Journal articles: 'Arabesques (art)'

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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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Gallini, Clara. "Arabesque: Images of a myth." Cultural Studies 2, no. 2 (May 1988): 168–80. http://dx.doi.org/10.1080/09502388800490321.

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Abraham, Ralph H. "Human Fractals: The Arabesque in Our Mind." Visual Anthropology Review 9, no. 1 (March 1993): 52–55. http://dx.doi.org/10.1525/var.1993.9.1.52.

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Benjamin, Roger Harold. "The Decorative Landscape, Fauvism, and the Arabesque of Observation." Art Bulletin 75, no. 2 (June 1993): 295. http://dx.doi.org/10.2307/3045950.

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Mits, Oksana. "The genre of the piano miniature in the creative work of M. Moszkowski." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 136–48. http://dx.doi.org/10.34064/khnum1-50.10.

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Statement of the problem. Recently, there has been growing interest in the personality of the outstanding Polish composer, pianist, teacher and conductor M. Moszkowski (1854–1925), whose creativity occupies a significant place in the history of European musical art of the second half of the nineteenth – early twentieth centuries. The multifaceted composer’s legacy of M. Moszkowski gives a large variety of materials for researchers. His piano creativity, which encompasses composing, performing, teaching and editorial activities, is an outstanding phenomenon in the European musical culture. One of the key genres of piano music by composer is a miniature. The miniatures that were created by M. Moszkowski during his life, reflects the evolution of his individual style, clearly representing his creative method, aesthetics and piano performance features. However, the question of the genre of miniatures in the work of M. Moszkowski has not been considered by the researchers yet. Thus, there is a need for scientific analysis of M. Moszkowski’s piano miniatures in the context of the general stylistic norms of his creative work. The purpose of the article is characterization of stylistic features and attempt to classify of M. Moszkowski’s piano miniature in view of the role of this genre in the Polish composer’s creativity. Methods. The methodological basis of the study is the unity of scientific approaches, among which the most important is a functional one, associated with the analysis of the genre as a typical structure. The desire to realize the fundamental principles of scientific knowledge, comprehensiveness and concrete historical approach to the study of the target problem requires the combination of musical analysis with historical-cultural, stylistic generalizations, considering piano works by M. Moszkowski in the unity of historical, ideological, stylistic and performing problems involving the conceptual apparatus of theoretical musicology and the theory of pianism. Results. The vast majority of piano pieces by M. Moszkowski are miniatures. According to their place in the performing practice, miniatures are differentiated into concert-virtuoso, pedagogical, household directions. According to the internal genre typological features, they are divided into etudes, dance pieces (waltzes, mazurkas and polonaise serve as confirmation of the musical-historical experience of romantic composers) and others. In the palette of the latter are scherzo, capriccio, fantasia-impromptu, musical moments, arabesques, barcarole, lyrical pieces – that is, almost the whole arsenal of the most common types of miniatures of the Romantic era. The analysis of piano miniatures reveals the composer’s individual attitude to tradition, free choice of figurative and stylistic priorities by him. Under consideration are the piano cycles “Spanish dances” op. 12, “Arabesque” op. 61, the piece-fantasia “Hommage à Schumann” op. 5, Suite for 4 hands “From all over the World op. 23” and other miniatures that were creating throughout the life of the composer. These samples of the salon style of the late XIX century became a kind of generalization of creative searches of the previous constellation of composers – salon performers. Throughout his life, M. Moszkowski repeatedly turns to ancient forms and finds for creation of his miniatures an entirely new impulse: the small forms of the Baroque age. By rethinking, “romanticizing” them, the composer creates his own modifications of the genre models of ancient music in such works as “Canon” (op.15, op. 81, op. 83), “Rococo” op. 36, “Burre” op. 38, “Siciliana” op. 42, “Gavotte” (op. 43, op. 86), “Fugue” op. 47, “Sarabande” op. 56, “Prelude and Fugue” op. 85, as well as numerous “Minuets”. The latter carry out the traits of the aesthetics of the gallant style. Since 1900, Moszkowski prefers etudes. The arsenal of techniques he uses in these works is rich and diverse and emphasizes the artistic qualities of these compositions. Sometimes Moszkowski interprets the genre of the etude very freely: as a substitute for another genre (“Two miniatures” op. 67), as part of the cycle-diology (“Etude-Caprice” and “Improvisation”, op. 70), etc. Modern pianists seldom perform the piano music by Moszkowski. At the same time, the pieces represent a very interesting material that clearly reflects the originality of the musical language of the late romantic pianists, to which Moszkowski belonged. Perhaps, performers confused by the overload of musical material with various technical difficulties. The composer used a wide range of romantic pianistic means. The typical stylistic feature of his music is improvisation, based on the tradition of a brilliant piano style of performance with a romantically impulsive change in emotional states. The performance seems to be more unattainable, because the composer’s bold innovation in virtuoso texture is combined with a refined romantic manner of writing. This circumstance explains the fact that the works by Moszkowski were forgotten for many years. And only now, at the beginning of the twenty-first century, when many values and priorities are revised, art salon style and Moszkowski’s compositions are becoming of great interest. Conclusions. The piano “workshop of miniatures” is the most important component of the composer’s legacy of M. Moszkowski, reflecting the peculiarity of the author’s aesthetic position – cultivating a positive mood, elegance, refinement, virtuosity as signs of ownership of the instrument. It is these aesthetic principles – the feeling of Beauty as preciosity, delicacy, non-conflict state of reality – formed his attitude to the genre of miniatures. M. Moszkowski’s piano miniatures marked by the features of virtuoso style creating associations with the music of F. Chopin and R. Schumann. Chopin’s influences can be traced in the choice of genres of miniatures – among them there are waltzes, polonaises, impromptu, etudes, scherzo and barcaroles. However, for M. Moszkowski, as a composer of Polish origin, was simply necessary to be “native” to the musical heritage of F. Chopin. At the same time, the “similarity” of certain techniques to Chopin’s in the piano works by Moszkowski, always appears in the updated version without duplicating the original sources. The influence of R. Schumann is manifested in the dominance of melodious lyric and playful scherzo’s spheres, the tendency toward the characteristic images and the cycling of pieces, often combined with a certain artistic idea, specified by the programmatic subtitles or by the suite principle. Moszkowski’s piano works are perfect in a form, in possessing of specifics of the piano texture and the richness of figurative thinking. Moszkowski’s miniatures represent a very high level of piano skills, technically, they often require the ability to have a good command of the instrument, but technical difficulties submit to a vivid, meaningful image. Piano miniatures by M. Moszkowski became a significant contribution to the development of Western European art of the second half of the nineteenth and early twentieth centuries. The numerous piano pieces by the composer, distinguished by high artistic qualities, today should rightfully take a worthy place in the concert practice of modern pianists.

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Adal, Raja. "Aesthetics and the End of the Mimetic Moment: The Introduction of Art Education in Modern Japanese and Egyptian Schools." Comparative Studies in Society and History 58, no. 4 (September 27, 2016): 982–1003. http://dx.doi.org/10.1017/s0010417516000505.

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AbstractLike most modern institutions in nineteenth-century non-Western states, modern school systems in 1870s Japan and Egypt were initially mimetic of the West. Modeled on the British South Kensington method and on its French equivalent, drawing education in Japanese and Egyptian schools was taught not as an art but as a functional technique that prepared children for modern professions like industrial design. By the beginning of the twentieth century, the South Kensington method of drawing education had lost its popularity in Europe, but more than a decade before its decline Japanese and Egyptian educators began teaching children genres of drawing that did not exist in European schools. In 1888 drawing education in Japan saw the replacement of the pencil with the brush, which was recast from the standard instrument of writing and painting of early modern East Asia to an instrument that came to represent Japanese art. In 1894 drawing education in Egypt saw the introduction of “Arabesque designs” as the Egyptian national art. This transformation of drawing education from a functional method that undergirded industrial capitalism into an art that inscribed national difference marked the end of the mimetic moment. On one hand, a national art served to make the nation into an autonomous subject that could claim a national culture in what was becoming a world of cultural nations. On the other, a national art helped to make the nation into an aesthetically seductive core whose magnetic appeal could bring together the national community.

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Sela, Ron. "The “Heavenly Stone” (Kök Tash) of Samarqand: A Rebels' Narrative Transformed." Journal of the Royal Asiatic Society of Great Britain & Ireland 17, no. 1 (January 2007): 21–32. http://dx.doi.org/10.1017/s1356186306006535.

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Travellers to the fabled city of Samarqand will not miss the opportunity to visit the tomb of Tīmūr (Tamerlane), the famous conqueror of much of Central Eurasia in the fourteenth century. In the courtyard of the Gur-i Amir, Tīmūr's mausoleum, stands a stone of greyish marble, approximately ten feet long, four feet wide and two and a half feet high, decorated with arabesques. A relic of a glorious past, this stone, known as the Kök Tash, is reputed to have served as the great coronation stone for Central Asian rulers ever since it was used as Tīmūr's throne.

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Micallef, Daniel. "The Transformation of Islamic Art during the Sunni Revival." American Journal of Islam and Society 20, no. 1 (January 1, 2003): 143–46. http://dx.doi.org/10.35632/ajis.v20i1.1882.

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The Islamic world underwent profound political and religious changes in theeleventh and twelfth centuries. These changes were paralleled by one of themost significant transformations of Islamic art and architecture. What shared meaning lies at the origins of these two historical developments? How, if atall, were these paralleled transformations part of the same struggle?The Transformation of Islamic Art during the Sunni Revival takes usinto this dialogue. This work consists of seven chapters, including aplethora of beautiful photographs, in which Yasser Tabbaa, a professor at theUniversity of Michigan and a highly regarded Islamic art scholar, argues thatthe transformations in medieval Islamic architecture and ornament duringthis period reflected and embodied the conflict between the ‘Abbasid andFatimid dynasties. It is in the struggle for political authority and religiouslegitimacy that new and competing forms of expression took hold.In discussing the book’s themes and the discourses of which it is a part,Tabbaa refutes the essentialist traditions of some Orientalists, art historians,and even aestheticians that, while having seemingly different intentions, allportray Islamic art as separate or divorced from its history. They ignore orgloss over significant historical developments in the Islamic world, and thereforerepresent Islamic art, in all of its variety, as a homogenous genre, as theterm arabesque implies. Tabbaa highlights the epoch of the Sunni revival byrejecting the essentialist models and focusing on the period’s unique conflictsand changes. He argues that calligraphic, ornamental, and architecturalforms, in addition to being instruments of perceptual mediation, were engenderedwithin specific discourses to give symbolic support to certain claims toauthority and to establish a difference against challenging claims ...

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Lenssen, Anneka. "Adham Ismaʿil’s Arabesque: The Making of Radical Arab Painting in Syria." Muqarnas Online 34, no. 1 (October 8, 2017): 223–58. http://dx.doi.org/10.1163/22118993_03401p009.

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The essay explores how the Syrian artist Adham Ismaʿil (1922–63) linked his modernist painting strategies to the activism of the Baʿth political movement during Syria’s independence decade through a conceptual reworking of the “arabesque”—the rhythmic pattern of unending line and pure color that Orientalist scholars considered a product of the Arab and Muslim episteme and French modernist painters adopted as a fresh compositional device. It draws on a new archive of correspondence, writings, and sketches, supplemented by political memoirs detailing Ismaʿil’s experience of displacement after the 1939 transfer of his native Alexandretta to Turkey, to uncover his efforts to forge new aesthetic unities as a mechanism for Arab activation and rebirth. Ismaʿil and his comrades accorded a radical charge to the concept of vital Arab energy in particular; once manifested in the sensory experience of line and color, it promised to assemble audiences in new collectivities and to help topple the Syrian status quo. The essay thus analyzes Ismaʿil’s radical Arab painting as evidence of not only the complexity of the intellectual debates in the Middle East but also the generative fragmentation of modernist tenets under the (not quite) postwar, postcolonial world order.

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Van Ryssen, Stefaan. "La planète hyper: De la pensée linéaire à la pensée en arabesque." Leonardo 39, no. 2 (April 2006): 170–71. http://dx.doi.org/10.1162/leon.2006.39.2.170a.

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Kapse. "Afterword: The Long Arabesque: Economies of Affect between South Asia and the Middle East." Film History 32, no. 3 (2020): 241. http://dx.doi.org/10.2979/filmhistory.32.3.14.

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Gaber, Tammy. "Jannat." American Journal of Islam and Society 31, no. 2 (April 1, 2014): 128–32. http://dx.doi.org/10.35632/ajis.v31i2.1047.

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This rare publication on Islamic art and architecture revolves around a clearconceptual idea. A plethora of broad and specific survey texts continue to bepublished; however, very seldom does a thematic book come along with a thoroughlook at one idea. The collection is composed of an introduction, a port-128 The American Journal of Islamic Social Sciences 31:2folio, and ten essays. As with many compilations, the essays are not all of thesame caliber and there are some structural issues. And yet the whole is a refreshinglook at the theme of jannat (paradise) in Islamic art and architecturein the Indian subcontinent. Not only are several historical eras encompassed,but the important connection to contemporary artistic expressions is also made.Mumtaz Currim’s introduction succinctly discusses the themes covered.His excellent summary of the philosophical and cosmological concepts of paradisein relation to the garden is followed by a clear account of the chaharbagh (quad-partite garden) and the Mughal legacy of gardens as microcosmsof paradise. The relationship of water to both gardens and paradise are reflectedupon with respect to engineering and the expressions in textile art. Thesection concludes with a look at paradise in literary works and popular art.The portfolio includes beautiful reproductions of two very differentgroups of calligraphic art. The first collection is from the twelfth- to sixteenthcenturymanuscript Qur’ans in Hyderabad’s Salar Jung Museum. The selectedverses refer to paradise, such as those found in the chapters of al-Fātiḥah (TheOpening), al-Raḥmān (The Merciful), and al-Wāqi‘ah (The Event). The manuscripts’calligraphy, as well as their geometric and arabesque elaborations,are vividly reproduced in the color images. The second collection consists ofcontemporary artworks by Salwa Rasool, who uses canvas, vellum, leather,and other materials to focus on the Names of Allah and Sūrat al-Fātiḥah’s,chapter and religious phrases. With very little accompanying text, aside fromthe notation of details, the reader is introduced to the concept of paradisethrough the sheer beauty of the Qur’an’s textual descriptions and the word’sevocative role. The juxtaposition of historical and contemporary works revealsthe continuity of the concepts in Islamic cultures ...

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Osborn, J. R. "Arabesque: Graphic Design from the Arab World and Persia, by Ben Wittner and Sascha Thomas." Design and Culture 1, no. 1 (March 2009): 147–48. http://dx.doi.org/10.2752/175470709787375661.

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Stanley, Patricia. "Hoffmann's "Phantasiestucke in Callots Manier" in Light of Friedrich Schlegel's Theory of the Arabesque." German Studies Review 8, no. 3 (October 1985): 399. http://dx.doi.org/10.2307/1429362.

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Lewis, Michael J. "Crystal and Arabesque: Claude Bragdon, Ornament and Modern Architecture and Claude Bragdon and the Beautiful Necessity." Journal of Architectural Education 64, no. 1 (September 2010): 151–54. http://dx.doi.org/10.1111/j.1531-314x.2010.01113.x.

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حمزة, ولاء حامد محمد. "الاستفادة من الرقش العربي في الطباعة بمسحوق الزجاج على المسطحات الزجاجية = The Benefit of Arabesque Art Throw Printing with Glass Powder on Glass Surfaces." مجلة العمارة والفنون والعلوم الإنسانية N.A., no. 10 Part 2 (April 2018): 756–71. http://dx.doi.org/10.12816/0045759.

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Khan, Sonia Nasir, and Muhammad Ahsan Bilal. "The Architecture plan of Qutb Complex (Delhi) and its Decoration Analysis." PERENNIAL JOURNAL OF HISTORY 1, no. 1 (June 30, 2020): 49–68. http://dx.doi.org/10.52700/pjh.v1i1.21.

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The Qutb complex in Delhi contains the array of early Sultanate Period Muslim monuments that demonstrate the earliest artwork development stage of Muslim monuments from 12 to 13th century especially the architecture style and the stone carving patterns that exists in the monuments of this complex like in masjid Quwat-ul Islam (1191 A.D), Qutab Minar (1202 A.D), Illttutmish Tomb (1235 A.D), Alai Darwaza (1311 A.D). These splendid monuments have a new architectural style in India. Their beautiful carvings in red sandstone and marble that includes the patterns of arabesque style along with Kufic and Naskh calligraphy, the delicate floral and geometric patterns along with some Hindu motifs that depicts the earliest amalgamation of Hindu and Islamic architecture within the subcontinent. This paper not only aim to explore the architectural plan of this Qutb complex under different monarchs but also the decoration of this Qutb complex, its analysis and the aesthetic changes of design after the amalgamation of two different cultures. This complex is famous not only for its architecture but also for varieties of decorative arts. This paper also attempts to discover not only aesthetics but also the traditional and regional logic for using these motifs. This explorative study is from available historical data and literature. In the end concludes that the amalgamated motifs of decoration was excellent experiment and first addition in the design vocabulary of Indo-Muslim art and architecture. These designs provide serenity and majestic feelings to these monuments and in whole to Qutb complex.

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Jakovljević, Branislav. "Visualizing Law in the Age of the Digital Baroque: Arabesques and Entanglements. By Richard K. Sherwin. London: Routledge, 2011; 270 pp. $135.00 cloth, $42.95 paper, e-book available." TDR/The Drama Review 58, no. 1 (March 2014): 171–73. http://dx.doi.org/10.1162/dram_r_00335.

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TRUZZI, OSWALDO. "John Tofik Karam, Another Arabesque: Syrian-Lebanese Ethnicity in Neoliberal Brazil (Philadelphia: Temple University Press, 2007), pp. xii+214, $68.50, $24.95 pb." Journal of Latin American Studies 41, no. 4 (November 2009): 851–52. http://dx.doi.org/10.1017/s0022216x09990897.

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Iselin, Pierre. "Sophie Chiari. L'image du labyrinthe à la Renaissance: Détours et arabesques au temps de Shakespeare. Bibliothèque Littéraire de la Renaissance 79. Paris: Honoré Champion Éditeur, 2010. 679 pp. index. illus. bibl. €120. ISBN: 978–2–7453–1963–0." Renaissance Quarterly 64, no. 1 (2011): 236–38. http://dx.doi.org/10.1086/660419.

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Putney, Christopher. "Frames of the Imagination: Gogol's Arabesques and the Romantic Question of Genre. By Melissa Frazier. Middlebury Studies in Russian Language and Literature, vol. 22. New York: Peter Lang, 2000. ix, 224 pp. Notes. Bibliography. Index. $51.95, hard bound." Slavic Review 60, no. 2 (2001): 451–52. http://dx.doi.org/10.2307/2697330.

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Cvetković, Branislav. "Zaglavlje Dekaloga u Hvalovom zborniku: prilog semantici srednjovjekovne iluminacije." Ars Adriatica, no. 4 (January 1, 2014): 155. http://dx.doi.org/10.15291/ars.493.

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This article is dedicated to the interpretation of the header before the text of the Ten Commandments on fol. 150 of the Hval Codex. The author is drawing attention to a gloss in the margin to the left of the banner which has not been addressed in the earlier scholarly literature nor recorded in the facsimile transcription of 1986. The rectangular banner consists of a lozenge net filled with gold lilies while three gold interlace crosses of a complex shape are placed on top of the banner. The gloss next to it was written in blue ink as an abbreviated word under a line. It is a rather common abbreviation from the nomina sacra category (God). The significance of this hitherto-overlooked gloss is extraordinary. It was written in the same manner which was used for adding legends to miniatures or headers in order to clarify images in medieval illuminated manuscripts. Hval wrote similar notes in several margins of this manuscript.The location of the gloss itself points to its function as an explanation of the banner before the words which the Lord communicated to Moses on Mount Sinai. That the text of the Ten Commandments was significant in Bosnian illuminated manuscripts is also attested to by the header before the Ten Commandments in a Venetian miscellany codex, which depicts the narrative scene of the theophany on Sinai while, at the same time, containing a fairly long inscription which clarifies the image. Similar textual clues appear in the Dobrejšovo Evangelie, the most important of which is the one positioned next to the Synaxarion header where the inscription, “this is heaven which is also called paradise”, explains the scene. In the context of such examples, this article discusses analogous material from illuminated manuscripts and monumental painting alike by applying a new approach to the study of function of medieval ornament, while also highlighting the problem of the etymology of the notion of ornament in different languages. The findings resulting from this research show that the function of ornament in a religious context was not just decorative, but that it was used to mark the holiness of a space, that is, the presence of the divinity, which is a phenomenon witnessed in illuminated manuscripts, wall paintings, icons and reliquaries.H. Kessler’s research into Judeo-Christian symbol-paradigms confirms the essential importance of the depiction of the Old Testament tabernacle in the manuscripts of the Christian Topography as a source of ornamental motifs. They can be grouped into a relatively narrow set of symbols, always included in a structural system: star-shaped schemes, fields of flowers, interlace and lozenge nets as well as chequers. Their origin is found in the coffered vaults of classical tombs and temples where they represented the sky and Elysium. They were transported to medieval art through identical motifs which were painted in the catacombs and early Christian basilicas. It is these exampes that constitute a formal template for the header to the Ten Commandments in the Hval Codex the meaning of which is, therefore, a symbolic depiction of the Word, Logos, as the source of God’s Ten Commandments, which is why the banner was marked with a corresponding gloss.The article also pays attention to an unusual illumination in the Gospels of Jakov of Serres because it also witnesses that a grid with floral motifs possessed a special meaning to educated medieval men. The portion above the head of Metropolitan Jakov, formed by a band of a lozenge net with flowers, has been described in the scholarship only as decorative, that is, as forming a floral background, but, given that its position and shape both conform to signifiers of heavenly kingdom in Byzantine manuscripts of the Christian Topography, it is erroneous to interpret it only as a floral background and a mere ornament. In this case too, the lozenge field filled with flowers denotes the Empire of God to which Jakov directs his prayers. Therefore, when one studies ornament in a religious context, it is necessary to use a more precise language, one which is rooted in the manuscript material itself. A concrete evidence for such a practice can also be seen in the colophon of this manuscript because the scribe who wrote it compared all of the decoration in the codex to the starry sky of a theological rather than actual kind.Other notes in the Hval Codex margins are also mentioned in the article. Some of these record the name of the manuscript’s commissioner who was addressed out of respect as uram (Hungarian for “my sire and master”): Hrvoje Vukčić Hrvatinić, Grand Duke of Bosnia and a Herzog of Split. The article emphasizes the need to study more closely the location of glosses and all other marginal notes within the codex, and highlights the fact that the two notes recording the name of the patron were placed next to the Gospel sections describing Christ’s healing miracles which, generally speaking, figure prominently in Christian art and exegesis. Furthermore, the article also analyzes the previously-unpublished illumination which depicts Moses in front of the Burning Bush, the branches of which were rendered as interlace ornament resembling a labyrinth. The rendition of the Burning Bush as interlace stemming from the floral frame of the header is a unique example which demonstrates that medieval art did not consider ornament as a meaningless arabesque but that it frequently functioned as a signifier.

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M. Arif Kamal, Murat Cetin,. "THE EMERGENCE AND EVOLUTION OF ARABESQUE AS A MULTICULTURAL STYLISTIC FUSION IN ISLAMIC ART: THE CASE OF TURKISH ARCHITECTURE." Journal of Islamic Architecture 1, no. 4 (April 12, 2012). http://dx.doi.org/10.18860/jia.v1i4.1726.

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This paper elucidates the emergence and evolution of arabesque with specific reference to the case of arabesque in Turkish art and architecture. It is argued here that arabesque is a fusion of styles rather than a pure and homogenous style. Furthermore, the paper aims to show that although the arabesque style appears to be a fanciful and freely organized manner of artistic treatment it is based on a very complex mathematical logic which is expressed through abstractionism. In this context, the grammar of geometry is elaborately used in the implementation of abstraction. Here, general characteristics as well as different modes or types of arabesque are discussed. Starting with the etymological roots of the term, the history of its use in the literature is explored through the paper. After the inquiry of its material and pragmatic aspects, the development of the arabesque style is evaluated with regard to its transformations that took place along with its injection to Anatolia and mixing with Turkish culture. Finally, the morphological character of this fusion is put forward. Keyword: Morphological character, geometry, fusion of styles, arabesque

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Fjeldsøe, Michael. "Carl Nielsen and the Current of Vitalism in Art." Carl Nielsen Studies 4 (April 10, 2009). http://dx.doi.org/10.7146/cns.v4i0.27750.

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The great accomplishment of Jorgen I. Jensen in his biography Carl Nielsen – Danskeren (Nielsen – The Dane) was to point to the importance of symbolism to Nielsen’s development especially in the 1890s. That provided a new approach to contextualising features by Nielsen which otherwise had appeared to be particular to him. Vitalism on the other hand is a current in art which has not been spoken much of in the latest 60 years, not least because it became part of fascist aesthetics in the 1930s. One could try to verify the idea that, as in the case of J.F. Willumsen, there might be features which, though, barely explainable as the heritage of symbolism, could make sense if one acknowledges vitalism as a current running through Nielsen’s oeuvre. With the large exhibition Livslyst (Passion of Life) in 2008, Danish art history has thrown new light on this current, and an essay in the catalogue is the first attempt to make a reading of Nielsen in this context. Symbolism, itself a child of modernity, was a rebellion against the rationalism of modern Scandinavian literature and art since the 1870s. After 1900, though, a symbolist interpretation becomes less convincing. Here we find an engagement in the arabesque with affi nity to Jugendstil which acts as transition to an engagement in the Greek, youth, health and vitality, fully in keeping with the views of vitalism. Tracing this engagement might help understand some aspects of Nielsen’s music and aesthetics, though he never became a one hundred per cent vitalist artist. He was all his life an artist with seismographic sensibility to new currents, to which he responded without giving himself totally to them.

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"Review: Crystal and Arabesque: Claude Bragdon, Ornament, and Modern Architecture by Jonathan Massey." Journal of the Society of Architectural Historians 69, no. 3 (September 1, 2010): 452–53. http://dx.doi.org/10.1525/jsah.2010.69.3.452.

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"The role of theatre in the training of students of Humanities." Journal of V. N. Karazin Kharkiv National University, Series "Philology", no. 81 (2019). http://dx.doi.org/10.26565/2227-1864-2019-81-20.

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The article analyzes one of the peculiarities of organization of educational process at the Faculty of Philology, namely the use of elements of performing art in literary studies and extracurricular activity. The main ways of interaction between theatre and University in this field are visiting theatre, discussing plays, creating amateur theatres, writing literary scripts, plays, reviews, research articles and monographs dedicated to development of theatre and drama. It also contains the analysis of activity of the most prolific amateur theatres directors, these are V. Sachenko, A. Svashenko, O. Chuguj, L. Osmolovskyj, V. Svirskyj, their success in putting plays by Ukrainian and world literature classic playwrights on the stage. This article covers the history of founding and directing student theatres in the plays “Epiphany”, “The Twelve Chairs”, “Arabesque” and others, directing their own plays based on works dedicated to H. Skovoroda (“The Great Prophecy”) and V. Karazin (“Treacherous Destiny”), crash Bolshevist total-colonial regime and him consequence (“Attempt on the Devil”). The research makes an emphasize on the importance of mutual managing of large-scale creative projects, group watching and discussion of film adaptations of O. Dovzhenko (“The Poem about the Sea”), M. Sholokhov (“And Quiet Flows the Don”) as well as on creating the first university-based film studio. The article also shows that as the students of the Kharkiv University N. Zabila, O. Kolomiiets, R. Polonskyj, A. Zhytnytskyj, I. Perepeliak and L. Toma were active in providing the written literary basis for theatres, cinema and television of Ukraine. The foremost determined reason of graduates of the University (Yu. Stanishevskyj, V. Savchenko, V. Svirskyj, S. Oleshko) dedicated themselves to theatre is long and thorough mastering the secrets of Melpomene’s art during studying at the Faculty of Philology. We conclude that it is necessary to include in curriculum an extra course called “Basics of the Performing Art” for the humanitarian schools, as well as to open and manage student theatres.

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Maron, Marcin. "On the role of irony in the films by Wojciech Jerzy Has, especially in The Manuscript Found in Saragossa, with particular reference to Romantic irony." Annales UMCS, Artes 12, no. 1 (January 1, 2014). http://dx.doi.org/10.2478/umcsart-2013-0019.

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AbstractThe study discusses the problem of irony in the films by Wojciech Jerzy Has. The first part defines the function of irony in the films made by this director prior to The Manuscript Found in Saragossa [Rękopis znaleziony w Saragossie] - (Noose [Pętla], 1957; Farewells [Pożegnania, 1958; Shared Room [Wspólny pokój], 1960; Goodbye to the Past [Rozstanie], 1961; Gold [Złoto], 1962; How to Be Loved [Jak być kochana], 1963). The second part of the study compares irony as the principle of artistic creation in The Manuscript Found in Saragossa and the concept of Romantic irony (Friedrich Schlegel, Novalis). This film can be termed as the quintessence of ironic traits of Has’s creative work.In the earlier works by this director irony manifests itself as the attitude of the film characters towards the reality, as their attitude to historical problems, and as an esthetic effect or Has’s game with the audience in the artistic and philosophical dimension. Intertextualism, verbal and situational humor, repeated motifs and stylistic devices are a way of expressing the double meaning of the work, i.e. a manifestation of the author’s irony. It combines seriousness and comedy, emotionality and intellectual distance, and finally, a critical and a creative attitude.All these traits gain special significance in The Manuscript Found in Saragossa (1965). The poetics and form of the work resemble the Romantic concept of poetry (creative work) as an arabesque. The irony of Has’s film is similar to Romantic irony because its result is the narrative experience of the Self which can transcend its experiences. Irony also manifests itself in the author’s attitude towards his work which (attitude) consists in exposing the fictional nature of the presented world. In Has’s films, irony allows one to break free from the burden of actual existence and the problems of history, time, and memory in order to make them a subject of art.

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LUBIN, ALEX. "Jacob Rama Berman, American Arabesque: Arabs, Islam, and the 19th-Century Imaginary (New York: New York University Press, 2012, $24.00). Pp. 215. isbn978 0 8147 4518 2." Journal of American Studies 48, no. 2 (April 9, 2014). http://dx.doi.org/10.1017/s0021875814000322.

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Journal articles on the topic 'Arabesques (art)'

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