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Islamic art is not, properly speaking, an art pertaining to religion only. The term "Islamic" refers not only to the religion, but to any form of art created in an Islamic culture or in an Islamic context. It would also be a mistake to assume that all Muslims are in agreement on the use of art in religious observance, the proper place of art in society, or the relation between secular art and the demands placed on the secular world to conform to religious precepts. Islamic art frequently adopts secular elements and elements that are frowned upon, if not forbidden, by some Islamic theologians.
According to Islam, human works of art are inherently flawed compared to the work of God; thus, it is believed by many that to attempt to depict in a realistic form any animal or person is insolence to God. This tendency has had the effect of narrowing the field of artistic possibility to such forms of art as Arabesque, mosaic, Islamic calligraphy, and Islamic architecture, as well as more generally any form of abstraction that can claim the status of non-representational art.
The arabesque is a form of artistic decoration consisting of "surface decorations based on rhythmic linear patterns of scrolling and interlacing foliage, tendrils" or plain lines, often combined with other elements. Within the very wide range of Eurasian decorative art that includes motifs matching this basic definition the term "arabesque" is used consistently as a technical term by art historians to describe only elements of the decoration found in two phases: Islamic art from about the 9th century onwards, and European decorative art from the Renaissance onwards. Arabesques are a fundamental element of Islamic art but they develop what was already a long tradition by the coming of Islam. The past and current usage of the term in respect of European art can only be described as confused and inconsistent. Some Western arabesques derive from Islamic art, but others are closely based on Ancient Roman decorations. In the West they are essentially found in the decorative arts, but because of the generally non-figurative nature of Islamic art arabesque decoration is there often a very prominent element in the most significant works, and plays a large part in the decoration of architecture.
The limited possibilities have been explored by artists as an outlet to artistic expression, and has been cultivated to become a positive style and tradition, emphasizing the decorative function of art, or its religious functions via non-representational forms such as Geometric patterns, floral patterns, and arabesques.
Human or animal depiction is generally forbidden altogether in Islamic cultures because it is said to lead to sculptural pieces which then leads to worship of that sculpture or "idol". Human portrayals can be found in early Islamic cultures with varying degrees of acceptance by religious authorities. Human representation for the purpose of worship that is uniformly considered idolatry as forbidden in Sharia law. There are many depictions of Muhammad, Islam's chief prophet, in historical Islamic art.
The calligraphic arts grew out of an effort to devote oneself to the study of the Quran. By patiently transcribing each word of the text, the writer was made to contemplate the meaning of it. As time passed, these calligraphic works began to be prized as works of art, growing increasingly elaborate in the illumination and stylizing of the text. These illuminations were applied to other works besides the Quran, and it became a respected art form in and of itself.
Islamic calligraphy, colloquially known as Arabic calligraphy, is the artistic practice of handwriting, or calligraphy, and by extension, of bookmaking, in the lands sharing a common Islamic cultural heritage. This art form is based on the Arabic script, which for a long time was used by all Muslims in their respective languages. They used it to represent God because they denied representing God with images. Calligraphy is especially revered among Islamic arts since it was the primary means for the preservation of the Qur'an. Suspicion of figurative art as idolatrous led to calligraphy and abstract depictions becoming a major form of artistic expression in Islamic cultures, especially in religious contexts. The work of calligraphers was collected and appreciated.
Arabic, Persian and Ottoman Turkish calligraphy is associated with abstract arabesque motifs on the walls and ceilings of mosques as well as on the page. Contemporary artists in the Islamic world draw on the heritage of calligraphy to use calligraphic inscriptions or abstractions in their work.
Calligraphy has arguably become the most venerated form of Islamic art because the Arabic script was the means of transmission of the Qur'an. The holy book of Islam, the Qur'an, has played an important role in the development and evolution of the Arabic language, and by extension, calligraphy in the Arabic alphabet. Proverbs and complete passages from the Qur'an are still active sources for Islamic calligraphy.
Islamic Mosque calligraphy is calligraphy that can be found in and out of a mosque, typically in combination with Arabesque motifs. Arabesque is a form of Islamic art known for its repetitive geometric forms creating beautiful decorations. These geometric shapes often include Arabic calligraphy written on walls and ceilings inside and outside of mosques.
The subject of these writings can be derived from different sources in Islam. It can be derived from the written words of the Qur'an or from the oral traditions relating to the words and deeds of Islamic Prophet Muhammad.
There is a beautiful harmony between the inscriptions and the functions of the mosque. Specific surahs (chapters) or ayats (verses) from Koran are inscribed in accordance with functions of specific architectural elements. For example, on the domes you can find the Nour ayat (the divine stress on light) written, above the main entrance you find verses related to the entrances of the paradise, on the windows the divine names of Allah are inscribed so that reflection of the sun rays through those windows remind the believer that Allah manifests Himself upon the universe in all high qualities.
Islamic architecture encompasses a wide range of both secular and religious styles from the foundation of Islam to the present day, influencing the design and construction of buildings and structures in Islamic culture. The principal Islamic architectural types are: the Mosque, the Tomb, the Palace and the Fort. From these four types, the vocabulary of Islamic architecture is derived and used for buildings of lesser importance such as public baths, fountains and domestic architecture.
A specifically recognizable Islamic architectural style emerged soon after Muhammad's time, inspired by Islam with addition of localized adaptations of the former Sassanid and Byzantine models, the Germanic Visigoths in Spain also made a big contribution to Islamic architecture They invented the Horseshoe arch in Spain and used them as one of their main architectural features, After the moorish invasion of Spain in 711 AD the form was taken by the Ummayyads who accentuated the curvature of the horseshoe. The Dome of the Rock (Qubbat al-Sakhrah) in Jerusalem (691) is one of the most important buildings in all of Islamic architecture, marked by a strong Byzantine influence (mosaic against a gold background, and a central plan that resembles that of the Church of the Holy Sepulchre, although the church itself was renovated several times in the Islamic period), but already bearing purely Islamic elements, such as the great epigraphic frieze. It featured interior vaulted spaces, a circular dome, and the use of stylized repeating decorative arabesque patterns. The desert palaces in Jordan and Syria (for example, Mshatta, Qasr Amra, and Khirbat al-Mafjar) served the caliphs as living quarters, reception halls, and baths, and were decorated to promote an image of royal luxury.
Indian art evolved with an emphasis on inducing special spiritual or philosophical states in the audience, or with representing them symbolically. According to Kapila Vatsyayan, "Classical Indian architecture, sculpture, painting, literature (kāvya), music, and dancing evolved their own rules conditioned by their respective media, but they shared with one another not only the underlying spiritual beliefs of the Indian religio-philosophic mind, but also the procedures by which the relationships of the symbol and the spiritual states were worked out in detail."
In the Pan Indian philosophic thought the term 'Satyam Shivam Sundaram' is another name for the concept of the Supreme. 'Sat' is the truth value, 'Shiv' is the good value & 'Sundaram' is the beauty value. Man through his 'Srabana' or education, 'Manana' or experience and conceptualization and 'Sadhana' or practice, through different stages of life (Asramas) comes to form and realize the idea of these three values to develop a value system. This Value-system helps us to develop two basic ideas 1) that of 'Daksha' or the adept/expert and 2) of Mahana/Parama or the Absolute and thus to judge anything in this universe in the light of these two measures, known as 'Adarsha'. A person who has mastered great amounts of knowledge of the grammars, rules, & language of an art-form are adepts (Daksha), where as those who have worked through the whole system and journeyed ahead of these to become a law unto themself is called a Mahana. Individuals idea of 'Daksha' and 'Mahana' is relative to one's development of the concept of 'Satyam-Shivam-Sundaram.' For example, Tagore's idea of these two concepts should be way above any common man's and many perceive Tagore as a 'Mahana' Artist in the realm of literature. This concept of Satyam-Shivam-Sundaram, a kind of Value Theory is the cornerstone of Indian Aesthetics.
Of particular concern to Indian drama and literature are the term 'Bhava' or the state of mind and rasa referring generally to the emotional flavors/essence crafted into the work by the writer and relished by a 'sensitive spectator' or sahṛdaya or one with positive taste and mind. Poets like Kālidāsa were attentive to rasa, which blossomed into a fully developed aesthetic system. Even in contemporary India the term rasa denoting "flavor" or "essence" is used colloquially to describe the aesthetic experiences in films; "māsala mix" describes popular Hindi cinema films which serve a so called balanced emotional meal for the masses, savored as rasa by these spectators.
Rasa theory blossoms beginning with the Sanskrit text Nātyashāstra (nātya meaning "drama" and shāstra meaning "science of"), a work attributed to Bharata Muni where the Gods declare that drama is the 'Fifth Veda' because it is suitable for the degenerate age as the best form of religious instruction. While the date of composition varies wildly among scholars, ranging from the era of Plato and Aristotle to the seventh century CE. The Nātyashāstra presents the aesthetic concepts of rasas and their associated bhāvas in Chapters Six and Seven respectively, which appear to be independent of the work as a whole. Eight rasas and associated bhāvas are named and their enjoyment is likened to savoring a meal: rasa is the enjoyment of flavors that arise from the proper preparation of ingredients and the quality of ingredients. What rasa actually is, in a theoretical sense, is not discussed and given the Nātyashāstra's pithy wording it is unlikely the exact understanding of the original author(s) will be known.
The theory of the rasas develops significantly with the Kashmiri aesthetician Ãndandavardhana's classic on poetics, the Dhvanyāloka which introduces the ninth rasa, shānta-rasa as a specifically religious feeling of peace (śānta) which arises from its bhāva, weariness of the pleasures of the world. The primary purpose of this text is to refine the literary concept dhvani or poetic suggestion, by arguing for the existence of rasa-dhvani, primarily in forms of Sanskrit including a word, sentence or whole work "suggests" a real-world emotional state or bhāva, but thanks to aesthetic distance, the sensitive spectator relishes the rasa, the aesthetic flavor of tragedy, heroism or romance.
The 9th – 10th century master of the religious system known as "the nondual Shaivism of Kashmir" (or "Kashmir Shaivism") and aesthetician, Abhinavagupta brought rasa theory to its pinnacle in his separate commentaries on the Dhvanyāloka, the Dhvanyāloka-locana (translated by Ingalls, Masson and Patwardhan, 1992) and the Abhinavabharati, his commentary on the Nātyashāstra, portions of which are translated by Gnoli and Masson and Patwardhan. Abhinavagupta offers for the first time a technical definition of rasa which is the universal bliss of the Self or Atman colored by the emotional tone of a drama. Shānta-rasa functions as an equal member of the set of rasas but is simultaneously distinct being the most clear form of aesthetic bliss. Abhinavagupta likens it to the string of a jeweled necklace; while it may not be the most appealing for most people, it is the string that gives form to the necklace, allowing the jewels of the other eight rasas to be relished. Relishing the rasas and particularly shānta-rasa is hinted as being as-good-as but never-equal-to the bliss of Self-realization experienced by yogis.
Architecture. The architecture of India is rooted in its history, culture and religion. Indian architecture progressed with time and assimilated the many influences that came as a result of India's global discourse with other regions of the world throughout its millennia-old past. The architectural methods practiced in India are a result of examination and implementation of its established building traditions and outside cultural interactions.
The Rasa theory. Indian art evolved with an emphasis on inducing special spiritual or philosophical states in the audience, or with representing them symbolically.
Of particular concern to Indian drama and literature are the term 'bhAva' or the state of mind and rasa (Sanskrit रस lit. 'juice' or 'essence') referring generally to the emotional flavors/essence crafted into the work by the writer and relished by a 'sensitive spectator' or sahṛdaya or one with positive taste and mind. Rasas are created by bhavas. They are described by Bharata Muni in the Nātyasāstra, an ancient work of dramatic theory.
Although the concept of rasa is fundamental to many forms of Indian art including dance, music, musical theatre, cinema and literature, the treatment, interpretation, usage and actual performance of a particular rasa differs greatly between different styles and schools of abhinaya, and the huge regional differences even within one style.
Eight primary rasas
Bharata Muni enunciated the eight Rasas in the Nātyasāstra, an ancient work of dramatic theory. Each rasa, according to Nātyasāstra, has a presiding deity and a specific colour. There are 4 pairs of rasas. For instance, Hasya arises out of Sringara. The Aura of a frightened person is black, and the aura of an angry person is red. Bharata Muni established the following.
Śṛngāram (शृङ्गारं) Love, attractiveness. Presiding deity: Vishnu. Colour: light green.
Hāsyam (हास्यं) Laughter, mirth, comedy. Presiding deity: Pramata. Colour: white.
Raudram (रौद्रं) Fury. Presiding deity: Rudra. Colour: red.
Kāruṇyam (कारुण्यं) Compassion, mercy. Presiding deity: Yama. Colour: grey.
Bībhatsam (बीभत्सं) Disgust, aversion. Presiding deity: Shiva. Colour: blue.
Bhayānakam (भयानकं) Horror, terror. Presiding deity: Kala. Colour: black.
Vīram (वीरं) Heroic mood. Presiding deity: Indra. Colour: yellowish.
Adbhutam (अद्भुतं) Wonder, amazement. Presiding deity: Brahma. Colour: yellow.
A ninth rasa was added by later authors (See History section). This addition had to undergo a good deal of struggle between the sixth and the tenth centuries, before it could be accepted by the majority of the Alankarikas, and the expression Navarasa (the nine rasas), could come into vogue.
Śāntam Peace or tranquility. deity: Vishnu. Colour: blue.
Shānta-rasa functions as an equal member of the set of rasas but is simultaneously distinct being the most clear form of aesthetic bliss. Abhinavagupta likens it to the string of a jeweled necklace; while it may not be the most appealing for most people, it is the string that gives form to the necklace, allowing the jewels of the other eight rasas to be relished. Relishing the rasas and particularly shānta-rasa is hinted as being as-good-as but never-equal-to the bliss of Self-realization experienced by yogis.
Sculpture. The first sculptures in the Indian subcontinent date back to the Indus Valley civilization, where stone and bronze carvings have been discovered. This is one of the earliest instances of sculpture in the world. Later, as Hinduism, Buddhism and Jainism developed further, India produced some of the most intricate bronzes in the world, as well as unrivaled temple carvings. Some huge shrines, such as the one at Ellora were not actually constructed using blocks, but instead carved out of rock, making them perhaps the largest and most intricate sculptures in the world.
During the 2nd to 1st century BCE in far northern India, in what is now southern Afghanistan and northern Pakistan, sculptures became more explicit, representing episodes of the Buddha’s life and teachings. Although India had a long sculptural tradition and a mastery of rich iconography, the Buddha was never represented in human form before this time, but only through some of his symbols. This may be because Gandharan Buddhist sculpture in modern Afghanistan displays Greek and Persian artistic influence. Artistically, the Gandharan school of sculpture is said to have contributed wavy hair, drapery covering both shoulders, shoes and sandals, acanthus leaf decorations, etc.
Indian painting. Indian painting has a very long history, although the seasonally humid Indian climate was difficult for the long-term preservation of paintings and there are far fewer survivals than of other forms of Indian art. The earliest Indian paintings were the rock paintings of pre-historic times, the petroglyphs as found in places like Bhimbetka, some of them from before 5500 BC. India's Buddhist literature is replete with examples of texts which describe palaces of kings and the aristocratic class embellished with paintings, but the frescos of the Ajanta Caves are the most significant of the few survivals.
Smaller scale painting in manuscripts was probably also practised in this period, though the earliest survivals are from the medieval period. Mughal painting represented a fusion of the Persian miniature with older Indian traditions, and from the 17th century its style was diffused across Indian princely courts of all religions, each developing a local style. Company paintings were made for British clients under the British raj, which from the 19th century also introduced art schools along Western lines, leading to modern Indian painting, which is increasingly returning to its Indian routes.
Indian paintings provide an aesthetic continuum that extends from the early civilization to the present day. From being essentially religious in purpose in the beginning, Indian painting has evolved over the years to become a fusion of various cultures and traditions.
Indian music. India's classical music tradition, including Carnatic and Hindustani music, has a history spanning millennia and, developed over several eras, it remains fundamental to the lives of Indians today as sources of spiritual inspiration, cultural expression and pure entertainment. India is made up of several dozen ethnic groups, speaking their own languages and dialects, having very distinct cultural traditions.
Hindustani music is an Indian classical music tradition that goes back to Vedic times around 1000 BC, and further developed circa the 13th and 14th centuries AD with Persian influences and from existing religious and folk music. The practice of singing based on notes was popular even from the Vedic times where the hymns in Sama Veda, a sacred text, was sung as Samagana and not chanted. Developing a strong and diverse tradition over several centuries, it has contemporary traditions established primarily in India but also in Pakistan and Bangladesh. In contrast to Carnatic music, the other main Indian classical music tradition originating from the South, Hindustani music was not only influenced by ancient Hindu musical traditions, historical Vedic philosophy and native Indian sounds but also enriched by the Persian performance practices of the Mughals.During the Medivel age especially in Mughals era various Gharana got famous due to excellence and class in type of musics like raga.Tansen is one of the navratna of Mughals Admiral Akbar. Classical genres are dhrupad, dhamar, khyal, tarana y sadra.
§4. ^ hinese aesthetics
Chinese art has a long history of varied styles and emphases. In ancient times philosophers were already arguing about aesthetics. Confucius emphasized the role of the arts and humanities (especially music and poetry) in broadening human nature and aiding "li" (etiquette, the rites) in bringing us back to what is essential about humanity. His opponent Mozi, however, argued that music and fine arts were classist and wasteful, benefiting the rich over the poor.
By the 4th century AD, artists were debating in writing over the proper goals of art as well. Gu Kaizhi has 3 surviving books on this theory of painting, for example, and it's not uncommon to find later artist/scholars who both create art and write about the creating of art. Religious and philosophical influence on art was common (and diverse) but never universal; it is easy to find art that largely ignores philosophy and religion in almost every Chinese time period.
Early forms of art in China are found in the Neolithic Yangshao culture (Chinese: 仰韶文化; pinyin: Yǎngsháo Wénhuà), which dates back to the 6th millennium BC. Archeological findings such as those at the Banpo have revealed that the Yangshao made pottery; early ceramics were unpainted and most often cord-marked. The first decorations were fish and human faces, but these eventually evolved into symmetrical-geometric abstract designs, some painted.
The most distinctive feature of Yangshao culture was the extensive use of painted pottery, especially human facial, animal, and geometric designs. Unlike the later Longshan culture, the Yangshao culture did not use pottery wheels in pottery making. Excavations have found that children were buried in painted pottery jars.
Porcelain is made from a hard paste made of the clay kaolin and a feldspar called petuntse, which cements the vessel and seals any pores. China has become synonymous with high-quality porcelain. Most china pots comes from the city of Jingdezhen in China's Jiangxi province. Jingdezhen, under a variety of names, has been central to porcelain production in China since at least the early Han Dynasty.
The most noticeable difference between porcelain and the other pottery clays is that it "wets" very quickly (that is, added water has a noticeably greater effect on the plasticity for porcelain than other clays), and that it tends to continue to "move" longer than other clays, requiring experience in handling to attain optimum results. During medieval times in Europe, porcelain was very expensive and in high demand for its beauty. TLV mirrors also date from the Han dynasty.
Buddhism arrived in China around the 1st century AD (although there are some traditions about a monk visiting China during Asoka's reign), and through to the 8th century it became very active and creative in the development of Buddhist art, particularly in the area of statuary. Receiving this distant religion, China soon incorporated strong Chinese traits in its artistic expression.
In the fifth to sixth century the Northern Dynasties, rather removed from the original sources of inspiration, tended to develop rather symbolic and abstract modes of representation, with schematic lines. Their style is also said to be solemn and majestic. The lack of corporeality of this art, and its distance from the original Buddhist objective of expressing the pure ideal of enlightenment in an accessible, realistic manner, progressively led to a research towards more naturalism and realism, leading to the expression of Tang Buddhist art.
In ancient China, painting and calligraphy were the most highly appreciated arts in court circles and were produced almost exclusively by amateurs, aristocrats and scholar-officials who alone had the leisure to perfect the technique and sensibility necessary for great brushwork. Calligraphy was thought to be the highest and purest form of painting. The implements were the brush pen, made of animal hair, and black inks, made from pine soot and animal glue. Writing as well as painting was done on silk. But after the invention of paper in the 1st century, silk was gradually replaced by the new and cheaper material. Original writings by famous calligraphers have been greatly valued throughout China's history and are mounted on scrolls and hung on walls in the same way that paintings are.
Wang Xizhi was a famous Chinese calligrapher who lived in the 4th century AD. His most famous work is the Lanting Xu, the preface of a collection of poems written by a number of poets when gathering at Lan Ting near the town of Shaoxing in Zhejiang province and engaging in a game called "qu shui liu shang".
Wei Shuo was a well-known calligrapher of Eastern Jin Dynasty who established consequential rules about the Regular Script. Her well-known works include Famous Concubine Inscription (名姬帖 Ming Ji Tie) and The Inscription of Wei-shi He'nan (衛氏和南帖 Wei-shi He'nan Tie).
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