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Journal articles on the topic 'Art Symbolism in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Van Rensburg, F. I. J. "Van Wyk Louw Simbolis?" Literator 11, no. 1 (1990): 35–55. http://dx.doi.org/10.4102/lit.v11i1.792.

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In this article the question is posed whether one is justified in associating N.P. van Wyk Louw’s work with Symbolism as seen in terms of its being a historical art movement. At first sight some of the main characteristics of his work seem incompatible with the overall spirit of Symbolism. A close look is taken at these characteristics. They are weighed against typical characteristics of Symbolism. A number of common traits are discovered. Following this, a study of Van Wyk Louw’s utterances in his prose works is undertaken to establish the extent of his knowledge of the works of Symbolists an

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2

Tsareva, Nadezhda A. "The Idea of Russian Symbolism about the Synthesis of Cultural Forms in the Context of Postmodern Culture." ICONI, no. 1 (2021): 126–36. http://dx.doi.org/10.33779/2658-4824.2021.1.126-136.

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The relevance of the topic is due to the attention to trends in the development of culture. The synthesis of cultural forms is one of the important factors in the dynamics of culture. The teaching of Russian symbolism about the synthesis of cultures was analyzed in the scientifi c literature of the entire twentieth century. The novelty of the research is to compare the idea of art synthesis in the early twentieth and twenty-fi rst centuries. Two aspects of the idea of synthesis are considered: 1) the relevance of the idea of art synthesis in the postmodern era; 2) music and the visual series a

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3

Ryabchenko, V. D. "The Evolution of Symbolist Ideas in the Zolotoe Runo Magazine." Concept: philosophy, religion, culture 4, no. 3 (2020): 158–67. http://dx.doi.org/10.24833/2541-8831-2020-3-15-158-167.

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The article treats the role art magazine Zolotoe runo played in history of symbolist’s theoretical ideas. By 1906, symbolism as a philosophical and aesthetic movement enters a crisis stage (and, then, a renaissance) — the pioneering movement has become utterly formal, tendentious, and has even acquired public recognition, which contradicts the modernist spirit. Zolotoe runo turns into a platform for the adversaries of outdated, decadent or individual symbolism, changing the symbolist nature and landscape. V. F. Khodasevich suggests that not only hasn’t symbolism been yet studied, but it also d

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4

Blatchford, Ian. "Symbolism and discovery: eclipses in art." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, no. 2077 (2016): 20150211. http://dx.doi.org/10.1098/rsta.2015.0211.

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There is a fascinating tradition of depicting solar eclipses in Western art, although these representations have changed over time. Eclipses have often been an important feature of Christian iconography, but valued as much for their biblical significance as for the splendour of the physical event. However, as Western culture passed through the Renaissance and Enlightenment the depictions of eclipses came to reflect new astronomical knowledge and a thirst for rational learning well beyond the confines of the church and other elites. Artists also played a surprisingly important role in helping s

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Stoian, S. P. "THE SYMBOLISM OF THE VISUAL IMAGE IN THE PHILOSOPHICAL CONCEPTIONS OF E. CASSIRER AND C. LANGER: THE CULTURAL CONTEXT." UKRAINIAN CULTURAL STUDIES, no. 1 (2017): 52–55. http://dx.doi.org/10.17721/ucs.2017.1.11.

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It’s mentioned that the European atmosphere of increased interest in the problems of symbol and symbolism in the cultural space, giving rise in the second half of the XIX century to the registration of symbolism in art direction also contributes to a number of philosophical studies to the rethinking of the functioning of the cultural sphere, as well asthe whole of human existence from the standpoint of symbolism.A powerful concept that gives us an understanding of the global symbolic basis of culture is the theory of E. Cassirer, which he outlines in his work "The Philosophy of symbolic forms"

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Dubey, Kumud. "PLANT SYMBOLISM IN PAINTING." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 92–94. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3707.

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The great flower artists have been those who have found beauty in truth, who have understood plants scientifically and who have yet seen and described them with eye and hand of the artist. Plants, flowers and other foliage symbolize emotions, ideas and actions. Each plant has its own meaning. Painting art and plant illustration is beneficial for modern society because nature inspiring art and art preserving nature.

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7

Mnich, Ludmila. "THE GOSPEL TRADITION OF NUMBER SYMBOLISM IN TWENTIETH-CENTURY RUSSIAN POETRY." Проблемы исторической поэтики 19, no. 1 (2021): 328–62. http://dx.doi.org/10.15393/j9.art.2021.9142.

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The article discusses the issues of studying and interpreting number symbolism in a literary work and characteristics of gospel number symbolism in the Christian context. In 20th-century Russian literature, the Christian tradition had a decisive impact on shaping the meaning of number symbolism. An important feature of the Christian symbolism of numbers is the correlation of number symbolism with two spheres, which can be designated as “positive” (sacral) and “negative” (sinful). The author proposes a methodology for interpreting number symbolism, which comprises three stages: 1) a description

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8

AKDENİZ, Defne. "OYSTER SYMBOLISM IN THE ART OF PAINTING." International Journal of Social Humanities Sciences Research (JSHSR) 4, no. 10 (2017): 339–54. http://dx.doi.org/10.26450/jshsr.64.

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9

Barris, Michael C. "Color and Meaning: Art, Science, and Symbolism." Optometry and Vision Science 77, no. 1 (2000): 10. http://dx.doi.org/10.1097/00006324-200001000-00007.

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10

Simon, R. M. "The symbolism of style: art as therapy." Child Language Teaching and Therapy 8, no. 2 (1992): 224–25. http://dx.doi.org/10.1177/026565909200800216.

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11

Willard, Christopher. "Color and meaning: Art, science, and symbolism." Color Research & Application 25, no. 5 (2000): 382–84. http://dx.doi.org/10.1002/1520-6378(200010)25:5<382::aid-col12>3.0.co;2-s.

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12

Arnheim, rudolf. "The symbolism of style: Art as therapy." Arts in Psychotherapy 20, no. 4 (1993): 347–48. http://dx.doi.org/10.1016/0197-4556(93)90069-e.

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13

El Weshahy, Mofida, and Radwa Omar. "Snake's symbolism in Coptic and Islamic Art." Journal of Association of Arab Universities for Tourism and Hospitality 19, no. 3 (2020): 291–316. http://dx.doi.org/10.21608/jaauth.2021.64221.1141.

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14

Mankovskaya, Nadezda Borisovna. "Narcissus in a mirror image. Aesthetics of André Gide’s symbolism." Культура и искусство, no. 4 (April 2020): 71–84. http://dx.doi.org/10.7256/2454-0625.2020.4.31968.

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The subject of this research is the fundamental aesthetic problematic in the symbolist philosophy of art of Andr&eacute; Gide. The author examines such mainstream themes as the concept of artistic symbol, categories of the beautiful, tragic and heroic, interrelation of art and nature, specificity of theatrical aesthetics. In his works, Gide brings to life the ideas of subjective, solipsistic symbolism, when symbol ingratiates with a hieroglyph that depicts inner world of the artist in a creative form, his subjective experiences, dreams and reverie, while the external sensible world is inte

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15

Bychkov, Victor. "Certain aesthetic aspects of art of the Symbolists." Философия и культура, no. 2 (February 2020): 50–65. http://dx.doi.org/10.7256/2454-0757.2020.2.32137.

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This article is dedicated to examination of the main creative motifs of the artists of Symbolism: eternal femininity, living landscape, mythological and religious images in their not uncommon intersection in a single artwork and expressed by fine artistic means. The goal is set to demonstrate how such pointers as Maurice Denis, Odelon Redon, Gustave Moreau, Franz von Stuck and Mikhail Vrubel, using the means of artistic reflection of the listed thematic lines, were able to create the unique symbolic images. Special attention is given to the symbolist specificity of creative expression, embrace

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16

Meisel, Martin. "Seeing It Feelingly: Victorian Symbolism and Narrative Art." Huntington Library Quarterly 49, no. 1 (1986): 67–92. http://dx.doi.org/10.2307/3817192.

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17

Zlatkova, Lуuba. "RHYTHM AND SYMBOLISM IN THE FOLK MUSIC ART." Education and Technologies Journal 10, no. 2 (2019): 244–50. http://dx.doi.org/10.26883/2010.192.1709.

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18

Vojvodić Balaž, Violeta. "Monetary Symbolism: Art as a Deposit of Value." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 137. http://dx.doi.org/10.25038/am.v0i20.333.

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MONEY – a unit of account, a deposit of value, and a medium of exchange – formally evolved from grain, precious metal, cheap paper, to state-of-the-art digital accounting records managed by artificial intelligence. Although the economists of the 19th century believed in its neutrality, money is an ambiguous socio-economic phenomenon which serves as a political tool and a measure of value even if its own value is volatile. The stamp of authority marked the symbolization of money as a cultural artifact: the character of a ruler, a symbol, or an inscription on the coin came to be a signifier of v

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19

Balter, M. "ORIGINS: On the Origin of Art and Symbolism." Science 323, no. 5915 (2009): 709–11. http://dx.doi.org/10.1126/science.323.5915.709.

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20

Wyckoff, Don G. "Images on shell: Spiro symbolism and ceremonial art." Reviews in Anthropology 12, no. 4 (1985): 329–37. http://dx.doi.org/10.1080/00988157.1985.9977748.

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21

MalborgKim. "Art Nouveau Style Symbolism in Loie Fuller's Dance." Korean Journal of Dance Studies 36, no. 36 (2012): 1–18. http://dx.doi.org/10.16877/kjds.36.36.201205.1.

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22

Morkoç, Selen. "ART HISTORY AND ARCHITECTURAL SYMBOLISM: A Hermeneutical Critique." Architectural Theory Review 8, no. 2 (2003): 124–33. http://dx.doi.org/10.1080/13264820309478489.

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23

Petrova, Stefka, and Marian Petrov. "Phytonymic Symbolism in Bulgarian and Russian Folk Art." Cultural and Historical Heritage: Preservation, Representation, Digitalization 5, no. 2 (2019): 125–29. http://dx.doi.org/10.26615/issn.2367-8038.2019_2_013.

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The report examines the anthropologized and other semantic and connotative loads of the names of some plants (wormwood and oregano) in Bulgarian and Russian folk art. The topic is related to the comparative study of a cultural heritage of the two nations. In recent years, linguistics in the Bulgarian and Russian languages has increased research in this direction. An example of developments in both languages is the recent research by Anna Angelova. Keywords: folk art, phytonymic symbolism, linguistics, Bulgarian, Russian

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24

Kokkinen, Nina. "The art of mystification: esotericism differentiated in the definition of Finnish symbolism." Scripta Instituti Donneriani Aboensis 20 (January 1, 2008): 98–111. http://dx.doi.org/10.30674/scripta.67330.

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This article focuses on Sarajas-Korte’s definitions that proved to be so significant to Finnish art history. In spite of the fact that her research still represents the most extensive and profound work on Finnish Symbolism, the aim here is to question some of her definitions and categorizations. Most of her concepts are puzzling, since she tends to use them in several different ways. One example of her conceptualizations is the way she uses the word esotericism and its derivatives. First of all, she seems to associate esotericism with secrecy and things hidden—in other words she follows the de

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25

Mankovskaya, Nadezhda B. "Maurice Maeterlinck’s Philosophy of Art." Journal of Flm Arts and Film Studies 10, no. 1 (2018): 76–90. http://dx.doi.org/10.17816/vgik10176-90.

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In the article the key ideas of Maurice Maeterlincks philosophy of art, inspired by the spirit of German idealism, European Romanticism and also mysticism and occultism are considered. On this basis his own original philosophical-aesthetic and artistic views which have laid down in a basis of philosophy of art of symbolism crystallize. The main problems interesting for Maeterlinck in this sphere are metaphysics of art and its philosophical-aesthetic aspects: silence, hidden, destiny, external and internal, madness, mystical ecstasy; essence of artistic image and symbol in art; aesthetic catego

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26

Bragina, Natalia, and Vladislav Stepanov. "PHILOSOPHICAL INTERPRETATION OF SYMBOLISM OF ČIURLIONIS’ PAINTINGS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 360–71. http://dx.doi.org/10.17770/sie2018vol1.3196.

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The art of M.-K. Čiurlionis is unique and at the same time emblematic of the culture of the art nouveau period. A deep connection of his art to Lithuanian folklore was combined with his fascination with European philosophical trends of the turn of the 19th - 20th centuries. The aim of this article is to identify the cross-cutting themes (leitmotifs) in the artist’s works and, with the help of this, to reveal the philosophical basis of his works. The methods of research are the study and analysis of both individual Čiurlionis’ paintings and his artistic production in general, as well as the ana

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27

Stoian, S. P. "EUROPEAN CODES OF CONTEMPORARY UKRAINIAN SYMBOLISM." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 94–98. http://dx.doi.org/10.17721/ucs.2020.1(6).18.

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The article analyzes the specifics of contemporary Ukrainian symbolism in visual art in the context of a relationship with the European tradition. By drawing parallels between contemporary works by Ukrainian authors and symbolic images created in different historical periods of European culture from ancient times to nowadays, their deep kinship in their motives and meanings is demonstrated. This indicates that modern Ukrainian symbolism, on the one hand, is organically included in the European tradition, and on the other hand, contains unique, authentic features inherent in Ukrainian culture.

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28

Namono, Catherine. "Pongo symbolism in the geometric rock art of Uganda." Antiquity 85, no. 330 (2011): 1209–24. http://dx.doi.org/10.1017/s0003598x00062013.

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In this paper the author places the rock art of Uganda in context. It probably belongs to the Late Stone Age period to the Holocene and its symbolism may be interpreted in the light of later belief systems recorded amongst the historical Pygmy people. Pongo is the bark cloth used to make the distinctive loin cloths of men and aprons of women. Pongo are probably depicted in the rock art to evoke the fecundity of ndura, linking the real and supernatural within the Pygmy cosmos.

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29

Tanner, Jeremy J. "Art as Expressive Symbolism: Civic Portraits in Classical Athens." Cambridge Archaeological Journal 2, no. 02 (1992): 167. http://dx.doi.org/10.1017/s0959774300000573.

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30

Lu, Jingqi, and Hyung-Gi Kim. "Symbolism and Metaphors of Art-focusing on Video Works." TECHART: Journal of Arts and Imaging Science 5, no. 2 (2018): 17–20. http://dx.doi.org/10.15323/techart.2018.05.5.2.17.

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31

GAIDAMAVICIUTE, Ona. "BIRD SYMBOLISM IN LITHUANIAN (BALTIC) FOLKLORE AND FOLK ART." Ethnology Notebooks 151, no. 1 (2020): 109–16. http://dx.doi.org/10.15407/nz2020.01.109.

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32

Avner, Uzi, Liora Kolska Horwitz, and Wayne Horowitz. "Symbolism of the ibex motif in Negev rock art." Journal of Arid Environments 143 (August 2017): 35–43. http://dx.doi.org/10.1016/j.jaridenv.2016.11.009.

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33

Whitley, David S. "Shamanism and Rock Art in Far Western North America." Cambridge Archaeological Journal 2, no. 1 (1992): 89–113. http://dx.doi.org/10.1017/s0959774300000494.

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Ethnographic data on the production of rock art in far western North America - the historic hunter-gatherer cultures of California and the Great Basin - are reviewed and analyzed to identify widespread patterns in the origin and, in certain cases, symbolism of the late prehistoric/historical parietal art of this region. These data, collected in the first few decades of this century by a variety of ethnographers, suggest only two origins for the art: production by shamans; and production by initiates in ritual cults. In both instances, the artists were apparently depicting the culturally-condit

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34

Oboladze, Tatia. "The Myth of the City in the French and the Georgian Symbolist Aesthetics." International Journal of Social Sciences and Humanities Invention 5, no. 3 (2018): 4519–25. http://dx.doi.org/10.18535/ijsshi/v5i3.07.

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“Modern Art is a genuine offspring of the city… the city created new images, here the foundation was laid for the literary school, known as Symbolism…The poet’s consciousness was burdened by the gray iron city and it poured out into a new unknown song” (Tabidze 2011: 121-122), - writes Georgian Symbolist Titsian Tabidze in his program article Tsisperi Qantsebit (With Blue Horns). Indeed, in the Symbolist aesthetics the city-megalopolis, as a micro model of the material world, is formed as one of the basic concepts.

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35

Corrigan, John Michael. "The American Art of Memory." Religion and the Arts 25, no. 1-2 (2021): 70–98. http://dx.doi.org/10.1163/15685292-02501003.

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Abstract This article provides a genealogy of the architectural figuration of human cognition from the ancient world to Renaissance Europe and, finally, to the American Renaissance where it came to possess a striking cultural and literary potency. The first section pursues the two-fold task of elucidating this archetypal trope for consciousness, both its ancient moorings and its eventual transmission into Europe. The second section shows that three of the most prominent writers of the American Renaissance—Ralph Waldo Emerson, Henry David Thoreau, and Nathaniel Hawthorne—engaged this mystically

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36

Duran, Jane. "The Nagaraja: Symbol and Symbolism in Hindu Art and Iconography." Journal of Aesthetic Education 24, no. 2 (1990): 37. http://dx.doi.org/10.2307/3332783.

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37

Marino, Maria Fernanda García. "Carthusian symbolism in Architecture and Art: San Lorenzo of Padula." Resourceedings 2, no. 3 (2019): 76. http://dx.doi.org/10.21625/resourceedings.v2i3.629.

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The aim of this contribution is to demonstrate through the study of the concrete example of the Charterhouse di San Lorenzo in Padula (Province of Salerno, Italy) how and to what extent, the utopian value of the spirituality of the Carthusian monks - inspired by the model of the Desert Fathers and the Church of primitive Christianity, devoted to the practices of strict enclosure, of rigorous abstinence, of meditation, of contemplation and of prayer - has affected the definition and development of a specific iconography; both for what concerns the figurative arts, which have as a milestone the

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38

Gudimova, Svetlana. "The symbolism of the temple art of the Kievan Rus." Herald of Culturology, no. 2 (2019): 48–77. http://dx.doi.org/10.31249/hoc/2019.02.01.

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Kuznetsova, O. "The problem of understanding meanings in the art of symbolism." Bulletin of the South Ural State University Series «Social Sciences and the Humanities» 19, no. 4 (2019): 66–70. http://dx.doi.org/10.14529/ssh190409.

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40

Namono, Catherine. "Dumbbells and circles: Symbolism of Pygmy rock art of Uganda." Journal of Social Archaeology 12, no. 3 (2012): 404–25. http://dx.doi.org/10.1177/1469605312455761.

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41

Kadurina, A. O. "SYMBOLISM OF ROSES IN LANDSCAPE ART OF DIFFERENT HISTORICAL ERAS." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 148–57. http://dx.doi.org/10.31650/2519-4208-2020-20-148-157.

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Background.Rosa, as the "Queen of Flowers" has always occupied a special place in the garden. The emergence of rose gardens is rooted in antiquity. Rose is a kind of “tuning fork” of eras. We can see how the symbolism of the flower was transformed, depending on the philosophy and cultural values of society. And this contributed to the various functions and aesthetic delivery of roses in gardens and parks of different eras. Despite the large number of works on roses, today there are no studies that can combine philosophy, cultural aspects of the era, the history of gardens and parks with symbol

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42

Silverman, Willa Z. "Esthetic Languages of the Book in Fin-de-Siècle France: Japonisme, Symbolism, and Art Nouveau in the Private Library of Henri Vever." Quaerendo 48, no. 3 (2018): 179–205. http://dx.doi.org/10.1163/15700690-12341410.

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Abstract The private diaries written between 1898 and 1901 by the French jeweler, art collector, and bibliophile Henri Vever (1854-1942) provide fresh evidence about how important late-nineteenth century esthetic ‘languages’ (japonisme, Symbolism, Art Nouveau) were appropriated by artists committed to renewing the decorative arts; the diaries also address the meaning and status of books. For Vever, his extensive collection of Japanese pattern albums served, above all, a utilitarian function, as design primers and sources of information about printing and engraving techniques for craft moderniz

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Prokhorenkova, Svetlana. "Color Symbolism in the Works by Raphael and Mozart." Bulletin of Baikal State University 30, no. 2 (2020): 195–204. http://dx.doi.org/10.17150/2500-2759.2020.30(2).195-204.

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Color symbolism in the works by Raphael and Mozart has not been studied thoroughly enough yet due to the complexity of this topic. The basis for the analysis of Raphael’s and Mozart’s creative approaches was G.V. Chicherin’s method, aimed at revealing common and different aspects in them. The researcher has discovered internal relations between works of various kinds of art, between art and philosophy more than once. Famous poets and composers (A. Pushkin, J.W. Goethe, F. List) and also art experts and philosophers have studied Raphael’s and Mozart’s creative ideas and wrote fundamental works

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Vorova, T. P., N. V. Pidmogylna, and O. I. Romanova. "Short Excursus into the History of the Russian Symbolism Origin." International Letters of Social and Humanistic Sciences 63 (November 2015): 151–217. http://dx.doi.org/10.18052/www.scipress.com/ilshs.63.151.

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Being well-known nowadays as the Silver Age of Russian literature, Russian symbolism is an extraordinary phenomenon of spiritual life at the end of the 19th – beginning of the 20thcenturies. This essay aims to study the appearance and development of Russian symbolism as a result of revaluation of cultural wealth in philosophy / art and stimulation of the appropriate rise of the certain aesthetic systems which were embodied in the literary works of that period. The current study introduces a new approach to the origin of this trend and represents the new tendencies in Russian symbolist novels w

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45

Pozdnyakov, E. V. "Philosophical and Aesthetic Components of the Art of the Baroque Style." MGIMO Review of International Relations, no. 3(30) (June 28, 2013): 243–44. http://dx.doi.org/10.24833/2071-8160-2013-3-30-243-244.

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In this paper considers the impact of the historical process of the formation of the Counter- Reformation in the philosophical views of aesthetic expression, symbolism and personification of the Christian temple art of the Baroque

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46

Moranski, Karen R. "The Prophetie Merlini, Animal Symbolism, and the Development of Political Prophecy in Late Medieval England and Scotland." Arthuriana 8, no. 4 (1998): 58–68. http://dx.doi.org/10.1353/art.1988.0016.

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47

Hodne, Lasse. "Light Symbolism in Gentile da Fabriano’s Vatican Annunciation." Eikon / Imago 3, no. 2 (2014): 33–50. http://dx.doi.org/10.5209/eiko.73395.

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Gentile da Fabriano’s Annunciation in the Vatican Pinacoteca is one of the clearest and most interesting visualizations of a famous metaphor from Medieval hymn literature that compares Mary’s hymen to the glass of a window. The painting uniquely combines three elements: rays of light, a Gothic tracery window, and the shape of the window impressed on the Virgin’s body. Gentile’s painting is the culmination of a development in Tuscan art that can be traced back at least until about 1370. This makes it part of an Italian tradition of visualizing the so-called ut vitrum metaphor that must antedate

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48

Drakopoulou, Konstantina. "THE GRAFFITI COVERING OF THE NATIONAL TECHNICAL UNIVERSITY OF ATHENS AND ITS POLITICO-CULTURAL SYMBOLISM." ARTis ON, no. 5 (January 4, 2018): 159–67. http://dx.doi.org/10.37935/aion.v0i5.140.

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Artistic activity which violates urban space is based on the aesthetics of vandalism; it underscores the emergence of the artist as a guerrilla fighter and a defacer, reminiscent of art practices developed during the historical and the post-war avant-garde. The intervention of three graffiti artists, who completely covered the southern annex facades of the National Technical University of Athens’ neoclassical building with large-scale black and white abstract patterns in March 2015, can be understood within the framework of trauma theory and destruction art, as explained by the art historian K

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Khachatryan, Armine. "Sound Symbolism and Onomatopoeia." Armenian Folia Anglistika 11, no. 1 (13) (2015): 58–64. http://dx.doi.org/10.46991/afa/2015.11.1.058.

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The function, realization and the role of sound-symbolic phenomenon can vary in some languages. The study of sound symbolism and onomatopoeia in Armenian, Russian and English showed that highly expressive forms of language occur not only in daily conversation, advertising, newspapers and magazines, but also in creative literature: children’s poems, stories and great works of art. As a powerful stylistic device they realize an impact upon the reader or listener and evoke certain emotional expressively evaluative reactions. The comparative analysis of this phenomenon demonstrates that the word i

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Zakariya, Mohamed. "Islam and Art." American Journal of Islam and Society 3, no. 2 (1986): 327–30. http://dx.doi.org/10.35632/ajis.v3i2.2758.

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Abstract:

I met Dr. Lois Lamya al Faruqi last March, while I was giving a lectureon Arabic calligraphy at the University of Pennsylvania in Philadelphia. I hadcorresponded with her previously and had been impressed by her graciousnessand her insight into the complex field of Islamic art. Now, here she and herhusband were, and I was pleased to have these bright lights of the Muslimcommunity in my audience. At the end of my remarks, someone asked theinevitable question, "What is the significance, the symbolism of the designsused to highlight a calligraphic piece?" I replied that, while some Islamicdesigns

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