ISLAMIC ARTS/ Seni Islam (Merged: zal_cool, Syd)

fleurzsa · Post time 18-8-2004 07:45 AM

I rasa tak ramai yg tahu ttg konsep Kesenian Islam...

Kalo boleh I tak mahu bukak topik yg berat2 dlm board ni...  tapi bukak topik yg santai pun org segan nak respon.

So I ambil kesimpulan bhw  masyarakat rantau ini kurang berminat kpd aspek2 budaya dan kesenian yg dianggap sukar dan asing.

I teruskan kpd topik.....

Tradisi kesenian Islam yg awal lebih cenderung ke arah menyatakan atau luahan fikiran.... bukan semata2 mengisi ruang dlm penjelmaan motif2 hiasan.  Malahan terkandung konsep dan falsafah yg berteraskan kpd prinsip tauhid.

Kepekaan kita terhadap prinsip ini bukanlah tidak berasas.  Seniman2 Islam memang tlh menyedari hakikat nilai estetik adalah sebahagian padu dr pancaran kefahaman keagamaan kita.

Penjelmaan bentuk2 geometri, motif tumbuh2an dan kaligrafi adalah alternatif kpd larangan menggambar yg disebut oleh hadith2.  Pengolahan eksperimental dlm reka cipta bentuk2 geometri dan hiasan bermotifkan tumbuh2an dpt menghasilkan kesenian yg harmoni dan mempunyai nilai yg tinggi.

Arabes dr sudut terminologi lebih kpd penggunaan corak2 hiasan yg berulang dan bertindih.  Ia tlh menjadi unsur penting dlm seni hias Eropah dr abad ke 16 sehingga ke 17M.

揂rabes merupakan unsur utama seni bina Islam sepanjang zaman dan merupakan objek yg kedapatan di seluruh dunia

fleurzsa · Post time 18-8-2004 07:49 AM

Arabes lahir dlm satu budaya dan tamadun yg umat awalnya mahir dlm berbagai ilmu matematik, logik, astronomi, kosmologi, seni bina yg kesemuanya menjadi sumber pertalian estetika.

Seniman2 Islam dikenali sbg ahli sufi, ahli sosiologi, ahli matematik dan ahli falsafah.

Keutamaan Arabes dlm seni Islam berasaskan bahawa arabes menjadi tema asasi dlm berbg aspek kesenian. Termasuklah kepelbagaian teknik dan kepelbagaian bahan samada yg pejal atau elastik.

Selain bentuk, idea merupakan aspek penting yg perlu dipertimbangkan dlm penjelmaan pelbagai motif dlm arabes.  Idea la yg melahirkan pernyataan kreativiti seniman Islam dlm percubaan dan usaha mereka menggali dr al Quran dan Hadith.

Al Quran dan Hadith memimpin umat Islam menggunakan akal dan kreativiti bg mereka melahirkan karya seni yg indah.

Idea yg tersirat dan terselah dr jalinan motif2 tumbuh2an, kaligrafi dan geometri melampaui  alam zahir dan alam hakiki.  Penuh dgn motif2 yg diterjemahkan ke dlm makna.

揂ku merenung wajah bentuk (surat) dgn mata zahirku, sebab dlm bentuk ada bekas dr makna.  Ini adalah alam bentuk dan kita semua dlm bentuk2.  Makna tidak boleh dipandang kecuali melalaui bentuk.

mok_nik · Post time 18-8-2004 09:57 AM

Menarik topik untuk dibincangkan. Mok nik rasa elok Za :-

1. Menerangkan dan menggambarkan pandangan semesta tawhidi sebagai penentu konsep seni Islam.
2. Menerangkan prinsip-prinsip dan fungsi kesenian Islam.
3. Menjelaskan jenis-jenis kesenian Islam.

sebabnya masih ramai yang kabur tentang konsep kesenian dalam Islam ini.

mbhcsf · Post time 23-8-2004 06:51 PM

cuba terangkan akak apakah ada perbezaan antara seni barat Vs seni islam..
ARt for art sake? art for the society?
sejauh mana penghayatan ttg apa yg dilabel sebagai seni itu dihayati oleh pengkaryanya ...

dan apakah definisi SENI.....selain yer lah halus indah enak....huh ini baru intellectual discourse................................bless you...............

fleurzsa · Post time 24-8-2004 06:29 AM

Definisi Seni Islam

Seni Islam meliputi semua hasil ciptaan yang dihasilkan melalui kemahiran2, mempunyai nilai estetika dan menyampaikan keputusan Islam tidak kira samada digunakan untuk tujuan keagamaan atau tidak.

Sabda Nabi saw,

慡esungguhnya Allah itu Maha Indah dan Dia suka kepada keindahan

mok_nik · Post time 25-8-2004 09:46 AM

Za..dalam banyak2 jenis2 seni Islam tuh mok nik tak jelas mengenai Arabes. Bolehkah dijelaskan apakah Arabes ini. Adakah ia sama dgn kaligrafi? Mok nik lihat image Arabes hampir sama dgn kaligrafi...

mbhcsf · Post time 25-8-2004 02:25 PM

salam..nak tengok seni arabes? arabesque -
Mok Nik boleh tengok kat memana corak masjid yg ada bentuk geometri lepas tu Mk boleh lah tengok with your acute observation iaitu you zoom lah your eyes kat all the coraks dalam bentuk geometri tu sendiri ..anda akan dapati selalunyalah ada corak bunga berlingkat ker or anything yg bersifat ukiran yg berulangan, repeated motif..haa..itulah arabes...itu ada falsafahnya yg tersendiri yg mempamerkan ciri ISlamik ttg KETUHANAN- iaitu ...ia berulang kan..tak der permulaan atau pengakhiran kan? so itulah juga sifat -sifat Al - HAKIm , Al - KAMAl...
haa itulah arabesque.....with que....

mok_nik · Post time 25-8-2004 07:50 PM

thanks mbhcf...mok nik noticed that...but it's not quite different betwen arabesque and kaligrafi..

[ Last edited by mok_nik on 25-8-2004 at 12:00 PM ]

mbhcsf · Post time 26-8-2004 07:03 PM

kaligrafi - the word itself is derived from a Greek work " kalios" meaning - cantik , indah , beautiful..

tapi Syeikh syamsuddin Al - Afkani define kaligrafi as a piece of knowledge concerning the way you introducing the letter, susun atur, gubah ejaan  apa yg digubah and how to  gubah and how to do any tulisan berbentuk kaligarafi dlm garis lurus  something like that lah..

kaligrafi lain termasuk tulisan Chinese writing , latin arabs

dalam Islam seni khat yg diletal sebagai tulisan yg tertinggi sbb ialah , untuk menulis Kalamullah..

khattat - adalah org yg buat tulisan khat  in arabic linguage

khat yg tertua dipanggil khat Khat Kufi . why.. well it is  based at Kufah  - tempat pemerintahan K jaan Islam during the reign of Kalifah Ali bin Abi TAlib..

lepas tu ade lah beberapa org improvised - jadi khat nasakh , and the likes.. nama  nama ni famous Al - Albdullah  Al Hassan , Al wazir Al - ......

fleurzsa · Post time 27-8-2004 10:13 PM

By mok_nik

1. Menerangkan dan menggambarkan pandangan semesta tawhidi sebagai penentu konsep seni Islam.

Seni Islam menginsafi peranan tauhid.  Tauhid memastikan 2 kedudukan iaitu Allah diatas dan manusia di bawah.  Memisahkan kedudukan Tuhan daripada manusia.

Seniman Islam itu adalah alat kepada Ketuhanan.  Dicipta oleh Allah.  Mengabdikan kepada Allah.  Tidak menjadi alat untuk diri dan tujuan sendiri.

Seni adalah proses pencarian dalam alam semulajadi.  Bukannya meniru alam semulajadi yang sudah tercipta.

Seni Islam tidak berminat pada sifat manusia tetapi pada kebesaran Illahi.  Oleh itu figura manusia tidak dibincangkan dari segi estetika.

Dalam seni Islam berlaku bentuk baru.  Ia original dan unik. Tiada naturalisma dalam Islam. Tidak boleh melukis objek secara natural atau nyata tetapi boleh dilakukan secara stailisasi.

Anti Naturalisma di sini bermaksud menolak peniruan alam semulajadi.  Kerana sifat alam  semulajadi itu tidak kekal.  Naturalisma adalah sejenis penipuan yang mengajak manusia menikmati sesuatu yang palsu.

Contohnya: Potret yang menyerupai model asal itu sebenarnya adalah salinan yang boleh mengelirukan.

Seniman haruslah mencungkil essence (intipati) di dalam nature lantas memberikan bentuk kepada essence tersebut.  Cara memberi bentuk ialah dengan menstailisasikan alam benda.

Oleh itu seniman cenderung mencipta seni baru secara stailisasi.  berlaku pemiuhan dalam imej iaitu hilang sifat asal dan sukar untuk dikenali.  Contohnya, dalam arabes di mana flora digabungkan dengan geometri. Ini menerangkan mengapa karya seni Islam adalah abstrak.

Arabes adalah corak yang tidak terbatas.  Iaitu pengulangan tanpa kesudahan.

fleurzsa · Post time 27-8-2004 10:15 PM

Perkembangan arabes sebagai satu cabang kesenian yg penting tlh menjalar ke seluruh dunia Islam hingga ke Eropah.  Ia tlh berkembang di Syria, Afrika Utara dan Parsi pd abad ke 8 M, di Mesir pd abad ke 9 M, di Andalusia dan India pd abad ke 11 M dan di Turki pd abad ke 15 M.

Arabes yg bermotifkan daun anggur dan bentuk coprnucopia tlh mula berkembang pd zaman kerajaan Umaiyah, kemudian semankin matang di bwh pemerintahan Abbasiyah pd abad ke 9 M.

Arabes atau corak yg tidak terbatas mempunyai gaya yg khas merujuk daerah munculnya kesenian ini.  Mesir lebih menggayakan motif2 berunsur geometri bentuk2 binatang yg di bawa dr Afrika Utara, Andalusia dan Turki.  Seni hias Mesir disebut Saracenic.

Gaya bebas bebas motif tumbuh2an dikembangkan di Parsi pd permaidani, hiasan mimbar dan manuskrip.

Perbezaan ini disebabkan oleh falsafah pendekatan fahaman Islam di Mesir adalah ketat, manakala di Parsi ia lebih menekankan rasionaliti.  Hubungan yg sama boleh dilihat dr analisa Ibnu Sina terhadap bentuk geometri yg disifatnya sbg ketat manakala bulat sbg kelembutan.

Mores juga istilah yg menerangkan corak2 hiasan awal berdaun yg mempunyai dasar yg sama spt arabes dlm hubungannya dgn motif2 tumbuhan.  Ia berasal dr Damsyik dan berkembang ke Mesopotamia, parsi dan Syria.  Kemudian berkembang di Sepanyol akhir abad ke 15 M.  Ia sama spt arabes dan mempunyai pengaruh di Eropah.

Utk memahami arabes sbg satu makna dpt kita fahami dr kenyataan oleh Heather Colyer Rose:

Pada hakikiatnya, arabes merupakan garis ornament dgn bentuk berbelit/berlingkar berasaskan geometri sepenuhnya dgn kepelbagaian sudut, gerak atau berasaskan lengkungan/lingkaran yg harmoni; berbentuk daun, bunga atau haiwan.

Bersambung

fleurzsa · Post time 27-8-2004 10:20 PM

Ia memberi gambaran tentang corak yang tak terbatas.. Selalunya corak dari motif tumbuhan dan geometri..

Contoh2:

Sumber alam.

Sumber kaligrafi.

Sumber alam dan geometri.

Corak arabes pada barang gunaan.

[ Last edited by fleurzsa on 27-8-2004 at 10:27 PM ]

Show all posts · Post time 1-2-2005 09:47 AM

Introduction

Islamic art is perhaps the most accessible manifestation of a complex civilization that often seems enigmatic to outsiders. Through its brilliant use of color and its superb balance between design and form, Islamic art creates an immediate visual impact. Its strong aesthetic appeal transcends distances in time and space, as well as differences in language, culture, and creed. Islamic art not only invites a closer look but also beckons the viewer to learn more. For an American audience a visit to the Islamic galleries of a museum such as the Los Angeles County Museum of Art can represent the first step toward penetrating the history of a religion and a culture that are often in the news but are little understood.

Intended as a general introduction to Islamic art, it draws upon examples from the museum抯 comprehensive collection, which includes works from an area extending from southern Spain to Central Asia, ranging in date from the seventh through the nineteenth century. The text is designed for readers who seek to go beyond the obvious surface beauty of Islamic art to discover the rich historical and cultural traditions from which this art emerged.

The term Islamic art may be confusing to some. It not only describes the art created specifically in the service of Islam, but it also characterizes secular art produced in lands under Islamic rule or influence, whatever the artist抯 or the patron抯 religious affiliation. The term suggests an art unified in style and purpose, and indeed there are certain common features that distinguish the arts of all Islamic lands. Although this is a highly dynamic art, which is often marked by strong regional characteristics as well as by significant influences from other cultures, it retains an overall coherence that is remarkable given its vast geographic and temporal boundaries. Of paramount concern to the development of this singular art is Islam itself, which fostered the creation of a distinctive visual culture with its own unique artistic language.

Calligraphy is the most important and pervasive element in Islamic art. It has always been considered the noblest form of art because of its association with the Qur抋n, the Muslim holy book, which is written in Arabic. This preoccupation with beautiful writing extended to all arts梚ncluding secular manuscripts; inscriptions on palaces; and those applied to metalwork, pottery, stone, glass, wood, and textiles梐nd to non-Arabic-speaking peoples within the Islamic commonwealth whose languages梥uch as Persian, Turkish, and Urdu梬ere written in the Arabic script.

Another characteristic of Islamic art is a preference for covering surfaces with patterns composed of geometric or vegetal elements. Complex geometric designs, as well as intricate patterns of vegetal ornament (such as the arabesque), create the impression of unending repetition, which is believed by some to be an inducement to contemplate the infinite nature of God. This type of nonrepresentational decoration may have been developed to such a high degree in Islamic art because of the absence of figural imagery, at least within a religious context.

Contrary to a popular misconception, however, figural imagery is an important aspect of Islamic art. Such images occur primarily in secular and especially courtly arts and appear in a wide variety of media and in most periods and places in which Islam flourished. It is important to note, nevertheless, that representational imagery is almost invariably restricted to a private context. Figurative art is excluded from the decoration of religious monuments. This absence may be attributed to an Islamic antipathy toward anything that might be mistaken for idols or idolatry, which are explicitly forbidden by the Qur抋n.

In Islamic cultures the so-called decorative arts provide the primary means of artistic expression, in contrast to Western art, in which painting and sculpture are preeminent. Illuminated manuscripts, woven textiles and carpets, inlaid metalwork, blown glass, glazed ceramics, and carved wood and stone all absorbed the creative energies of artists, becoming highly developed art forms. These works include small-scale objects of daily use, such as delicate glass beakers, as well as more monumental architectural decoration, for example, glazed tile panels from building fa鏰des. Such objects were meticulously fabricated and carefully embellished, often with rare and costly materials, suggesting that the people for whom they were made sought to surround themselves with beauty.

Royal patronage played an important role in the making of Islamic art, as it has in the arts of other cultures. The construction of mosques and other religious buildings, including their decoration and furnishings, was the responsibility of the ruler and the prerogative of high court officials. Such monuments not only provided for the spiritual needs of the Muslim community but often served educational and charitable functions as well. Royal patronage of secular art was also a standard feature of Islamic sovereignty, one that enabled the ruler to demonstrate the splendor of his court and, by extension, the superiority of his state. Evidence of courtly patronage is derived from the works of art themselves, but an equally important source of information is the extensive body of historical texts that attest to royal sponsorship of the arts almost throughout the Islamic period. These historical works also indicate that only a fraction of such court-sponsored art has survived; objects made of precious materials are particularly rare. From the fourteenth century onward, especially in eastern Islamic lands, the arts of the book provide the best documentation of courtly patronage.

Of course, not all works of Islamic art were sponsored by the court; in fact, the majority of objects and manuscripts in museum collections originated elsewhere. Such works of art梚ncluding pottery, base metalware, carpets, and textiles梙ave often been viewed as the products of urban, middle-class patronage. These objects nonetheless frequently reflect the same styles and make use of the same forms and techniques employed in courtly art.

Whether produced in a courtly or an urban setting or for a religious context, Islamic art is generally the work of anonymous artists. A notable exception is in the sphere of the arts of the book. The names of certain calligraphers are well known, which is not surprising given the primacy of the written word in Islam, as are those of a number of painters, most of whom were attached to a particular court. The identification of these artists has been based on signed or attributed examples of their works and on textual references. Given the great number of extant examples, comparatively few signatures are found on metalwork, pottery, carved wood and stone, and textiles. Those signatures that do occur, combined with rare evidence from contemporary textual sources, suggest that families of artists, often over several generations, specialized in a particular medium or technique.

As this discussion may suggest, Islamic art forms a large and complex subject. While there are several different means of classifying Islamic art, the text that follows adheres to the four-part chronological division used in the Islamic galleries at the Los Angeles County Museum of Art. This system of classification is intended to emphasize the overall unity of Islamic art within each of the four chronological periods, while also taking into account the numerous dynasties whose successive reigns punctuate Islamic history and whose patronage had an important impact on the development of Islamic art. The early Islamic period, seventh through tenth century, covers the origins of Islam; the creation of a religious, political, and cultural commonwealth; and the formation of a new style of art. In the early medieval period, from the eleventh through the mid-thirteenth century, and the late medieval period, the mid-thirteenth through the fifteenth century, various regional powers emerged, which promoted diverse forms of cultural expression. Finally, the late Islamic period, the sixteenth through the eighteenth century, was an age of great empires, in which powerful dynastic patronage, more than ever before, helped to promote and shape artistic styles.

pires7 · Post time 6-2-2005 03:12 PM

haku nak paste sedikit gambar.. ;)

pires7 · Post time 13-2-2005 03:20 PM

Virtually all of the ceramics you see for sale in Turkey were crafted in recent years.

cantik tak ? :cak:

Gravedigger · Post time 13-2-2005 03:37 PM

Originally posted by pires7 at 13-2-2005 03:20 PM:
cantik tak ?

Cantik tu memang cantik ler Pires....tapi boleh kah ia tergolong dalam Islamic Art??
Ia hanya hasil kraftangan yang di buat oleh tukang-tukang berkemahiran yang dapat pengetahuan dari turun temurun sahaja. Ia tidak boleh dinilai sebagai hasil seni sebab tiada jiwa dan perubahan yang dilakukan oleh tukang tersebut.

Gravedigger · Post time 13-2-2005 03:58 PM

Melihat ke dalam 'Islamic Art' bukan hanya sekadar keindahan luar yang terdapat dalam penghasilan sesuatu produk itu sahaja. Ia bukan dinilai dari aspek 'formalities'nya sahaja malah ia mencetuskan keindahan dalaman terhadap pengkarya seni itu sendiri. Hanya jiwa yang dapat menghayati keindahan 'Pencipta' nya sahaja yang dapat menghasilkan sebuah karya yang agung.

Contoh sebuah hasil seni Islam adalah ukiran-ukiran kayu yang buat oleh seniman-tukang Melayu dahulu. Ia bukan hanya di ukir oleh orang yang mahir dalam pertukangan tangan tetapi juga adalah seorang seniman yang dapat menghayati falsafah-falsafah pembuatannya. Ia kenal siapa Penciptanya maka dari itulah mereka tidak sombong dalam pengkaryaan mereka. Daun-daun diukir seolah-olah sujud kepada Yang Maha Pencipta dan dalam ukirannya yang tidak ada titik permulaan dan pengakhiran. Mereka berkarya bukan untuk nama tapi untuk berbakti kepada keselesaan masyarakat.

Ukiran-ukiran sekarang pula hanya dibuat oleh tukang-tukang yang tidak dapat menghayati apa yang dibuat oleh mereka kerana mereka hanya menurut sahaja tanpa disertakan dengan pemikiran.