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Journal articles on the topic 'Painting, Islamic'
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Mohammed Alashari, Duaa, Abd Rahman Hamzah, and Nurazmallail Marni. "The Journey of Islamic Art Through Traditional and Contemporary Calligraphy Painting." UMRAN - International Journal of Islamic and Civilizational Studies 7, no. 3 (October 4, 2020): 1–11. http://dx.doi.org/10.11113/umran2020.7n3.408.
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Islamic Art is considered as historical art and it is famous all over the Islamic world. The Islamic calligraphy art started around the time of the revelation of al-Quran. Islamic calligraphy art was famous for adorning the interior and exterior aspects of mosques and some famous Islamic buildings. The aim of this article is to highlight and study the traditional and contemporary Islamic calligraphy painting by well-known calligraphers. Calligraphers have been inspired by the Arabic language and they are expressing this language as a kind of unique art through traditional and contemporary painting. Indeed, this paper will provide a brief history of calligraphy art. Islamic calligraphy painting is expressed in a variety of styles and there are also different modes of traditional Arabic styles of writing. Islamic Calligraphers appreciate this sacred and spiritual art and as they carried on their journey, they began to create their art by adding some inspirational verses of the Quran as well as some historical poems. The most noticeable visible feature related to Islamic calligraphy traditional and contemporary painting has to do with the complex and intricate compositions that involve the overlapping of words integrated into a unique method. Islamic calligraphy painting, through either a traditional or a contemporary method, expresses movement and dynamism through the calligraphic lines. The study reveals that the traditional and contemporary calligraphy paintings are considered as innovative art based on their unique traditional scripts, the intricate contemporary identity of the handwriting and the materials. Calligraphers expressed their artistry, and their ability and creativity by applying the sacred language to create a fabulous and unique tradition which is referred to as contemporary calligraphy painting.
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Irnawan, Raden Dibi. "Narsisme sebagai Wujud Eksistensi Diri dalam Novel “My Name is Red” Karya Orhan Pamuk." Paradigma, Jurnal Kajian Budaya 4, no. 2 (March 11, 2016): 149. http://dx.doi.org/10.17510/paradigma.v4i2.49.
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<p>This paper discusses about socio-psychological dimension in paintings pictured in Orhan Pamuk’s novel My Name is Red. The novel shows us fi ne examples about how paintings can be a media of painters who lived in a repressive era of Sultan Murat III which established rigid rules adopted from Islamic principles of how a painting should be done. This idea manifested in the characters’ behaviour, especially Velijan Eff endi, who hold the Islamic or East principles, but dilemmatically fond of Western principles as an aesthetic way of painting. This kind of dilemma born from the presence of East and West principles intertwined in Turkey at the era pictured in the novel. Results determined that Velijan<br />Eff endi is narcistic as a result of his needs to be acknowledged, to exist in his repressed life. He uses his paintings as the media of expressing his needs.</p>
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Echevarria, Ana. "Painting Politics in the Alhambra." Medieval Encounters 14, no. 2-3 (2008): 199–218. http://dx.doi.org/10.1163/157006708x366254.
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AbstractThis article endeavours to shed new light on the meaning of the ten Muslim male figures depicted in the central vault of the Hall of Justice in the Alhambra. First, new chronologies are attempted for the hall and the painting according to historical evidence contained in chronicles and literary sources. The study of the architectural frame of the paintings, interpreted as a madrasa-zawiya, suggests a relationship between the painting and the books intended to be kept below it. Therefore, an analysis of the emir's literary entourage is basic for the interpretation of the ceiling. Finally, the question of armouries and shields to be found in the vault is taken into account to demonstrate that some of this work may have been re-elaborated by Christians after taking possession of the palaces. The shields and the concept of the Order of the Band are too far from Islamic tradition as to belong to the original design of this painting, as critical examination of the Order's internal code shows.
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Wenzel, Marian. "Manuscript sources for some motifs in early Islamic glass painting." Journal of the Royal Asiatic Society of Great Britain & Ireland 118, no. 2 (April 1986): 214–27. http://dx.doi.org/10.1017/s0035869x00139905.
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The study of decorated glassware from the early Islamic period hinges very largely on the classification and dating of fragments, since few complete vessels have survived. Perhaps for this reason the subject, though full of interest for the glass historian, has received rather scant attention in the literature. The purpose of this article is to suggest that surviving examples of painted lustre glass from this period enable us to identify several ways in which manuscript models were used by glass craftsmen in the sphere of early Islam.
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Raden, Agung Zainal Muttakin, Mohamad Sjafei Andrijanto, and Wirawan Sukarwo. "Figurative Calligraphy: Artistic, Magic, and Religious Aspect of the Cirebon Glass Painting." Cultural Syndrome 1, no. 1 (July 23, 2019): 1–13. http://dx.doi.org/10.30998/cs.v1i1.17.
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Cirebon glass painting is a particularly famous artwork related to Islamic art in Indonesia. Aside from its aesthetic values, Cirebon glass painting also contained the symbol and message behind its ornaments. Figurative calligraphy with Arabic script is frequently used by glass painting artisans to make Cirebon glass painting. The resulted figurative calligraphy can take form resembling those of human figure, plants, animals, wayang, and the imaginary entity or particular symbols. As it is, Cirebon is one of the busiest port city in Java island. Therefore, many cultural exchanges happened by the interaction of many nationalities visiting Cirebon which later on assimilated to the local culture. This makes Cirebon glass painting unique since it was influenced by a mixture of cultures. This research focused on the elements that are contained on the Cirebon glass painting based on the artistic, magic, and religious aspect. The result in this research has an implication to expose the symbols, message and meaning behindCirebon glass painting and its synergy with the artistic, magic, and religious aspect that makes Cirebon glass painting survived and still doing well in Cirebon society nowadays.
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Morris, James. "Imaging Islam: Intellect and Imagination in Islamic Philosophy, Poetry, and Painting." Religion and the Arts 12, no. 1 (2008): 294–318. http://dx.doi.org/10.1163/156852908x271088.
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AbstractThis essay introduces the pioneering approaches of four classical Muslim thinkers (Ghazali, Biruni, Farabi, and Ibn 'Arabi) to the understanding of Islam and of religion more broadly, together with the subsequent artistic mirroring of their perspectives in two later masterpieces of Islamic mystical poetry (a ghazal of Hafiz) and painting (an illustration of the same poem by the early Safavid artist Sultan Muhammad). The discussion begins with the ways each philosopher's distinctive emphases on the relative roles of intellect, inspiration, and imagination highlight different but complementary dimensions (social, political, ritual, intellectual, and spiritual) of religious life and experience. The concluding section then illustrates how, just as in Plato's Symposium, each of those archetypal philosophical outlooks are powerfully dramatized and memorably integrated in the most influential poetic and artistic traditions of the Islamic humanities.
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Nurrohim, Nurrohim, and Fitri Sari Setyorini. "Analisis Historis terhadap Corak Kesenian Islam Nusantara." Millati: Journal of Islamic Studies and Humanities 3, no. 1 (June 15, 2018): 125. http://dx.doi.org/10.18326/mlt.v3i1.125-140.
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The history of Islamic development in Indonesia has different characteristics compared to other Islamic regions such as Turkey, India, Egypt, Syria, and Morocco. The journey of Islam in Indonesia brings different colors and patterns that distinguish it from other Islamic regions. This happens because Islam is spreaded in the archipelago peacefully and in a gradual long time, unlike the other Islamic regions islamization which is not infrequently through the power of the armed forces. This article will explain the results of Islamic interaction with society who previously embraced Hinduism, Buddhism and animist beliefs dynamism in the form of Islamic Nusantara arts. The analytical method used in this paper is a combination of theories of acculturation and assimilation of Nusantara culture and Islamic culture. The combination of Nusantara culture and Islamic culture produces an Islamic art with the uniqueness of Nusantara without eliminating the elements of the old culture. The form of pre-Islamic Nusantara cultural heritage with the Islamic culture can be found in the architecture of mosques, Arabic Malay script, literary arts, painting and sculpture.
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Tamimi Arab, Pooyan. "Islamic heritage versus orthodoxy: Figural painting, musical instruments and wine bowls at the Dutch National Museum of World Cultures." Journal of Material Culture 26, no. 2 (March 5, 2021): 178–200. http://dx.doi.org/10.1177/1359183521997503.
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Shahab Ahmed’s What Is Islam? The Importance of Being Islamic (2016) challenges anthropologists, Islamic Studies scholars, art historians and museum practitioners to question the theological assumptions underlying conceptions of Islamic art and material culture. This article analyses three object types key to Ahmed’s analysis – Islamic figural painting, musical instruments and wine bowls – from the vantage point of the collection of the Dutch National Museum of World Cultures. Based on the author’s experience as Assistant Curator for West Asia and North Africa in 2015–2016 and on exhibition developments up until 2019, Ahmed’s framework is demonstrated as a guide for critical interpretations of exhibitions of Islamic art and material culture. This perspective lays bare a tension that contemporary museums struggle with in response to nationalist pressures to integrate Muslim citizens in Western Europe: between a diverse Islamic heritage, on the one hand, and orthodox desires to materially purify the very idea of Islam, on the other.
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Kirom, Syahrul, and Alif Lukmanul Hakim. "Kaligrafi Islam Dalam Perspektif Filsafat Seni." Refleksi: Jurnal Filsafat dan Pemikiran Islam 20, no. 1 (September 6, 2020): 55. http://dx.doi.org/10.14421/ref.2020.2001-04.
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This article discusses Islamic calligraphy from the perspective of art philosophy. Islamic calligraphy (the art of letter painting) turns out to have values of beauty, uniqueness and spiritual value and has symbolic meaning for Islamic culture. Calligraphy art has religious spiritual meaning and value that causes a person to experience eschatology. Therefore, in this article the author is interested in analyzing Islamic calligraphy with an art philosophy approach. The method used is descriptiveanalytical. This Arabic calligraphy art writer studies by analyzing through its formal object is the philosophy of art. While the material object is to study the meaning of religious-spiritualism which is more philosophical in understanding Islamic calligraphy. The results of this study found that the fact that the art of Islamic calligraphy has beautiful aesthetic values is full of faith and devotion. The existence of Islamic calligraphy art provides meaning and understanding of the process of achieving a very transcendental idea to God.
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Mohamed, Hosam Abd Elkader Metwally. "The Invisible Painting Art between East and West." Academic Research Community publication 1, no. 1 (September 18, 2017): 10. http://dx.doi.org/10.21625/archive.v1i1.132.
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The Art of painting relies on the employment of the painting's vocabularies in an idiomatic meaningful format under the framework of the dialogue form. Such methodology occurs at times and in a new style to create new systems and formats at other times (Form Structure). The dilemma lies between these two frameworks where there are reality and mind, sensory and mental or visible and invisible, that is, between what is perceived by the eye of idiomatic semantics forms and what is realized in accompanied suggestive or figurative meanings.The interpretation of the invisible in the vision of Oriental Art is different from the vision of the western art because the spirit of the culture is manifested in the first to incorporate the individual in the group. As in the universe, it removes intervals so that the individual may seem similar to his surroundings in order to reach the infinite and unlimited aspect. This vision is based on a type of intuitive knowledge in the form of detection or discovery, which is based on the dualism of the visible and the invisible. Therefore, the receiving process is unlimited to the aesthetic pleasure that focuses on the form alone, and it is an existential process that is based on the dialogue between the receiver and the artwork. Islamic Sufi aesthetic thought tries to find the sensory effects in the universe. It is not concerned with the mental abstract perceptions of geometric shapes associated with the western logic." Islamic abstraction would not seek to meet the formal requirements such as a mathematical current of Mondrian or freeing the spirit of the form extracted from the content, internal necessity of the structure or the internal empathy for the colors and meanings. It does not intend to reach ideal purity in the form so as to realize the artistic feeling in Malevich. It tries to find natural laws, including geometric shapes ,and then its loads them with facts and meanings towards the absolute. It results in a new standard vision that will create another independent reality which does not end with just watching the painting so as to combine the idea with the artistic vision to denote the meaning"(Abu Elmaggd, 2011).
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Bağci, Serpİl. "OLD IMAGES FOR NEW TEXTS AND CONTEXTS: WANDERING IMAGES IN ISLAMIC BOOK PAINTING." Muqarnas Online 21, no. 1 (January 1, 2004): 21–32. http://dx.doi.org/10.1163/22118993-90000051.
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Baǧci, Serpil. "Old Images for New Texts and Contexts: Wandering Images in Islamic Book Painting." Muqarnas Online 21, no. 1 (March 22, 2004): 21–32. http://dx.doi.org/10.1163/22118993_02101004.
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Raksamani, Adis Idris. "The Siamese Concept of Muslims through Mural Paintings." Manusya: Journal of Humanities 22, no. 1 (July 15, 2019): 1–33. http://dx.doi.org/10.1163/26659077-02201001.
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The objective of this study is to examine the purpose and meaning of portrayals of Muslims in the Thai traditional art and architecture of temples and palaces. The focus is on the Siamese concepts of Muslims and the features of Muslims that Siamese people in the past intended to communicate to Siamese society. The study deals with the concept and design of painting found in Thai traditional mural paintings. The findings reveal that the portrayals of Muslims in the mural paintings represent the symbolic meanings which can be traced according 4 chronicle stages as follows: 1. The otherness of Muslims from afar in the late Ayutthaya. 2. The trace of Islamic civilization in the end of Ayutthaya, the Thonburi and the Reigns of King Rama i-ii. 3. The multicultural guests in the Reigns of King Rama iii-iv. 4. Unity under the royal patronage in the Reigns of King Rama v-vi. The benefit of the research can be applied to enhance the good relationship and understanding among different cultures in Thai society.
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Gruber, Christiane. "BETWEEN LOGOS (KALIMA) AND LIGHT (NŪR): REPRESENTATIONS OF THE PROPHET MUHAMMAD IN ISLAMIC PAINTING." Muqarnas Online 26, no. 1 (January 1, 2009): 229–62. http://dx.doi.org/10.1163/22118993-90000151.
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Gruber, Christiane. "Between Logos (Kalima) and Light (Nūr): Representations of the Prophet Muhammad in Islamic Painting." Muqarnas Online 26, no. 1 (March 22, 2009): 229–62. http://dx.doi.org/10.1163/22118993_02601011.
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Ahmad, Abd Aziz. "The Dynamics of Islamic Calligraphy Teaching and Learning in South Sulawesi." Jurnal Pendidikan Islam 5, no. 1 (June 1, 2016): 21. http://dx.doi.org/10.14421/jpi.2016.51.21-42.
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This is a library research studying data collected from library as well as interviews which were then analysed by means of description, arrangement, and interpretation. The result shows that Islamic calligraphy teaching and learning was introduced at the same time as the arrival of Islam in South Sulawesi in 1600s by three Islamic clerics. Pesantren was the main place for such teaching conducted through traditional method in which teacher exemplified handwritten Islamic calligraphy on board then students reproduced the example on paper. The results were then assessed by the teacher. In several Universities in Makassar, such as at Makassar State University (UNM) and State Islamic University (UIN) Alauddin Makassar, Khat (calligraphy) is taught through lecture, demonstration, and assignment. The teachings are performed in class using some media, such as video recording, audio recording, material from the internet, etc. One of calligraphy course institution in South Sulawesi is Lekfiah which was established in 2002. However, this institution experiences decline since the teachers are not fully engaged in managing the teaching. One type of Islamic calligraphy painting technique can be explained over four steps, 1) making basic pattern in form of infinity line, 2) creating background, 3) adding Islamic calligraphy text, and 4) finishing.
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Ismail, Hazhari, Mohamad Albaree Abdul, and Iylia Mohamad. "The effect of Islamic visual art education on social development of preschool children." Jurnal Pendidikan Awal Kanak-Kanak Kebangsaan 8 (December 23, 2019): 1–7. http://dx.doi.org/10.37134/jpak.vol8.1.2019.
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The art education is seen as important in children’s early childhood education and it is extensively acknowledged. This study emphasizes the value of Islamic visual art among preschool children and explores the methods of teaching art in preschools as well as on the approaches used to support the children’s learning, particularly on the development of social skills. The method was intended to consider the implications of Islamic visual art education in a qualitative view. Classroom structured observations were conducted mainly on the Islamic visual art painting and drawing activities among children participating in Islamic visual art activities to gauge the social skills development in the children according to their age level by referring four main attributes in social skills; communication, group, support and conflict resolution. The identified emerging findings include the importance of Islamic visual art education in order to develop social skills for children and in considering the positive relationship between children and teachers to support children’s development in their early childhood settings. Hence, Islamic visual art activities could be considered an essential tool of the pedagogy in addressing problems regarding children’s development and learning in early childhood, where the revision of art curriculum is required across the subject and holistic development of children.
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Alashari, Duaa Mohammed, Abd Rahman Hamzah, and Nurazmallail Marni. "Islamic Art and Language as a Source of Inspiration Leading to Traditional Arabic Calligraphy Art." UMRAN - International Journal of Islamic and Civilizational Studies 6, no. 3 (October 21, 2019): 33–45. http://dx.doi.org/10.11113/umran2019.6n3.342.
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The Islamic art has developed from different kind of visual art. Arabic calligraphy is one of the most prominent arts starting from the revolution of the Quran and has a long history. This paper will help to provide some sources of information that can be used by people who would like to understand and study the Islamic calligraphy and Islamic art. Also, this paper is connecting the Arabic language to universal spirituality and express how Arabic calligraphy has become a prominent feature in Islamic world. Indeed, this paper provides a brief of the long history of Islamic calligraphy, explains about some of various of Arabic fonts style, and some important Quranic colour that has significant in the Islamic culture. Arabic calligraphy, which is also known as Islamic calligraphy, has a long history of development starting from the first written form of the Quran, in the early 7th century. The Arabic calligraphy art presents how to understand and appreciate its varied styles and modes. Calligraphers start creating their art by using some passages from the Quran or Arabic poems as a starting point then they develop their compositions in a complex and intricate piece of art by the overlap of Arabic letter and words that integrate. Arabic calligraphy is about movement, rhythm and dynamism as seen through the calligraphic marks in most mosques or Islamic building or Islamic calligraphy painting. Islamic calligraphy presents the aspect of aesthetic principles and demonstrate the love for Arabic language and culture with the aesthetic methods of traditional Arabic art.
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Hikmawan, Rusydi. "Manifestasi Seksualitas Dalam Budaya Kebebasan." Ulumuna 10, no. 2 (November 5, 2017): 347–66. http://dx.doi.org/10.20414/ujis.v10i2.481.
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his time, pornography and erotic actions start to correlate into culture domain, where human beings become the subject as well as the object. Concept of culture claims the relationship between human interaction on society and culture as a result of them. Pornography and erotic actions are considered to be the representation of the products of human being activities in the forms of technology, pictures, idols, painting etc. All of them are then absorbed into culture.
The opponents of freedom culture suggest that Indonesian people should be responsible to the development of Indonesian culture which is based on religions and eastern norms. The most dominant norms is Islamic teaching which is the religion of the majority of the citizen. Thus, Indonesia culture should be able to represent Islamic way of life which is based on al Quran and Sunnah. Pornography, which is against Islamic teaching should not be part of Indonesian culture.
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حسان, سامح مصطفى زكي. "التصوير في الفن الإسلامي : الواسطي دراسة حالة = Painting in Islamic Art : Al-Wasiti Case Study." مجلة العمارة والفنون والعلوم الإنسانية, no. 6 (April 2017): 250–64. http://dx.doi.org/10.12816/0036899.
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AL-HASSAN, AHMAD Y. "AN EIGHTH CENTURY ARABIC TREATISE ON THE COLOURING OF GLASS: KITĀB AL-DURRA AL-MAKNŪNA (THE BOOK OF THE HIDDEN PEARL) OF JĀBIR IBN ḤAYYĀN (c. 721–c. 815)." Arabic Sciences and Philosophy 19, no. 1 (March 2009): 121–56. http://dx.doi.org/10.1017/s0957423909000605.
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This paper examines the history of glass colouring. It reviews Kitāb al-Durra al-maknūna of Jābir ibn Ḥayyān, which deals with the subject. The manuscript of this practical treatise was discovered recently. Part one of the paper deals with Jābir as a philosopher and chemist. The art of lustre-painting on glass originated in Syria during the Umayyad Caliphate in the eighth century and was soon practised in the neighbouring area. The paper reviews Arabic literature that deals with the colouring of glass until the 13th century, and with pre-Islamic and Latin books of recipes that deal with glass colouring. Recipes for cast coloured glass are very few and scant in non-Arabic literature, and lustre-painting on glass was not mentioned in any treatise outside Arabic, even in the works of Theophilus and Neri. The colouring of glass gemstones by colour diffusion is not mentioned also. The paper compares the recipes of Kitāb al-Durra with the results of modern analysis of existing Islamic stained glass objects. There is a close correspondence, and the main indispensable ingredients in both cases are silver and copper compounds. Part one ends with an account of lāzaward as cobalt oxide in glass colouring. Part two of the paper gives a representative selection of recipes from Kitāb al-Durra for the three methods of glass colouring.
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Pinto, Karen. "Fit for an Umayyad Prince: An Eighth-Century Map or the Earliest Mimetic Painting of the Moon?" Medieval Globe 4, no. 2 (2018): 29–68. http://dx.doi.org/10.17302/tmg.4-2.2.
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In lieu of an abstract, here is a brief excerpt of the content: THE UNESCO WORLD Heritage site of Qusayr 'Amra is one of the most famous places for early Islamic art (Figure 2.1). This lavishly illustrated bathhouse, dated firmly to the period of 723–743, contains a treasure trove of mural images that have been described as capturing "a men's locker-room view of the world." With the possible exception of the Dome of the Rock in Jerusalem, another Umayyad construction, more has been written on Qusayr 'Amra than on any other early Islamic art historical site. But unlike its flashy rival in Jerusalem, Qusayr 'Amra emerges out of the sands of the Syro-Arabian desert (Badiyat ash-Sham) like a hidden set of burnished pearls. Tucked away in the depression of Jordan's Wadi Butum, the valley of the Terebinth Pistachio trees that extends to the oasis of Azraq, it lies about 100 km east of Amman in an area known for its Umayyad desert castles.
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Berlekamp, Persis. "PAINTING AS PERSUASION: A VISUAL DEFENSE OF ALCHEMY IN AN ISLAMIC MANUSCRIPT OF THE MONGOL PERIOD." Muqarnas Online 20, no. 1 (2003): 35–59. http://dx.doi.org/10.1163/22118993-90000038.
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Overton, Keelan. "Book Culture, Royal Libraries, and Persianate Painting in Bijapur, Circa 1580‒1630." Muqarnas Online 33, no. 1 (November 14, 2016): 91–154. http://dx.doi.org/10.1163/22118993_03301p006.
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Among the hallmarks of Deccani art are portraits of Ibrahim ʿAdil Shah II (r. 1580-1627), the region’s so-called greatest patron of the arts and author of its iconic book of songs (Kitāb-i Nawras). In order to move beyond the narrative of Ibrahim as an isolated Deccani “genius” patron, this article explores the ruler and his court in light of Indo-Persian processes of taste, intellectualism, and migration. Bijapur is first positioned as a critical stop in cultural peregrination between Safavid Iran and Mughal India, and Ibrahim is explored as a collector of coveted books, a hitherto uncharted aspect of his identity that confirms his participation, via the mediation of Iranian elites, in widespread patterns of Perso-Islamic sovereignty. Attention subsequently focuses on the itinerant painter Farrukh Husayn, whose most compelling works reconcile Bijapuri and Persianate paradigms while stimulating new questions about artistic agency, peripatetic experience, and knowledge transmission between Iran and the subcontinent.
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Dogan, Recep. "The Soul’s Need to Connect with God through the Language of Art: Analysis from an Islamic Perspective." Review of European Studies 10, no. 2 (March 13, 2018): 60. http://dx.doi.org/10.5539/res.v10n2p60.
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Human beings express their emotions through the language of art; it is therefore both the spirit of progress and one of the most important means of developing emotions. Consequently, those who cannot make use of this means are incomplete in their maturation. Ideas and other products of the imagination can be given tangible form with the magical key of art. By means of art, humanity can exceed the limits of the earth and reach feelings beyond time and space. Beauty in the realm of existence can be recognized through art. Moreover, the great abilities inherent in human nature can be understood and witnessed in works of art. However, from an Islamic point of view, there are some restrictions on certain fields such as sculpture and painting. It is therefore imperative to analyse the notion of art in Islam and its philosophy and then reflect upon the need of the spirit to connect to God through the language of art while meeting some religious obstacles on the way.
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Elhelw, Rania. "THE HUMAN-HEADED BIRD FIGURE IN PAINTING FROM THE BRONZE AGE TO EARLY TWENTIETH CENTURY." Journal of Art & Architecture Research Studies - JAARS 1, no. 1 (June 21, 2020): 186–200. http://dx.doi.org/10.47436/jaarsfa.v1i1.47.
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The avian humanoids always seemed like fantastical creatures that mediate between heaven and earth by having human and avian features together. They mostly referred to the souls lingering between the living and the divine. There are many types of them, and this paper is specifically concerned about the human-headed bird imagery; and how it is depicted in different ways and what are their symbolic meanings in many cultures. This specific imagery appeared in many different mythologies along history; such as the ‘Ba’ in the Ancient Egyptian, ‘Sirens’ and ‘Harpies’ in the Greek and the Byzantium, the ‘Humayun’ in the Mesopotamian and perhaps in the Islamic too; and eventually, the ‘Alkonost’, the ‘Sirin’, and the ‘Gamayun’ in the Slavic mythology. An analytical comparative study of this imagery in different mythologies and in the paintings by different artists, such as P. Rubens, J. Pasch, V. Vasnetsov, and M. Vrubel; will be followed.
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Suica, Marko, and Branka Knezevic. "The inscription on the fresco “St. Nicholas takes basil from the house of Emir” in the church of St. Nicholas in Ramaca as a historical source." Zograf, no. 42 (2018): 107–17. http://dx.doi.org/10.2298/zog1842107s.
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This paper explores the contents and historical context of the Cyrillic inscription written in old Serbian language with some Turkish words on the fresco ?St. Nicholas takes Basil from the house of Emir? from the Church of St. Nicholas in Ramaca. Based on an analysis of the historical circumstances and events that took place at the end of the fourteenth and the beginning of the fifteenth century on the Balkan Peninsula and especially in the Lazarevic Principality, it is assumed that the presence of Turkish words in the mentioned inscription implies the influences of Islamic heterodox dervishes in the Christian milieu. The dating of the fresco painting from the Church in Ramaca can be narrowed down to the time of the reign of Stefan Lazarevic.
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Khotimah, Husnul, Sri Astutik Andayani, and Robiyatul Maulidah. "Pengalaman Personal Hygiene Pada Santri Putra Dengan Penyakit Scabies Di Pondok Pesantren Darullughah Wal Karomah Sidomukti Kraksaan Probolinggo." Jurnal Keperawatan Profesional 9, no. 1 (March 23, 2021): 70–95. http://dx.doi.org/10.33650/jkp.v9i1.2038.
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Scabies is a skin disease caused by an infestation of the sarcoptes scabie mite, which is transmitted by direct human contact and indirect human contact. The problem of santries experiencing scabies is related to their poor personal hygiene, because each individual has different characteristics in maintaining personal hygiene. This research is qualitative research, the research subjects are male santries of junior high school and high school darullughah wal karomah sidomukti kraksaan probolinggo. data collection methods used observation, interviews, and documentation. This qualitative research with a phenomenological approach aims to obtain in-depth information about personal hygiene exsperinces of male santries in islamic boarding schools. Five participants were selected based on the research criteria and were saturated. Focusing selective analysis (the selective or high-painting approach) was used in data analysis. four themes identified in this research: 1) personal hygiene experience for santries 2) the environment around the santris 3) the impact of scabies on the santries 4) the handling of the satries in dealing wiht scabies. The results of this research indicate : 1) there is a description of how santries maintain ther personal hygiene properly in islamic boarding school, namely that clothes and toiletries are not used interchangedably 2) there is description of how the santris protect the environmennt around the santries 3)there is an illustration of the impactt that will arise when santris experience scabies. 4) there is a description of how the santris can overcome scabies in islamic bording schools
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Suhendra, Darmiko. "PERSPEKTIF HUKUM ISLAM TENTANG SENI." ASY SYAR'IYYAH: JURNAL ILMU SYARI'AH DAN PERBANKAN ISLAM 2, no. 1 (June 30, 2017): 47–59. http://dx.doi.org/10.32923/asy.v2i1.589.
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Art is defined as the expertise to disclose or express ideas and thoughts a esthetics, including the ability and imagination to realize the creation of objects or the work atmosphere capable of inflicting a sense beautiful. Art is diverse and most of it always questionable in terms of Islamic law. In general, the art divided into two: first, sculpture, painting and drawing. And second, sound art. The main problem in sculpture, painting and drawing is if the object of animate beings, because on the one hand there are numbers of hadith that prohibit making images that are either raised or incurred and three dimensions. While on the other hand it has been commonly done in the community, especially in the natural environment that is fertile and rich with a variety of animals created by God as our State that inspired the artists. In addition, the sculpture on the side can be an expression of sheer beauty, it also has benefits for lessons and so on. Furthermore, sound art is a universal cultural phenomenon, practiced by many nations. In the time of the Prophet himself has been known to sing and play music. In terms of general principles of religious teachings that sound art including mu'amalat dunyawiyyah category. Restrictions on the arts (sculpture, painting, drawing, and sound) for their prudence of Muslims. Prudence was intended that they do not fall to the things that are contrary to the values of Islam which is the focal point at that time. Art as an aesthetic manifestation of the spirit of monotheism and not a waste of money but the art necessary for the improvement of human life, promotion of the dignity and the dignity and refining the soul and the mind. If so the purpose of art, then it is possible that the skill and sunnah favor, not against it.
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PETEK, Nina. "Aesthetics of the Classical Period of the Islamic Mughal Empire in India through a Portrait of Abū al-Fath Jalāl al-Dīn Muhammad Akbar." Asian Studies 6, no. 1 (January 30, 2018): 73–109. http://dx.doi.org/10.4312/as.2018.6.1.73-109.
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The reign of Abū al-Fath Jalāl al-Dīn Muhammad Akbar (1556–1605) was a fruitful period of the political, cultural and spiritual synthesis of Persian, Indian, and European tradition, as well as an artistic and aesthetic renaissance. This cosmopolitan, universal and charismatic ruler strived for the external, political, material and spiritual well-being of his colourful empire. In search of a balance between the external and internal, and in his endeavours for the unification and uniformity of India he gradually created a completely new style of Mughal arts, which is a stunning reflection of his personality’s transformations, principles, insights, interests, and spiritual growth.The paper focuses on a psychological portrait of the ruler, who dictated aesthetics and the style of the classical period of Mughal arts which consists of the three basic developmental phases of Akbar’s enigmatic character. The thesis on the parallel development of Akbar’s personality and Mughal arts is supported by research on the influence of certain European and Persian aesthetic elements, and mainly on the influence of Indian philosophical-religious tradition (the doctrines on rasa, bhakti, yoga, and tantra). The early period of Mughal arts, with predominantly realistic elements, coincides with the ruler’s dynamic, youthful enthusiasm and immense curiosity to acquaint himself the most varied aspects of external events and appearances. The second, the mature period, which enriches this earlier realism by means of mystical elements and the symbolism of Indian pre-Mughal painting, is marked by the shift into the interior and by searching for the harmony between the material and spiritual. In the late period of Mughal painting, however, reflexive and lyrical works prevail, which are a reflection of completion of Akbar’s spiritual quests, and the unique project of multifaceted synthesis that he undertook and promoted.
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ABDULLAH, AHMAD HAKIM, YUHANIS IBRAHIM, and RAJA ISKANDAR RAJA HALID. "ANALISIS INTRINSIK SIMBOL BUDAYA MELAYU DALAM KARYA CATAN MODEN TERPILIH JALAINI ABU HASSAN DAN FATIMAH CHIK." International Journal of Creative Future and Heritage (TENIAT) 9, no. 1 (March 31, 2021): 52–68. http://dx.doi.org/10.47252/teniat.v9i1.398.
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Abstrak Kajian ini bertujuan menganalisis skop perkembangan karya-karya seni oleh Jalaini Abu Hassan dan Fatimah Chik melalui pendekatan Edmund Feldman pada tahun 1967 yang menerangkan empat langkah aras kritikal analisis seperti yang berikut iaitu deksripsi, analisis, interpretasi dan pertimbangan. Kerangka kerja teoritikal yang dianalisis menggunakan teori Edmund Feldman yang diasaskan pada tahun 1967 dengan menekankan metodologi analisis kaedah primari iaitu pemerhatian dua karya seni catan iaitu Pohon beringin yang dihasilkan oleh Fatimah Chik pada tahun 2002 dan karya Tales of the heroes yang dihasilkan oleh Jalaini Abu Hassan pada tahun 2010. Nilai kemelayuan juga terdapat pada makna tersurat terutamanya pada catan Pohon beringin Fatimah seperti simbol segi tiga, wayang kulit Kelantan, filem Melayu Bawang Putih Bawang Merah telah diinspirasikan daripada falsafah catan Pohon Beringin itu dan juga tidak dapat dipisahkan dengan simbol warisan Melayu yang telah divisualkan dalam kalangan masyarakat Melayu sejak zaman nenek moyang kita lagi dan sehingga ke zaman era kemodenan abad ke 21 ini. Dapatan kajian dalam catan Jalaini Abu Hassan menunjukkan terdapat seorang lelaki dengan baju melayu menjelaskan tentang 5 prinsip rukun Islam dan rukun negara dan juga makna tersurat tentang perubatan tradisional Islam yang telah diaplikasikan dalam kehidupan Jailani dan ayahnya. Abstract This paper aims to analyse the development of Malaysian artworks of Jalaini Abu Hassan and Fatimah Chik paintings through the Edmund Feldman 1967 approach which is a theory that describes the description, the analysis, the interpretation and the judgement. The theoretical framework of this approach involved four steps of critical analysis processes. Hence, the methodology emphasized the qualitative methodology by observing two (2) paintings which were Tales of the Heroes from year 2010 and Pohon Beringin from year 2002 artworks by the Malay Malaysian artists, Jalaini Abu Hassan and Fatimah Chik, respectively. The findings suggested that the Malaysian painters expressed the value of the Malay identity and philosophy in their artworks. For example, Jalaini Abu Hassan’s Tales of the Heroes that potrayed a guy in Malay’s traditional costume represented the 5 Pillars of Islam, the National Principles (Rukun Negara) and the literal meaning of the traditional Islamic medicine which were applied in Jalaini’s and his father’s lives. Additionally, the Malay value can also be found literally in Pohon Beringin batik painting by Fatimah Chik such as the triangle symbol. To date, banyan tree has a significant meaning in the Malay heritage which have been visualised in the Malay community since the ancestral era. Other than the canvas painting of Fatimah Chik’s Pohon Beringin, the banyan tree has been adapted in many Malay artworks such as Kelantanese Wayang Kulit and Malay film of Bawang Putih Bawang Merah.
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Whelan, Estelle. "A Bibliography of Persian Miniature Painting, by Nasrin Rohani. vi + 158 pages. Aga Khan Program for Islamic Architecture, Cambridge, Mass. 1982." Middle East Studies Association Bulletin 19, no. 2 (December 1985): 259–60. http://dx.doi.org/10.1017/s0026318400016564.
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Tavsan, Cengiz. "The Impact of the Eras and Varieties of Kufic art, on the Placement of Kufic in Architectural Design." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 194–99. http://dx.doi.org/10.18844/prosoc.v4i11.2874.
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Kufic script is a form of calligraphy that has been in existence since the earliest years of Islam. A glance at arts in Islamic states reveals that calligraphy and a number of other art forms fared well, as painting was considered objectionable on religious grounds. The introduction of different versions of calligraphy for use in such buildings produces a wealth of images, enhancing the aesthetics of the buildings. Kufic reached its zenith in the Ottoman state, and the most glamorous examples of Kufic in architecture of Turkish states can be found in Ottoman structures. Kufic exhibits certain variations in terms of the forms used and the spots occupied in structures. This study is a comparative analysis of the types of Kufic and spots used in architectural design, and an analysis of the important examples, for a more complete picture of the varieties of Kufic used in various periods. Keywords: Kufic, Kufic in Ottoman state, Kufic and architecture, Kufic and mosques.
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Rustom, Mohammed. "An Introduction to Islam." American Journal of Islam and Society 21, no. 4 (October 1, 2004): 131–33. http://dx.doi.org/10.35632/ajis.v21i4.1762.
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An Introduction to Islam by David Waines consists of three parts:“Foundations,” “Islamic Teaching and Practice,” and “Islam in the ModernWorld.” The author begins by characteristically painting the picture of pre-Islamic pagan Arabia on the eve of Islam’s advent. He discusses the role andsignificance the pre-Islamic Arabs accorded their pantheon of deities, as wellas the (largely inherited) moral codes that governed their conduct in tribalsociety. Waines neatly ties this into what follows, where he discusses thebirth of Prophet Muhammad, the event of the Qur’an’s revelation, and theopposition he encountered from his fellow tribesmen in Makkah. This is followedby an analysis of the Qur’an’s significance, its conception of divinity,and the content and importance of the Hadith as a source of guidance forMuslims. The section is rounded off with examinations of such topics as the first period of civil strife (fitnah) after the Prophet’s death and the interestingbody of literature devoted to Muslim-Christian polemics in earlymedieval Islam.The transition from the first part of the book to the second part is ratherfluid, for the second part is essentially an elaboration of the themes discussedin the first. With remarkable ease and accuracy, the author elucidatesthe historical development and main features of Islamic law in both its theoryand practice. Returning to his earlier discussion on the Hadith, here hebriefly outlines how its corpus came to be collected. Readers unfamiliar withthe main theological controversies that confronted Islam in its formativeyears (e.g., the problem of free will and the status of the grave sinner) willfind the section devoted to Islamic theology fairly useful.Waines goes on to explain some of the principle Mu`tazilite andAsh`arite doctrines, and outlines some of the ideas of Neoplatonic Islamicphilosophy, albeit through the lenses of al-Ghazali’s famous refutation.Surprisingly, the author does not address any of the major developments inIslamic philosophy post-Ibn Rushd, such as the important work of theIshraqi (Illuminationist) school (incidentally, the founder of this school,Shihab al-Din Suhrawardi, was a contemporary of Ibn Rushd). The last twochapters are devoted to Sufism and Shi`ism, respectively. Although Wainesdoes misrepresent Ibn al-`Arabi’s metaphysics of Being by calling it a “system”(pp. 153 and 192), on the whole he presents the Islamic mystical traditionin a refreshing and informed manner. His section on Shi`ism is splendid.It is written with considerable care, and he effectively isolates the mainthemes characteristic of Twelver Shi`ite thought and practice.In the third and longest part of this work, Waines incorporates IbnBattutah’s travel accounts into the book’s narrative. This works very well, asit gives readers a sense of the diverse and rich cultural patterns that wereintricately woven into the fabric of fourteenth-century Islamic civilization.After reading through the section, this present reviewer could not help butmarvel at how the observations of a fourteenth-century traveler and legaljudge from Tangiers could so effectively contribute to a twenty-first centuryintroductory textbook on Islam. Additionally, Waines takes readers throughsome of the essential features of the three important “gunpowder” Muslimdynasties, devotes an interesting discussion to the role played by the mosquein a Muslim’s daily life, and outlines some of its different architectural andartistic expressions throughout Islamic history ...
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Arjonilla, Paz, María José Ayora-Cañada, María José de la Torre-López, Elena Correa Gómez, Ramón Rubio Domene, and Ana Domínguez-Vidal. "Spectroscopic Investigation of Wall Paintings in the Alhambra Monumental Ensemble: Decorations with Red Bricks." Crystals 11, no. 4 (April 14, 2021): 423. http://dx.doi.org/10.3390/cryst11040423.
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The Alhambra Monumental Ensemble (Granada, Spain) is a unique well-preserved palatine city from the medieval Islamic period, and it constitutes the best example of Nasrid architecture. In this work, we focus on the study of one of its most unknown decorations: Wall paintings with the appearance of red bricks. These faux-brick decorations are found in many different locations within the Alhambra complex, including both exterior and interior walls, arches and vaults. We have considered locations from different Nasrid reigns to gain information about their characteristics in terms of materials, execution techniques and conservation state. They have been studied combining a non-invasive methodology using portable equipment (X-ray fluorescence (XRF) and Raman spectroscopy) with complementary studies on selected samples (Scanning Electron Microscopy-Energy Dispersive X-ray Spectroscopy (SEM-EDS) and Raman microimaging). In general, those located in the exterior are poorly preserved, in contrast with the good conservation state of the interior motifs. The red rectangles of these decorations were painted over a white finishing layer, which acted also as the edge lines between these false bricks. The red colour was always due to hematite (α-Fe2O3), as revealed by its characteristic Raman bands. The use of a natural red ochre pigment (very abundant in the region) could be hypothesised considering XRF and SEM-EDS results. In general, the white layer was made of lime mortar and the presence of CaCO3 in the painting layers suggests the use of lime-based techniques (either fresco or mezzo fresco). Only in one of the indoor locations, a different execution technique, based on gypsum (CaSO4·2H2O) plaster, was used. The identification of calcium oxalate in this location, in the form of weddellite (CaC2O4·2H2O), can be interpreted as the result of organic binder degradation. Furthermore, superficial contamination with gypsum was always detected in outdoor locations.
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Moreno Coll, Araceli. "Pervivencia de motivos islámicos en el Renacimiento: El lema «ʼIzz Li-Mawlānā Al-Sulṭān» en las puertas del retablo mayor de la catedral de Valencia = Pervivence of Islamic Designs in the Renaissance: Motto «ʼIzz Li-Mawlānā Al-Sulṭān» at the Doors of the Main Altarpiece of the Cathedral of Valencia." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 6 (December 7, 2018): 237. http://dx.doi.org/10.5944/etfvii.6.2018.20711.
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El aprecio que se tuvo por los tejidos islámicos desde el Medievo es patente en la pintura religiosa. A través de estas líneas se analiza la pervivencia de motivos ornamentales en el Renacimiento, en concreto, el uso de letras árabes a partir del estudio de tres escenas de las puertas del retablo mayor de la catedral de Valencia pintadas por los Hernandos. En ellas los maestros copiaron un tejido nazarí con una inscripción cuya traducción ha pasado inadvertida hasta este momento y que plantea distintas hipótesis sobre su utilización en la obra.The appreciation of Islamic textiles since the Middle Ages is evident in religious painting. The aim of this paper is to analyze the survival of ornamental motifs in the Renaissance, specifically, the use of Arabic letters from the study of three scenes of the doors of the main altarpiece of the cathedral of Valencia painted by the Hernandos. In them the Masters copied a Nasrid fabric with an inscription whose translation has gone unnoticed until now and that raises different hypotheses about its use in this masterpiece.
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Zuhri, Muh, Ahmad Rafiq, and Ahmad Mustofa. "Moslem Sculptor (Negotiation of Sculptor at Prumpung Magelang Towards The Doctrine of Sculpting’s Prohibition on Islam)." International Journal Ihya' 'Ulum al-Din 23, no. 1 (June 24, 2021): 89–113. http://dx.doi.org/10.21580/ihya.23.1.7863.
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Normatively, Islamic doctrine prohibits figurative art in the form of sculpture or painting. The prohibition actually comes not from the Koran but from various narrations of the Prophet's hadith. However, it has been transformed into an orthodox doctrine for its adherents. This research does not aim to find the essential meaning of the hadith text which prohibits figurative art, but to find out how the Moslem sculptors, who live at Prumpung Magelang area, respond and negotiate toward it, so in the end they decided to compromise with their profession as a sculptor. Reception theory is used in this study to map the creative reasoning model of Moslem sculptors when negotiating with texts. Through the reception approach, and field data collection through in-depth interviews with several informants consisting of Muslim sculptors at Prumpung Magelang, this research concludes that the existence of the statue, according to the perspective of the Moslem sculptors at Prumpung Magelang is merely works of art so that in existence there are no theological problems.
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Piri, Ali, and Mohammad Piri. "The Quintessential Features of Iranian Art in Saljuq Period." Modern Applied Science 10, no. 6 (May 27, 2016): 219. http://dx.doi.org/10.5539/mas.v10n6p219.
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The reign of Saljuqian in Iran is considered as a flourishing era of Islamic-Iranian culture. In the Saljuq period, Iran art has experienced and underwent some changes as long as the presence of these evolutions as keystone in Iranian traditional arts have played a significant role in arts such as architecture, painting, pottery and etc. Since the effect of the Saljuq art has been so impressive, even it is not considered as a renaissance period, it can be accounted as one of the significant period in Iranian art. The purpose of this study is to point out some features of the Saljuq art through using descriptive-analytical approach, and to examine some aspects of arts including architecture, pottery, and textile in this period. What is more, the outcomes of the present paper reveal that with regard to the Saljuq architecture, mosques have been formed by nave, dome, and four-porch courtyard derived from Khorasan architecture art. The eminent buildings of this period are Jameh Mosque of Isfahan, Jam Minareh, Sanjar monument in Marv city. Successes have been also achieved in pottery art such as making pottery dishes with over glaze, and under glaze painting and red dishes with white cover. In the field of discovered metal works, there is a variety of bowls, vases and golden, silver and bronze cups which have been carved, embossed and inlayed by picture of animals and plants as well as Kufic script. Moreover, the silk textile known as Ordaki has been one of the brilliant samples of textiles art in this period, decorated with blue Kufic script. In overall, Saljuq arts have paved the way for more development of arts in the subsequent years.
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بوكر, وديعة عبد الله بن أحمد. "الشكل والمضمون في الحضارة الإسلامية وأثرهما على فنون التصوير المعاصر = Form and Content in the Islamic Civilization and Its Influence on Contemporary Art Painting." مجلة العمارة والفنون والعلوم الإنسانية, no. 3 (July 2016): 322–33. http://dx.doi.org/10.12816/0036569.
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Habibi, Negar. "Lamia Balafrej, The Making of the Artist in late Timurid Painting, Edinburgh: Edinburgh Studies in Islamic Art, 2019, hardback, 260 pp., 1 index, ISBN 978-1-4744-3743-1." Der Islam 98, no. 1 (March 30, 2021): 246–48. http://dx.doi.org/10.1515/islam-2021-0010.
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Buse, Juliana, Vanessa Otero, and Maria Melo. "New Insights into Synthetic Copper Greens: The Search for Specific Signatures by Raman and Infrared Spectroscopy for Their Characterization in Medieval Artworks." Heritage 2, no. 2 (June 4, 2019): 1614–29. http://dx.doi.org/10.3390/heritage2020099.
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A systematic investigation of medieval copper green pigments was carried out based on written sources: 21 manuscripts, dating from 50–70 to 1755 AD, were sourced and 77 recipes were selected, translating into 44 experiments. Reconstructions from medieval recipes were prepared and characterized through a multianalytical approach to disclose the original pigment formulation that is often described as verdigris. Based on the results obtained, we propose three main groups of copper green pigments, group 1, in which only Cu(CH3COO)2·H2O is formed; group 2, where this acetate is found together with copper oxalates; group 3, in which atacamite is present as the major green component or as a signature compound. The products formed are in perfect agreement with that predicted by the state-of-the-art research on the mechanisms of atmospheric corrosion of copper. This knowledge, together with our experience on craft recipes to prepare medieval paint materials, allowed us to recover a lost medieval recipe to produce a copper green pigment based mainly on atacamite, a basic copper chloride, which has been recently detected, by Raman and infrared spectroscopy, in artworks ranging from Catalonia and the Crown of Aragon panel painting to Islamic manuscripts.
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Macek, Pearson M. "IV. The Discoveries of the Westminster Retable." Archaeologia 109 (1991): 101–11. http://dx.doi.org/10.1017/s0261340900014041.
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The Westminster Retable is the most important thirteenth-century panel painting to survive from northern Europe and, quite arguably, from all of western Europe (pl. XXVIa). An oak panel measuring approximately 0.95m high by 3.33m wide, it is divided vertically into five compartments. In the centre is the figure of Christ, standing, blessing and holding in his left hand an orb or globe upon which is painted a delicate miniature landscape (pl. XXVIb). He is flanked by the Virgin Mary and St John the Evangelist who both hold palm fronds. Iconographically this grouping is unique in medieval art. Each figure stands in an architectural niche of high Gothic design. To either side of the central group are four medallions arranged in the Islamic star-and-cross pattern. Each of these eight-pointed star medallions contained a narrative scene, of which three on the left survive: the Raising of the Daughter of Jairus, the Healing of the Blind Man and the Feeding of the Five Thousand (pl. XXVIc). Such miracle scenes from the adult life of Christ were but rarely depicted in the Middle Ages. At either end of the panel are niches for standing figures of saints; only St Peter on the left survives, although ghostly vestiges of his counterpart, presumably St Paul, on the right remain visible.
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Kholis, Nurman. "Vihara Avalokitesvara Serang: Arsitektur dan Peranannya dalam Relasi Buddhis-Tionghoa dengan Muslim di Banten." Jurnal Lektur Keagamaan 14, no. 2 (December 31, 2016): 327. http://dx.doi.org/10.31291/jlk.v14i2.504.
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The Vihara Avalokitesvara (a Buddhist place of worship) is located in Pama¬rican, Customs, Serang. This vihara is the oldest vihara in Banten and was built in the 16th century. Nuances of Chinese and Buddhist architecture may be seen in the dragon decoration among other things and in the menyeruapi burning paper of the pagoda and in the painting and sculpture of Kwan lm Pouw Sat, and the sculpture of Wie Tho Pou Sat. There is a large statue of the Buddha and a picture of the lotus flower. And yet there are Islamic nuances also. There is a relief depicting the wedding of Princess Ong Tin with Syarif Hidayatullah. This vihara is visited by many Muslims as well as by Buddhists.
Keywords: Vihara, Buddha, Chinese, Islam, Banten
Vihara Avalokitesvara berlokasi di Pamarican, Pabean, Serang. Vihara ini merupakan vihara yang tertua di Banten dan diperkirakan dibangun sekitar abad ke-16. Untuk mengungkapkan unsur-unsur etnis dan agama pada arsitektur vihara ini dianalisis secara semiotik. Berdasarkan analisis ini maka diketahui unsur-unsur bernuansa Tionghoa yaitu antara lain hiasan naga, tempat pembakaran kertas yang menyeruapi pagoda, lukisan dan patung Dewi Kwan Im, patung Kwan lm Pouw Sat, dan patung Wie Tho Pou Sat. Adapun unsur-unsur agama Buddha dalam vihara ini antara lain patung besar Buddha Gautama dan gambar bunga teratai. Selain itu juga terdapat unsur bernuansa Islam yaitu pada relief yang menggam¬barkan pernikahan Putri Ong Tin dengan Syarif Hidayatullah. Karena itu, vihara ini juga dikunjungi oleh banyak umat Islam.
Kata Kunci: vihara, Buddha, Tionghoa, Islam, Banten
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Sims, Eleanor. "Islamic Painting in the Israel Museum, by Rachel Milstein with contributions by Na‘ama Brosh. 220 pages, 60 color, 70 black-and-white ills., glossary, bibliography, index, map. The Israel Museum, Jerusalem1984." Middle East Studies Association Bulletin 21, no. 1 (July 1987): 98–99. http://dx.doi.org/10.1017/s0026318400018435.
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King, G. R. D. "THE PAINTINGS OF THE PRE-ISLAMIC KA‘BA." Muqarnas Online 21, no. 1 (January 1, 2004): 219–29. http://dx.doi.org/10.1163/22118993-90000067.
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King, G. R. D. "The Paintings of the Pre-Islamic Kaʿba." Muqarnas Online 21, no. 1 (March 22, 2004): 219–29. http://dx.doi.org/10.1163/22118993_02101020.
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Simpson, Marianna Shreve. "Miniature Painting in Ottoman Baghdad by Rachel Milstein. (Islamic Art and Architecture 5.) 132 pages, bibliography, index, 119 line drawings, 16 color and 44 black-and-white reproductions. Mazda Publishers, Costa Mesa, Calif. 1990. $55.00." Middle East Studies Association Bulletin 25, no. 1 (July 1991): 103–4. http://dx.doi.org/10.1017/s0026318400024068.
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Dahmani, Fatma. "A Reassessment of the Location of the Mural Paintings in the Caliphal Palace of Samarra." Der Islam 97, no. 2 (October 7, 2020): 367–404. http://dx.doi.org/10.1515/islam-2020-0026.
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AbstractThe mural paintings discovered in the Caliphal Palace of the ʿAbbāsid city of Samarra constitute a rare example of figural decoration in an urban Islamic palace as well as one of the most important testimonies to Medieval mural paintings that have come down to us from the region. However, as with the rest of the Samarra finds, these paintings suffered significant damage and were published several years after their excavation (Herzfeld, E., Die Malereien von Samarra, Berlin 1927). Although valuable in many respects, this publication presents a breach of methodology, as it does not attend to either the archaeological or architectural contexts. It also contains several information gaps and inaccuracies. One of the main issues not properly addressed is the exact location of the paintings within the building. Researching various archival and museum collections and taking into account studies on the interpretation of the palace layout, this analysis has shown that the location of the paintings is much more complex than indicated in the publication; these were found in both private areas of the complex and in a few public ones too. This is confirmed by some medieval texts, which provide important information for the study of this material.
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McSweeney, Anna. "David Knipp (ed.): Siculo-Arabic Ivories and Islamic Painting 1100–1300. Proceedings of the International Conference, Berlin, 6–8 July 2007. (Römische Forschungen der Bibliotheca Herziana.) 338 pp. Munich: Hirmer Verlag, 2011. ISBN 978 3 7774 4311 9." Bulletin of the School of Oriental and African Studies 76, no. 3 (October 2013): 503–5. http://dx.doi.org/10.1017/s0041977x13000554.
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Ridha Hayati, Hayati. "Transmisi dan Transformasi Dakwah (Sebuah Kajian Living Hadis dalam Channel Youtube Nussa Official)." Jurnal Bimas Islam 13, no. 1 (July 21, 2020): 161–82. http://dx.doi.org/10.37302/jbi.v13i1.185.
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This paper highlights the Islamic animated series that lately is much loved by children and adults, namely Nussa Rara (an acronym from NusAntara). Nussa Official is a youtube channel that contains animated cartoon edutainment (educational entertainment), carrying themes about Islam which is originated from the Qur'an and Hadith. The revelations and messages of the Prophet are displayed so well that they attract attention and are easily understood by children in contrast to other animated shows in general. The focus of this research is on the theme "Basmallah" in the Youtube channel @Nussa Official. In this study the authors found: First, explicitly, the traditions referred to in this program are those that have a valid status. Second, the meaning of the recitation of basmallah is to ask for God's protection from Satan and make Satan shrink like a fly, make a routine worthy of worship, to gain blessings, to arouse enthusiasm and raise one's soul, and to provide calm. Third, the @Nussa Official youtube channel shows developments in the da'wah media or delivering hadith. The delivery of hadith or da'wah underwent a change in context from the beginning of the Prophet's time. The period of the Prophet's process of delivering the hadith starts from the oral tradition then continues on writing, painting, to social media. First is oral tradition. Something that is classified in this form is lectures, sermons, discussions, and others that are done with the tongue and voice. Second is the written tradition. Like books, journals and others. Third is painting, like calligraphy. Fourth is social media that appears on television and is now developed in the YouTube platform. The presence of the hadith recorded on the Nussa Official YouTube channel gives a new breath to the study of Islam and media-based Hadith. Therefore, it’s proving that this animated series underwent transmission and transformation. So the existence of this research is expected to explain that conveying the values of goodness can be done in a variety of ways. At the same time it shows that the study of Islam, al-Qur'an and Hadith not only rests on texts or books of classical to modern interpretation but are broader than that.
Keywords: Living Hadits, Da’wah, Youtube, Transmission, Transformation
Abstrak
Tulisan ini menyoroti tentang serial animasi islami yang belakangan ini banyak digandrungi oleh anak-anak juga orang dewasa yaitu Nussa Rara (akronim dari NusAntara). Nussa Official adalah sebuah channel youtube yang berisi kartun animasi edutainment (educational entertainment), mengusung tema seputar keislaman yang bersumber dari al-Qur’an dan hadis. Wahyu dan pesan Nabi ditampilkan dengan apiknya hingga menarik perhatian dan mudah dimengerti anak-anak. Berbeda dengan animasi pada umumnya yang sifatnya global. Fokus penelitian ini adalah pada tema “Basmallah”dalam channel youtube @Nussa Official. Dalam kajian ini penulis menemukan: Pertama, secara eksplisit hadis yang dirujuk dalam tayangan ini adalah hadis yang statusnya sahih. Kedua, makna dari pembacaan basmallah adalah memohon perlindungan Allah dari setan dan membuat setan mengecil bagaikan lalat, rutinitas menjadi bernilai ibadah, memperoleh keberkahan, membangkitkan semangat dan membesarkan jiwa, memberikan ketenangan. Ketiga, channel youtube @Nussa Official menunjukkan adanya perkembangan pada media da’wah atau menyampaikan hadis. Penyampaian hadis maupun dakwah mengalami perubahan konteks dari awal masa Nabi. Masa Nabi proses menyampaikan hadis dimulai dari lisan. Kemudian berlanjut pada tulisan, lukisan, hingga pada media sosial. Pertama, lisan. Sesuatu yang tergolong dalam bentuk ini adalah ceramah, kuliah, diskusi, dan lainnya yang dilakukan dengan lidah dan bersuara. Kedua, tulisan. Seperti buku, jurnal dan lainnya. Ketiga, Lukisan seperti kaligrafi. Keempat, media sosial yang muncul dalam televisi dan kini berkembang dalam bentuk youtube. Hadirnya hadis yang terekam dalam channel youtube Nussa Official ini memberi nafas baru bagi kajian islam maupun hadis berbasis media. Dengan demikian membuktikan bahwa serial animasi ini mengalami transmisi dan transformasi. Maka dengan adanya penelitian ini diharapkan dapat menjelaskan bahwa menyampaikan nilai-nilai kebaikan dapat dilakukan dengan beragam. Sekaligus menunjukkan bahwa kajian keislaman, al-Qur’an maupun hadis tidak hanya bertumpu pada teks atau kitab-kitab tafsir klasik hingga modern melainkan lebih luas dari pada itu.
Keywords: Living Hadis, Dakwah, Youtube, Living Hadis, Transmisi, Transformasi