Reconsidering the Concept of “Islamic Art”

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Abstract

This article examines the definition and boundaries of the concept of “Islamic art,” which remains as debated in the academic circles of Islamic countries as it is in Western art history. The authors highlight the methodological issues of reducing Islamic art to mere “arabesque” forms or viewing it as a mere sum of historical layers. Islamic art emerges as a value system shaped around the concept of tawḥīd and filtered through divine revelation, manifesting in diverse forms across different regions. The study emphasizes contemporary intellectual and socio-cultural contexts, noting that the juxtaposition of “Islam” and “art” is often overshadowed by imposed associations, affecting the self-perception of Muslim societies. The relationship between human history and material evidence of creativity is explored, underlining the significance of archaeology and art history. Issues concerning figurative and plastic arts, distinctions between idolatry and artistic practice, and the roles of abstraction, proportion, rhythm, and harmony in Islamic visual language are discussed. Calligraphy is highlighted as a “spiritual geometry,” serving divine speech and embodying the unique aesthetic codes of Islamic culture. Finally, the article offers a perspective connecting Qur’anic depictions of “Light” to a deeper understanding of Islamic aesthetic experience.