Relevant bibliographies by topics / Arabesques (art)

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Academic literature on the topic 'Arabesques (art)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Arabesques (art)"

1

Martin, Isabelle. "Signaler et valoriser les thèses : un art culinaire ?" La thèse dans tous ses états, no. 78 (April 1, 2015): 4–5. http://dx.doi.org/10.35562/arabesques.316.

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Jacob, Sylvie. "Le CR Art et archéologie. Pour l’amour de l’art." Des régions et des spécialités, no. 59 (July 1, 2010): 16–17. http://dx.doi.org/10.35562/arabesques.1995.

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Borrowska, Eva. "La bibliothèque de la Terra Foundation for American Art à Paris." Rayonnements interculturels, no. 90 (July 1, 2018): 19. http://dx.doi.org/10.35562/arabesques.187.

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Troelenberg, Eva-Maria. "Arabesques, Unicorns, and Invisible Masters: The Art Historian’s Gaze as Symptomatic Action?" Muqarnas Online 32, no. 1 (August 27, 2015): 213–32. http://dx.doi.org/10.1163/22118993-00321p11.

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This essay takes two seminal texts of mid-twentieth-century Islamic art history as case studies for the methodological development of the scholarly gaze in the aftermath of the Second World War. Ernst Kühnel’s Die Arabeske (Wiesbaden, 1949) testifies to the continuity of a taxonomic history of styles, rooted in phenomenologist Sachforschung and apparently adaptable to shifting ideological paradigms. Richard Ettinghausen’s The Unicorn (Washington, 1950) stands for a neo-humanist approach. Its negotiation of aesthetic and cultural difference clearly is to be considered against the background of the experience of exile, but also of the rising tide of democratic humanism characteristic for postwar American humanities. Both examples together offer a comparative perspective on the agencies of art historical methods and their ideological and epistemological promises and pitfalls in dealing with aesthetic difference. Consequently, this essay also seeks to contribute exemplary insights into the immediate prehistory of the so-called “Global Turn” in art history.
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BHOGAL, GURMINDER KAUR. "Debussy’s Arabesque and Ravel’s Daphnis et Chloé (1912)." Twentieth-Century Music 3, no. 2 (September 2006): 171–99. http://dx.doi.org/10.1017/s1478572207000448.

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AbstractJust as arabesque carries a range of visual and literary associations, this ornament assumes a diverse presence in music scholarship, where it characterizes a wide repertoire and assortment of techniques. Despite its conceptual breadth, this essay shows that arabesque upheld a specific musical identity for Debussy and Ravel. This is reflected in their simulation of art nouveau’s intricate and fluid designs through melodic gestures that emphasize irregular rhythms and dissonant metres. Also in keeping with art nouveau is the tendency of these composers to privilege musical arabesque’s structural appearance and expressive capacity. These observations are explored with reference to Ravel’s Daphnis et Chloé, a ballet that critics admired for its arabesque qualities. An analysis of four dances will reveal how the distinct rhythmic and metric profiles of arabesque melodies portray characters and their narratives. In challenging preconceptions of ornament as marginal and meaningless, this essay shows how arabesque became endowed with structural and expressive significance at the début du siècle.
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Zimmermann, Mark, Richard Maxwell, and Matthew Ritchie. "Colloquial Arabesques." PAJ: A Journal of Performance and Art 21, no. 2 (May 1999): 71. http://dx.doi.org/10.2307/3246006.

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Lewis, Mark. "Afterword: Florida Arabesque." Afterall: A Journal of Art, Context and Enquiry 48 (September 2019): 146–61. http://dx.doi.org/10.1086/706136.

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Hadar, David. "Reassembling a World Literature: Anton Shammas' Arabesques between Iowa and the Galilee." ariel: A Review of International English Literature 49, no. 2-3 (2018): 63–87. http://dx.doi.org/10.1353/ari.2018.0013.

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Falcone, Francesca. "The Arabesque: A compositional design." Dance Chronicle 19, no. 3 (January 1996): 231–53. http://dx.doi.org/10.1080/01472529608569248.

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Falcone, Francesca. "The evolution of the arabesque in dance." Dance Chronicle 22, no. 1 (January 1999): 71–117. http://dx.doi.org/10.1080/01472529908569336.

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Dissertations / Theses on the topic "Arabesques (art)"

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Bhogal, Gurminder Kaur. "Arabesque and metric dissonance in the music of Maurice Ravel (1905-1914) /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb400345384.

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Tajuddin, Tazul I. "Music compositions with commentary : a study of Arabesque." Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390827.

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Khazaie, Mohammad. "The arabesque motif (islimi) in early Islamic Persian art : origin, form and meaning." Thesis, University of Birmingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391020.

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Cojanu, Cristina. "Arabesque : recovered fragments of what could have been a novel of manners." Thesis, Royal College of Art, 2013. http://researchonline.rca.ac.uk/1644/.

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That painting is understood as being visual cannot really be contested. Even when Duchamp introduced his disavowal of painting and the schema of the chessboard to indicate an anti-retinal strategy, the implication of visual imaginary was still in place. Indeed the link between knowing and seeing is not only at the root of metaphysical (the desire to know is the desire to see -Aristotle) thinking itself, but persists even within the disavowal of it within Late Modernity. Currently, its presence does still persist and continues to fuel its relevance. This research develops as a speculation on the relation between an ontological understanding of the image and the ornamental. In contrast to the usual understanding of ornament, the ornamental is elaborated as a force and process for the proliferation of forms out of forms. The arabesque is the structuring principle of this research and the figure it presents. The revelatory force of the arabesque lies not in giving a schema of visual revelation, but it is touching upon a force that transforms and changes, the very 'plasticity' (C. Malabou) inherent in every being and image. Through the recollection of the arabesque, the ornamental is invoked as a principle of drift and thrift in becoming. As a double, paradoxical device the arabesque enables a play between oblique and transparent things, between what can be said or known and what cannot be said, what remains unknown - and whatever lies in between. As a figure of thought, it sets out a play of plastic and graphic imminence. Characteristic for the Islamic culture, the arabesque is more a mode or an idea than a form or pattern, and it was formative for this culture from its very early ways of manifestation. The idea of the arabesque is in and for itself, a 'motor of thought' (C. Malabou). The tension between representation and presentation, between symbolic, iconographic or legible meaning and a-signifying, pre-linguistic or ornamental meaning is at the heart of understanding the image, which is a mode of being that is encountered in different ways. Through the ornamental as a force of mediation (O. Grabar) this understanding is infiltrated with an ethical dimension. The route taken is one of conceptual risk, of invention and the fantastic. Method itself is addressed as something to be found - and not as something already given or pre-established. This research in painting inflects painting from within, from its relation to presence and the image. Caught in this by its inflammatory auto-affection, painting explodes and de-forms, it trans-forms itself - it consciously receives and, simultaneously, gives form. The research itself is manifested as a concatenation of heterogeneous elements that belong to different registers such as written texts, show installation, and different technologies.
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Hazzouri, Ayman. "Une plasticité contemporaine de la calligraphie arabe (signe, symbole, arabesque dans la peinture arabe contemporaine)." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC022.

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Depuis les années 1940, l’art dans le monde arabe traverse des questionnements quant à son authenticité et son identité. Cette thèse souligne dans sa première partie l’importance et l’influence du patrimoine et de l’héritage culturel de la peinture arabe contemporaine. La deuxième partie détaille les éléments culturels provenant de l’héritage patrimonial, dont la complémentarité entre la calligraphie et l’arabesque. Dans la calligraphie contemporaine, des artistes explorent et ont développé de nouvelles formes dans la calligraphie arabe, un art riche qui met au jour la composition plastique de la lettre et sa valeur abstraite. La quête identitaire sera traitée sous la forme d'un mariage entre l’art du passé et l’art de la modernité, via l’étude de la lettre arabe. Elle s'illustre au moyen d'ornements traditionnels de l’art populaire (naïf ou non) comme l’une des sources d’inspiration dans la société arabe actuelle. De ces travaux émergent un questionnement sur l’esthétique et la plasticité de la calligraphie. La troisième partie porte sur la définition et l’apparition de l’orientation artistique nommée Al-Hurufiya et les deux manifestations ponctuelles et majeures qui ont accompagné son apparition, respectivement théorique et artistique : le rassemblement de « la dimension unique » et le Groupe de Casablanca. La quatrième partie expose les différentes caractéristiques de la peinture hurufie, en répertoriant les méthodes employées par les artistes arabes spécialisés dans ses pratiques. Enfin, dans la cinquième partie, nous exposons et expliquons la démarche plastique qui nous inspire à partir de l’usage de la lettre arabe, des signes, des symboles et des autres motifs d’arabesque. L’enjeu est de présenter la relation singulière que nous entretenons avec cet art et de nous inscrire dans le continuum hurufi, pour ensuite nous permettre de bifurquer sur d’autres modes plastiques
Since the 1940s, the art in the Arab world is going through questions about its authenticity and identity. This thesis emphasizes in its first part the importance and influence of the heritage and cultural legacy of contemporary Arab painting. The second part details the cultural elements from the historic heritage, whose complementarily between calligraphy and arabesque. In contemporary calligraphy artists to explore and have developed new forms in Arabic calligraphy, a wealthy art reveals the plastic composition of the letter and its abstract value. The quest for identity is treated as a marriage between the art of the past and the art of modernity, through the study of the Arabic letter. It is illustrated by means of traditional folk art ornaments (naive or not) as a source of inspiration in the current Arab society. From this work emerged a questioning of aesthetics and plasticity of calligraphy. The third part deals with the definition and development of artistic orientation named Al- Hurufiya and two point and major events that have accompanied its appearance, respectively theoretical and artistic: the gathering of the “single dimension” and the Group Casablanca. The fourth part describes the various features of the hurufie painting, identifying the methods used by Arab artists specialized practices. Finally, in the fifth section, we present and explain the artistic approach that inspires us from the use of the Arabic letter, signs, symbols and other Arabesque motifs. The challenge is to present the unique relationship we have with us this art and enroll in the hurufi continuum, then allow us to fork over other plastics modes
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Clévenot, Dominique. "Une esthétique du voile : réflexion sur la figure du plan dans l'art arabo-islamique." Paris 1, 1988. http://www.theses.fr/1988PA010590.

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L'un des traits dominants de l'art arabo-islamique est sa propension a jouer de la bidimensionalité, a être un art de la surface. Comment comprendre cette caractéristique ? Pour répondre à cette question, trois domaines artistiques ont tour à tour été abordés : celui de l'architecture de la mosquée hypostyle arabe, celui de la représentation figurée, notamment la peinture d'illustration au XIIIe siècle, et enfin celui des arts de la ligne, qui regroupent l'arabesque végétale, l'entrelacs géométrique et la calligraphie. Dans ces trois domaines l'importance de la bidimensionalité peut se comprendre comme le produit d'un héritage artistique. Mais si l'histoire peut rendre compte de l'origine d'une forme, elle ne suffit pas pour en éclairer la fonction ou la signification. Pour ce faire il faut interroger le contexte culturel, à savoir en ce cas le système de pensée qu'est l'islam. Or, selon cette approche, la bidimensionalité apparait remplir dans l'art arabo-islamique une fonction esthétique majeure : ce que nous appelons la "figure du plan" se révéler être l'équivalent plastique du concept islamique de "voile" (hijab), écran tendu entre le visible et l'invisible, mais écran sur lequel s'inscrivent les tentations du regard (mystique)
One of the main features of arabo-islamic art is its propensity to play on bidimensionality, to be a surface art. How can this caracteristic be understood ? To answer this question, three artistic domains have been evoqued : that of the hypostyle arab mosque architecture, that of figurative representation, particularly illustrative painting of the xiii cy. , and finally that of linear arts, which include vegetal arabesque, geometric interlace and calligraphy. In these three domains the importance of bidimensionality may be understood as the product of an artistic legacy. But if history may account for the origin of a given form, it is not sufficient to elucidate its fonction or signification. In order to do so, one must consider the cultural context, in this case the islamic system of thought. According to this approach, bidimensionality seems to fulfill in arabo-islamic art a major aesthetic fonction : what we call "the figure of the plain" shows itself to be the plastic equivalent of the islamic concept of "the veil" (hijab), a screen placed between the visible and the invisible, but a screen upon which are inscribed the (mystical) temptations to perceve
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Al-Hadid, Diana. "Magic Mountain." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/827.

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My installations are propositions for an imaginary world that relies on its own internal logic, a world of believability without recognition. While the work references landscape it also emphasizes its contrivance, as it is automatically estranged in an "unnatural" gallery setting. I subvert or de-familiarize the materials and processes that I use in the service of creating a fictitious environment. My places are impossible places. They are irregular, illogical, and unstable. Our imagination can be one of most dangerous things to psychological stability as it is an inventory of all things possible, no matter how irrational or improbable. The irrational is always an option, a lingering threat. The imagination seems to hate permissions and limitations, but is nevertheless lodged within them. I want to create a sense of nonsensical logic. If all things that can be imagined are logical possibilities, I want to find the place where fantasy seems to be just barely reality. If I can't have an inherent contradiction, I'll take an apparent one.
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Kisawadkorn, Kriengsak. "American Grotesque from Nineteenth Century to Modernism: the Latter's Acceptance of the Exceptional." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278030/.

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This dissertation explores a history of the grotesque and its meaning in art and literature along with those of its related term, the arabesque, since their co-existence, specifically in literature, is later treated by a well-known nineteenth-century American writer in Tales of the Grotesque and Arabesque- Theories or views of the grotesque (used in literature), both in Europe and America, belong to twelve theorists of different eras, ranging from the sixteenth century to the present period, especially Modernism (approximately from 1910 to 1945)--Rabelais, Hegel, Scott, Wright, Hugo, Symonds, Ruskin, Santayana, Kayser, Bakhtin, (William Van) O'Connor, and Spiegel. My study examines the grotesque in American literature, as treated by both nineteenth-century writers--Irving, Poe, Hawthorne, and, significantly, by modernist writers--Anderson, West, and Steinbeck in Northern (or non-Southern) literature; Faulkner, McCullers, and (Flannery) O'Connor in Southern literature. I survey several novels and short stories of these American writers for their grotesqueries in characterization and episodes. The grotesque, as treated by these earlier American writers is often despised, feared, or mistrusted by other characters, but is the opposite in modernist fiction.
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Books on the topic "Arabesques (art)"

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Françoise, Peuriot, and Ploquin Philippe, eds. Arabesques: Decorative art in Morocco. Courbevoie: ACR, 1999.

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Castéra, Jean-Marc. Arabesques: Art décoratif au Maroc. Courbevoie: ACR, 1996.

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contributor, Weisheit-Possél Sabine, Freies Deutsches Hochstift (Frankfurt am Main, Germany), Frankfurter Goethe-Museum, and Hamburger Kunsthalle, eds. Verwandlung der Welt: Die romantische Arabeske. Frankfurt am Main: Freies Deutsches Hochstift, Frankfurter Goethe Museum, 2013.

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Hammadi, Rodolphe. Paris arabesques: Architectures et décors arabes et orientalisants à Paris. [Paris]: Editions E. Koehler, 1988.

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Die notwendige Arabeske: Wirklichkeitsaneignung und Stilisierung in der deutschen Kunst des 19. Jahrhunderts. Berlin: Mann, 1985.

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Classic Mandalas: 74 designed from the world's traditions to color and meditate. New York: Sterling Pub., 2002.

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Poesie der Poesie: Die Randzeichnung des 19. Jahrhunderts seit Runge und Neureuther zwischen Arabeske und Groteske. München: Scaneg, 2013.

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Graevenitz, Gerhart von. Das Ornament des Blicks: Über die Grundlagen des neuzeitlichen Sehens, die Poetik der Arabeske und Goethes "West-östlichen Divan". Stuttgart: Metzler, 1994.

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Maldonado, Basilio Pavón. El arte hispanomusulman en su decoración geométrica: (una teoría para un estilo). 2nd ed. Madrid: M.A.E., Agencia Española de Cooperacion Internacional, Istituto de Cooperación con el Mundo Arabe, 1989.

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L, Childs Adrienne, Brown Elsa Barkley, and David C. Driskell Center, eds. Arabesque: The art of Stephanie E. Pogue. College Park, Md: David C. Driskell Center, 2008.

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Book chapters on the topic "Arabesques (art)"

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Grewe, Cordula. "Art History Painted." In The Arabesque from Kant to Comics, 87–101. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781351187350-12.

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"Degas, Grande Arabesque, Third Time (First Arabesque Penchée)." In French Paintings and Pastels, 1600-1945: The Collections of the Nelson-Atkins Museum of Art. The Nelson-Atkins Museum of Art, 2021. http://dx.doi.org/10.37764/78973.1.902.

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"Structuring an Anxious Art: Arabesque “Methods of Composition”." In Max Klinger and Wilhelmine Culture, 77–91. Routledge, 2017. http://dx.doi.org/10.4324/9781315091341-3.

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"7. Early Islamic Decoration: The Idea of an Arabesque." In The Formation of Islamic Art. Yale University Press, 1987. http://dx.doi.org/10.37862/aaeportal.00135.010.

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Adams, Jade Broughton. "The ‘Chocolate Arabesques’ of Josephine Baker: Fitzgerald and Jazz Dance." In F. Scott Fitzgerald's Short Fiction, 58–84. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474424684.003.0003.

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This chapter shows how Fitzgerald often associates modern dance with the primitive. Fitzgerald’s engagement with African American culture is complex, and though the appropriation of African American culture for profit is punished in certain stories, Fitzgerald’s engagement with black culture is elsewhere more challenging. This chapter explores how performative identity (that is to say, the deliberate, theatrical presentation of inner traits) functions at the level of both form and content in the story ‘Babylon Revisited’, using the appearance of the dancer Josephine Baker’s ‘chocolate arabesques’ as a platform from which to explore how people perform identity. Fitzgerald prizes authenticity as the key attribute of any artist, dancer, or writer. In the story, Baker is berated for an inauthentic performance, merely delivering her routine without improvisation. This chapter argues that this sense of inauthentic artistry informed Fitzgerald’s self-conception as a popular short storyist. In Baker, Fitzgerald presents an artist who has bridged the ‘high’ and popular arts: ballet and cabaret. Fitzgerald sets up jazz dance as formulaic by satirising blind adherence to rules and fashions, and this chapter offers a reading of these rules as a metaphor for the short story conventions within which Fitzgerald toiled as a commercial short storyist.
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