Do you think that Islamic ornamentation is a traditional art, with fixed forms that couldn't change?

Jeanan Shafiq

Why don't you ask it from Shafiq himself. Term Islamic you have missed use two times. Ornamentation among Muslims has only one Islamic principle: no picture of animal or human life. It is another thing that in calligraphy letters are too stretched and too curved that intended figure of birds or an animal can clearly be seen. Muslims in ornamentation keep generally in mind the principle stated above. As far as question of changing fixed forms is concerned not only Muslims but everybody is free to carry out according to her/his taste keeping in mind that the principle is not violated, no vulgarity is intended and creativity is aesthetically satisfying to others. Art of ornamentation among Muslims is as fixed and as dynamic as they themselves are.

Claus-Christian Carbon

agreed: with the exception of the principle of not showing pictures of animal or human life, the whole range of variation (and possibilities of adaptation) is possible--else we would see stable designs, architecture and fashion for hundreds of years which we do NOT see. We see the same sociological and psychological phenomena of taste, preferences and aesthetics as everywhere in the world: the context, the environment, the things which we perceive and process, shape our orientation in terms of taste, preferences and aesthetics .

The exceptional principle distinguishes Muslim art from other art, I do not claim that Muslims never deviated from this principle and therefore as Mughal Art will not be known as a piece of Muslim Art.

In the early stage until the third century Islamic nineteenth century adopted the plant elements of Islamic floral elements of previous civilizations them, but after that evolved elements floral Islamic and produced artists Muslims Art Arabesque hence can not call it traditional as it is created elements produce new and became its features independent.

Jim Horn

Islamic ornamentation is derived from original Arabic and native ornamentation in the regions where Islam has become dominant. It is therefore an art form that is limited by Islamic rules.

Islamic ornamentation collected between Islamic unity and diversity and unity are used in all provinces Wim Muslim world on various buildings , even private religious Arabic inscriptions made on the floor as well as the plant used in floral decorating and antiques applied to ceramic tiles .

The diversity represents the types of plants used and expressed by the environment for example , we find the lotus flower in Egypt and Syria is different from the same flower in Turkey and Iran also used the flowers and plants within each minority separately In Turkey we find pink flower and paper saz and Cypress and others grow in Anatolia and in the Levant Egypt and find a grape leaf and triple and five other plants Egyptian and Levantine environment and the same applies to Andalus Islamic world and the west and east of the Islamic world, in India , Bukhara, Samarkand and others.

Dear Jim,

Yes, that's right, Islamic ornamentation depends on Islamic (fixed) rules, which we call it Ideology of Islam. But in the same time, Islam gives Muslims the chance of flexibility. It's the variables within limits of ideology that gives an a advantage for adaption through place and time.

Dear Shafiq,

That's right, what we deal with today is a traditional Islamic ornamentation with elements and forms that haven't changed from the first generation, although we have the chance to deal with new forms, which do not conflict with the main rules of ideology of Islam. This is the point. People all over the world think's that Islam reject any changes, while we are able to create new forms by dealing with variables within the limit of Constants.

This was alleged to say that Islam united nations and melted in one pot with maintaining the internal environment of each province, so he is combining unity and diversity.

Exactly, Unity and diversity in Islam gives the power for adaption in different places and through time.

Dear Jeanan,

Above part of your remark "People all over the world think that Islam reject any changes," is amusing in that Islam recognises diversity of cultures, environment and changes over time. It is why, Allah's last Messenger granted right of ijtehad, that is, when a problem is faced, the solution of which is not found either in Qura'an or in Sunnah, one can apply one's mind to get an easy solution that does not violate Islamic principles and its spirit.

However, apart from flora, Muslims also expressed their creativity in geometric art. There also people see unity and assign it symbolic spiritual meanings. Of course, Muslim believe in One and Unique existence of Allah, but mainstream Islam does not believe that everything is manifestation of Allah leading to the concept of non-duality (wahdat-ul-wajood) which has currency in some sufi groups. Muslims see grander, might, all encompassing knowledge in all things- inspiring them to know these thing that resulted in the development of science in a few centuries after the birth of Islam.

Jim Horn

As I said earlier: Islamic art is limited in accordance with the dogma of Islam. Some of what is permitted, is very good indeed.

Islam can accommodate each new but he foretells what will come from the new Koran in which the news of the previous nations and the news of Nations next was reflected on the art and architecture of the Islamic and find clearly the impact of the Islamic religion, art and architecture for example, raised the art of Arabesque result Agdit of the Prophet Muhammad peace be upon him, and many examples because the Koran urges Muslims to consider the nature of the universe.

Jim Horn

Ahmed:

I'm confused:

How can Islam "accommodate each new" art form. Paintings of people were here before Islam, as were other decorative artworks such as statuary, all forbidden by Mohammed.

Please provide an example or information of what's new other than some splendid architecture?

Islam has absorbed all new and clearest example of this he absorbed all the non-Arab nations that we have taken, and then melted in one pot, so if we look at any decoration valuable eastern Islamic world, or in the west of the Islamic world say it's an Islamic decoration.

Another example is the historical development of art and architecture see, for example, to the art and architecture in the first three centuries and then compare the architecture and the arts in later centuries and therefore, there is a river continuing uninterrupted since the beginning of Islam and not the preserve of Islam to the unit means that he does not accept all new to it to the side of the unit There is also diversity

Jim,

Perhaps there is some communication problems. Islam does not allow to"accommodate each new" art form, however, it allows to accommodate those elements of art from different times and culture that do not violate Islamic principles or faith. This limited freedoms has boosted creativity of Muslim artists as how to accommodate these elements and resulted in several new forms and masterpieces of arts and ornamentation. I am almost repeating in different words what Jeanan has said above.

Islam only opposes the production of art works and architectural designs that depict figures of animals or human beings. According to Islam, all living creatures with the ability of locomotion fall in the domain of God and should not be replicated in any form such as art. Islamic architects pegged their creativity on evoking their inner beliefs through the use of abstract forms that produced magnificent works of art.

On the other hand, any other forms are applicable and deserve our interest.

Dear Jeanan

Artists Muslims excelled types of floral and Engineering wonderful Therefore we are facing a shift in innovations decorative came prevent filming organisms in Islamic art at the beginning of it to open in front of the artist Alamoslem new horizons of innovation were not show if he has permitted Photos organisms so you can not say Islam is making a limited area in front of creativity but open new horizons of hopes

Islam never ceases to looked at a particular historical period or ornament certain light transmits from age to age, but evolved motifs development time and different environments, but united with it in one pot, so if we saw say it's decoration Islamist This suggests to some that the patterning of the Islamic traditional and non-sophisticated with time or environment.

Ahmed,

Yes I do agree that Islamic thinking is not as stagnant or fixed as general impression outside Islam is. Islam response to every change in adapting change with its terms that is, accepting within its permissible limits not beyond limits (huddod). The Image you have attached is not representative of a change, it appears belonging to either late Abbasid period or at least of the period of Turkish caliphate or drawn on the models of those periods. I don't find any departure from the expectation of Jeanan that Muslim, if you are happy with the term Islamic art/ornamentation generally avoids depiction humans and animals.

Othman Hussain

In South East Asia, in particular in Malaysia, Indonesia, Southern Thailand, Southern Philippines and Brunei, Islamic arts blended with local values and transformed into new form identified as Malay-Muslim arts. Some argued that the arts are more Indian than Islam. Yes, it is in terms of physical forms but not in spiritual and intrinsic expressions. The mosque architecture for instance, going back to the first mosque built in Java, the Demak Mosque was built according to the shape of temple-like where the roof consist of layers symbolizes the Hindu-Buddha concept of universe. But the fact that early Malay-Muslims had changed the meaning and was then explained in the Quranic concept of universe. Apart form that there are many Malay-Muslim arts which maintained the pre-Islamic form but Islamic in meaning.

All confusion is due to categories, labels etc. developed during colonialism and by orientalists and latter concepts like racial, national and cultural identities from their perspective and cultural experiences as well as to divide people into categories to serve colonists’ political economic purposes. In traditional anthropology and in current evolutionary anthropology and sociology, religion is an intangible/abstract artefact in the process of cultural production like language as binding force to bring people together form communities to work and defend together and consequently to enact certain rules and norms to keep individual and community behaviour in line.

It may be to true in case of some religion or their degenerated form may lead one to this conclusion of their origin. As pointed out by several scholars, Islam does not fit in such a concept of a religion. It is neither culture in itself nor product of a culture. Of course, Islam came in a culture or encountered a culture. As people of that culture accepted it and it spread, it demolished all symbols, signs, traditions and rituals and forms in forms in that society which were firstly against its monotheistic philosophy and secondly atrocious for humanity to liberate it from the tyrannical political, social, economic, and cultural systems, forms and tradition. Whatever, culture remained had been Arab culture. So, this process occurred in other cultures wherever Islam reached.

Jeanan has correctly pointed out in the present case, “Islam only opposes the production of art works and architectural designs that depict figures of animals or human beings.”

Muslims can prostrate in congregation before their Allah in a spacious pagoda, if before no other deity had been worshiped and no idol, picture of humans or animals are present, facing Grand Masjid in Mecca to show their solidarity with their brethren and sisters elsewhere in the world. Pagoda’s shape, size, architecture and ornamentation is no barrier, if conditions mentioned above are meant. Pagoda architecture belongs to the East Asia, not to Arabia. What others give meaning to it, it is a different matter, to us our intentions are important.

Since, other may give different meanings or Muslims would find it difficult to trace a mosque, say in Mongolia, therefore, Muslims of other culture attempted a similarity in architecture of Masjids as their architecture had been finalised in first or second century after the Prophet (PBUH). So is the case with ornamentation where purpose is aesthetic satisfaction within norms (not tradition) of Islam. Any culture may enrich it within norms or changing test may be be incorporated in the old traditions or new forms may develop within the norms.

Though, elements and tastes of culture would be prominent either in old or new forms, but it is also Islamic only in the sense, it observes norms of Islam. Not necessarily It is carried in a culture where Muslim exist or it is in contact with Muslims, any such forms produced by some culture to which Muslims are alien is likely to be associated with Muslims.

The mosque building in Islam back to two important first is unity and the second is the diversity and is unity in the function of the mosque and its role, a worship which require pure land area is surrounded by walls and covered the roof of the niche to determine the direction of Mecca and a platform for delivering the Friday sermon and the holidays and the minaret of the call to prayer The second thing It is diversity, this is due to the shape determined by the environment, there are built mosque of the most expensive raw materials such as marble, stone and some of its elements are inlaid with gold, silver, copper, bronze private doors and windows and there Mosque was built of mud and the roof of leaves and palm fronds and pillars of the trunks of palm trees and both mosques doing his job and has the same sacred the hearts of Muslims.

Dear Ahmad,

If by pure land are you mean, a land area where none other than Allah is worshiped, I have already pointed out that. If you mean land clear of garbage etc., it can be agreed upon on the ground of Islamic sense of sanitation and purity, otherwise land in Islam is pure and performs function of purifying others like water, air and fire.

To me if a practice is strictly and continuously followed, it becomes tradition leaving no space for deviation within permissible limits and in the end makes deen burden rather than an easy way to pass life. Our prophet said something like "la tashuddud fiddeen" (no strictness/ hard way in way of life (Islam)). That is, one should not insist on a particular way like hardliner, one should adopt an easy way or solution of a problem in Islam. What about, land area outside the settlement where Eid prayers are held, is it walled or was walled during lifetime of the Prophet (PBUH) or now and then prayers are/were offered when Ummah faces/faced some calamity? As for niche is considered important for two reasons first principle is waste-less use of everything including space and second one is none by mistake could offer prayer by the side of the Imam or a little forward to him. But, if a place of worship does not by chance has a niche, it does not mean, it cannot qualify as a Masjid. Of course, a full row space could not be utilised. Suppose, a spacious Pagoda like building exists in a village, where all Muslims can fill half of the space in rows, still niche is an integral part of a Masjid. Platform, may be moveable, say of wood like that of the Prophet (PBUH) and After sermon can be removed. As far as minaret of the call to prayer is concerned there is no evidence that our Prophet (PBUH) ever got it constructed. In fact, it was need so that call of prayer could reach as far as could each. In m without encountering a barrier to restrict it. In my hometown during my childhood my father used to call for prayer standing on a wall or occasionally on the corner of the roof of the Masjid. Now there are used microphones and one who calls for prayer may stand on floor near the platform meant for sermon, till now no salfi, hanfi, shafai or any other has objected to it.

If you have doubt, visit an Islamic scholar to find out what I have argued is against practice and words of the Prophet (PBUH).

Dear Mohammed

I do not mean to get into doctrinal dialectic process or just want to say that the simple mosque built valuable simple environment does not have the economic potential has the same function and the sanctity of the mosque, which was built by Sultan Khalifa or Prince or.

As for the space I mean pure second opinion be free of dirt so proceeded Islam Purity (ablution)

The minaret was built for the call to prayer in the days of the Prophet Muhammad, peace be upon him was Bilal Club for prayer from the top surface of the mosque above the structural block was called Almtmar Perhaps it is because the houses were of one floor but when I opened the other countries and numerous storey houses had to be a high place the call to prayer up to all residents of the city.

Dear Jeanan:

In my art history class at the University of Guanajuato, in central Mexico, we dedicate one week to Islamic art. It's not enough time, but I have to cover from Prehistory to the twelfth century, including the Mediterranean world and adjacent regions, in 16 weeks, so I try to provide them with an overview so they can build from that throughout their lives. The students are undergrads studying visual arts production. They are always fascinated by the complex (and at the same time simple) geometry found in many works of islamic art. I have purchased a few books on this subject and I share them with my students. There is one question that I haven't found a satisfactory answer to. I realize that in general terms humans and animals are not depicted (although there are exceptions, especially in the private sphere). You explained this in your post on May 24: "According to Islam, all living creatures with the ability of locomotion fall in the domain of God and should not be replicated in any form such as art." Can you tell me what the scriptural basis for this prohibition is? I have searched the Koran, and have found some passages that relate indirectly to this matter, but I am still uncertain. I thank you in advance for any information that you may share.

Regarding your question, I am certain that the basic principles of Islamic art have the potential to serve as the foundation for an infinite quantity of contemporary aesthetic creations in all media: land art, urbanism, architecture, interior design, sculpture, painting, graphic arts, graphic design, textiles, ceramics, jewelry, multimedia, installations, etc., etc. Harmonious geometry and its relation to the cosmos is a powerful aesthetic force and any artist may learn much from the study of historical works.

Dana Awartani is doing some interesting work. It is more conservative than innovative, and she does this very well. I suppose if one would look deeply into this one would find artists working all along the gradient between these two extremes. There is an article about Awartani by Malikka Bouaissa, with excellent illustrations, on the al.arte.magazine website. The photographs below are from this article:

http://www.alartemag.be/en/en-art/the-crucial-role-of-geometry-in-islamic-art/

You may click on the images for a closer look.

For the innovative side of the gradient I mentioned in my last post, I found an interesting article and slideshow about an international art project on the island of Djerba, Tunisia, also in al.arte.magazine. Some of the artworks follow traditions like arabic calligraphy and harmonious geometry, while others include representations of animals and people.

Here is the article; clicking on any of the still photos will take you to the slideshow.

http://www.alartemag.be/en/en-art/djerbahood-an-open-air-museum/

I extracted the image reproduced below from this slideshow, showing a street mural with a fresh, contemporary interpretation of calligraphic art. I don't know what it says, if anything; perhaps someone can translate it for me.

Before I get back to work, I would like to share this freely available digital book that shows newcomers the basic principles of Islamic geometric design. I am going to share it with my Mexican students as well. Perhaps some of them will get inspired to create something using these design principles.

Islamic art and geometric design: Activities for learning, digital edition, New York, The Metropolitan Museum of Art, 2004 (http://britton.disted.camosun.bc.ca/Islamic_Art_and_Geometric_Design.pdf, access: 12 April 2015).