Uma introdução à arte, a arquitetura e a cultura dos povos muçulmanos em seu contexto histórico.
Nascida da confluência da linguagem visual do mundo da antiguidade tardia, da religião de origem árabe e das contribuições dos vários povos (turcos, persas, bizantinos etc.), a “arte islâmica” estende-se por mais de 14 séculos numa miríade de contextos políticos, sociais e culturais. Partindo de uma caracterização histórica de âmbito mais geral, e com atenção especial ao contexto político e econômico, nesta disciplina introdutória serão apresentados os marcos da formação e evolução da linguagem artística das civilizações islâmicas, incluindo a arquitetura, as artes decorativas e as artes do livro.
Programa
Conteúdo
- Intro/apresentação
- Introdução ao Islã
- Orientalismo
- Aniconismo
- Domo da Rocha
- Mesquita e minarete (2)
- Caligrafia (2)
- Espanha
Apresentação: a problemática do estudo do islã e da arte islâmica
Blair e Bloom, Oxford History of Islam. Tradução.
Flood. (Tradução na apostila.)
Blair e Bloom, The Mirage of Islamic Art. (tradução aqui).
[Richard_Ettinghausen,_Oleg_Grabar,_Marilyn_Jenkins_Medina] — Islamic Art and Architecture, vol. 1 (algumas traduções na apostila)
[Robert_Hillenbrand]_Islamic_Art_and_Architecture (algumas traduções na apostila)
Introdução ao Islã
O debate sobre o Orientalismo
Ibn Warraq. “Linda Nochlin and The Imaginary Orient”. The New English Review (2010). (Tradução na apostila.)
Herbert S Lewis. “The influence of Edward Said and Orientalism on anthropology, or: Can the anthropologist speak?” Israel Affairs 13.4 (2007), pp. 774–785. (Tradução na apostila.)
Mackenzie, O orientalismo na arte.
Robert Irwin. Pelo amor ao saber. Ler Intro e Capítulo 9.
Linda Nochlin.The Imaginary Orient. In: The Politics of Vision: Essays on Nineteenth-Century Art and Society. New York: Harper e Row, 1989 , pp. 33–59. http://pages.ucsd.edu/~bgoldfarb/cocu108/data/texts/NochlinIO.pdf
Bernard Lewis. “The question of Orientalism”. New York Review of Books (1982);
Martin Kramer. “Said’s Splash”. Em: Ivory towers on sand: The failure of Middle Eastern studies in America. Near East Pollicy, 2001, pp. 27–43.
Denny, Walter (1983). Orientalism_in_European_Art. The Muslim World, 73: 262-277. doi:10.1111/j.1478-1913.1983.tb03268.x
Extra:
Orientalism Revisited Art, Land and Voyage by Ian Richard Netton (Editor).
https://www.forbes.com/part_forbes/2009/0413/062-oriental-art-embracing-the-past.html
https://www.sothebys.com/en/articles/orientalism-and-its-impact-on-western-artists
http://www.bbc.com/culture/story/20191017-how-art-created-stereotypes-of-the-arab-world
https://www.sothebys.com/en/articles/orientalism-and-its-impact-on-western-artists
Para um exemplo de análise não saidiana de uma obra do finlandês Gunnar Berndtson: Elina Heikka. Layers of Fantasy – Gunnar Berndtson’s Almée.
Williams, Caroline. 2001. John Frederick Lewis: “Reflections of Reality”. In Muqarnas: An Annual on the Visual Culture of the Islamic World, XVIII, 227-243.
Visions of the harem: https://www.theguardian.com/books/2008/jul/05/art.exhibition
The politics of possession: Edwin Long’s Babylonian Marriage Market
Afterimage of the Eruption: An Archaeology of Chassériau’s Tepidarium (1853)
Jean_leon_gerome_l_antique_et_l_orient
Jean_leon_gerome_his_badger_and_his_stud
Collections_moyen_orientales_de_peinture
Gerome_in_istanbul_reconsidering_gerome
Des_orientalistes_indigenes_notes_sur_le
Francois-pouillon-sur_edward_said
Extra:
DAVID COOK (2007) The Muslim Man’s Burden: Muslim Intellectuals Confront their Imperialist Past, Israel Affairs, 13:4, 806-818, DOI: 10.1080/13537120701445240.
EFRAIM KARSH The Missing Piece: Islamic Imperialism.
MacKenzie. Said and the Historians.
Irfan Khawaja. Essentialism, Consistency and Islam: A Critique of Edward Said’s Orientalism .
The_Conflicted_Legacy_of_Bernard_Lewis.
An introduction to Orientalist Painting. British Museum.
Isabella Archer, “(Re)Envisioning Orientalist North Africa: Exploring Representations of Maghrebian Identities in Oriental and Occidental Art, Museums, and Markets,” intersections 11, no. 2 (2010): 67-107.
isabella_archer_reenvisioning_orientalist_north_africaBaixar
SILVA, Leonardo Luiz Silveira Da. O embate entre Edward Said e Bernard Lewis no contexto da ressignificação do Orientalismo. Antropolítica Revista Contemporânea de Antropologia, v. 1, n. 40, 2016.
SILVA, Leonardo Luiz Silveira Da. A evidência de práticas orientalistas como instrumento do imperialismo no pós-11 de Setembro. Revista Geografias, p. 56–74, 1 dez. 2013.
Da utilidade (ou não) de Said para refletir sobre uma obra “auto-orientalizante” (de um ponto de vista) ou identitária (de outro ponto de vista). O “Orientalismo” (com “o” maiúsculo: o livro, o conceito saidiano) e o orientalismo (com “o” minúsculo: uma outra definição de outra coisa, mas com o mesmo nome) têm algo a contribuir com uma literatura como a de Hatoum? Ou para uma como a de Raduan Nassar? Uma resposta meio vaga, meio não convincente, aqui: BIRMAN, Daniela. Canibalismo literário: exotismo e orientalismo sob a ótica de Milton Hatoum. Alea, Rio de Janeiro , v. 10, n. 2, p. 243-255, 2008.
Aniconismo e iconoclastia: a atitude muçulmana em relação à arte
Básica:
Terry Allen, Aniconism and Figural Representation in Islamic Art.
Grabar. Islamic Atitudes Toward the Arts. In: The formation of Islamic Art.
Thomas Arnold, Painting in Islam.
Finbarr Barry Flood — Destruição de ídolos e produção de imagens no «Estado Islâmico».
Destruição de ídolos e produção de imagens no «Estado Islâmico».Baixar
Extra:
Gruber, Christiane. Idols and Figural Images in Islam: A Brief Dive into a Perennial Debate.
Mika Natif. ‘Painters will be Punished’ – The Politics of Figural Representation Amongst the Umayyads.
Neci̇poğlu, Gülru. (2015). The Scrutinizing Gaze in the Aesthetics of Islamic Visual Cultures: Sight, Insight, and Desire. Muqarnas Online. 23-61. 10.1163/22118993-00321P04.
D. Roxburgh: https://www.artforum.com/print/201204/hans-belting-s-florence-and-baghdad-30568.
Bellemare, P. M. (1996) Meteorite Sparks A Cult. Journal of the Royal Astronomical Society of Canada, Vol. 90, p. 287.
“One of the Best Tools for Learning”: Rethinking the Role of ‘Abduh’s Fatwa in Egyptian Art History. Para quem acha que a questão se fechou, uma fatwa ambígua de uma grande personalidade do modernismo islâmico egípcio.
Para quem se interessar pela estrutura do pensamento salafista, do site saudita https://islamqa.info:
O interessante é que uma das razões para negar a arte representativa é “imitação dos infiéis”. Há vários artigos nesse mesmo site sobre como não imitar os infiéis.
Uma outra perspectiva, entre vários outros artigos: https://islamqa.info/en/answers/129673/ruling-on-blotting-out-images-in-books-and-magazines-what-are-the-images-that-prevent-the-angels-from-entering-a-house.
Dodd, Erica Cruikshank. The Image of the Word: Notes on the Religious Iconography of Islam. In: Hoffman, Eva R. (ed). Late Antique and Medieval Art of the Mediterranean World. Blackwell, 2007.
Creswell — The Lawfulness of Painting in Early Islam (1946).
King, G.D.R. Islam, Iconoclasm, and the Declaration of Doctrine.
Hodgson, Marshal. Islâm and Image. History of Religions, Vol. 3(2), pp. 220-260, 1964.
G. E. von Grunebaum.Byzantine Iconoclasm and the Influence of the Islamic Environment. History of Religions Vol. 2, No. 1 (Summer, 1962).
van Reenen, Daan «The Bilderverbot, a New Survey» Der Islam 67/1 (1990), 27-77.
Ghabin, Ahmad «The Quranic Verses as a Source for Legitimacy or Illegitimacy of the Arts in Islam» Der Islam 75/2 (1998), 193-225.
Christian C. Sahner. The First Iconoclasm in Islam: A New History of the Edict of Yazīd II (AH 104/AD 723). Der Islam 2017; 94(1): 5–56.
Flood. Iconoclasm. EI 3.
Elsner – Iconoclasm as Discourse.
Para uma visão interessante de uma hipótese sobre uma possível interpretação religiosa de uma pintura em um castelo no deserto do século VIII, ver:
Ali, Nadia (2017). The royal veil: early Islamic figural art and the Bilderverbot reconsidered, Religion, DOI: 10.1080/0048721X.2017.1319992.
Ali apresenta uma teoria interessante em que uma figura em Qusayr Amra, construído pelo príncipe al-Walīd bin Yazīd (708–744, r. 743–744) representaria uma fusão de motivos iconográficos tardo-antigos (Dionísio e Ariadne) com cenas coptas do Natal, reinterpretadas através de evangelhos apócrifos até chegar uma leitura muçulmana. Segundo essa interpretação, isso seria evidência não somente da problematização do aniconismo muçulmano, mas também de sua refutação como conceito e como fato: “The idea of a strict aniconism in Islam has been rightly refuted in the last decades–not only by the overwhelming force of the visual record and the difficulties involved in putting it all down to corruption, but also by re-readings of texts and historical contextualization of the wide range of Muslim attitudes towards images, which show them to be more complex than essentialist views could allow.” É proposta, além disso, uma contestação das evidências de aniconismo religioso através de uma comparação com uma pintura que possivelmente teria significado religioso (ou no mínimo uma analogia estrutural visual-formal e literária).
Uma visão comparativa do aniconismo
Para duas visões divergentes sobre a influência islâmica sobre bizâncio:
Grabar, Oleg. “Islam and Iconoclasm.” In Early Islamic Art, 650-1100, volume I, Constructing the Study of Islamic Art. First published in Iconoclasm, A. Bryer and J. Herrin, eds (Birmingham, 1977), pp. 45-52.
Patricia Crone, “Islam, Judeo Christianity and Byzantine Iconoclasm”.
Comparações com a Reforma protestante na Europa
Philip Jenkins. The breaking of images.
Ornamental Defacement and Protestant Iconoclasm
Idolatry: Icons and Iconoclasm.
la-theologie-de-limage-entre-les-musulmans-et-les-chretiens-syriaquesBaixar
la_multiplication_des_images_en_pays_dislamBaixar
entre-byzance-et-rome-limage-et-le-sacre-au-proche-orient-au-xviie-siecleBaixar
In the Shadow of the Idol Religion in British Art Theory, 1600–1800Baixar
Outros recursos
Davor Džalto, “Iconoclastic controversies,” in Smarthistory, August 8, 2015, https://smarthistory.org/iconoclastic-controversies/.
Brooks, Sarah. “Icons and Iconoclasm in Byzantium.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/icon/hd_icon.htm (originally published October 2001, last revised August 2009)
Fortescue, A. (1910). Iconoclasm. In The Catholic Encyclopedia. New York: Robert Appleton Company. Retrieved January 22, 2020 from New Advent: http://www.newadvent.org/cathen/07620a.htm
Norman H. Baynes. The Icons before Iconoclasm. The Harvard Theological Review, Vol. 44, No. 2 (Apr., 1951), pp. 93-106
By: J. ATKINSON
Theoria: A Journal of Social and Political Theory, No. 41 (October 1973), pp. 51-62.
Formas arquitetônicas — mesquita e minarete
Hillenbrand, ISLAMIC ARCHITECTURE – CAP II E III (PAG 31 – 171).
Textos auxiliares
Artigos da Encyclopaedia of Islam:
Stierlin. El Islam.
Extra
Bernard O’Kane. A Tale of Two Minbars: Woodwork in Egypt and Syria on the Eve of the Ayyubids.
Al–Azhar Mosque: An Architectural Chronicle of Cairo’s History
The_Mosques_of_Egypt_-_Introduction
Aleppo — Architecture and History
Structuring sovereignty-islam-and-modernity-in-the-mosque-of-muhammad-ali-pasha1Baixar
O Domo da Rocha
Hillenbrand, Islamic Art and Architecture. ISLAMIC ART AND ARCHITECTURE (PÁG- 6 À 60)
Oleg Grabar. “The Umayyad Dome of the Rock in Jerusalem”. Ars Orientalis 3 (1959), pp. 33–62.
Nasser Rabbat. “The Meaning of the Umayyad Dome of the Rock”. Muqarnas 6 (1989), pp. 12–21.
Extra
Necipoglu, Gulru. 2008. The Dome of the Rock as Palimpsest: ‘Abd al-Malik’s Grand Narrative and Sultan Suleyman’s Glosses. In Muqarnas: An Annual on the Visual Culture of the Islamic World XXV. 17-105.
Avner, Rina. “The Dome of the Rock in Light of the Development of Concentric Martyria in Jerusalem: Architecture and Architectural Iconography.” Muqarnas: An Annual on the Visual Culture of the Islamic World 27 (2010): 31-49. https://archnet.org/publications/9484
Riedlmayer, András, and Beatrice St. Laurent. 1993. Restorations of Jerusalem and the Dome of the Rock and Their Political Significance. In Muqarnas X: An Annual on Islamic Art and Architecture. Margaret B. Sevcenko (ed.). Leiden: E.J. Brill. https://archnet.org/publications/3032
Beatrice St. Laurent. The Dome of the Rock and the Politics of Restoration.
Kaplony, Andreas, [Jerusalem’s Sacred Esplanade] 635/638-1099: The Mosque of Jerusalem (Masjid Bayt al-Maqdis), in: Grabar, Oleg und Kedar, Benjamin Z. (Hgg.), Where Heaven and Earth Meet: Jerusalem’s Sacred Esplanade, Jerusalem und Austin 2009, 100-131; 396-398.
Uri Rubin, “Muhammad’s Night Journey (isra’) to al-Masjid al-Aqsa: Aspects of the Earliest Origins of the Islamic Sanctity of Jerusalem” al-Qantara 29 (2008), 147-65.[Reprinted in: Uri Rubin, Muhammad the Prophet and Arabia, Variorum Collected Studies Series (Ashgate, 2011), no. VII.
Daniel Beck. MUḤAMMAD’S NIGHT JOURNEY IN ITS PALESTINIAN CONTEXT – A PERFECT SOLUTION TO A FORGOTTEN PROBLEM (Q 17:1)
Bursi, A. (2020). Scents of Space: Early Islamic Pilgrimage, Perfume, and Paradise, Arabica, 67(2-3), 200-234. doi: https://doi.org/10.1163/15700585-12341557
15700585-arabica-scents-of-space-early-islamic-pilgrimage-perfume-and-paradiseBaixar
Alain George paradise_or_empire_on_a_paradox_of_umayyBaixar
m_levy_rubin_why_was_the_dome_of_the_rocBaixar
jerusalem-idea-and-reality-by-tamar-mayer-suleiman-ali-mouradBaixar
abd-al-malik-and-the-dome-of-the-rock-eladBaixar
medieval-jerusalem-and-islamic-worship-holy-places-ceremonies-pilgrimage-by-amikam-eladBaixar
Elad Medieval Jerusalem in Islamic Worship. Brill, 1999.
the-dome-of-the-rock-by-oleg-grabarBaixar
the-dome-of-the-rock-and-its-umayyad-mosaic-inscriptions-by-marcus-milwrightBaixar
fowden-late-antique-art-in-syriaBaixar
Caligrafia
Yasser Tabbaa. “The Transformation of Arabic Writing: Part I, Qur’ānic Calligraphy”. Ars Orientalis 21 (1991), pp. 119–148.
Yasser Tabbaa. “The Transformation of Arabic Writing: Part 2, the Public Text”. Ars Orientalis 24 (1994), pp. 119–147.
Yasser Tabbaa. “Canonicity and Control: The Sociopolitical Underpinnings of Ibn Muqla’s Reform”. Ars Orientalis 29 (1999), pp. 91–100.
Yasser Tabbaa. THE TRANSFORMATION OF ISLAMIC ART DURING THE SUNNI REVIVAL Publications on the Near East. Seattle: University of Washington Press, 2001.
Sheila Blair. Islamic Calligraphy. Edinburgh: Edinburgh University Press, 2006. (para leitura) (Disponível também na biblioteca.)
Blair. Calligraphy. Completo.
Textos adicionais
““The Eye is Favored for Seeing the Writing’s Form”: On the Sensual and the Sensuous in Islamic Calligraphy”. Muqarnas, Vol. 25, Frontiers of Islamic Art and Architecture: Essays in Celebration of Oleg Grabar’s Eightieth Birthday. Brill, 2008. 275-98.
Ink and Gold – Islamic Calligraphy.
Safadi — Islamic Calligraphy.
Sheila Blair. Written, spoken, envisioned: the many facets of the Qur’an.
Alain George. The Rise of Islamic Calligraphy.
Robinson, Francis. Technology and Religious Change – Islam and the Impact of Print
O’Kane. Monumental Calligraphy in Fatimid Egypt: Epigraphy in Stone, Stucco, and Wood.
[J.R._Osborn]_Letters_of_Light__Arabic Script in Calligraphy, Print, and Digital Design
F. B. Flood. Bodies, Books, and Buildings: Economies of Ornament in Juridical Islam.
Para um resumo em italiano das “escritas livrescas”, ver: François Déroche, Valentina Sagaria Rossi, I manoscritti in caratteri arabi. Roma (Viella) 2012.
VI. Le scritture librarie: pp. 159-189; Deroche-2012-Sagaria-Rossi-Manoscritti-6-159-189
Review of Annemarie Schimmel, Calligraphy and Islamic Culture. London: I. B. Tauris, [1984] 1990, by Yasser Tabbaa.
Material extra
Tasmeem — The Spirit of Arabic Calligraphy (tipografia). — Relacionado: fontes.
Arabic_script_and_typography. Thomas Milo.
Monotype’s Nadine Chahine on designing a new typeface for Dubai.
Font of a Nation: Creating a National Graphic Identity for Qatar.
Islamic Calligraphy — Metropolitan Museum.
Aisha — uma fonte baseada na caligrafia magrebina. Aisha_specimen
Um ótimo exemplo de uma fonte especificamente desenhada para escritas africanas (dentre elas o árabe): https://kigelia-font.com/
Um exemplo teológico apologético, ou: como não fazer o seu trabalho. http://wamy.org.br/wp/a-arte-da-caligrafia-arabe/
Graffiti
Yazin Halwani: https://yazanhalwani.com/
Artistic vision on Beirut’s streets
https://www.theguardian.com/cities/2015/sep/22/beirut-graffiti-artist-yazan-halwani-lebanese
Quem estiver interessado no livro “Arabic Graffiti”, entre em contato.
Extra
Upside Down, Left To Right: A Letterpress Film from Danny Cooke on Vimeo.
Na contramão da tecnologia, tipógrafo é exemplo de amor pela profissão
Comenia Type System
Criado especificamente para escrita acadêmica/escolas, inclusive na alfabetização.
Comenia was developed as typographic system (Comenia Sans, Comenia Script) for use on all levels of schools and universities. It introduces new aesthetic standards aimed at improving reading and writing skills and the perception of texts for pupils, students, teachers, office and IT staff at schools. It offers a clear, intelligible and universal graphic tool for layout of primers, textbooks, educational texts and materials, for electronic typography and for the information systems.
Comenia – School Typeface System
Pintura Persa
Grabar — Toward an Aesthetic of Persian Painting.
Hillenbrand — Islamic Art and Architecture — Cap. 8 e 9.
Extra:
The Mantiq al-tair (Language of the Birds) of 1487.
Axel Langer. European Influences on Seventeenth-Century Persian Painting — Of handsome Europeans, naked ladies, and Parisian timepieces.
A Companion to Islamic Art and Architecture — cap. 25, 26, 34 e 36.
Ruddee Matthee. Alcohol in the Islamic Middle East: Ambivalence and Ambiguity.
Nina Ergin. Rock Faces, Opium and Wine Speculations on the Original Viewing Context of Persianate Manuscripts.
Amy Landau. “From Poet to Painter: Allegory and Metaphor in a Seventeenth-Century Persian Painting by Muhammad Zaman, Master of Farangi-Sazi”, Muqarnas 28, 2011, pp. 101-131.
Bernard O’Kane. Rock Faces and Rock Figures in Persian Painting.
Stuart Cary Welch. Persian Painting.
Talbot Rice, Islamic Art, cap. 11 e 12.
Simpson, Marianna Shreve. Persian poetry, painting, & patronage: illustrations in a sixteenth-century masterpiece.
A questão das imagens: das representações de Maomé aos budas de Bamiyan
Gruber, Between Logos and Light. Original: https://archnet.org/publications/6805
Gruber (tradução de três artigos na Newsweek). Imagens_do_Profeta_Muhammad_nas_Tradicoes Islâmicas.
Flood, Between Cult and Culture.
Extra
Gruber, C. (2017). ” Images of the Prophet Muhammad: Brief Thoughts on Some European-Islamic Encounters”. In Seen and Unseen. Leiden, The Netherlands: Brill.
Grinell, Klas. 2019. “Muhammad at the Museum: Or, Why the Prophet Is Not Present” Religions 10, no. 12: 665. https://doi.org/10.3390/rel10120665 https://www.mdpi.com/2077-1444/10/12/665/htm
José Antonio González Zarandona, César Albarrán-Torres & Benjamin Isakhan (2017): Digitally Mediated Iconoclasm: the Islamic State and the war on cultural heritage. International Journal of Heritage Studies, DOI: 10.1080/13527258.2017.1413675.
Benjamin Isakhan & José Antonio González Zarandona (2018) Layers
of religious and political iconoclasm under the Islamic State: symbolic sectarianism and
pre-monotheistic iconoclasm, International Journal of Heritage Studies, 24:1, 1-16, DOI:
10.1080/13527258.2017.1325769.
Finbarr Barry Flood. Idol-Breaking as Image-Making in the ‘Islamic State’.
Jamal Elias. Aisha’s Cushion: Religious Art, Perception, and Practice in Islam.
Oriente Médio - Unifesp 