Perennial Values in Islamic Art
Perennial Values in Islamic Art
|نويسنده : تيتوس بوركهارت | |
|منبع : Studies in Comparative Religion, Vol. 1, No. 3. | |
|زبان : انگليسي |نسخه قابل چاپ |
|تاريخ درج مقاله : چهارشنبه 28 آذر 1386 |[pic] |
|موضوعات مقاله : هنر سنتي | |
|MUCH has been written about the formation of Islamic art from pre-existing elements, of Byzantine, Persian, Hindu and |
|Mongolian origin. But very little has been said about the nature of the power which wrought all those various elements into |
|a unique synthesis. Nobody will deny the unity of Islamic art, either in time or in space; it is far too evident: whether |
|one contemplates the mosque of Cordoba or the great madrasah of Samarkand, whether it be the tomb of a saint in the Maghreb |
|or one in Chinese Turkestan, it is as if one and the same light shone forth from all these works of art. What then is the |
|nature of this unity? The religious law of Islam does not prescribe any particular forms of art; it merely restricts the |
|field of their expression, and restrictions are not creative in themselves. On the other hand, it is misleading, to say the |
|least, if one simply attributes this unity to "religious feeling" as one often does. However intense an emotion may be, it |
|will never be able to shape a whole world of forms into a harmony which is at the same time rich and sober, overwhelming and|
|precise. It is not by chance that the unity and regularity of Islamic art reminds us of the law working in crystals: there |
|is something that evidently surpasses the
|نويسنده : تيتوس بوركهارت | |
|منبع : Studies in Comparative Religion, Vol. 1, No. 3. | |
|زبان : انگليسي |نسخه قابل چاپ |
|تاريخ درج مقاله : چهارشنبه 28 آذر 1386 |[pic] |
|موضوعات مقاله : هنر سنتي | |
|MUCH has been written about the formation of Islamic art from pre-existing elements, of Byzantine, Persian, Hindu and |
|Mongolian origin. But very little has been said about the nature of the power which wrought all those various elements into |
|a unique synthesis. Nobody will deny the unity of Islamic art, either in time or in space; it is far too evident: whether |
|one contemplates the mosque of Cordoba or the great madrasah of Samarkand, whether it be the tomb of a saint in the Maghreb |
|or one in Chinese Turkestan, it is as if one and the same light shone forth from all these works of art. What then is the |
|nature of this unity? The religious law of Islam does not prescribe any particular forms of art; it merely restricts the |
|field of their expression, and restrictions are not creative in themselves. On the other hand, it is misleading, to say the |
|least, if one simply attributes this unity to "religious feeling" as one often does. However intense an emotion may be, it |
|will never be able to shape a whole world of forms into a harmony which is at the same time rich and sober, overwhelming and|
|precise. It is not by chance that the unity and regularity of Islamic art reminds us of the law working in crystals: there |
|is something that evidently surpasses the