Cromwell, P. R. (2009). The search for quasi-periodicity in Islamic 5-fold ornament. Mathematical Intelligencer, 31(1), 36–56. The Man-Made Setting." In The World of Islam: Faith, People, Culture, edited by Bernard Lewis, 57-72. London: Thames & Hudson, 1976. Ghabin, Ahmad Y. “The Qurʾanic Verses as a Source for Legitimacy or Illegitimacy of the Arts in Islam.” Der Islam 75 (1998): 193–225. A. (2000). Mathematics and arts: Connections between theory and practice in the medieval Islamic world. Historia Mathematica, 27(2), 171–201. Ashkan, M., & Ahmad, Y. (2012). Significance of conical and polyhedral domes in Persia and surrounding areas: morphology, typologies and geometric characteristics. Nexus Network Journal, 14(2), 275–290.

Freedberg, D. (1989). The power of images: Studies in the history and theory of response. Chicago/London: University of Chicago Press. Marks, L. U. (2010). Enfoldment and infinity: An Islamic genealogy of new media art. Cambridge, MA: MIT Press. Grünbaum, B., & Shephard, G. C. (1992). Interlace patterns in Islamic and Moorish art. Leonardo, 25, 331–339. The Islamic civilisation allowed the development of autonomous norms of beauty that were inspired by the faith of Islam. The Islamic artistic tradition viewed the beauty of the universe, emphasized in the Quran, and the literary qualities of the Quranic text itself, as compelling evidence for the divine hand. In this fascinating article, HRH Princess Wijdan Ali investigates the unique philosophy that underpins and guides Islamic art and the Muslim artist-artisan and developed the elements of a real and original philosophy of art, beauty and aesthetics in the Islamic culture.Bier, C. (2002). Geometry and the interpretation of meaning: Two monuments in Iran. In R. Sarhangi (Ed.), Bridges: Mathematical connections in art, music, and science (pp. 67–78). Winfield, KS: Southwestern College. Calligraphy: Regarded as the highest art form within the Islamic world, calligraphy is often used to inscribe verses from the Qur’an or other religious texts. The flowing scripts provide not only a spiritual meaning but also an aesthetic allure. Islamic art is not limited to religious depictions or the Muslim faith but represents a broader cultural heritage. It started in the 7th century with the advent of Islam but absorbed various regional art traditions from Spain to India. As the Islamic empire expanded, different styles merged, resulting in a rich tapestry of art forms. Characteristics of Islamic Art By placing the arabesque design on the wood cutout of Canada geese and mallards — a vintage “Canadiana” object — I aim to question the origin of culture and the role of ornamentation. I acquired this object at a local company where I live in Waterloo Region, Ontario, that salvages and reclaims wood materials. At one time, the sign apparently hung at a restaurant.

To conclude, I would like to quote a traditional master sâni’ (artist-artisan) from the city of Fez: “Birds, horses, weasels and other quadrupeds are to be found everywhere. One only has to look around and imitate. That requires no knowledge. But if I say to you, deploy four rosettes ( tasatir) beginning alternately in an eight-ray and in a ten-ray star, so that side by side, and leaving no spaces, they fill the entire wall, that would be a different matter. And that is art!”

Introduction

Bier, C. (2009). Number, shape, and the nature of space: Thinking through Islamic art. In E. Robson, J. Stedall, E. Robson, & J. Stedall (Eds.), Oxford handbook for the history of mathematics (pp. 827–851). Oxford, UK: Oxford University Press. Soucek, P. P. (1975). The Khamseh of 1524/25. In P. J. Chelkowski (Ed.), Mirror of the invisible world: Tales from the Khamseh of Nizami (pp. 11–20). New York: Metropolitan Museum of Art. Thus, the spiritual and temporal life of Muslims is regulated in circles, which revolve around an axis and represent the constant revolving movement of the believer’s life towards God. It is reflected, amongst other things, in the steps of the whirling Mevlevî Dervishes, the pilgrim’s tawâf around the Ka’ba and the circular units in arabesque compositions. Hence, the idea of centrality remains unchanging. Therefore, to understand Islamic art by only analyzing the outward manifestation of its quantitative characteristics and ignoring its fusion within the general spiritual framework which it defines is pointless. Because Islamic aesthetics focus on the spiritual representation of beings and objects, instead of their material values, the outward appearance of an object in no way encompasses its essence and true self. Each dhâhir, or outward quantitative and physical appearance, differs from its bâtin, or inward qualitative and spiritual essence, while perfection can only be attributed to God the Creator.

The notion of “cultural translation,” coined by cultural theorist Homi K. Bhabha, is the act of translation, which is neither one cultural tradition nor the other cultural tradition, but is the emergence of other positions. The root of the English word translation is from the Latin translatus meaning “to carry over” or “to bring across.” Decorative Accessories: From cushion covers with arabesque designs to contemporary light fixtures inspired by Islamic geometry, the possibilities are endless.This use of geometry is thought to reflect the language of the universe and help the believer to reflect on life and the greatness of creation.

Chorbachi, W. K., & Loeb, A. D. (1992). An Islamic pentagonal seal (from scientific manuscripts of the geometry of design). In I. Hargittai (Ed.), Fivefold symmetry (pp. 283–305). Singapore: World Scientific. Islamic art seeks to portray the meaning and essence of things, rather than just their physical form

by ALİ TÜFEKÇİ

Another art-historical case study of one of the rare magnificent Qurʾans of the Abbassid period, written with gold ink on blue paper.