The effect of arabesque on the artist and European arts

Document Type : Original Article

Authors

1 Cairo university, Archaeology faculty, Islamic Department

2 Islamic department archeology faculty cairo university

Abstract

Abstract of the research: Arabesque is the language of Islamic art, as human images have been described as the language of European art, and you will not be able to understand this language nor taste its artistic beauty until you understand the significance behind this idea. The Muslim artist has learned from the Holy Qur’an (whoever is on it, and the face of your Lord remains Majesty and Honor) (1) and the arabesque is the intertwining of linear, vegetal and geometric motifs with a thoughtful distribution and a fluid movement with a balance in space, line and color in harmony. The arabesque is distinguished by the system of movements expressing a desire to fill the entire surface with decoration due to the nature of the Muslim artist in hatred The void, except that he made the decorations completely modified on nature, not interested in emulating God’s creation, but only creating human beauty on the surrounding space, and although the arabesque was dominated by the characteristics of Islamic art, it spread and reached most European countries to the extent of the European artist’s admiration for it, which prompted the researcher To make a comprehensive study to know the art of arabesque, its types, its beginning, the crossings of its move to Europe and its impact on the European artist and European arts, with the presentation of pictures - some of which are published for the first time - indicating its spread in Europe and the interest of European artists in this decoration Much despite the difference in the aesthetic concepts of this art in the European world from the Muslims, but it was met with great demand from European artists with designs similar to the designs of the Muslim artist, where he found his desired condition for decorating the walls of churches and monasteries in Europe and the manufacturers transferring Arabic letters and imitating them without knowing their meaning .
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(1) Marzouq, Muhammad Abdulaziz, Islamic Art, Its History and Characteristics, Baghdad, Asaad Press 1965, p. 181; Surat Al-Rahman, Verse 26

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