Civilizations throughout history had built religious buildings to fulfill their utopian ideals, to link the realistic world to the spiritual one and its signs. Greeks had their deities occupying the center of their temples, Egyptians engraved the names, images, and icons of their Gods; Indians crafted their deities and placed them in their temples and at their homes. In all these cultures, the notion of a supreme God is physically materialized. This has been clearly reflected in the history of architecture. It is unthinkable to perceive Greek, Egyptian, and Hindu temples without the physical presence of their deities. In historical terms Utopia is associated with Plato Utopia is a paradigm of knowledge, ethics, social, and self-governance. Different societies develop their settlements and utopian ideals of cities according to their historical and cultural context. The notion of Utopia has infiltrated into the Islamic mind through Greek philosophers during the ninth and tenth centuries (Greek word for Utopia) and it has developed into an intellectual movement since then. Nevertheless, in Islamic architecture, the concept of Utopia manifested in mosques and tombs was translated not through figurative or pictorial representation. It is through calligraphy of the spoken word “the revelation” that architecture (sacred or profane) has been manifested. This paper is divided into two parts. The first part will exhibit how archaic cultures across the world (Egypt, Medieval Europe, and Hindu) have perceived the sacred and how it was represented in their architecture. The second part is devoted to the notion of the sacred in Islam and how it was transmitted into architecture. It highlights the relevance of the notion of the vocal word revealed to the prophet Mohammad (peace be upon him) in the Quran and how it was transmitted to architecture through calligraphy. The paper postulates how the concept of the vocal (the sacred word) affects the design of the visual (the written word): from the spoken to the written; calligraphy and how both complement each other.

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From Utopia to Historia: The Journey of Islamic Art from the Spoken Word to the Written Calligraphy

  • Fatima M. Reda,
  • Hani Alqahtani

摘要

Civilizations throughout history had built religious buildings to fulfill their utopian ideals, to link the realistic world to the spiritual one and its signs. Greeks had their deities occupying the center of their temples, Egyptians engraved the names, images, and icons of their Gods; Indians crafted their deities and placed them in their temples and at their homes. In all these cultures, the notion of a supreme God is physically materialized. This has been clearly reflected in the history of architecture. It is unthinkable to perceive Greek, Egyptian, and Hindu temples without the physical presence of their deities. In historical terms Utopia is associated with Plato Utopia is a paradigm of knowledge, ethics, social, and self-governance. Different societies develop their settlements and utopian ideals of cities according to their historical and cultural context. The notion of Utopia has infiltrated into the Islamic mind through Greek philosophers during the ninth and tenth centuries (Greek word for Utopia) and it has developed into an intellectual movement since then. Nevertheless, in Islamic architecture, the concept of Utopia manifested in mosques and tombs was translated not through figurative or pictorial representation. It is through calligraphy of the spoken word “the revelation” that architecture (sacred or profane) has been manifested. This paper is divided into two parts. The first part will exhibit how archaic cultures across the world (Egypt, Medieval Europe, and Hindu) have perceived the sacred and how it was represented in their architecture. The second part is devoted to the notion of the sacred in Islam and how it was transmitted into architecture. It highlights the relevance of the notion of the vocal word revealed to the prophet Mohammad (peace be upon him) in the Quran and how it was transmitted to architecture through calligraphy. The paper postulates how the concept of the vocal (the sacred word) affects the design of the visual (the written word): from the spoken to the written; calligraphy and how both complement each other.