Academic literature on the topic 'Islamic art Influence'
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Journal articles on the topic "Islamic art Influence"
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Yusof, Abdullah, Aizan Hj Ali @. Mat Zin, and Ahmad Faisal Abdul Hamid. "Islamic Nuance in Decorative-Ornament Architecture Art in Nusantara." International Journal of Nusantara Islam 2, no. 1 (June 9, 2014): 95–104. http://dx.doi.org/10.15575/ijni.v2i1.51.
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The advent of Islam in Nusantara sparked new phenomena or changing not only in structure of building construction of religious places, residency and houses but also ornaments and decoration expressing value of beauty of that building. The result of this research tries to reveal how far Islamic influence is working without undermining local aspects of architecture and how Islamic architecture was influenced by other characters in ornament and decorative-ornament artwith various design and sense. Islamic nuances are substantially showed in traditional and contemporary mosque architecture, graveyard, residencies, palaces, historical building and soon and so forth. Although local elementsare clear, and so with Hinduism and Buddhism, animism, colonial influence and other foreign influences including Middle East, Africa, India and China, Islam shows its prominence in interior and exterior ornament as well as its tools.
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Nechvoloda, E. E. "THE ISLAMIC INFLUENCE ON THE TRADITIONAL BASHKIR ART." Islam in the modern world 14, no. 3 (October 2, 2018): 235–46. http://dx.doi.org/10.22311/2074-1529-2018-14-3-235-246.
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It is the geometric and vegetal ornamental motifs that dominate in the works of traditional arts and crafts of the Bashkir people. The Bashkirs are Muslims. Therefore, the popularity of abstract ornamental forms in their artistic creativity is often associated with the religious prohibition against images of human beings, animals and birds. However, a comparative historical study of the Bashkir ornaments shows that basic types of geometric and vegetal motifs and also their compositions were formed long before the adoption of Islam by the ancestors of the Bashkirs. Anthropomorphic, ornitomorphic and zoomorphic images were still preserved in the Bashkir art and had very stylized geometric shapes in accordance with the general structure of the composition, type and graphics of the ornament. The preservation of these images in the art was favoured probably not only by a high degree of stylization, but also by the fact that for a long time the Bashkirs, despite the Islamization, remained committed to many remnants of the pre-Islamic worldview with its totemic cults. It can be stated that the adoption of Islam could not ‘edit’ the traditional decorative art of the Bashkirs and exclude archaic motifs and compositions. Old compositions were revised in terms of the new religion. Thus, the fl oral and foliate ornament became associated with the Garden of Eden. New motifs, such as the images of mosques, qumgan (a special jug) and the Crescent, found their way into the Bashkir ornaments together with the new worldview and rituals. Traditional embroidery could be supplemented with embroidered texts in Arabic script. The decorated objects included those directly associated with the Muslim traditions (scullcaps, prayer rugs 'namaslyk', calligraphy pictures 'shama’il').
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Hidayati, Nurul, Yazida Ichsan, Ratna Wulandari, and Dwi Aknan Lutfiyan. "Pengaruh Seni Asitektur Terhadap Perkembangan Pendidikan Islam di Andalusia." Ishlah: Jurnal Ilmu Ushuluddin, Adab dan Dakwah 3, no. 1 (June 24, 2021): 73–86. http://dx.doi.org/10.32939/ishlah.v3i1.40.
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The discourse related to the influence of architecture on the development of Islamic education in Andalusia is actually a very important discussion to do. On the one hand, from a historical perspective, under the Umayyah II dynasty, Andalusia became a beacon of civilization in the fields of science, technology and art that contributed to Europe. On the other hand, art as part of the manifestation of civilization is rarely studied, especially its influence on Islamic education. The purpose of this research is to know and describe how the development of architectural arts and its effects on Islamic education. The purpose of this research is to identify and describe how the development of architectural arts and its effects on Islamic education. This research is a historical research which is carried out in several steps: heuristics, criticism, interpretation and historiography. The results showed that the triumph of Islam in Andalusia left a special space in the representation of Western civilization even today. Various historical relics have had their own influence on culture and culture in Spain, especially Islamic architectural arts. Mosques, palaces, forts, tombs, and secular buildings in Spain are heavily influenced by Islamic culture. Apart from being a legacy of Islamic culture, the art of architecture in Andalusia has a strong influence on the development of Islamic education in modern-day Spain. Especially in the development of Islamic education, architectural art has a strategic position in its influence. This can be seen in the calligraphic patterns in mosques and other important places in Andalusia that use pieces of the Al-Qur'an verses as their motifs. This verse piece is not only an ornament but aims to introduce Islam to the community and as proof that Islam had an influence in Andalusia.
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Zahra, Fatima, and Safrizal Bin Shahir. "The Aesthetic Value and Spiritual Aesthetics of Islamic Ornaments in Islamic Architecture." Journal of Islamic Thought and Civilization 12, no. 1 (June 7, 2022): 164–75. http://dx.doi.org/10.32350/jitc.121.08.
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Islamic architecture, a form of Islamic art, contributes significantly to portraying God Almighty's supremacy. In Islamic art, there are numerous ways to place emphasis on this architecture; one of which is through high aesthetic value. In Islamic art and architecture, the greatest extent of ornamentation and motifs probably describe aesthetic values. Islamic ornamentation serves as a platform for delivering information about Islam's culture including Islamic values and identity. Additionally, the most distinguishing characteristic of Islamic ornamentation is the richness of meaning behind it, that might influence a person's perception of spiritual aesthetics. Therefore, this article explore what spiritual aesthetic means and how it relates to Islamic ornamentation. Furthermore, Islamic ornamentation should be considered a part of the interior of the Islamic architecture rather than just decorations added after the fact or to cover in gaps. Through the interplay of the people and interior space, these ornaments have the potential to engage with human aesthetics. Therefore, this research also focuses on the aesthetics and beauty of ornaments, which satisfy one of human psychological needs: to be in a beautiful environment. Because emphasis of the research is to explore how people perceive the aesthetics of Islamic ornamentation, a semiotics method was chosen because of its capacity to transcend literal meanings. The identification and evaluation of the aesthetic and religious qualities of the Islamic ornamentation brought out in this paper can be very helpful for the artists as well as scholars in understanding the Islamic art.
Keywords: Islamic Ornaments, Islamic Architecture, Aesthetic Value, Spiritual Aesthetics, Islamic Art, Architectural Ornaments
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Flood, Finbarr Barry. "Lost Histories of a Licit Figural Art." International Journal of Middle East Studies 45, no. 3 (July 30, 2013): 566–69. http://dx.doi.org/10.1017/s0020743813000494.
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The idea that theology is either irrelevant to artistic production or “a baleful influence” on its history has recently been critically explored by Jeffrey Hamburger, in relation to medieval Christian art. Engaging the perennial problem of moving between immaterial concepts, normative texts, and material things, Hamburger's observations resonate with the long shadow cast by the Bilderverbot, the prohibition of images often assumed to characterize Islamic and Jewish cultures, on the modern reception of Islamic art.
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Mathews, Karen Rose. "Caliphs and Kings: The Art and Influence of Islamic Spain. Heather Ecker." Speculum 81, no. 1 (January 2006): 180–81. http://dx.doi.org/10.1017/s0038713400019679.
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Yusof, Hanita, Izudinshah Abd Wahab, Nangkula Utaberta, Azmal Sabil, and Nur Amalina Hanapi. "ISLAMIC INFLUENCE ON WOODCARVING MOTIFS IN JOHOR TRADITIONAL MALAY HOUSES." Journal of Islamic Architecture 6, no. 4 (December 26, 2021): 313–20. http://dx.doi.org/10.18860/jia.v6i4.13028.
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Woodcarving motifs can be influenced by various aspects, including religions and beliefs. Malaysia is known for its cultural diversity and is rich with traditional heritage. Malay is one of the major ethnic groups in Malaysia and is considered as the majority of the country's population, contributing to the significant heritage, including art, decoration, and even architecture. Traditional woodcarving is an intricate Malay heritage and is the symbol of Malay art. A study on Malay woodcarvings is critically needed in order to know the influence that occurs on the selection of the motifs. It is such a waste to see our woodcarving heritage destroyed unappreciated and undocumented, especially on Johor woodcarvings, as many studies in other states have done. More and more traditional Johor Malay houses are being demolished day by day before we know the historical influence on the existence. The objective of this paper was to identify the woodcarving motifs found in Johor Malay houses and to identify their influence. Site visits were conducted in which the woodcarvings of 50 houses were examined, photographed, and documented. Interviews were also conducted with the house owners and the woodcarvers. The samples were analyzed, and the results were verified by experts. The results show that floral motifs lead the statistic, and the pumpkin motif, known as 'labu maya', takes the highest percentage of the overall motifs. It is concluded that the Islamic religion is the biggest influence that contributes to the findings. The findings also show that the 'labu maya' motif is the identity of the Johor woodcarving motifs. It is hoped that this study can bring recognition to Johor woodcarvings, and contribute valuable guides for woodcarvers to apply these motif typologies into their future works to sustain and cherish the Johor local identity.
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Viki Fadhilah, Meti andani, Sri Yulianti, and Yazida Ichsan. "Peran Seni Islam dalam Film Pendek Nussa “Belajar Jujur” Sebagai Media Dakwah Pembinaan Akhlak." Busyro : Jurnal Dakwah dan Komunikasi Islam 3, no. 2 (May 30, 2022): 76–81. http://dx.doi.org/10.55352/kpi.v3i2.476.
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Art education in Islam is very important to be instilled in children, apart from being a medium for conveying the messages implied in it, art in Islam also gives an impression that has elements of beauty and harmony, so there is a need for learning media in improving education through the art of Islamic education. The purpose of this study was focused on fostering students' morals through the short film Nusa Rara entitled "Honest Learning" as a medium of da'wah in the art of Islamic education. This research was conducted by analyzing the short film Nusa Rara to be used as a medium for Islamic da'wah art education so that it can be used as an example or role model for the audience, especially if it is associated with education, students are expected to take lessons from the film. The method used is descriptive qualitative method and analysis. The results of this study indicate that the Nusa Rara film entitled "Learning Honestly" can have a good influence on the students, of course, and can make a good influence on the audience to always be honest in everything, especially when taking exams.
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عاصم عبد الكريم, إسلام. "ظهور شعار بني نصر على مقابض الأبواب بمسجد أحمد سالم الشهير بالصيني بالإسكندرية (The Appearance of Nasrid Motto on the Doorknobs of Ahmad Salem’s Mosque, Known as Elsainy in Alexandria)." Abgadiyat 7, no. 1 (2012): 183–88. http://dx.doi.org/10.1163/22138609-00701014.
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The unique appearance of Nasrid motto “La ghalib ila Allah” (there is no victor other than god) on the doorknobs in Ahmad Salem Mosque, which was built in 1930, by Italian architects and designers, reflects the influence of the Andalusian art on the Islamic buildings. Many reasons could explain this influence, as the historical and religious relationship between Andalusia and Alexandria, by a lot of immigrants who came to the city and became the most famous Imams in the city. Moreover, the Italian architects and designers who were managing the largest part of the construction business in Alexandria, in the first decade of twentieth century, their studies of the Islamic Art in their country before they move to Egypt, concentrated on the Andalusian art, due to that their work in the Islamic religious buildings was influenced by the Andalusian art. Through a concentrated study in the meaning of the motto, and relating it to the conditions of constructing Ahmad Salem Mosque, and taking into consideration the remaining inscriptions in the Mosque, it becomes clear that one of the main reasons of inscribing the Nasrid motto was a reflection of Ahmad Salem‘s status after building the Mosque, showing and telling everyone that God helps everyone with good intent, and He helped me in constructing this Mosque. This means that this motto was not just copied words and art from Alhambra Palace, in Turkey; but it was selected intentionally by the owner and the designer of the Mosque. (Please note that this article is in Arabic)
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Musri, Muhapril. "VISUALISASI KALIGRAFI ISLAM PADA MEDIA SENI RUPA DI INDONESIA (ANALISIS ETIKA, ESTETIKA, DAN NILAI-NILAI)." Tabuah 26, no. 1 (May 30, 2022): 11–20. http://dx.doi.org/10.37108/tabuah.v26i1.682.
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The presence of art as an expression can be assumed as a characteristic of the soul's life which is overflowing and arid from values. That is why, the artists try to find the values of life that are full of values, by pouring their ideas and ideas in the form of works of art. The method used in this research is descriptive qualitative with literature and field studies. Two Islamic calligraphers were involved as resource persons. As a result, the current strong influence of modern art has caused Islamic calligraphy to be affected. This can be seen from the emergence of various tendencies of Muslim artists in processing Islamic calligraphy into various media. Previously, calligraphy had not been realized as a form of personal expression, but now this awareness has emerged in the form of the phenomenon of calligraphy painting. Calligraphy painting as a reflection of the modern spirit of Muslim artists has provided fresh air for the development of Islamic art and culture in Indonesia. Uniquely, in Indonesia, calligraphy painting was born in the hands of conventional painters who had not previously been in the world of Islamic calligraphy directly.
Dissertations / Theses on the topic "Islamic art Influence"
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Moore, Katharine T. "Al-Andalus, the Umayyads, and Hispano-Islamic Art:The Influence of the Abbasids and Northern Christians on the Art of Muslim Patronage in the Iberian Peninsula from the 8th to 11th Centuries." Walsh University Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=walshhonors1587323490141253.
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Vassaf, Hamid-Reza. "Les sources préislamiques dans l’iconographie des amulettes et talismans iraniens chiites." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20104.
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En considérant le rôle important de la magie dans l’islam ainsi que dans les pays musulmans et en considérant éventuellement son rôle important dans la formation de l'univers symbolique de l'art islamique, l’étude des objets magiques peut être une nouvelle voie pour les historiens de l’art islamiques. Les travaux et les réflexions développés dans le cadre de cette thèse avaient un double objectif : d’une part, découvrir les sources thématiques et visuelles de l’univers symbolique des amulettes et talismans iraniens chiites. Ou en d’autres termes, trouver une réponse précise et claire à cette question à savoir si les éléments constituant l’iconographie des amulettes et talismans iraniens chiites sont proprement fondés sur les sources islamiques et les traditions des arabo-musulmans primitifs ? Sinon, pouvons-nous considérer d’autres sources pour ces éléments comme les mythes et les traditions artistiques plus anciennes de la Mésopotamie-Perse ? Et d’autre part, d’attirer l’attention des historiens de l’art islamique sur les thèmes des symboles – et leurs passés régionaux – figurant sur les objets magiques iraniens chiites spécifiquement et plus généralement sur l’art islamique.Ce travail, basé sur une étude stylistique et artistique ainsi qu’une étude thématique et comparative entre les éléments textuels et visuels figurant sur les 166 amulettes et talismans iraniens chiites – collectés de trois collections : des cachets, bulles et talismans islamiques du département des Monnaies, médailles et antiques de la Bibliothèque Nationale de Paris, de la collection des objets du Musée du Quai Branly à Paris et de la collection des objets talismaniques iraniens (ou des objets magiques iraniens) du Musée civilisations Europe Méditerranée de Marseille (noté MuCEM) – à ceux dans l’art préislamique de la Mésopotamie-Perse. Ce travaille montre que les deux éléments textuels et picturaux sur ces objets possèdent une relation thématique fondée sur un point de vue cosmique et mythique préislamique. De plus, notre analyse démontre que la naissance de l’écriture décorative et figurative pouvait être le résultat d’un conflit idéologique-culturel entre les Arabo-musulmans conquérants et les intellectuels des pays vaincus. Notre étude démontre également que l’univers symbolique des amulettes et talismans iraniens chiites s’est formé sous l’influence des nombreux désaccords entre l’islam primitif importé par les Arabo-musulmans et les nouveaux musulmans des pays vaincus.Notre analyse s’est uniquement basée sur les trois collections de musées français et il serait indispensable de l’enrichir à partir d’autres pièces provenant d’autres musées de par le mondeIf we consider the important role of magic in Islam as well as in Muslim countries and possibly considering its important role in the making of the symbolic universe of Islamic art, the artistic study of magical items can be a new way for historians of Islamic art.The studies and comments developed in the framework of this thesis are two-fold: first, to discover the thematic and visual sources of the symbolic universe of Iranian Shiite amulets and talismans. Or in other words, to find a clear and precise answer to the question whether the composing elements of the iconography of Iranian Shiite amulets and talismans are strictly based on Islamic sources and primitive traditions of Arabic Muslim. Otherwise, can we consider other sources for these elements like the myths and the artistic traditions of oldest Mesopotamia and Persia?On the second hand, our goal is to attract the attention of historians of Islamic art on the themes of symbols - and their regional past - shown on Iranian Shiite magic items specifically and more generally on Islamic art.This work is based on a stylistic and artistic study as well as a thematic and comparative study between the textual and visual elements on the 166 Iranian Shiites amulets and talismans - collected from three collections: « Les cachets, bulles et talismans islamiques » from « Département des Monnaies, médailles et antiques de la Bibliothèque Nationale de Paris », from « Collection des objets » from « Musée du Quai Branly » in Paris et from « Collection des objets talismaniques iraniens (ou des objets magiques iraniens) » from « Musée civilisations Europe Méditerranée de Marseille (MuCEM) » – with those in the pre-Islamic art of Mesopotamia and Persia.This work shows that both textual and pictorial components of these objects have a thematic relationship based on a cosmic and mythical pre-Islamic perspective. In addition, our analysis shows that the birth of the decorative and figurative writing could be the result of an ideological and cultural conflict between the Arabic Muslim conquerors and the intellectuals of conquered countries. Our study also shows that the symbolic universe of Iranian Shiites amulets and talismans was formed under the influence of many disagreements between primitive Islam imported by Arabic Muslims and new Muslims of conquered countries. Our analysis is only based on the three collections of French museums and it is essential to enrich it with other items from other museums around the world
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Bashir, Majedah. "Floral images in metal." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/724965.
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This creative project will culminate in a show of twenty-five pieces of metalwork, both wearable and sculptural, using as source material the rich tradition the floral imagery found in Islamic arts. Specifically the pieces will be based on the art of the Persian Gulf area. sources will be floral images as expressed in architectural elements, fabric, tiles, and other related arts or crafts.Department of Art
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Chaigne, Frantz. "L'enluminure dans l'empire Īl-khānide." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040188.
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Le présent travail porte sur le décor enluminé des manuscrits produits en Iran et en Iraq sous domination mongole (1258 – c. 1350). Cette étude n’a pas seulement pour but de se pencher sur les structures scandant le manuscrit et sur leurs modes de remplissage, mais elle s’ouvre aussi sur les échanges culturels et artistiques dont ce décor est parfoisemblématique. La méthodologie retenue s’articule autour de deux axes principaux : la première fait appel à une « approche déconstructive » qui consiste en une suite de focalisations permettant de passer du macroscopique au microscopique. Il s’agit en fait d’appréhender dans un premier temps la notion de programme enluminé, puis d’examiner leurs éléments constitutifs comme les frontispices ou les shamsa et de procéder ensuite à l’examen de leurs modes de remplissage. Le deuxième axe de cette recherche met l’accent sur la complexité des transferts entre des sphères aussi diverses que la Chine, le Tibet, l’Inde, l’Iran et les chrétientés durant la période de règne des Īlkhānides. Le rôles de la circulation des marchandises et des cadeaux diplomatiques sont particulièrement examinés. Signalons, parmi les conclusions, les (ré-) attributions de manuscrits ainsi qu’une discussion sur la pertinence de l’appellation d’ « Islamic Chinoiserie » passée dans la littératureMy dissertation focuses on the manuscript illumination under the Il-khanid rule in Iran and Iraq, between 1258 and c. 1350. This study reconsiders the constitutive patterns and construction systems of the decorative components of the book and also underscores evidence of extensive cultural and artistic exchanges on the scale of Eurasia. The selected methodology is mainly twofold: The first one lies on a “deconstructive approach” of the ornament by an examination of the material both on the macroscopic and microscopic scales. In other words, the thesis begins with the general characterization of the illuminated programs, focusing thereafter on their constitutive elements such as frontispieces or shamsa and concluding with an examination of the various forms of fillings. The second axis highlights the complex role of transfers between several cultural centers particularly active such as China, Tibet, India and the different Christianities during the Il-Khanid period. Circulation of wares and exchanges of diplomatic gifts are explored to propose clues on the reception of new patterns in Iranian ornament.In the conclusion, this thesis suggests the (re-)attributions of some manuscripts and comments the relevance of the now usual expression “Islamic Chinoiserie”
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Haveric, Dzavid, and mikewood@deakin edu au. "Islamisation of Bosnia: Early Islamic influence on Bosnian society." Deakin University. School of Social and International Studies, 2004. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20051123.133900.
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This Masters thesis examines the process of the Islamisation of Bosnia from the eighth century to the end of the fifteenth century. This era of early Islamic influence has not previously been systematically studied, and remains an area little understood by many medievalists. The major foci of the analysis are the pre-Ottoman era and early Ottoman periods. This thesis raises the following research questions: When and how did the first Islamisation of the Balkan Slavs (including Bosnians) occur? How did Islam influence Bosnian society and culture, and where were the Bosnian Muslim settlements established?
This thesis includes a detailed historical investigation that makes use of a range of bibliographic materials. These consist of fragmentary works, archival and administrative documents and other relevant factography collected from a research field trip to Bosnia between June 27 and July 24, 2003.
The main findings reveal the complexity of this culturo-religious process in terms of both the early Islamic influence and contemporary cultural diversity. While different theoretical approaches to cultural representation and social space assist in exploring the hybrid nature of Bosniak identity, the primary and secondary data analyses highlight the significance of the phenomenon of the early Islamisation of Bosnia
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Imbert, Isabelle. "La peinture de fleurs persane et indienne de la période moderne (XVIe-XVIIIe siècles)." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040170.
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Le présent travail porte sur les peintures de fleurs produites en Iran et en Inde entre le XVIe et le XVIIIe siècles et destinées à être montées dans des albums alliant peintures et calligraphies. Cette étude s'organise autour de trois axes de recherche. En premier lieu, l'étude de l'évolution des pratiques picturales au sein des ateliers de peinture, ainsi que la mise en évidence des différences formelles entre les centres de production. La taxonomie des peintures de fleurs a permis de mettre en évidence certains régionalismes, mais également des modes de représentation partagés entre l'Iran safavide (1501-1722), afshar (1736-1749) et zānd (1750-1794) d'un côté, et l'Inde moghole (1526-1857) et les cours provinciales de l'autre. Le second axe de recherche est consacré aux échanges entre l'Orient et l'Occident. Plusieurs peintures de fleurs persanes et indiennes sont issues d'herbiers et florilèges, imprimés en Europe à partir du XVe siècle. L'étude de l'apport européen dans ces productions de peintures permet de mettre en évidence les pratiques d'assimilation des formes exogènes par les artistes. Enfin, le troisième axe interroge le rôle tenu par les peintures de fleurs au sein des albums, ou muraqqaʻ. La compilation d'albums est attestée en Iran dès le XVe siècle, et passe vraisemblablement en Inde durant la première moitié du XVIe siècle. Les fleurs s'y déploient progressivement jusqu'à devenir omniprésentes, autant au centre des pages que dans les marges et sur les reliures. Les représentations florales revêtent des symboliques diverses qui sont à mettre en relation avec un abondant corpus poétique, mais également avec les patrons persans, indiens ou européens qui commandent ces précieux volumes. Parmi les conclusions, notons les attributions de dessins anonymes au peintre persan Shafīʻ ʻAbbāsī et une discussion sur les notions de copie et d'interprétationThis dissertation focuses on flower paintings produced in Persia and India between the 16th and the 18th centuries to be mounted in albums, also called muraqqa'. This study is centered on three research axis. First, pictorial practices are analyzed, as well as the general evolution of floral forms on album pages. The taxonomic approach on flower paintings led to highlight regionalisms, but also depiction modes shared between Safavid (1501-1722), Afsharid (1736-1749) and Zand (1750-1794) Persia on one hand, and Mughal India (1526-1857) and Indian provincial courts on the other. The second line of research focuses on cultural and artistic exchanges between the East and the West. Many Persian and Indian flower paintings are copied from European printed herbaria and florilegia from the 15th century. The study of European input on these productions highlights assimilation practices of foreign forms. The third axis questions the role held by flower paintings in albums, or muraqqa'. From the 15th century, flowers gradually spread to become omnipresent in the center of the pages, in the margins and on the bindings. Floral representations take various symbolic values linked to an abundant poetic corpus, but also to Persian, Indian or European patrons who order these precious volumes. Among the conclusions, this thesis suggests new attributions of anonymous drawings to the Persian painter Shafīʻ ʻAbbāsī, and holds a discussion about concepts of copy and assimilation
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Muhamad, Nazlida. "Muslim consumers' motivation towards Islam and their cognitive processing of performing taboo behaviors." University of Western Australia. Faculty of Business, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0011.
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Although religion is an important cultural force that shapes consumers' values and norms, the taboo stigma attached to the investigation of religion's influences in marketing areas has limited the knowledge about how religion influences consumers' decision-making. This study explored the affect of Muslim motivation in following Islam in their decision-making process to perform behaviors that are subject to Islamic rulings known as fatwa. Three behaviors that are subject to fatwa declarations; smoking, listening to popular music and buying a Coca Cola soft drink, were chosen. Utilizing the Theory of Planned Behaviors, this study examined: 1) If a Muslim's motivation in following Islam is an effect in their cognitive and behavioral responses regarding the fatwa prohibited behaviors. 2) If Muslim motivation in following Islam is an effect in their decision-making in deciding to whether to perform fatwa prohibited behaviors. Based on a Malaysian university student sample, multiple analyses of variance with covariate's (MANCOVA) results show that a Muslim's motivation in following Islam, his or her gender and their interaction have significant effects in their responses in regards to the behaviors. Muslim males, who are extrinsically motivated towards Islam tended to report a greater intention to smoke, buy a Coca Cola soft drink and tended to report they experienced more social pressure to smoke as compared to others. Nonetheless, SEM analysis found that the sample's responses on items related to the Theory of Planned Behavior (TPB) about buying a Coca Cola soft drink brand did not fit the model. Other unaccounted for factors that may be related to the Muslims' decision-making about the product, such as possible consumer animosity, was not captured in the survey. The samples responses on smoking and listening to popular music provided a good fit to the model proposed. ii This study found that the Muslim respondents' motivation in following Islam had an effect on the role of perceived social pressure in their planning to smoke, and on the role of perceived social pressure in their planning to listen to popular music. Respondents' motivation in following Islam also had an effect on the role of perception of control in their reported smoking and listening to popular music. The intrinsically motivated Muslim consumers tended to be more concerned about others approval in their deciding to smoke and to listen to popular music, than the average extrinsic respondents. The intrinsic Muslim respondents also tended to perceive having incomplete control over smoking and listening to popular music, compared to their extrinsic counterparts. Respondents' attitudes towards smoking and listening to popular music were found to be not relevant in respondents' decision-making to perform the behaviors. This study also found evidence for the effect of type of fatwa prohibition ruling in Muslim respondents' responses and decision-making to perform behaviors in this study. Findings from this study suggest a significant effect of fatwa rulings on products or behaviors, among the sample of young Malaysian Muslim respondents. The findings highlight the needs for marketers to understand nature of fatwa rulings on products, in order to win over Muslim consumers in the marketplace.
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Esseili, Ahmad. "La peinture contemporaine au Moyen-Orient arabe et ses sources traditionnelles islamiques." Paris 4, 1987. http://www.theses.fr/1986PA040412.
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Notre recherche vise à établir les rapports de parenté entre la contemporanéité dans la peinture arabe et le traditionalisme dans l'art islamique; à partir d'une vision analytique synthétique. La thèse se compose de trois parties : - la première discute des influences du modernisme et de l'orientalisme européens : négatifs sur les arts populaires ; positifs sur la naissance de la peinture arabe contemporaine au sein de la renaissance arabe au XIXe siècle. - la deuxième sonde les influences islamiques dans la peinture au Liban, en Egypte, en Syrie et en Iraq comme elles se sont prononcées dans le contexte des courants occidentaux de l'académisme jusqu'aux confins de l'abstraction. Nous avons pu distinguer l'existence de deux périodes artistiques : l'éveil (1900-1930) et la renaissance (1930-1950) ; et de deux courants généraux : l'occidentalisation et l'arabisation. - aussi dans la troisième partie, notre méthodologie part des facteurs socio-politiques, culturels et artistiques pour atteindre une vision objective, globale et unificatrice, et aboutit à trois catégories de peinture arabe : la première complétement occidentalisée, la deuxième de vision orientaliste ; et la troisième, la plus authentique résultant de la fusion de deux esthétiques : islamique traditionnelle et occidentale moderne. Une recréation déductive de ce qui est substantiel dans la thèse s'est fait à travers la conclusion générale, et montre : - le sujet - le contenu comme notion esthétique arabe. - l'attitude du peintre arabe vis-à-vis de la limitation (l'interdiction) dans la peinture figurative. - la découverte de trois étapes au sein du courant de l'arabisation de la peinture. - développement de la comparaison entre deux genres de peinture, et d'esthétique arabo-islamique : traditionnelle et contemporaineThis study aims to establish the relationship between the contemporaneousness in Arabic painting and the traditionalism in Islamic art through a synthetic, analytical and methodological vision. My dissertation consists of three parts : the first part discusses the influences of modernism and the European orientalism : negative influences upon popular arts but positive ones upon the birth of the contemporary Arabic painting in its relation to the modern Arabic renaissance in the nineteenth century. The second part probes the Islamic influences in the painting of Lebanon, Egypt, Syria and Iraq. In addition, we have examined those Islamic influences within the occidental current - from academicism to abstractionism. In the third part, our methodology starts from the factors of sociopolitical, cultural and artistic ones in order to establish a wholly and objective vision that respects the aesthetical, historical and critical dimensions of work leading us to three categories of Arabic painting : 1. It is completely occidentalized. 2. It is an Arabic orientalist's vision. 3. It is more authentic i. E. It comes from the fusion of both traditional Islamic aesthetic and modern occidental one. The most important elements in the general conclusion are the following: 1. We showed up the subject - content (in painting) as an Arabic, Islamic and aesthetic notion. 2. We discovered three stages within the current of Arabic painting. 3. We examined the attitude of contemporary Arabic painting vis-a-vis the limitation (interdiction) in the figurative painting
Books on the topic "Islamic art Influence"
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Islamic chinoiserie: The art of Mongol Iran. Edinburgh: Edinburgh University Press, 2009.
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Kadoi, Yuka. Islamic chinoiserie: The art of Mongol Iran. Edinburgh: Edinburgh University Press, 2009.
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Khuzām, Anwar Fuʾād Abī. al- Rūḥ al-Ṣūfīyah fī jamālīyāt al-fann al-Islāmī. Bayrūt: Dār al-Ṣadāqah al-ʻArabīyah, 1995.
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ʻĪd, Yūsuf. al- Funūn al-Andalusīyah wa-atharuhā fī Ūrūbā al-qurusṭīyah. Bayrūt: Dār al-Fikr al-Lubnānī, 1993.
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Zahar, León Rodriguez. Taracea: Islámica y Mudéjar. México: Museo Franz Mayer, 2000.
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Jūdī, Muḥammad Ḥusayn. Ibtikārāt al-ʻArab fī al-funūn: Wa-atharuhā fī al-fann al-Ūrūbī fī al-qurūn al-wusṭá. ʻAmmān: Dār al-Masīrah, 1996.
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Amirashayeri, Perjen. Islam and West: The influence of Islamic art on Western pattern. London: LCP, 2000.
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Bazaar to piazza: Islamic trade and Italian art, 1300-1600. Berkeley: University of California Press, 2002.
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Musei di Strada nuova (Genoa, Italy), ed. Turcherie: Suggestioni dell'arte ottomana a Genova. Genova]: Sagep Editori, 2014.
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Luʻaybī, Shākir. Soufisme et art visuel: Iconographie du sacré. Paris: L'Harmattan, 1998.
Find full textBook chapters on the topic "Islamic art Influence"
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Darmayanti, Tessa Eka, and Azizi Bahauddin. "The Influence of Foreign and Local Cultures on Traditional Mosques in Indonesia." In Islamic perspectives relating to business, arts, culture and communication, 175–83. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-429-0_17.
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Puteh-Behak, Fariza, Norhaili Massari, Haliza Harun, and A. H. Yurni Emilia. "The Influence of Malay Social Hierarchy in the Implementation of a Western-Based Participatory Action Research Project in Malaysia." In Islamic perspectives relating to business, arts, culture and communication, 185–98. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-429-0_18.
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Al-Hamlawee, Muntasser Saleh Kadhim, Ayman Abdulkarim Mahmood Al-Samarrai, and Baraa M. Ibrahim Al-Hilali. "The Influence of Climate on the Planning and Architecture of the Medieval Islamic City of Mosul, Iraq." In Cities’ Identity Through Architecture and Arts, 3–11. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-99480-8_1.
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Verba, Daniel, and Faïza Guélamine. "Secularism, Social Work and Muslim Minorities in France." In Exploring Islamic Social Work, 65–80. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-95880-0_4.
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AbstractIslam’s increased visibility in France over the past 20 years has challenged social workers, confronted with new practices that often provoke consternation and cause professional difficulties. Social workers’ relationships with members of society who are motivated by faith, and also with their colleagues, some of whom openly express their Muslim identity, force them to adapt to new religious frames of reference. Social workers are also occasionally compelled to revisit the Christian roots of social work that many of them felt had been left behind by the profession. These patterns also explain the prevalence of reminders about the secular basis of social work, in a sector where radicalisation among the young tends to be perceived as a regressive influence on freedom of expression and, above all, on women’s rights.
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Fehérvári, Géza. "Chapter eight. Islamic incense-burners and the influence of Buddhist art." In The Iconography of Islamic Art, 127–42. Edinburgh University Press, 2005. http://dx.doi.org/10.1515/9781474471428-012.
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ALI, M., and S. MAGDI. "THE INFLUENCE OF SPOLIA ON ISLAMIC ARCHITECTURE." In WIT Transactions on State-of-the-art in Science and Engineering, 56–65. WIT Press, 2016. http://dx.doi.org/10.2495/ha-v1-n3-334-343/007.
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Balci, Bayram. "Iran." In Islam in Central Asia and the Caucasus Since the Fall of the Soviet Union, translated by Gregory Elliott, 69–102. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190917272.003.0004.
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Thanks to its various legacies in Central Asia and the Caucasus, Iran—just like Turkey—was eager to develop strong relations with the former Soviet states as soon as they became independent. However, paradoxically, Iran’s religious influence in Central Asia has been very limited, because of the difference between Central Asian Islam, mainly Sunni, and Iranian Shia Islam. Contrary to Central Asia, the Caucasus has been more permeable to Iranian Islamic influences and particularly so in Azerbaijan, because historically, Azerbaijan and Iran were part of the same Empire, where Shia was the official religion. Islamic cooperation between the two spheres remains very dynamic. Indeed, 70 per cent of Shia Muslims in Azerbaijan are turned toward Iran rather than toward Turkey, a country that seeks to develop its own vision of Islam. Iranian Islamic influence in the Caucasus is also significant in Georgia, among the Azeri minorities in Tbilisi and at the border with Azerbaijan.
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Zaman, Mujadad. "Ruskin’s Islamic Orient and the Formation of a European Ideal." In John Ruskin’s Europe. A Collection of Cross-Cultural Essays With an Introductory Lecture by Salvatore Settis. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-487-5/019.
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The Ruskinian mien towards the non-European, and in particular, the Islamic ‘other’, may at first seem definitive. This position being made evident from Ruskin’s descriptions of the lugubrious nature of Islam’s sacred scripture, its peoples, arts and weltanschauung. This paper argues, contrary to this bien pensant view, that Ruskin’s oeuvre intimates an ongoing, lasting and unfinished discussion with the Islamic Orient, from the earliest drafts of The Stones of Venice to later discourses on morality, history and religion. Whilst the sympathies for the refinement and delicacy of Islamic art and its influences upon the Venetian Gothic are well documented in the literature, the manner in which Ruskin’s engagement with Islam (both positive and negative) more generally have yet to be fully explored. This paper endeavours to warp and weft the strands of these ideas into a sustained discussion of Ruskin’s ideals in his oeuvre.
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Xue, Shelly. "Qing dynasty Chinese glass with Islamic influences." In Chinese-Islamic Works of Art, 1644–1912, 24–37. Routledge, 2019. http://dx.doi.org/10.4324/9781003000440-3.
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Bianchi, Robert R. "Islam and the Opening of the Chinese Mind." In China and the Islamic World, 127–38. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190915285.003.0010.
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Islam’s impact on China is growing because its external and internal influences are more intertwined than ever. Islamic civilization permeates the New Silk Road, shaping all of China’s efforts to integrate megaregions throughout Afro-Eurasia. At the same time, the development of Islam inside China changes the way Chinese people define themselves as a nation and as members of the human family. The deeper China enmeshes itself in the Islamic world, the more Chinese must ask themselves what it means to be Chinese. When Chineseness is understood more inclusively and universally, China gains greater effectiveness in relating to Muslims everywhere, regardless of nationality. For generations, Chinese scholars from many disciplines have drawn upon Sino-Islamic interchanges to reinterpret Chinese identity in more pluralist and cosmopolitan ways. Especially notable are the contributions of Gu Jie Gang in history and ethnography, Fei Xiao Tong in social science, and Tang Jun Yi in neo-Confucian philosophy.
Conference papers on the topic "Islamic art Influence"
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Yagci, S. F. "The roofs of Istanbul’s wooden houses with the influence of European styles." In ISLAMIC HERITAGE ARCHITECTURE AND ART 2016. Southampton UK: WIT Press, 2016. http://dx.doi.org/10.2495/iha160171.
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Ismail, Muhammad Uzair, Zuliskandar Ramli, and Ros Mahwati Ahmad Zakaria. "Turco-Persian Influence in the Islamic Art of the Malay Archipelago." In 9th Asbam International Conference (Archeology, History, & Culture In The Nature of Malay) (ASBAM 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220408.019.
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Kilinc, Ramazan. "THE PATTERNS OF INTERACTION BETWEEN ISLAM AND LIBERALISM: THE CASE OF THE GÜLEN MOVEMENT." In Muslim World in Transition: Contributions of the Gülen Movement. Leeds Metropolitan University Press, 2007. http://dx.doi.org/10.55207/qhfj3934.
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The unprecedented resurgence of religious organisations in the public sphere in recent years has given particular urgency to the old question of the compatibility of Islam and liberalism. Some scholars have argued that Islamic notions of social–political order are not hospitable to democracy and human rights. Others have argued that notions of democracy and human rights are firmly established in the Islamic political discourse but their expression depends on history, social structure and context. Although this debate has proved fruitful in framing the role of Islam in the public sphere, both sides have generally focused on essential sources of Islam. The debate needs to be extended to the empirical realm through study of particular Islamic movements and their responses to liberalisation trends. Such study should take into account local context, the organisational capabilities of the movement, and the Islamic repertoire that it deploys in mobilising its followers. This paper looks at the Gülen movement’s response to liberalisation processes in Turkey in the 1990s and 2000s. Since liberalism has radically transformed the economic and political system of the country over the last two decades, Turkey is a good example for our purposes. Furthermore, the increased influence of the Gülen movement in Turkey provides rich empiri- cal data of an Islamic movement engaging with liberalisation in civil society and politics. The paper concludes that, while the movement’s discourse and practice are compatible with liberalism, its Islamic ethos means that at some points it must engage liberalism critically.
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Hettiarachchi, Shanthikumar. "TURKISH MUSLIMS AND ISLAMIC TURKEY: PERSPECTIVES FOR A NEW EUROPEAN ISLAMIC IDENTITY?" In Muslim World in Transition: Contributions of the Gülen Movement. Leeds Metropolitan University Press, 2007. http://dx.doi.org/10.55207/qdnp5362.
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The paper discusses the potential of Fethullah Gülen’s thinking on the revival of core socio- ethical tenets of Islam to influence an emerging European Islamic identity. The long absence of any substantial Muslim population from the religious landscape of western Europe in the modern period began to end with the post-War immigration of Muslims from South Asia to the UK and other parts of Europe. But Muslims from other parts of the Islamic world have also established communities in Europe with their own, different expressions of Islam. The presence of Muslims represents a religio-cultural counterpoint to the projected ‘post-Chris- tian society of Europe’, since they are now permanently settled within that society. The encounter of ‘Turkish Islam’ (Anatolian & other) and the majority ‘South Asian Islam’ (with its diverse strands, Barelvi, Deobandi and others) in western Europe hints at the build- ing of a new ‘European Islamic’ identity. Arguably, this twenty-first century ‘European Islam’ might be a synthesis of the ‘Turkish’ and the ‘South Asian’ expressions of Islam. Any dishar- mony, on the other hand, might kindle yet another rivalry in the heart of Europe. This paper considers whether Gülen’s thought on community education based on the fundamentals of Islam could help build a positive and fresh expression of Islam that may reform the prevailing image of it as a cultural tradition that resorts to violence in order to redress grievances.
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Vicini, Fabio. "GÜLEN’S RETHINKING OF ISLAMIC PATTERN AND ITS SOCIO-POLITICAL EFFECTS." In Muslim World in Transition: Contributions of the Gülen Movement. Leeds Metropolitan University Press, 2007. http://dx.doi.org/10.55207/gbfn9600.
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Over recent decades Islamic traditions have emerged in new forms in different parts of the Muslim world, interacting differently with secular and neo-liberal patterns of thought and action. In Turkey Fethullah Gülen’s community has been a powerful player in the national debate about the place of Islam in individual and collective life. Through emphasis on the im- portance of ‘secular education’ and a commitment to the defence of both democratic princi- ples and international human rights, Gülen has diffused a new and appealing version of how a ‘good Muslim’ should act in contemporary society. In particular he has defended the role of Islam in the formation of individuals as ethically-responsible moral subjects, a project that overlaps significantly with the ‘secular’ one of forming responsible citizens. Concomitantly, he has shifted the Sufi emphasis on self-discipline/self-denial towards an active, socially- oriented service of others – a form of religious effort that implies a strongly ‘secular’ faith in the human ability to make this world better. This paper looks at the lives of some members of the community to show how this pattern of conduct has affected them. They say that teaching and learning ‘secular’ scientific subjects, combined with total dedication to the project of the movement, constitute, for them, ways to accomplish Islamic deeds and come closer to God. This leads to a consideration of how such a rethinking of Islamic activism has influenced po- litical and sociological transition in Turkey, and a discussion of the potential contribution of the movement towards the development of a more human society in contemporary Europe. From the 1920s onwards, in the context offered by the decline and collapse of the Ottoman Empire, Islamic thinkers, associations and social movements have proliferated their efforts in order to suggest ways to live a good “Muslim life” under newly emerging conditions. Prior to this period, different generations of Muslim Reformers had already argued the compat- ibility of Islam with reason and “modernity”, claiming for the need to renew Islamic tradition recurring to ijtihad. Yet until the end of the XIX century, traditional educational systems, public forms of Islam and models of government had not been dismissed. Only with the dismantlement of the Empire and the constitution of national governments in its different regions, Islamic intellectuals had to face the problem of arranging new patterns of action for Muslim people. With the establishment of multiple nation-states in the so-called Middle East, Islamic intel- lectuals had to cope with secular conceptions about the subject and its place and space for action in society. They had to come to terms with the definitive affirmation of secularism and the consequent process of reconfiguration of local sensibilities, forms of social organisation, and modes of action. As a consequence of these processes, Islamic thinkers started to place emphasis over believers’ individual choice and responsibility both in maintaining an Islamic conduct daily and in realising the values of Islamic society. While under the Ottoman rule to be part of the Islamic ummah was considered an implicit consequence of being a subject of the empire. Not many scientific works have looked at contemporary forms of Islam from this perspective. Usually Islamic instances are considered the outcome of an enduring and unchanging tradition, which try to reproduce itself in opposition to outer-imposed secular practices. Rarely present-day forms of Islamic reasoning and practice have been considered as the result of a process of adjustment to new styles of governance under the modern state. Instead, I argue that new Islamic patterns of action depend on a history of practical and conceptual revision they undertake under different and locally specific versions of secularism. From this perspective I will deal with the specific case of Fethullah Gülen, the head of one of the most famous and influent “renewalist” Islamic movements of contemporary Turkey. From the 1980s this Islamic leader has been able to weave a powerful network of invisible social ties from which he gets both economic and cultural capital. Yet what interests me most in this paper, is that with his open-minded and moderate arguments, Gülen has inspired many people in Turkey to live Islam in a new way. Recurring to ijtihad and drawing from secular epistemology specific ideas about moral agency, he has proposed to a wide public a very at- tractive path for being “good Muslims” in their daily conduct. After an introductive explanation of the movement’s project and of the ideas on which it is based, my aim will be to focus on such a pattern of action. Particular attention will be dedi- cated to Gülen’s conception of a “good Muslim” as a morally-guided agent, because such a conception reveals underneath secular ideas on both responsibility and moral agency. These considerations will constitute the basis from which we can look at the transformation of Islam – and more generally of “the religion” – in the contemporary world. Then a part will be dedicated to defining the specificity of Gülen’s proposal, which will be compared with that of other Islamic revivalist movements in other contexts. Some common point between them will merge from this comparison. Both indeed use the concept of respon- sibility in order to push subjects to actively engage in reviving Islam. Yet, on the other hand, I will show how Gülen’s followers distinguish themselves by the fact their commitment pos- sesses a socially-oriented and reformist character. Finally I will consider the proximity of Gülen’s conceptualisation of moral agency with that the modern state has organised around the idea of “civic virtues”. I argue Gülen’s recall for taking responsibility of social moral decline is a way of charging his followers with a similar burden the modern state has charged its citizens. Thus I suggest the Islamic leader’s pro- posal can be seen as the tentative of supporting the modernity project by defining a new and specific space to Islam and religion into it. This proposal opens the possibility of new and interesting forms of interconnection between secular ideas of modernity and the so-called “Islamic” ones. At the same time I think it sheds a new light over contemporary “renewalist” movements, which can be considered a concrete proposal about how to realise, in a different background, modern forms of governance by reconsidering their moral basis.
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Wright, Steve. "THE WORK OF FETHULLAH GÜLEN & THE ROLE OF NON-VIOLENCE IN A TIME OF TERROR." In Muslim World in Transition: Contributions of the Gülen Movement. Leeds Metropolitan University Press, 2007. http://dx.doi.org/10.55207/iwca2043.
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We are living in dangerous times. We can anticipate further polarisation between Islam and the West as the official line becomes more focused on achieving military solutions to what are essentially political and cultural issues. Fethullah Gülen is unusual in adding a distinctly Islamic voice to the calls for a non-violent approach to conflict resolution. The notion of peace through peace has a rich Western tradi- tion from Tolstoy to Martin Luther King. In the East, all of those active in peace movements today acknowledge a debt to Mahatma Gandhi. These writers continue to influence peace activists such as Gene Sharp, whose work was directly channelled to assist in the recent, relatively peaceful, revolutions in former Soviet states such as the Ukraine. This paper examines the peace-building work of Gülen within wider concepts of non-vio- lence in order to explore their lessons for modern Islam’s transition. It is important for the conference to hear something of past voices and experiences, and the lessons learned from them, which can further inspire those in Islam who wish to move towards future peace using peaceful, non-violent activities. This goal is particularly pertinent in a time of terror when existing counter-insurgency meth- ods readily provoke a violent response, which justifies more violence and repression. The paper is illustrated to ensure accessibility of the examples for those less familiar with non-violent action dedicated to achieving social change.
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Uygur, Selcuk. "“ISLAMIC PURITANISM” AS A SOURCE OF ECONOMIC DEVELOPMENT: THE CASE OF THE GÜLEN MOVEMENT." In Muslim World in Transition Contributions of the Gülen Movement. Leeds Metropolitan University Press, 2007. http://dx.doi.org/10.55207/kwkz8938.
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Turkey has been going through significant transformations over the last two decades, which might be studied under diverse rubrics. The focus in this paper is on the emergence of a new bourgeoisie that is overwhelmingly religious; its aim is to describe the motives behind the at- titudes of religious business people and to discuss the contribution of the Gülen movement. The paper begins by clarifying relevant concepts that appear vague – such as ‘Islamic Puritanism’ and ‘Islamic work ethic’ – following the particular interpretation by Wilhelm Hennis of Max Weber’s familiar ‘Protestant ethic’ thesis. Rather than looking for mechani- cal causal relationships, this paper focuses on life goals and ways of living and discusses the Gülen movement’s contribution to the way of living related to economic activities. (The movement is considered as a new interpretation of Islam – Turkish and strongly influenced by Sufism.) Next, the institutional and moral sources enabling an enterprise culture are dis- cussed. This paper considers the transformation in Turkey to be securely founded on the moral sources and suggests that Turkish Islam might be considered as a source enabling a particular type of entrepreneurs, and that this type is helpful to Turkey’s modernisation project as it anticipates membership of the European Union.
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Pakseresht, Sahar, and Manel Guardia Bassols. "From the so-called Islamic City to the Contemporary Urban Morphology: the Historic Core of Kermanshah City in Iran as a Case Study." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5210.
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Sahar Pakseresht¹, Manel Guàrdia Bassols¹ ¹ Department of Theory and History of Architecture. Polytechnic University of Catalonia (UPC). Av. Diagonal, 64908028 Barcelona, Tel:93-4017874
E-mail: sahar.pakseresht@estudiant.upc.edu, manel.guardia@upc.edu Keywords: Iranian city, Kermanshah, urban morphology, Islamic city, urban transformation, Modernisation Conference topics and scale: City transformations, urban form and social use of space Pre-1920 cities in Iran are characterized by a number of features considered to be typical of the so-called “Islamic city”. A set of features are shared by traditional cities where dominated by Islam religion. The notion of “Islamic city”, often criticised for its Eurocentric nature, has guided most studies of these traditional cities. The modernisation process in so-called Islamic cities is crucial due to its serious impacts on the traditional morphology and transformation of their urban structure. We, thus, need more holistic and integrated understanding about changes of these cities derives from the modernisation process. In order to explore the broad and wide-spread changes due to modernisation process in the traditional cities in Muslim world, it is more enlightening if we study second order cities, rather than studying the transformations of major capitals such as Cairo, Istanbul or Teheran, where interventions are goal to approach a more exceptional and rhetorical characters. Therefore, the aim of this paper is to study the historic core of Kermanshah city, to understand the link between urban transformations and social due to modernisation process by tracing it historically. We will focus, particularly, on studying the stages of urban transformation and changes of urban morphology as well as conflict and differences between traditional urban features with the modern ones. For example, we are interested in understanding how traditional morphology and structure of residential and commercial zone are affected by the opening of new and wide boulevards in course of modernisation process, and how these changes influence everyday people life. References Kheirabadi, M. (2000). Iranian cities: formation and development. Syracuse University Press. Clarke, J. I., & Clark, B. D. (1969). Kermanshah: an Iranian provincial city (No. 10). University of Durham, Department of Geography. Bonine, M. E. (1979). THE MORPHOGENESIS OF IRANIAN CITIES∗. Annals of the Association of American Geographers, 69(2), 208-224. Stefano Bianca. (2000). Urban form in the Arab world: Past and present (Vol. 46). vdf Hochschulverlag AG. Habibi, M. (1996). Az shar ta Shahr (de la Cite a la Ville). Analytical review of the city concept and its physical image in the course of time), Tehran: University of Tehran. (In Persian)
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Keles, Ozcan. "PROMOTING HUMAN RIGHTS VALUES IN THE MUSLIM WORLD: THE CASE OF THE GÜLEN MOVEMENT." In Muslim World in Transition: Contributions of the Gülen Movement. Leeds Metropolitan University Press, 2007. http://dx.doi.org/10.55207/lfko6932.
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The premise of this paper is that human rights values are a persistent theme of Fethullah Gülen’s thought and tajdid and expressed by the Gülen movement through example. That tajdid is collectively constructed and communicated by allowing for adaptation and indigenisation in flexible response to different socio-cultural con- texts. What is more, Gülen’s views on democracy, pluralism, human rights and free- dom of belief directly promote human rights values and norms. The paper argues that the Muslim world is very important to Gülen’s overall aspiration for an inclusive civilisation and thus the movement is now active in most parts of that world. In time, as in Turkey, Gülen’s ideas will enable and empower the periphery in Muslim socie- ties to influence the centre ground and open the way for wider enjoyment of freedom and human rights. The paper is in three sections. The first looks at the underlying dynamics of Gülen’s influence and the nature of his tajdid, to assess whether his influence is transferable elsewhere. The second appraises the content of Gülen’s tajdid arguing that human rights values are an inherent theme of his discourse on Islam. Here, the paper analy- ses Gülen’s views on Anatolian Muslimness, democracy and politics, human rights and freedom of belief, illustrating Gülen’s incremental ijtihad on temporal punish- ment for apostasy in Islamic law. The third part traces the movement’s activities in the Muslim world, arguing that the movement has now entered a phase of adoles- cence, and asks whether Gulen’s tajdid and discourse, through the practice of the movement, can indeed promote human rights values in this world.
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Fadaie, Gholamreza. "The Influence of Classification on World View and Epistemology." In InSITE 2008: Informing Science + IT Education Conference. Informing Science Institute, 2008. http://dx.doi.org/10.28945/3279.
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Worldview as a kind of man's look towards the world of reality has a severe influence on his classification of knowledge. In other words one may see in classification of knowledge the unity as well as plurality. This article deals with the fact that how classification takes place in man's epistemological process. Perception and epistemology are mentioned as the key points here. Philosophers are usually classifiers and their point of views forms the way they classify things and concepts. Relationship and how one looks at it in shaping the classification scheme is critical. The classifications which have been introduced up to now have had several models. They represent the kind of looking at, or point of view of their founders to the world. Aristotle, as a philosopher as well as an encyclopedist, is one of the great founders of knowledge classification. Afterwards the Islamic scholars followed him while some few rejected his model and made some new ones. If we divide all classifications according to their roots we may define them as human based classification, theology based classification, knowledge based classification, materialistic based classification such as Britannica's classification, and fact based classification. Tow broad approaches have been defined in this article: static and dynamic. The static approach refers to the traditional approaches and the dynamic one refers to the eight way of looking toward objects in order to realize them. The structure of classification has had its influence on epistemology, too. If the first cut on knowledge tree is fully defined, the branches would usually be consistent with it.
Reports on the topic "Islamic art Influence"
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MacDonald, Stuart, Connor Rees, and Joost S. Remove, Impede, Disrupt, Redirect: Understanding & Combating Pro-Islamic State Use of File-Sharing Platforms. RESOLVE Network, April 2022. http://dx.doi.org/10.37805/ogrr2022.1.
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In the face of content takedown and account suspensions on the biggest social media platforms, terrorist groups and their supporters have resorted to the use of file-sharing sites to ensure stable access to their propaganda. Amongst those to have employed this strategy are supporters of the so-called Islamic State (IS). Yet, while studies have repeatedly highlighted the key role that file-sharing platforms play in the dissemination of IS propaganda, there has been little investigation of the strategic considerations that may influence the choice of file-sharing sites from the many available. To address this, this report uses data gathered from 13 public IS Telegram channels over a 45-day period in July - September 2021 to assess three possible strategic considerations: the features offered by different file-sharing sites (such as data storage capacity, maximum upload size, and password file protection); a platform’s enforcement activity; and the ability to generate large banks of URLs quickly and conveniently. Based on these findings, the report proposes a four-pronged strategy to combat the exploitation of file-sharing sites by supporters of IS and other terrorist groups: remove terrorist content at the point of upload; impede the automated generation and dissemination of banks of URLs; disrupt the posting of these URLs on other platforms; and redirect users to other content and support services.
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Altier, Mary Beth. Violent Extremist Disengagement and Reintegration: Lessons from Over 30 Years of DDR. RESOLVE Network, March 2021. http://dx.doi.org/10.37805/vedr2021.1.
Full textAbstract:
Recent questions surrounding the repatriation, rehabilitation, and reintegration of those who traveled to join the Islamic State in Iraq and Syria (ISIS), the reintegration of violent extremists in conflict zones including Somalia, Nigeria, Libya, and Mali, and the impending release of scores of homegrown violent extremists from prisons in the United States and Europe have heightened policymaker and practitioner interest in violent extremist disengagement and reintegration (VEDR). Although a number of programs to reintegrate violent extremists have emerged both within and outside of conflict zones, significant questions remain regarding their design, implementation, and effectiveness. To advance our understanding of VEDR, this report draws insights from a review of the literature on ex-combatant disarmament, demobilization, and reintegration (DDR). The literature on DDR typically adopts a “whole of society” approach, which helps us to understand how systemic factors may influence VEDR at the individual level and outcomes at the societal level. Despite the important differences that will be reviewed, the international community’s thirty-year experience with DDR—which includes working with violent extremists—offers important insights for our understanding of VEDR.
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Ossoff, Will, Naz Modirzadeh, and Dustin Lewis. Preparing for a Twenty-Four-Month Sprint: A Primer for Prospective and New Elected Members of the United Nations Security Council. Harvard Law School Program on International Law and Armed Conflict, December 2020. http://dx.doi.org/10.54813/tzle1195.
Full textAbstract:
Under the United Nations Charter, the U.N. Security Council has several important functions and powers, not least with regard to taking binding actions to maintain international peace and security. The ten elected members have the opportunity to influence this area and others during their two-year terms on the Council. In this paper, we aim to illustrate some of these opportunities, identify potential guidance from prior elected members’ experiences, and outline the key procedures that incoming elected members should be aware of as they prepare to join the Council. In doing so, we seek in part to summarize the current state of scholarship and policy analysis in an effort to make this material more accessible to States and, particularly, to States’ legal advisers. We drafted this paper with a view towards States that have been elected and are preparing to join the Council, as well as for those States that are considering bidding for a seat on the Council. As a starting point, it may be warranted to dedicate resources for personnel at home in the capital and at the Mission in New York to become deeply familiar with the language, structure, and content of the relevant provisions of the U.N. Charter. That is because it is through those provisions that Council members engage in the diverse forms of political contestation and cooperation at the center of the Council’s work. In both the Charter itself and the Council’s practices and procedures, there are structural impediments that may hinder the influence of elected members on the Security Council. These include the permanent members’ veto power over decisions on matters not characterized as procedural and the short preparation time for newly elected members. Nevertheless, elected members have found creative ways to have an impact. Many of the Council’s “procedures” — such as the “penholder” system for drafting resolutions — are informal practices that can be navigated by resourceful and well-prepared elected members. Mechanisms through which elected members can exert influence include the following: Drafting resolutions; Drafting Presidential Statements, which might serve as a prelude to future resolutions; Drafting Notes by the President, which can be used, among other things, to change Council working methods; Chairing subsidiary bodies, such as sanctions committees; Chairing the Presidency; Introducing new substantive topics onto the Council’s agenda; and Undertaking “Arria-formula” meetings, which allow for broader participation from outside the Council. Case studies help illustrate the types and degrees of impact that elected members can have through their own initiative. Examples include the following undertakings: Canada’s emphasis in 1999–2000 on civilian protection, which led to numerous resolutions and the establishment of civilian protection as a topic on which the Council remains “seized” and continues to have regular debates; Belgium’s effort in 2007 to clarify the Council’s strategy around addressing natural resources and armed conflict, which resulted in a Presidential Statement; Australia’s efforts in 2014 resulting in the placing of the North Korean human rights situation on the Council’s agenda for the first time; and Brazil’s “Responsibility while Protecting” 2011 concept note, which helped shape debate around the Responsibility to Protect concept. Elected members have also influenced Council processes by working together in diverse coalitions. Examples include the following instances: Egypt, Japan, New Zealand, Spain, and Uruguay drafted a resolution that was adopted in 2016 on the protection of health-care workers in armed conflict; Cote d’Ivoire, Kuwait, the Netherlands, and Sweden drafted a resolution that was adopted in 2018 condemning the use of famine as an instrument of warfare; Malaysia, New Zealand, Senegal, and Venezuela tabled a 2016 resolution, which was ultimately adopted, condemning Israeli settlements in Palestinian territory; and A group of successive elected members helped reform the process around the imposition of sanctions against al-Qaeda and associated entities (later including the Islamic State of Iraq and the Levant), including by establishing an Ombudsperson. Past elected members’ experiences may offer some specific pieces of guidance for new members preparing to take their seats on the Council. For example, prospective, new, and current members might seek to take the following measures: Increase the size of and support for the staff of the Mission to the U.N., both in New York and in home capitals; Deploy high-level officials to help gain support for initiatives; Partner with members of the P5 who are the informal “penholder” on certain topics, as this may offer more opportunities to draft resolutions; Build support for initiatives from U.N. Member States that do not currently sit on the Council; and Leave enough time to see initiatives through to completion and continue to follow up after leaving the Council.