Articles
CONTENT | Issue 3
- 1. Word of Editor-in-chief
ISLAMIC ARTS MAGAZINE 03 - 2. View more
ABOUT THE ORIGIN OF SHAPE IN ISLAMIC ARHITECTURE - 3. City with rich Islamic tradition
POCITELJ - 4. Interview: Malik Anas al-Rajab
FROM CLASSICAL TO CONTEMPORARY CALLIGRAPHY - 5. Book review
THE AGE OF SINAN - 6. Book review
ART OF ISLAMIC CALLIGRAPHY - 7. Interview: Orhan Dagli
THE COLOURS OF TEZHIB - 8. C. L. David Foundation and Collection
SCANDINAVIA’S LARGEST COLLECTION OF ISLAMIC ART - 9. Interview: Haris Memija
HAJJ AS ETERNAL INSPIRATION - 10. City with a rich Islamic tradition
Cordoba and Granada - 11. Interview: eL-Seed
“CALLIGRAFFITI” ON THE FACE OF THE STREET - 12. Classic form of Islamic art
THE ART OF TUGRA - 13. Interview: Khawar Bilal
GRAPHIC DESIGN IN THE CONTEXT OF ISLAMIC ART - 14. Step-by-step tutorial
HOW TO MAKE A DIGITAL ARABESQUE
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ABOUT THE ORIGIN OF SHAPE IN ISLAMIC ARHITECTURE
The type of „kufi“ mosque was revealed from the scheme of the initial prophet’s mosque in Medina and for a hundred of years it was a dominant pattern when constructing the religious objects, particularly when planning the spatial plans and pointing the horizontal objects.
Speaking of the origin of islamic architecture, its eclecitism is usually pointed out. More precisely, there are opinions, that from the very beginning, arhitecture within Arabic, but also among other Muslim communities was dependent on other civilizations, when it is particularly known that the Arabs, themselves, didn’t have sufficiently developed arhchitectural heritage. „Problem” was that Islam as the last monoteistic announced religion appeared much later, i.e. in the period when artistic contributions of a large civilizations have already been initiated in such way that all new couldn’t avoid such influences. All of those opinions implicated that Islamic architecture is not original, but it is the link of the previous experience and sacred samples. What else so great could have come after Antic and Persian culture? Such opinions were later linked to the Ottomans’ arhitecture and Byzantic contribution.To speak about untouchable originality of some art which doesn’t touch any models, is absurd and in theory rejected long ago. History of arts should be viewed as a series of reactions made of chains. Each style in its beginning would accept influences or incentives from aside, and then, on the basis of its own creative power such s, i.e. on traditions of the old tyle would deliver particular and unique artistic aspiration with the influence to all that would come later. This principle represents an axiom of the entire artistic development of humankind and in its essence conforms with all other experienced substance of th social living. Thre is a large number of claims for such matter. The renaissance arts in Italy from 15th and 16th century took over the experience of the Antiquity as to develop quite new European arts, suitable for that time.
The rest of the article you can read in the magazine.





