................... 126 Introduction ................................. 126 The Problem of Defining Islamic A r t ............128 The Nature of Islamic A r t ...................... 132 The Concept of the Day of Judgment..........133 The Human Aspect of M uhammad................ 134 The Submission to All-Powerful Allah .... 135 Basic Importance of the Quran as the Arabic Manifestation of the Heavenly B o o k ..........136 The Characteristics of Islamic A r t ............139 Introduction ............................... 130 The Method of Ettinghausen .................... 145 Ettinghausen's Method of Inquiry Concerning Islamic Painting............................ 161 Analysis of Painting ....................... 163 Decorative Painting from the Dome of the Rock, Damascus' Great M o s q u e ............164 C o n c l u s i o n .................................... 180 PART C - ANALYSIS OF SELECTED WRITINGS OF OLEG G R A B A R .................................... 181 Introduction ................................. 181 The Problem of the Term "Islamic A r t " ..........182 The Genesis of Islamic A r t .................... 183 The Characteristics of Islamic A r t ............185 The Historical Process of the Manmade Setting . 187 Values of Islam Versus Previous Values . 188
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