اسلیمی توریقی عربانه عربسک

اسلیمی‌ یا عربانه، به عربی توریقی و به لاتین فارسی شده عربسک، نوعی از نقش و نگار است شامل خط‏های پیچیده و منحنی‌ها و قوس‏های دورانی مختلف که در تزئینات و کتیبه‌ها و بعضی دیگر از کارهای نقاشی ترسیم می‏کنند. اسلیمی گاهی به صورت نقش اصلی و زمانی همراه با دیگر طرحها، در معماری٬ کتاب‌آرایی و هنرهای صناعی به‌کار رفته است. لفظ اسلیمی منسوب به اِسْلیم، شکل دیگری از واژهٔ اسلام است و به این جهت گاهی آن را اسلامی نیز خوانده‌اند. اسلیمی یکی از هفت نقش اصلی در نگارگری سنتی ایران است. اسلیمی نمودار تجریدی «درخت زندگی» و یا صورت عام درخت به ویژه درخت تاک است که با گردش‌ها و پیچش‌های پی در پی و هماهنگ شاخه‌های آراسته به برگها و نیم برگ‌ها و گره‌های آن از پایه‌ای که بند اسلیمی خوانده می‌شود، می‌روید و با نظمی خاص و شکلی چشم‌نواز که میان اجزاء آن وجود دارد، طرحی ویژه از درخت را ارائه می‌دهد. تمام منحنی‌های اسلیمی جهتی به درون و جهتی به بیرون دارند که جزء ذات اسلیمی است که این گرایش به بی‌نهایت دارد و نشانی از جاودانگی در اسلیمی به شمار می‏رود. اسلیمی طرحی است متشکل از قوس‏های دورانی زیبا که با چنگ‌ها، ماهیچه‌ها، سرچنگ‌ها، گره‌ها و انشعاب‏های مناسب کامل می‌شود و زیبایی و شکوه خاصی را دربر می‌گیرد. برخی پژوهشگران، ریشهٔ این طرح را برگرفته از نقش «درخت زندگی» که در هنر ایران سابقهٔ کهن دارد، می‌پندارند. اما در هر حال اسلیمی نامی جدید است برای طرحی کهن که با شیوه‌های گوناگون و تنوع بسیار از روزگار باستان تاکنون کاربردی گسترده در هنرهای تزیینی ایران بویژه نگارگری ایرانی دارد. باستان‌شناسان و پژوهشگران غربی به هنگام بررسی هنر اسلامی، چون با نقش اسلیمی نخستین بار در سرزمینهای غربی اسلامی چون فلسطین روبه‌رو شدند، این نقوش را عربی پنداشته، آن را «اربسک = عربانه» خواندند. در حالی که پس از مدتی دریافتند که این طرح‌ها هیچ گونه ارتباطی با عرب نداشته، و سرچشمه گرفته از هنر دیگر ملل و از همه بیشتر متأثر از هنر ساسانی، هلنی و بیزانس است اما به هر حال، اسلیمی نقوشی است که در دوره اسلامی به کمال رسیده‌است. طرحی که امروز به نام اسلیمی در هنر ایران شناخته می‌شود، طرحی تجریدی و انتزاعی (دور از طبیعت‌) و تکامل یافته از نقش مایه‌هایی است که در چند هزار سال کاربرد، دگرگونیهای بسیار به خود دیده، تا به صورت کنونی درآمده‌است.



محتویات [نمایش]
پیشینه [ویرایش]

انتزاعی کردن نقش‌های گیاهی و جانوری دست کم از هزارهٔ ۴ق‌م، یعنی دوران‌های بسیار پیش از کاربرد آن در میان هنرمندان دیگر سرزمین‌های متمدن جهان کهن از جمله یونان، در آثار هنری ایران، به ویژه بر سفالینه‌های شوش، سیلک کاشان و حصار دامغان رواج داشته‌است.

از سویی اگر به پیروی از دیدگاه برخی از پژوهشگران این طرح را برگرفته از «درخت زندگی» بدانیم، نمونه‌های انتزاعی آن را از آغاز هزارهٔ ۳ق‌م بر مهرهای به دست آمده از شوش و پس از آن بر آثار دیگر بخشهای ایران چون لرستان می‌یابیم.

در هنر طبیعت گرای هخامنشی به تجسم انسان و حیوان گرایش بیشتری وجود دارد و به نقش‌های گیاهی کمتر پرداخته شده‌است. با این وجود، به هنگام نمایش گیاهان به ویژه در آراستن اشیاء گرایش به تجرید را به ویژه در ساقه‌های پیچان گل لوتوس و برگ نخل آشکارا می‌توان دید.

آثار بر جای مانده از دورهٔ اشکانی (۲۵۰ق م - ۲۲۴م‌) جلوه‌گاه روشنی از روند تکاملی طرح اسلیمی است که در خلال سده‌های بسیار به یکی از زیباترین نقشهای هنر تزیینی ایران تبدیل شد. برخی از نقوش این دوره را می‌توان پیشینهٔ طرح اسلیمی خطایی بعد به شمار آورد و به نمونه‌های بسیار استادانه از طرحهای اسلیمی بر سنگ‌نگاره‌ها، گچ‌بریها و اشیاء فلزی بر می‌خوریم. در آثار این دوره همچون گذشته، اسلیمی گاه به صورت نقش اصلی و گاهی به جای حاشیهٔ تزیینی به‌کار رفته‌است.

در دورهٔ ساسانی نقش‌های اسلیمی بیشتر در حجاری‌ها و گچبری‌های این دوره دیده می‏شود و می‌توان اوج چیره‌دستی هنرمندان ایرانی در طراحی اسلیمی را مشاهده کرد و تأثیر شدید هنر ایران ساسانی و حتی اشکانی را در نخستین بنای مشهور اسلامی می‌توان به روشنی دید.

هنرمندان سنت گرای ایران در دورهٔ اسلامی نه تنها چون گذشته اسلیمی را زینت‌بخش دست آفریده‌های هنری خود ساختند، بلکه به نوآوریهایی نیز پرداخته‌اند. رونق و گسترش سفالگری و کاربرد روز افزون سفالینه، اسلیمی را از نخستین سده‌های هجری به نگارهٔ سفالینه تبدیل کرد. اسلیمی گاهی به صورت نقش اصلی و زمانی همراه با دیگر طرحها، سفالینه‌های نقش دار دورهٔ اسلامی ایران را آراسته‌است. گاهی نقش مایه‌های به کار گرفته شده در اسلیمیهای این دوره با نمونه‌های بسیار کهن قابل مقایسه‌است.

در بناهای سدة ۴ تا ۶ق که از دوره‌های پر بار و درخشان تاریخ هنر ایران به‌شمار می‌آید، گوناگونی و نوآوری در طرحهای اسلیمی چشمگیر است و در آثار سدهٔ ۶ق اسلیمی با ظرافت بسیار در آثار گچبری و یا آجربری نقشبندی شده‌است.

از سدهٔ ۵ق کاربرد اسلیمی در هنر کتاب‌آرایی نیز جایگاهی ویژه یافت. نقش داخل شمسه‌ها و ترنج‌ها در تذهیب آثار خطی جایگاهی تازه برای اسلیمی‌های بسیار ظریف بودند.

در سده‌های ۶ و ۷ق ساخت خشتهای کاشی مینایی و زرین فام میدان تازه‌ای پیش پای هنرمندان ایرانی برای پدید آوردن طرحهای تازه و زیبای اسلیمی گشود.

اسلیمی که در هنر تزیینی گچ‌بری تا سدة ۸ق جایگاهی ویژه داشت، کاربرد فراگیر و گستردهٔ کاشی معرق و خشتی در معماری ایران به ویژه در بناهای مذهبی از این سده رو به فزونی نهاد. این گستره، بستر تازه‌ای برای هنرمندان طراح اسلیمی فراهم آورد. اگر پیش از این اسلیمیهای گچ‌بری شده را تنها در درون بنا می‌دیدیم، از این هنگام هم درون و هم بیرون بنا را آراسته به کاشی با طرحهای گوناگون از جمله اسلیمی می‌یابیم.

در سدة ۹ق که این طرح کهن تکامل یافته نام اسلیمی به خود گرفت، با اوجی از کاربرد آن در تمام شاخه‌های هنرهای تزیینی ایران از کتاب آرایی گرفته تا کنده‌کاری بر چوب و سنگ رو به رو هستیم در این سده اسلیمی یکی از رایج‌ترین نقشها در کاشی‌کاری است. قالیها و قالیچه‌های باز مانده از این سده با طرح‌های اسلیمی بر متن و حاشیه، نشان از گسترش کاربرد این‌طرح در هنر قالی‌بافی دارد.

در مکتب هنری اصفهان این طرح دیر پا به اوجی تازه رسید. در دست ساخته‌های هنرمندان سده‌های ۱۱ و ۱۲ق اسلیمی با گوناگونی و ظرافت بسیار در تمامی زمینه‌های هنری به ویژه در کاشی کاری و قالی بافی به کار برده شده‌است. این شکوفایی پس از بر افتادن صفویان هرگز به پایهٔ نخستین بازنگشت.

انواع اسلیمی [ویرایش]

طرح‌های اسلیمی انواع گوناگون دارد: «اسلیمی ساده»، «اسلیمی توپر»، «اسلیمی توخالی»٬ «دهن‌ اژدری»، «خرطوم‌ فیلی»٬ «ماری» و انواع دیگر.

جستارهای وابسته [ویرایش]

درگاه اسلام
منابع [ویرایش]

محمدحسن‌ سمسار. «اسلیمى». وب‌گاه دایره المعارف بزرگ اسلامی. بازبینی‌شده در ۱ مهر ۱۳۸۹.
«تاریخچه اسلیمی». وب‌گاه رسول زارع. بازبینی‌شده در ۱ مهر ۱۳۸۹.
دکتر علیرضا باوندیان. «گلهای بی خطای ختایی». ندوه / نامه دانشگاهی و هنری. بازبینی‌شده در ۱ مهر ۱۳۸۹.


در ویکی‌انبار پرونده‌هایی دربارهٔ اسلیمی موجود است.
[نمایش]
ن • ب • و
موضوعات اسلام
[نمایش]
ن • ب • و
معماری ایران
رده‌های صفحه: تزیینفرهنگ اسلامی گونه‌های هنرمعماری ایران معماری عربی معماری موریش هنر اسلامی

قس عربی

التزویق أو الزخرفة العربیة أو الرقش[1] هو الفن العربی. وهو عبارة عن نماذج للتزیین معقدة لأن زخارفه متداخلة ومتقاطعة وتمثل أشکالا هندسیة وزهورا وأوراقا وثمارا. وهذا الفن یمیز الفن الإسلامی والذی ظهر فی تزیین السیرامیک وفی العمارة الإسلامیة. وقد انتشر فی أوروبا ولاقی رواجا فی القرنین 15و16. وهذا الفن ظهر نتیجة امتزاج الحضارة العربیة وتطورها فی العصر الإسلامی الذهبی مع الشعوب الأخرى ألا أنه کان جلیا لدى الأندلسیین الذین طوروه بشکل کبیر ولاسیما فی مجال الأعمدة ونصف الأعمدة المربعة وفوق الجدران وعلی الأسقف. وإلى جانب العمارة وجدت الزخرفة التی وصفت بأنهما لغة الفن الإسلامی، وتقوم على زخرفة المساجد والقصور والقباب بأشکال هندسیة أو نباتیة جمیلة تبعث فی النفس الراحة والهدوء والانشراح. وسمی هذا الفن الزخرفی الإسلامی فی أوروبا باسم «أرابسک» (بالفرنسیة: Arabesque) وبالأسبانیة Atairique أی التوریق. وقد اشتهر الفنان المسلم بالفن السریالی التجریدی حیث الوحدة الزخرفیة النباتیة کالورقة أو الزهرة، وکان یجردها من شکلها الطبیعی حتى لا تعطى إحساسا بالذبول والفناء، ویحورها فی أشکال هندسیة حتى تعطی الشعور بالدوام والبقاء والخلود.


رقشة
یقع تحت عنوان الزخرفة العربیة فن الزخرفة بالفسیفساء الذی أشتهرت به العدید من الدول العربیة والإسلامیة ومنها الفسیفاء الموجودة فی الجامع الأموی فی دمشق وکربلاء المشهورة فی عمله وتصنیعه.

[عدل]حواش

^ Issa J. Boullata, et al. p. 284
[عدل]مراجع

عبوودی، موسوعة حضارة العالم.
Tradition, modernity, and postmodernity in Arabic literature. Essays in Honor of Professor Issa J. Boullata. Edited by Kamal Abdel-Malek & Wael Hallaq. ISBN 90-04-11763-6
[أخف] ع · ن · تالفنون الإسلامیة
العمارة
المساجد • القصور • المدارس

الموسیقى
الآلات الموسیقیة • المقامات الموسیقیة • الموشحات
الفنون التشکیلیة
الخط • الزخرفة • الزلیج • المنمنمات • الآنیة
هذه بذرة مقالة عن الفنون تحتاج للنمو والتحسین، فساهم فی إثرائها بالمشارکة فی تحریرها.
هناک المزید من الصور والملفات فی ویکیمیدیا کومنز حول: زخرفة عربیة
قالب:Wikisource1911Enc
[عدل]وصلات خارجیة

تأثیر الإسلام على الفن والعمارة
نافذة أربسک
الألوان
[1]
صور ارابیسک
تصنیفات: فن إسلامیفن عربی عناصر معماریة زخرفیةعناصر معماریة إسلامیة

قس ترکی آذری

İslimi — Yaxın Şərq, o cümlədən Azərbaycan dekorativ-tətbiqi sənətinin bütün sahələrində istifadə edilən yarpağa bənzər bir və ya iki qanadlı naxış elementidir.
İslimi ornament sənətində doldurucu və həm də bağlayıcı elementlərdən hesab edilir. İslimi elementləri formasına görə mürəkkəb olub, xalçaların arasahəsində və haşiyə qurşaqlarında geniş tətbiq olunur. Ən çox Cənubi Azərbaycan xalçalarında yayılmışdır. İsliminin ən yayılmış formaları bunlardır:
Sadə islimilər;
Qanadlı islimilər;
Haçalı islimilər;
Hörmə islimilər;
Butalı islimilər;
İslimibəndlik.[1] [2]
[redaktə]İstinadlar

↑ Лятиф Керимов, "Азербайджанский ковер" (Том II). Баку, "Гянджлик", 1983, ст.73. (rus.) (ing.)
↑ İslimi
Kateqoriya: Xalça naxışları

قس ترکی استانبولی

Arabesk (Fransızca: arabesque), "Arap etkinliği" anlamına gelmektedir. Endülüs başta olmak üzere Arap mimarisinde rastlanan ince taş işlemeleri sanatıdır. Genelde karmaşık geometrik şekillerden oluşur. Arap sanatının diğer unsurlarına da zaman zaman arabesk denebilmektedir. Örneğin; Arap kaligrafisi de bir tür arabesktir.
Kategoriler: Sanat tarzlarıArap kültürü

قس پنچابی
عرب آرٹ
عرب آرٹ


آرٹ
آرٹ نوو · امپریشنزم · ایکسپریشنزم · باؤہاؤس · رکوکو · رئیلزم · رینیساں · رنگ ویڑہ · رومانوی · سریلزم · سمبولزم · فاؤزم · موڈرنزم · ڈاڈا · کلاسیسزم · کیوبزم · ہڈسن رور سکول · د سٹائل · عرب
گٹھ: آرٹ

قس عبری
ערבסקה (מצרפתית: arabesque) היא מוטיב עיטורי המציין מערך מופשט של קווים וצורות החוזרים כדגם.
המקור האיקונוגרפי העיקרי של צורות הערבסקה הוא במוטיבים צמחיים כדוגמת מוטיב השריגים. מקורות אחרים המופיעים בעיקר באמנות המוסלמית הם טקסטים מן הקוראן הנשזרים לדגם מופשט. הסיבה לקיומם של דגמים אלו, בעיקר בעיטור מבנים ובעיטור כתבי קודש מוסלמיים, היא האיסור הדתי על יצירת דיוקנאות באשר הם (השווה עם השנייה מעשרת הדברות: "...לא תעשה לך פסל וכל תמונה אשר בשמים ממעל ואשר בארץ מתחת ואשר במים מתחת לארץ..", שמות פרק כ,ב-יד.)
תאוריות אמנותיות שונות מייחסות לערבסקה המוסלמית את השאיפה לתיאור מיסטי ורוחני. בתקופה המודרנית משמשת הערבסקה דוגמה ליחס שווה בין דימוי לרקע, כלומר כצורה לביטול הררכיות.
באמנות המודרנית בולט השימוש בערבסקות כצורת לעיטור רהיטים באמנות האר-נובו וכן כאלמנט בתוך ציורים אצל ציירים מודרניים כגון אנרי מאטיס.
[עריכה]קישורים חיצוניים

מיזמי קרן ויקימדיה
תמונות ומדיה בוויקישיתוף: ערבסקה
ערך זה הוא קצרמר בנושא אמנות. אתם מוזמנים לתרום לוויקיפדיה ולהרחיב אותו.
קטגוריות: קצרמר אמנותטכניקות אמנותיותאמנותאמנות מוסלמיתתרבות ערבית
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قس چینی

阿拉伯式花紋是一種繁複而华丽的裝飾，具体表现手段为幾何圖形在一个平面内的反复运用。其幾何圖案取材自動植物的形像，手法可形成对称连续和无限延伸的平面装饰特色。此種藝術是伊斯蘭藝術的重要元素，常見於清真寺的牆壁上。幾何圖形的構成方式必須以伊斯蘭教的世界觀為基礎。對穆斯林來說，無數的幾何圖形組合起來代表在可見的物質世界之外還存在著無限的存在。事實上，無數個幾何圖形即象徵真主無限的、充塞寰宇的創造屬性。因此，阿拉伯式花紋的藝術家認為基督教藝術的聖像所代表的精神意義是有侷限的。
目录 [显示]
[编辑]歷史



伊朗设拉子哈菲兹墓的穹顶下部的阿拉伯式花纹。
阿拉伯式花紋的幾何風格一直要到伊斯蘭的黃金時期才廣泛流行於中東或地中海盆地。在這個時期，古希臘數學與印度數學的文獻大量被翻譯成阿拉伯語並藏於巴格達的學術研究機構智慧宮。一如後來歐洲興起的文藝復興，伊斯蘭的數學、科學、文學與歷史融為一體，影響極為深遠。
古代學者諸如柏拉圖、歐幾里得、阿里亞哈塔與婆羅摩笈多等人的著作受到識字者的廣泛閱讀並加以改良。這些改良是為了解決伊斯蘭教的朝向、禮拜與拉瑪丹月的問題。[1]柏拉圖已經發展出完備而清晰的獨立實體的概念；焦赫里在其《歐幾里得幾何學原理注釋》一書中對歐幾里得的幾何學加以延伸說明；花拉子米則大大改進阿里亞哈塔與婆羅摩笈多的三角學；瓦法與札楊尼則分別改進了球面幾何學與球面三角學[2]。球面三角學有助於確認朝向、禮拜與拉瑪丹月[1]。這些成就後來都促成了阿拉伯式花紋的發展。
[编辑]花紋內容與象徵

阿拉伯式花紋在伊朗最為常見，由不斷重複的幾何圖形構成，偶而輔以阿拉伯書法。愛丁豪森（Ettinghausen）等人指出，阿拉伯式花紋「是一種植物式的設計，充滿了……以及半棕櫚葉裝飾的風格，構成綿延不絕的圖案……每片葉子長在另一片葉子的尖端。」[3]對穆斯林來說，阿拉伯式花紋象徵著團結一致的信仰與伊斯蘭教傳統對世界的看法。


泰姬瑪哈陵的外牆
[编辑]兩種模式
阿拉伯式花紋有兩種模式。第一種模式是為了表現世界秩序的一致。這些原則包括了讓物體的結構更加穩固與美麗的基本原則。在第一種模式裡，每個重複的圖形本身都具有內涵的象徵意義。例如，等邊四方形代表著四種同等重要的自然元素：土、氣、火、水。這四種元素構成了物質世界，缺一不可，否則物質世界就會崩壞。圓形代表物質世界，把四方形內切在裡面。第二種模式是以不斷流動的植物圖形為基礎的。此模式代表自然界賦予生命的母性。此外，有些人在檢視了許多種類的阿拉伯式花紋之後就認為事實上還有第三種模式，即阿拉伯書法的模式。
[编辑]書法


阿拉伯書法實例
對穆斯林來說書法是所有肉眼可見的藝術中的極致，而不像傳統的阿拉伯式花紋專注尋求「真實存在」（精神世界的真實性）；阿拉伯書法是一種語言（思想與歷史的傳達）。在伊斯蘭教裡，以口語表達的最重要的文獻自然要屬《古蘭經》了。在今日的阿拉伯式花紋裡亦可見到取材自《古蘭經》的諺語與整段經文。這三種模式構成了阿拉伯式花紋，同時也體現了紛雜事物裡的一致性（伊斯蘭教的基本教義）。
[编辑]地位

有的人認為阿拉伯式花紋也可以同時被看作藝術與科學。阿拉伯式花紋不僅在數學上極為精確，在美學上也美不勝收、充滿象徵意義。由於阿拉伯式花紋同時具備藝術與科學的特性，他們認為它還可以再細分為世俗與宗教兩個部份。不過對穆斯林來說並沒有這些分別。穆斯林认为，所有的藝術形式、自然界、數學與科學都是真主的造化，都能夠反映出同一件事（真主透過祂的創造物顯示祂自己），換句話說，人們能夠發現構成阿拉伯式花紋的幾何圖形，但其實它們早就已經存在於真主的創造之中
[编辑]秩序與一致

不同地區的阿拉伯式花紋都有很大的相似性。事實上，由於相似性極高，有時候專家也分辨不出特定風格的來源，原因是用來創造阿拉伯式花紋的科學與數學是放諸四海皆準的。
因此，對大部分的穆斯林來說，人類能夠創造且用來裝飾清真寺的極致藝術應當要能展現出自然界深藏的秩序與一致性。至於物質世界的秩序與一致性，他們相信其實和精神世界是相仿的（許多穆斯林相信精神世界是唯一的真實存在）。幾何圖形即可說明這種秩序的完美，因為真主的造化被人類的罪孽所遮蔽。
事實上，蘇菲派穆斯林相信精神和物質世界是沒有分別的。他們也相信我們之所以無法感知到精神世界是因為「遮蔽的面紗」擋住了精神世界的完美。因此，他們要揭去面紗。這樣一來他們在地球上才能和真主合而為一。蘇菲派也藉著阿拉伯式花紋來描述世界，以求和真主合一。
[编辑]參見

[编辑]參考資料

^ 1.0 1.1 Gingerich, Owen, Islamic astronomy, Scientific American. April 1986, 254 (10): 74 [2008-05-18]
^ O'Connor, John J.; Robertson, Edmund F., Abu Abd Allah Muhammad ibn Muadh Al-Jayyani, MacTutor数学史档案（英语：MacTutor History of Mathematics archive）
^ Richard Ettinghausen, Oleg Grabar, and Marilyn Jenkins-Madina, Islamic Art and Architecture, 650-1250. (New Haven: Yale UP, 2001), 66.
[编辑]外部連結


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قس انگلیسی

The arabesque is a form of artistic decoration consisting of "surface decorations based on rhythmic linear patterns of scrolling and interlacing foliage, tendrils" or plain lines,[1] often combined with other elements. Within the very wide range of Eurasian decorative art that includes motifs matching this basic definition the term "arabesque" is used consistently as a technical term by art historians to describe only elements of the decoration found in two phases: Islamic art from about the 9th century onwards, and European decorative art from the Renaissance onwards. Arabesques are a fundamental element of Islamic art but they develop what was already a long tradition by the coming of Islam. The past and current usage of the term in respect of European art can only be described as confused and inconsistent. Some Western arabesques derive from Islamic art, but others are closely based on Ancient Roman decorations. In the West they are essentially found in the decorative arts, but because of the generally non-figurative nature of Islamic art arabesque decoration is there often a very prominent element in the most significant works, and plays a large part in the decoration of architecture.
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[edit]Islamic arabesque

The Islamic arabesque is a development of the Late Antique and Byzantine types of scrolling vegetal decoration that were inherited by Islam, and used with relatively little change in early Islamic art, for example in the famous 8th century mosaics of the Great Mosque of Damascus. The plants most often used are stylized versions of the acanthus, with its emphasis on leafy forms, and the vine, with an equal emphasis on twining stems. The evolution of these forms into a distinctive Islamic type was complete by the 11th century, having begun in the 8th or 9th century in works like the Mshatta Facade. Thereafter it was used very widely across the Islamic world, by no means just in Arabic-speaking areas, in many media for several centuries, and developed further. In the process of development the plant forms became increasing simplified and stylized.[2] Though the broad outline of the process is generally agreed, there is a considerable diversity of views held by specialist scholars on detailed issues concerning the development, categorization and meaning of the arabesque.[3] The detailed study of Islamic arabesque forms was begun by Alois Riegl in his formalist study Stilfragen: Grundlegungen zu einer Geschichte der Ornamentik (Problems of style: foundations for a history of ornament) of 1893, who in the process developed his influential concept of the Kunstwollen.[4] Riegl traced formalistic continuity and development in decorative plant forms from Ancient Egyptian art and other ancient Near Eastern civilizations through the classical world to the Islamic arabesque; while the Kunstwollen has few followers today, his basic analysis of the development of forms has been confirmed and refined by the wider corpus of examples known today.[5] Jessica Rawson has recently extended the analysis to cover Chinese art, which Riegl did not cover, tracing many elements of Chinese decoration back to the same tradition; the shared background helping to make the assimilation of Chinese motifs into Persian art after the Mongol invasion harmonious and productive.[6]
Claims are often made regarding the theological significance of the arabesque, and its origin in a specifically Islamic view of the world; however these are without support from written historical sources as, like most medieval cultures, the Islamic world has not left us documentation of their intentions in using the decorative motifs they did. At the popular level such theories often appear uninformed as to the wider context of the arabesque.[7] In similar fashion, proposed connections between the arabesque and Arabic knowledge of geometry remains a subject of debate; not all art historians are persuaded that such knowledge had reached, or was needed by, those creating arabesque designs, although in certain cases there is evidence that such a connection did exist.[8] The case for a connection with Islamic mathematics is much stronger for the development of the geometric patterns with which arabesques are often combined in art. Geometric decoration often uses patterns that are made up of straight lines and regular angles but are clearly derived as a whole from curvilinear arabesque patterns; the extent to which these too are described as arabesque varies between different writers.[9]
Many arabesque patterns disappear at (or "under" as it often appears to a viewer) a framing edge without ending, and thus can be regarded as infinitely extendable outside the space they actually occupy; this was certainly a distinctive feature of the Islamic form, though not without precedent. Most but not all foliage decoration in the preceding cultures terminated at the edge of the occupied space, although infinitely repeatable patterns in foliage are very common in the modern world in wallpaper and textiles.
Typically, in earlier forms there is no attempt at realism; no particular species of plant is being imitated, and the forms are often botanically impossible or implausible. "Leaf" forms typically spring sideways from the stem, in what is often called a "half-palmette" form, named after its distant and very different looking ancestor in Ancient Egyptian and Greek ornament. New stems spring from leaf-tips, a type often called honeysuckle, and the stems often have no tips, winding endlessly out of the space. The early Mshatta Facade is recognisably some sort of vine, with conventional leaves on the end of short stalks and bunches of grapes or berries, but later forms usually lack these. Flowers are rare until about 1500, after which they appear more often, especially in Ottoman art, and are often identifiable by species. In Ottoman art the large and feathery leaves called saz became very popular, and were elaborated in drawings showing just one or more large leaves. Eventually floral decoration mostly derived from Chinese styles, especially those of Chinese porcelain, replaces the arabesque in many types of work, such as pottery, textiles and miniatures.
Early evolution


Byzantine capital in Hagia Sophia - pre-Islamic



Mosaics on the Treasury Dome of the Great Mosque of Damascus, 789, still in essentially Byzantine style



Palace facade from Mshatta in Jordan, now in the Pergamon Museum, Berlin, c. ?740



Arabesque pattern at the Alhambra

Later development


Giant arabesque pattern on the dome of the Sheikh Lotfallah Mosque, Isfahan, 17th century



Tiled panel in the same mosque



Border decoration to an Ottoman miniature, early 16th century



Detail of 16th century Persian carpet

[edit]Significance in Islam


Arabesque pattern behind hunters on ivory plaque, 11th–12th century, Egypt
The arabesques and geometric patterns of Islamic art are often said to arise from the Islamic view of the world. The depiction of animals and people is generally discouraged, which explains the preference for merely geometric patterns.
There are two modes to arabesque art. The first recalls the principles that govern the order of the world. These principles include the bare basics of what makes objects structurally sound and, by extension, beautiful (i.e. the angle and the fixed/static shapes that it creates—esp. the truss). In the first mode, each repeating geometric form has a built-in symbolism ascribed to it. For example, the square, with its four equilateral sides, is symbolic of the equally important elements of nature: earth, air, fire and water. Without any one of the four, the physical world, represented by a circle that inscribes the square, would collapse upon itself and cease to exist. The second mode is based upon the flowing nature of plant forms. This mode recalls the feminine nature of life giving. In addition, upon inspection of the many examples of Arabesque art, some would argue that there is in fact a third mode, the mode of Arabic calligraphy.


Ottoman tughra of Suleiman the Magnificent, 1520, with flowers and saz leaves.
Instead of recalling something related to the 'True Reality' (the reality of the spiritual world), for the Muslim calligraphy is a visible expression of the highest art of all; the art of the spoken word (the transmittal of thoughts and of history). In Islam, the most important document to be transmitted orally is, of course, the Qur'an. Proverbs and complete passages from the Qur'an can be seen today in Arabesque art. The coming together of these three forms creates the Arabesque, and this is a reflection of unity arising from diversity (a basic tenet of Islam).
The arabesque can also be equally thought of as both art and science, some say. The artwork is at the same time mathematically precise, aesthetically pleasing, and symbolic. So due to this duality of creation, they say, the artistic part of this equation can be further subdivided into both secular and religious artwork. However, for many Muslims there is no distinction; all forms of art, the natural world, mathematics and science are all creations of God and therefore are reflections of the same thing - that is, God's will expressed through His Creation. In other words, man can discover the geometric forms that constitute the Arabesque, but these forms always existed before as part of God's creation, as shown in this picture.
There is great similarity between arabesque artwork from very different geographic regions. In fact, the similarities are so pronounced, that it is sometimes difficult for experts to tell where a given style of arabesque comes from. The reason for this is that the science and mathematics that are used to construct Arabesque artwork are universal. Therefore, for most Muslims, the best artwork that can be created by man for use in the Mosque is artwork that displays the underlying order and unity of nature. The order and unity of the material world, they believe, is a mere ghostly approximation of the spiritual world, which for many Muslims is the place where the only true reality exists. Discovered geometric forms, therefore, exemplify this perfect reality because God's creation has been obscured by the sins of man.
Mistakes in repetitions may be intentionally introduced as a show of humility by artists who believe only Allah can produce perfection, although this theory is disputed.[10][11][12] Arabesque art consists of a series of repeating geometric forms which are occasionally accompanied by calligraphy. Ettinghausen et al. describe the arabesque as a "vegetal design consisting of full...and half palmettes [as] an unending continuous pattern...in which each leaf grows out of the tip of another."[13] To the adherents of Islam, the Arabesque are symbolic of their united faith and the way in which traditional Islamic cultures view the world.
[edit]Western arabesque



The French sense of arabesque: Savonnerie carpet after Charles Le Brun for the Grande Galerie of the Louvre
The term was first used in the West in Italian, where rabeschi was used in the 16th century as a term for "pilaster ornaments featuring acanthus decoration,[14] specifically "running scrolls" that ran vertically up a panel or pilaster, rather than horizontally along a frieze.[15] From there it spread to England, where Henry VIII owned, in an inventory of 1549, an agate cup with a "fote and Couer of siluer and guilt enbossed with Rebeske worke",[16] and William Herne or Heron, Serjeant Painter from 1572 to 1580, was paid for painting Elizabeth I's barge with "rebeske work".[17] Unfortunately the styles so described can only be guessed at, although the design by Hans Holbein for a covered cup for Jane Seymour in 1536 (see gallery) already has zones in both Islamic-derived arabesque/moresque style (see below) and classically-derived acanthus volutes.[18]
Another related term is moresque, meaning "Moorish"; Randle Cotgrave's A Dictionarie of the French and English Tongues of 1611 defines this as: "a rude or anticke painting, or carving, wherin the feet and tayles of beasts, &c, are intermingled with, or made to resemble, a kind of wild leaves, &c."[19] and "arabesque", in its earliest use cited in the OED (but as a French word), as "Rebeske work; a small and curious flourishing".[20] In France "arabesque" first appears in 1546,[21] and "was first applied in the latter part of the 17th century" to grotesque ornament, "despite the classical origin of the latter", especially if without human figures in it - a distinction still often made, but not consistently observed,[22]
Over the following centuries the three terms grotesque, moresque and arabesque were used largely interchangeably in English, French and German for styles of decoration derived at least as much from the European past as the Islamic world, with "grotesque" gradually acquiring its main modern meaning, related more to Gothic gargoyles and caricature than to either Pompeii-style Roman painting or Islamic patterns. Meanwhile the word "arabesque" was now being applied to Islamic art itself, by 1851 at the latest, when John Ruskin uses it in The Stones of Venice.[23] Writers over the last decades have attempted to salvage meaningful distinctions between the words from the confused wreckage of historical sources.
Peter Furhring, a specialist in the history of ornament, says that (also in a French context):
The ornament known as moresque in the fifteenth and sixteenth centuries (but now more commonly called arabesque) is characterized by bifurcated scrolls composed of branches forming interlaced foliage patterns. These basic motifs gave rise to numerous variants, for example, where the branches, generally of a linear character, were turned into straps or bands. ... It is characteristic of the moresque, which is essentially a surface ornament, that it is impossible to locate the pattern's beginning or end. ... Originating in the Middle East, they were introduced to continental Europe via Italy and Spain ... Italian examples of this ornament, which was often used for bookbindings and embroidery, are known from as early as the late fifteenth century.[24]
Fuhring notes that grotesques were "confusingly called arabesques in eighteenth century France", but in his terminology "the major types of ornament that appear in French sixteenth century etchings and engraving ...can be divided into two groups. The first includes ornaments adopted from antiquity: grotesques, architectural ornaments such as the orders, foliage scrolls and self-contained elements such as trophies, terms and vases. A second group, far smaller than the first, comprises modern ornaments: moresques, interlaced bands, strapwork, and elements such as cartouches...", categories he goes on to discuss individually.[25]
The moresque or arabesque style was especially popular and long-lived in the Western arts of the book: bookbindings decorated in gold tooling, borders for illustrations, and printer's ornaments for decorating empty spaces on the page. In this field the technique of gold tooling had also arrived in the 15th century from the Islamic world, and indeed much of the leather itself was imported from there.[26] Small motifs in this style have continued to be used by conservative book designers up to the present day.
According to Harold Osborne, in France, the "characteristic development of the French arabesque combined bandwork deriving from the moresque with decorative acanthus foliage radiating from C-scrolls connected by short bars".[14] Apparently starting in embroidery, it then appears in garden design before being used in Northern Mannerist painted decorative schemes "with a central medallion combined with acanthus and other forms" by Simon Vouet and then Charles Lebrun who used "scrolls of flat bandwork joined by horizontal bars and contrasting with ancanthus scrolls and palmette."[27] More exuberant arabesque designs by Jean Bérain the Elder are an early "intimation" of the Rococo, which was to take the arabesque into three dimensions in reliefs.[28]
The use of "arabesque" as an English noun first appears, in relation to painting, in William Beckford's novel Vathek in 1786.[20] Arabesque is also used as a term for complex freehand pen flourishes in drawing or other graphic media. The Grove Dictionary of Art will have none of this confusion, and says flatly: "Over the centuries the word has been applied to a wide variety of winding and twining vegetal decoration in art and meandering themes in music, but it properly applies only to Islamic art",[29] so contradicting the definition of 1888 still found in the Oxford English Dictionary: "A species of mural or surface decoration in colour or low relief, composed in flowing lines of branches, leaves, and scroll-work fancifully intertwined. Also fig[uratively]. As used in Moorish and Arabic decorative art (from which, almost exclusively, it was known in the Middle Ages), representations of living creatures were excluded; but in the arabesques of Raphael, founded on the ancient Græco-Roman work of this kind, and in those of Renaissance decoration, human and animal figures, both natural and grotesque, as well as vases, armour, and objects of art, are freely introduced; to this the term is now usually applied, the other being distinguished as Moorish Arabesque, or Moresque."[30]

Design for a Cup for Jane Seymour, Hans Holbein the Younger and Workshop, 1536, with zones in both Islamic-derived arabesque or moresque style and classically-derived acanthus volutes



Arabesque or moresque ornament print, by Peter Flötner (d. 1546)



Arabesque or moresque borders in a print by Peter Flötner



Arabesque/moresque printers ornament, German, 17th century



French arabesque garden planting at Vaux-le-Vicomte, in low box hedges on pink gravel



Arabesque plasterwork in Ebersmunster, Alsace, ?1740s



Arabesque pen flourishes on a signature



French 18th century Neoclassical grotesque decor at Chateau de Fontainebleau; this would probably have been described as arabesque by its makers

[edit]See also

Arabesque (European art)
Islamic interlace patterns
Moresque
Mudéjar
[edit]Notes

^ John Fleming and Hugh Honour, Dictionary of the Decorative Arts (1977)
^ Tabbaa, 75-88; Canby, 26
^ Tabbaa's Chapter 4 gives an overview of these questions.
^ Tabbaa, 74-75
^ Rawson, 24-25; see also "“Style”—or whatever", J. Duncan Berry, A review of Problems of Style by Alois Riegl, The New Criterion, April 1993
^ Rawson, the subject of her book, see Preface, and Chapter 5 on Chinese influences on Persian art.
^ Tabbaa, 74-77
^ Tabbaa, 88
^ Canby, 20-21
^ Thompson, Muhammad; Begum, Nasima. "Islamic Textile Art: Anomalies in Kilims". Salon du Tapis d'Orient. TurkoTek. Retrieved 25 August 2009.
^ Alexenberg, Melvin L. (2006). The future of art in a digital age: from Hellenistic to Hebraic consciousness. Intellect Ltd. p. 55. ISBN 1-84150-136-0.
^ Backhouse, Tim. "Only God is Perfect". Islamic and Geometric Art. Retrieved 25 August 2009.
^ Richard Ettinghausen, Oleg Grabar, and Marilyn Jenkins-Madina, Islamic Art and Architecture, 650-1250. (New Haven: Yale UP, 2001), 66.
^ a b Osbourne, 34
^ Fuhring, 159
^ OED, "Arabesque":"1549 Inventory Henry VIII (1998) 25/2 Item one Cuppe of Agathe the fote and Couer of siluer and guilt enbossed with Rebeske worke";
^ "rebeske" being a now disused version of "arabesque", see OED, "Rebesk". Herne payment quoted in Erna Auerbach, Tudor painters, 1954; not in print OED
^ Marks, Richard and Williamson, Paul, eds. Gothic: Art for England 1400-1547, 156, 2003, V&A Publications, London, ISBN 1-85177-401-7. For other Renaissance ornament from Henry's court, see also no 13 on page 156, and pp. 144-145, 148-149.
^ OED, "Moresque", citing Cotgrave
^ a b OED, "Arabesque"
^ Larrouse dictionary
^ Osbourne, 34 (quoted), see also OED quoted below and Cotgrave - Osborne says the French usage begins in the "latter part of the 17th century" but in the following paragraphs describes a development beginning rather before this.
^ The Stones of Venice, chapter 1, para 26
^ Fuhring, 162
^ Fuhring, 155-156
^ Harthan, 10-12
^ Osbourne, 34-35
^ Osbourne, 35
^ Oxford Art Online, "Arabesque", accessed March 25, 2011
^ OED, printed and online editions (accessed March 2011)
Wikimedia Commons has media related to: Arabesque (Islamic art)
Wikisource has the text of the 1911 Encyclopædia Britannica article Arabesque.
[edit]References

Canby, Sheila, Islamic art in detail, US edn., Harvard University Press, 2005, ISBN 0-674-02390-0, ISBN 978-0-674-02390-1, google books
Fuhring, Peter, Renaissance Ornament Prints; The French Contribution, in Karen Jacobson, ed (often wrongly cat. as George Baselitz), The French Renaissance in Prints, 1994, Grunwald Center, UCLA, ISBN 096281622
Harthan, John P., Bookbinding, 1961, HMSO (for the Victoria and Albert Museum)
Rawson, Jessica, Chinese Ornament: The Lotus and the Dragon, 1984, British Museum Publications, ISBN 0-7141-1431-6
Osborne, Harold (ed), The Oxford Companion to the Decorative Arts, 1975, OUP, ISBN 0-19-866113-4
Tabbaa, Yasser, The transformation of Islamic art during the Sunni revival, I.B.Tauris, 2002, ISBN 1-85043-392-5, ISBN 978-1-85043-392-7, google books
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Categories: Iranian architectureArabic ArtArabic architectureArt genresVisual motifsMoorish architectureOrnamentsIslamic cultureIslamic architectural elementsIslamic art

قس آلمانی

The arabesque is a form of artistic decoration consisting of "surface decorations based on rhythmic linear patterns of scrolling and interlacing foliage, tendrils" or plain lines,[1] often combined with other elements. Within the very wide range of Eurasian decorative art that includes motifs matching this basic definition the term "arabesque" is used consistently as a technical term by art historians to describe only elements of the decoration found in two phases: Islamic art from about the 9th century onwards, and European decorative art from the Renaissance onwards. Arabesques are a fundamental element of Islamic art but they develop what was already a long tradition by the coming of Islam. The past and current usage of the term in respect of European art can only be described as confused and inconsistent. Some Western arabesques derive from Islamic art, but others are closely based on Ancient Roman decorations. In the West they are essentially found in the decorative arts, but because of the generally non-figurative nature of Islamic art arabesque decoration is there often a very prominent element in the most significant works, and plays a large part in the decoration of architecture.
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[edit]Islamic arabesque

The Islamic arabesque is a development of the Late Antique and Byzantine types of scrolling vegetal decoration that were inherited by Islam, and used with relatively little change in early Islamic art, for example in the famous 8th century mosaics of the Great Mosque of Damascus. The plants most often used are stylized versions of the acanthus, with its emphasis on leafy forms, and the vine, with an equal emphasis on twining stems. The evolution of these forms into a distinctive Islamic type was complete by the 11th century, having begun in the 8th or 9th century in works like the Mshatta Facade. Thereafter it was used very widely across the Islamic world, by no means just in Arabic-speaking areas, in many media for several centuries, and developed further. In the process of development the plant forms became increasing simplified and stylized.[2] Though the broad outline of the process is generally agreed, there is a considerable diversity of views held by specialist scholars on detailed issues concerning the development, categorization and meaning of the arabesque.[3] The detailed study of Islamic arabesque forms was begun by Alois Riegl in his formalist study Stilfragen: Grundlegungen zu einer Geschichte der Ornamentik (Problems of style: foundations for a history of ornament) of 1893, who in the process developed his influential concept of the Kunstwollen.[4] Riegl traced formalistic continuity and development in decorative plant forms from Ancient Egyptian art and other ancient Near Eastern civilizations through the classical world to the Islamic arabesque; while the Kunstwollen has few followers today, his basic analysis of the development of forms has been confirmed and refined by the wider corpus of examples known today.[5] Jessica Rawson has recently extended the analysis to cover Chinese art, which Riegl did not cover, tracing many elements of Chinese decoration back to the same tradition; the shared background helping to make the assimilation of Chinese motifs into Persian art after the Mongol invasion harmonious and productive.[6]
Claims are often made regarding the theological significance of the arabesque, and its origin in a specifically Islamic view of the world; however these are without support from written historical sources as, like most medieval cultures, the Islamic world has not left us documentation of their intentions in using the decorative motifs they did. At the popular level such theories often appear uninformed as to the wider context of the arabesque.[7] In similar fashion, proposed connections between the arabesque and Arabic knowledge of geometry remains a subject of debate; not all art historians are persuaded that such knowledge had reached, or was needed by, those creating arabesque designs, although in certain cases there is evidence that such a connection did exist.[8] The case for a connection with Islamic mathematics is much stronger for the development of the geometric patterns with which arabesques are often combined in art. Geometric decoration often uses patterns that are made up of straight lines and regular angles but are clearly derived as a whole from curvilinear arabesque patterns; the extent to which these too are described as arabesque varies between different writers.[9]
Many arabesque patterns disappear at (or "under" as it often appears to a viewer) a framing edge without ending, and thus can be regarded as infinitely extendable outside the space they actually occupy; this was certainly a distinctive feature of the Islamic form, though not without precedent. Most but not all foliage decoration in the preceding cultures terminated at the edge of the occupied space, although infinitely repeatable patterns in foliage are very common in the modern world in wallpaper and textiles.
Typically, in earlier forms there is no attempt at realism; no particular species of plant is being imitated, and the forms are often botanically impossible or implausible. "Leaf" forms typically spring sideways from the stem, in what is often called a "half-palmette" form, named after its distant and very different looking ancestor in Ancient Egyptian and Greek ornament. New stems spring from leaf-tips, a type often called honeysuckle, and the stems often have no tips, winding endlessly out of the space. The early Mshatta Facade is recognisably some sort of vine, with conventional leaves on the end of short stalks and bunches of grapes or berries, but later forms usually lack these. Flowers are rare until about 1500, after which they appear more often, especially in Ottoman art, and are often identifiable by species. In Ottoman art the large and feathery leaves called saz became very popular, and were elaborated in drawings showing just one or more large leaves. Eventually floral decoration mostly derived from Chinese styles, especially those of Chinese porcelain, replaces the arabesque in many types of work, such as pottery, textiles and miniatures.
Early evolution


Byzantine capital in Hagia Sophia - pre-Islamic



Mosaics on the Treasury Dome of the Great Mosque of Damascus, 789, still in essentially Byzantine style



Palace facade from Mshatta in Jordan, now in the Pergamon Museum, Berlin, c. ?740



Arabesque pattern at the Alhambra

Later development


Giant arabesque pattern on the dome of the Sheikh Lotfallah Mosque, Isfahan, 17th century



Tiled panel in the same mosque



Border decoration to an Ottoman miniature, early 16th century



Detail of 16th century Persian carpet

[edit]Significance in Islam


Arabesque pattern behind hunters on ivory plaque, 11th–12th century, Egypt
The arabesques and geometric patterns of Islamic art are often said to arise from the Islamic view of the world. The depiction of animals and people is generally discouraged, which explains the preference for merely geometric patterns.
There are two modes to arabesque art. The first recalls the principles that govern the order of the world. These principles include the bare basics of what makes objects structurally sound and, by extension, beautiful (i.e. the angle and the fixed/static shapes that it creates—esp. the truss). In the first mode, each repeating geometric form has a built-in symbolism ascribed to it. For example, the square, with its four equilateral sides, is symbolic of the equally important elements of nature: earth, air, fire and water. Without any one of the four, the physical world, represented by a circle that inscribes the square, would collapse upon itself and cease to exist. The second mode is based upon the flowing nature of plant forms. This mode recalls the feminine nature of life giving. In addition, upon inspection of the many examples of Arabesque art, some would argue that there is in fact a third mode, the mode of Arabic calligraphy.


Ottoman tughra of Suleiman the Magnificent, 1520, with flowers and saz leaves.
Instead of recalling something related to the 'True Reality' (the reality of the spiritual world), for the Muslim calligraphy is a visible expression of the highest art of all; the art of the spoken word (the transmittal of thoughts and of history). In Islam, the most important document to be transmitted orally is, of course, the Qur'an. Proverbs and complete passages from the Qur'an can be seen today in Arabesque art. The coming together of these three forms creates the Arabesque, and this is a reflection of unity arising from diversity (a basic tenet of Islam).
The arabesque can also be equally thought of as both art and science, some say. The artwork is at the same time mathematically precise, aesthetically pleasing, and symbolic. So due to this duality of creation, they say, the artistic part of this equation can be further subdivided into both secular and religious artwork. However, for many Muslims there is no distinction; all forms of art, the natural world, mathematics and science are all creations of God and therefore are reflections of the same thing - that is, God's will expressed through His Creation. In other words, man can discover the geometric forms that constitute the Arabesque, but these forms always existed before as part of God's creation, as shown in this picture.
There is great similarity between arabesque artwork from very different geographic regions. In fact, the similarities are so pronounced, that it is sometimes difficult for experts to tell where a given style of arabesque comes from. The reason for this is that the science and mathematics that are used to construct Arabesque artwork are universal. Therefore, for most Muslims, the best artwork that can be created by man for use in the Mosque is artwork that displays the underlying order and unity of nature. The order and unity of the material world, they believe, is a mere ghostly approximation of the spiritual world, which for many Muslims is the place where the only true reality exists. Discovered geometric forms, therefore, exemplify this perfect reality because God's creation has been obscured by the sins of man.
Mistakes in repetitions may be intentionally introduced as a show of humility by artists who believe only Allah can produce perfection, although this theory is disputed.[10][11][12] Arabesque art consists of a series of repeating geometric forms which are occasionally accompanied by calligraphy. Ettinghausen et al. describe the arabesque as a "vegetal design consisting of full...and half palmettes [as] an unending continuous pattern...in which each leaf grows out of the tip of another."[13] To the adherents of Islam, the Arabesque are symbolic of their united faith and the way in which traditional Islamic cultures view the world.
[edit]Western arabesque



The French sense of arabesque: Savonnerie carpet after Charles Le Brun for the Grande Galerie of the Louvre
The term was first used in the West in Italian, where rabeschi was used in the 16th century as a term for "pilaster ornaments featuring acanthus decoration,[14] specifically "running scrolls" that ran vertically up a panel or pilaster, rather than horizontally along a frieze.[15] From there it spread to England, where Henry VIII owned, in an inventory of 1549, an agate cup with a "fote and Couer of siluer and guilt enbossed with Rebeske worke",[16] and William Herne or Heron, Serjeant Painter from 1572 to 1580, was paid for painting Elizabeth I's barge with "rebeske work".[17] Unfortunately the styles so described can only be guessed at, although the design by Hans Holbein for a covered cup for Jane Seymour in 1536 (see gallery) already has zones in both Islamic-derived arabesque/moresque style (see below) and classically-derived acanthus volutes.[18]
Another related term is moresque, meaning "Moorish"; Randle Cotgrave's A Dictionarie of the French and English Tongues of 1611 defines this as: "a rude or anticke painting, or carving, wherin the feet and tayles of beasts, &c, are intermingled with, or made to resemble, a kind of wild leaves, &c."[19] and "arabesque", in its earliest use cited in the OED (but as a French word), as "Rebeske work; a small and curious flourishing".[20] In France "arabesque" first appears in 1546,[21] and "was first applied in the latter part of the 17th century" to grotesque ornament, "despite the classical origin of the latter", especially if without human figures in it - a distinction still often made, but not consistently observed,[22]
Over the following centuries the three terms grotesque, moresque and arabesque were used largely interchangeably in English, French and German for styles of decoration derived at least as much from the European past as the Islamic world, with "grotesque" gradually acquiring its main modern meaning, related more to Gothic gargoyles and caricature than to either Pompeii-style Roman painting or Islamic patterns. Meanwhile the word "arabesque" was now being applied to Islamic art itself, by 1851 at the latest, when John Ruskin uses it in The Stones of Venice.[23] Writers over the last decades have attempted to salvage meaningful distinctions between the words from the confused wreckage of historical sources.
Peter Furhring, a specialist in the history of ornament, says that (also in a French context):
The ornament known as moresque in the fifteenth and sixteenth centuries (but now more commonly called arabesque) is characterized by bifurcated scrolls composed of branches forming interlaced foliage patterns. These basic motifs gave rise to numerous variants, for example, where the branches, generally of a linear character, were turned into straps or bands. ... It is characteristic of the moresque, which is essentially a surface ornament, that it is impossible to locate the pattern's beginning or end. ... Originating in the Middle East, they were introduced to continental Europe via Italy and Spain ... Italian examples of this ornament, which was often used for bookbindings and embroidery, are known from as early as the late fifteenth century.[24]
Fuhring notes that grotesques were "confusingly called arabesques in eighteenth century France", but in his terminology "the major types of ornament that appear in French sixteenth century etchings and engraving ...can be divided into two groups. The first includes ornaments adopted from antiquity: grotesques, architectural ornaments such as the orders, foliage scrolls and self-contained elements such as trophies, terms and vases. A second group, far smaller than the first, comprises modern ornaments: moresques, interlaced bands, strapwork, and elements such as cartouches...", categories he goes on to discuss individually.[25]
The moresque or arabesque style was especially popular and long-lived in the Western arts of the book: bookbindings decorated in gold tooling, borders for illustrations, and printer's ornaments for decorating empty spaces on the page. In this field the technique of gold tooling had also arrived in the 15th century from the Islamic world, and indeed much of the leather itself was imported from there.[26] Small motifs in this style have continued to be used by conservative book designers up to the present day.
According to Harold Osborne, in France, the "characteristic development of the French arabesque combined bandwork deriving from the moresque with decorative acanthus foliage radiating from C-scrolls connected by short bars".[14] Apparently starting in embroidery, it then appears in garden design before being used in Northern Mannerist painted decorative schemes "with a central medallion combined with acanthus and other forms" by Simon Vouet and then Charles Lebrun who used "scrolls of flat bandwork joined by horizontal bars and contrasting with ancanthus scrolls and palmette."[27] More exuberant arabesque designs by Jean Bérain the Elder are an early "intimation" of the Rococo, which was to take the arabesque into three dimensions in reliefs.[28]
The use of "arabesque" as an English noun first appears, in relation to painting, in William Beckford's novel Vathek in 1786.[20] Arabesque is also used as a term for complex freehand pen flourishes in drawing or other graphic media. The Grove Dictionary of Art will have none of this confusion, and says flatly: "Over the centuries the word has been applied to a wide variety of winding and twining vegetal decoration in art and meandering themes in music, but it properly applies only to Islamic art",[29] so contradicting the definition of 1888 still found in the Oxford English Dictionary: "A species of mural or surface decoration in colour or low relief, composed in flowing lines of branches, leaves, and scroll-work fancifully intertwined. Also fig[uratively]. As used in Moorish and Arabic decorative art (from which, almost exclusively, it was known in the Middle Ages), representations of living creatures were excluded; but in the arabesques of Raphael, founded on the ancient Græco-Roman work of this kind, and in those of Renaissance decoration, human and animal figures, both natural and grotesque, as well as vases, armour, and objects of art, are freely introduced; to this the term is now usually applied, the other being distinguished as Moorish Arabesque, or Moresque."[30]

Design for a Cup for Jane Seymour, Hans Holbein the Younger and Workshop, 1536, with zones in both Islamic-derived arabesque or moresque style and classically-derived acanthus volutes



Arabesque or moresque ornament print, by Peter Flötner (d. 1546)



Arabesque or moresque borders in a print by Peter Flötner



Arabesque/moresque printers ornament, German, 17th century



French arabesque garden planting at Vaux-le-Vicomte, in low box hedges on pink gravel



Arabesque plasterwork in Ebersmunster, Alsace, ?1740s



Arabesque pen flourishes on a signature



French 18th century Neoclassical grotesque decor at Chateau de Fontainebleau; this would probably have been described as arabesque by its makers

[edit]See also

Arabesque (European art)
Islamic interlace patterns
Moresque
Mudéjar
[edit]Notes

^ John Fleming and Hugh Honour, Dictionary of the Decorative Arts (1977)
^ Tabbaa, 75-88; Canby, 26
^ Tabbaa's Chapter 4 gives an overview of these questions.
^ Tabbaa, 74-75
^ Rawson, 24-25; see also "“Style”—or whatever", J. Duncan Berry, A review of Problems of Style by Alois Riegl, The New Criterion, April 1993
^ Rawson, the subject of her book, see Preface, and Chapter 5 on Chinese influences on Persian art.
^ Tabbaa, 74-77
^ Tabbaa, 88
^ Canby, 20-21
^ Thompson, Muhammad; Begum, Nasima. "Islamic Textile Art: Anomalies in Kilims". Salon du Tapis d'Orient. TurkoTek. Retrieved 25 August 2009.
^ Alexenberg, Melvin L. (2006). The future of art in a digital age: from Hellenistic to Hebraic consciousness. Intellect Ltd. p. 55. ISBN 1-84150-136-0.
^ Backhouse, Tim. "Only God is Perfect". Islamic and Geometric Art. Retrieved 25 August 2009.
^ Richard Ettinghausen, Oleg Grabar, and Marilyn Jenkins-Madina, Islamic Art and Architecture, 650-1250. (New Haven: Yale UP, 2001), 66.
^ a b Osbourne, 34
^ Fuhring, 159
^ OED, "Arabesque":"1549 Inventory Henry VIII (1998) 25/2 Item one Cuppe of Agathe the fote and Couer of siluer and guilt enbossed with Rebeske worke";
^ "rebeske" being a now disused version of "arabesque", see OED, "Rebesk". Herne payment quoted in Erna Auerbach, Tudor painters, 1954; not in print OED
^ Marks, Richard and Williamson, Paul, eds. Gothic: Art for England 1400-1547, 156, 2003, V&A Publications, London, ISBN 1-85177-401-7. For other Renaissance ornament from Henry's court, see also no 13 on page 156, and pp. 144-145, 148-149.
^ OED, "Moresque", citing Cotgrave
^ a b OED, "Arabesque"
^ Larrouse dictionary
^ Osbourne, 34 (quoted), see also OED quoted below and Cotgrave - Osborne says the French usage begins in the "latter part of the 17th century" but in the following paragraphs describes a development beginning rather before this.
^ The Stones of Venice, chapter 1, para 26
^ Fuhring, 162
^ Fuhring, 155-156
^ Harthan, 10-12
^ Osbourne, 34-35
^ Osbourne, 35
^ Oxford Art Online, "Arabesque", accessed March 25, 2011
^ OED, printed and online editions (accessed March 2011)
Wikimedia Commons has media related to: Arabesque (Islamic art)
Wikisource has the text of the 1911 Encyclopædia Britannica article Arabesque.
[edit]References

Canby, Sheila, Islamic art in detail, US edn., Harvard University Press, 2005, ISBN 0-674-02390-0, ISBN 978-0-674-02390-1, google books
Fuhring, Peter, Renaissance Ornament Prints; The French Contribution, in Karen Jacobson, ed (often wrongly cat. as George Baselitz), The French Renaissance in Prints, 1994, Grunwald Center, UCLA, ISBN 096281622
Harthan, John P., Bookbinding, 1961, HMSO (for the Victoria and Albert Museum)
Rawson, Jessica, Chinese Ornament: The Lotus and the Dragon, 1984, British Museum Publications, ISBN 0-7141-1431-6
Osborne, Harold (ed), The Oxford Companion to the Decorative Arts, 1975, OUP, ISBN 0-19-866113-4
Tabbaa, Yasser, The transformation of Islamic art during the Sunni revival, I.B.Tauris, 2002, ISBN 1-85043-392-5, ISBN 978-1-85043-392-7, google books
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Categories: Iranian architectureArabic ArtArabic architectureArt genresVisual motifsMoorish architectureOrnamentsIslamic cultureIslamic architectural elementsIslamic art


قس آلمانی

Die Arabeske (arabisch ‏زخرفة عربیة‎, DMG zaḫrafa ʿarabīya ‚arabische Verzierung‘) ist ein Ornament, das ursprünglich aus der islamischen Kunst stammt.
Inhaltsverzeichnis [Anzeigen]
Die Musterung [Bearbeiten]

Eine Arabeske besteht aus ineinander verschlungenen Linien streng stilisierter Pflanzenranken. Der Name leitet sich aus der ursprünglich häufigen Verbindung mit arabischen Schriftzeichen ab.
Die Arabeske entwickelte sich aus dem assyrischen Rankenornament. Im 16. Jahrhundert kam sie mit der maurischen Kunst über Spanien nach Europa und wurde dort zu der klaren und einfacheren Form der Maureske umgebildet. Besonders eindrucksvolle Arabesken befinden sich in vielen Sälen der Alhambra in Granada.


Arabeske als Teil eines größeren Ornamentsystems
Verwendung findet das Muster in Stuck, der Buchmalerei, als Stoffmuster und ähnlichem.
Heraldik [Bearbeiten]

Arabesken haben auch Einzug in die Heraldik gefunden. Wappenfelder werden oft, wenn kein Heroldsbild dargestellt wird, mit diesen Ornamenten unter der Bezeichnung Damaszierung aufgefrischt.[1] Sie müssen aber bei der Blasonierung (Wappenbeschreibung) nicht unbedingt erwähnt werden. Sie sind weder Wappenbild, noch stellen sie eine Wappenveränderung dar und besitzen lediglich dekorativen Charakter. Die Darstellungsart ist der Zeitepoche angepasst. Im Mittelalter waren es einfache regelmäßige Figuren, wie beispielsweise Kreuze und Mäander. In der Renaissance wurden es schwungvolle und verschnörkelte Gebilde, die im Wappenfeld symmetrisch eingebracht wurden. Es waren oft stilisierte Nachempfindungen von Pflanzenranken, wie die Raute oder die Weinpflanze genommen.
Das Regalienfeld wird in der Regel damasziert dargestellt: Rotes Feld mit schwarzer, silberner oder goldener Zier.

Damaszierung mit geometrischen Figur



Damaszierung im unteren Wappenteil



damaszierte Rauten



damaszierte Felder

Militärwesen [Bearbeiten]

In deutschsprachigen Streitkräften wurden die Kragenspiegel, als Teil der Rangabzeichen oder Distinktion, hochrangiger Militärs, beispielsweise der Dienstgradgruppe der Generale, als Arabeske bezeichnet.


Arabeske eines Generalfeldmarschalls der Wehrmacht 1933-1945.


Arabeske Generäle des Heeres 1933-1945.


Arabeske eines Feldmarschalls der K.u.K. Armee.
Weblinks [Bearbeiten]

Wiktionary: Arabeske – Bedeutungserklärungen, Wortherkunft, Synonyme, Übersetzungen
Commons: Arabesken (Ornamente) – Sammlung von Bildern, Videos und Audiodateien
Commons: Arabesken in der Heraldik (diapré) – Sammlung von Bildern, Videos und Audiodateien
Quellen [Bearbeiten]

↑ http://www.beyars.com/lexikon/lexikon_291.html
Kategorien: OrnamentHeraldikIslamische Kunst

قس فرانسه

Sens premier: L’arabesque est un ornement identifié en Occident au xve siècle comme caractéristique des Arts de l'Islam et qui se trouve aussi dans d'autres cultures. Cet ornement graphique ou en relief, peut être conçu et réalisé dans tous les médiums visuels des Beaux Arts et des Arts Décoratifs qui s'appliquent éventuellement dans les revêtements de l'architecture, au mobilier ou au arts textiles. Son caractère ornemental provient d'effets de symétries ou de jeux de courbes qui évoquent des formes végétales, souvent entrelacées. Ces motifs sont parfois composés aussi de figures fantaisistes ou réelles stylisées (la représentation de ces dernières étant déconseillée par l'Islam on les trouve d'autant plus rarement dans l'art islamique).
Deuxième sens : ligne sinueuse. Dans le monde Occidental imprégné de l'héritage orientaliste le terme peut désigner des jeux de courbes libres, souples, flexibles en valorisant la sensualité et l'énergie générées par des courbes et contre-courbes provenant du monde végétal et plus généralement de la nature vivante mais de manière très stylisée.
Sommaire [afficher]
Dans l'art islamique[modifier]


Boîte de Zamora, hauteur : 17,7 cm, diamètre : 11 cm, ivoire et nielle (daté 964), Califat de Cordoue, Musée archéologique national de Madrid.


Tondino à décor bleu et blanc de spirales, céramique d'Iznik siliceuse à décor peint sur engobe sous glaçure plombifère. Musée des beaux-arts de Lyon


Lunette décorée en céramique d'Iznik (1570-1575), provenance mosquée Piyale Pasha (en) (architecte Sinan, Istanbul, Victoria and Albert Museum.


Lampas aux lapins. Soie et or. Iran ou Irak (xive siècle), Musée de Cluny.
L'arabesque est l'une des particularités de l'art décoratif islamique et fut identifiée sous ce nom en Occident. Le choix des formes stylisées en structures plus ou moins géométriques et le choix de leur agencement découle d'une vision du monde propre à l'univers islamique. Pour un musulman, ces formes constituent des motifs dont la répétition s'étend au-delà du monde matériel visible : elles symbolisent la nature infinie - et dépourvue de centre - de la création. Comme l'iconographie chrétienne, l'arabesque en terre d'Islam est donc l'expression d'une spiritualité.
Termes techniques connexes
Les arabesques, évoquant des feuilles et des fleurs entrelacées, peuvent être réalisées par des techniques utilisées dans l'ornementation des palais islamiques, tels le stuc, souvent ciselé, éventuellement peint ou les zelliges. Mais la céramique, les arts du métal, ciselé ou travaillé au repoussé ou recouvert d'émaux champlevés ou cloisonnés ou de nielle et l'ivoire travaillé.
Dans la culture occidentale[modifier]


Arabesque de Jean Bérain père (seconde moitié du xviie siècle).


Détail de style Rococo, église conventuelle catholique Saint Alto et Sainte Birgitta dans l'Altomünster, arrondissement de Dachau (Bavière), travail de Jakob Rauch (1718 – vers1785).


Première page de The Nature of Gothic, de John Ruskin, composée en Golden Type, mouvement Arts and Crafts, Kelmscott Press.


Art Nouveau, École de Nancy : vase à la libellule, pâte de verre, Émile Gallé (1900-1902).
L'arabesque ou mauresque : malgré la présence musulmane en Espagne, c'est par les rapports commerciaux entre le Moyen-Orient et Venise que s'introduit dans l'art occidental, à la Renaissance italienne, le terme d'arabesque (bien que le terme d'entrelacs soit déjà utilisé). Il pouvait s’écrire aussi rabesques (Synonyme de moresque, aussi écrit mauresque, venant des Maures), il suggère clairement l’origine musulmane du motif.
Si on en trouve trace dès 1308-1311 dans les tableaux de Duccio à Sienne, il faudra attendre le xve siècle pour que le genre se diffuse dans les tableaux des peintres vénitiens Cima da Conegliano (1460-1465), Vittore Carpaccio (1525-1526) et Palma le Vieux. À partir de cette époque, on rencontre les arabesques dans les illustrations de livres, frappées sur les reliures, peintes sur la faïence, brodées sur les costumes, décorant des tapisseries et des objets en métal.
Utilisée dans les plats des reliures des livres décorés à la feuille d’or appelé alla damaschina (comme un damasquinage) en Italie, les moresques seront utilisées en France dans les livres reliés pour le roi Louis XII (vers 1510) et le premier livre entièrement consacré aux mauresques est celui du Florentin établi en France, Francesco Pellegrino (1530) et ensuite, d'une façon originale en Europe, dans l'ornementation des illustrations des livres par les éditeurs de Lyon et de Paris : les encadrements de moresques par B. Salomon dès 1547 pour des livres publiés à Lyon celui de G. Paradin, Memoriae nostrae, (1548), La Métamorphose d’Ovide figurée, par Jean de Tournes (1557). Jacques Androuet du Cerceau (1563) en regroupera l'essentiel dans ses estampes.
En Allemagne et en Angleterre, sont publiés des livres de modèles, en partie copiés d’après les Italiens.
Ensuite, au xviiie siècle une confusion s'installe avec les grotesques (pourtant différentes par leur usage de figures humaines et animales, voire chimériques) et en détournera l'usage du mot arabesque ; ainsi dans les catalogues de vente, les dessins de grotesques des élèves de Raphaël sont décrits comme arabesques.
Aux xixe et xxe siècles, le nom d’arabesque est donné à tous modèles de jeu de lignes et il est recommandé d'utiliser le mot « moresque » pour éviter les confusions.
L'arabesque, comme ligne sinueuse et comme jeu de courbes et contre-courbes, est un motif très employé dans les arts décoratifs et dans les beaux-arts de style Art Nouveau à la fin du xixe et au début du xxe siècle, à tel point qu'elle en constitue un trait caractéristique essentiel.
C'est à tort que l'expression d'arabesque est appliquée aux frises des édifices ou des objets des époques héllénistique et romaine, ou dérivés stylistiquement dans l'architecture du monde moderne, néoclassique et des styles historiques et éclectiques du xixe siècle, le mot « rinceau » est le seul qui puisse caractériser ces enroulements réguliers1.
Voir aussi[modifier]

Figures géométriques arabes
Motifs décoratifs de l'art islamique
Motifs décoratifs de l'art perse
Rinceau
Bibliographie[modifier]

Arabesques : Panneaux décoratifs de la Renaissance, Paris, Les éditions du Carrousel, 1999, 93 p. (ISBN 2-7456-0229-2).
Jules Adeline, Lexique des termes d'art, Canada, Guérin, 1997, 419 p. (ISBN 2-7601-4620-0).
Réimpr. anastatique d'un ouvrage de la fin du XIXe siècle non daté
.
Aloïs Riegl, Questions de style. Fondements d'une histoire de l'ornementation, Paris, Hazan, 1992, 2002, 289 p. (ISBN 2-85025-831-8).
Réédition d'une traduction des Stilfragen publiées en Allemand en 1893. Pages 207 - 275 : « Le rinceau ornemental sarrazin ».
On pourra aussi se reporter à la bibliographie succincte de l'article Arts de l'Islam, et la Bibliographie détaillée concernant l'art islamique.
Références[modifier]

↑ Adeline 1997, p. 23
Liens externes[modifier]

L'association Elvira et l'artiste Santamaria, organisateurs du Festival de l'Arabesque à Prayssac en 2000
Matériaux décoratifs du Maroc
Portail de l’architecture et de l’urbanisme Portail de la peinture Portail de la sculpture
Catégories : Élément d'architectureOrnementationArts d'IslamMotif

قس اسپانیائی
El arabesco o ataurique (del árabe "توریق", tawrīq, "follaje") hace referencia a un adorno de formas geométricas y patrones extravagantes que imita formas de hojas, flores, frutos, cintas, animales, y aparece frecuentemente en las paredes de ciertas construcciones árabes, como las mezquitas.
Ejemplos de decoración con arabesco es el Mihrab de la Mezquita de Córdoba o la Alhambra de Granada. También se empleó en el arte mudéjar, como se puede contemplar en la fachada del palacio de Pedro I, del Alcázar de Sevilla.
No obstante, el arabesco es mucho más antiguo que el arte islámico. Aparece en monumentos egipcios y asirios; también en algunos etruscos, griegos y romanos. En la Edad Media, se utilizó en toda clase de adornos, y en el Renacimiento fue muy usado en Italia.
[editar]Véase también

Arte islámico
[editar]Enlaces externos

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Categoría: Ornamentos arquitectónicos

قس ایتالیائی

El arabesco o ataurique (del árabe "توریق", tawrīq, "follaje") hace referencia a un adorno de formas geométricas y patrones extravagantes que imita formas de hojas, flores, frutos, cintas, animales, y aparece frecuentemente en las paredes de ciertas construcciones árabes, como las mezquitas.
Ejemplos de decoración con arabesco es el Mihrab de la Mezquita de Córdoba o la Alhambra de Granada. También se empleó en el arte mudéjar, como se puede contemplar en la fachada del palacio de Pedro I, del Alcázar de Sevilla.
No obstante, el arabesco es mucho más antiguo que el arte islámico. Aparece en monumentos egipcios y asirios; también en algunos etruscos, griegos y romanos. En la Edad Media, se utilizó en toda clase de adornos, y en el Renacimiento fue muy usado en Italia.
[editar]Véase también

Arte islámico
[editar]Enlaces externos

Wikimedia Commons alberga contenido multimedia sobre Arabesco.
Ver las calificaciones de la página
Evalúa este artículo
¿Qué es esto?
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Objetivo
Completo
Bien escrito
Estoy muy bien informado sobre este tema (opcional)

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Categoría: Ornamentos arquitectónicos