Memoire I Chapitre

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I. Spiritual content in modern (contemporary) outfita. Islamic art: tradition (and innovation)b. Specificity of British Muslim artistic creationc. Hybridization of cultural references

I.

The Islamic artistic conception is characterized by geometry and absence of

figurative representation. Even if Islam is not as strict as Judaism towards iconism and

there are only few references as to the painting, the Hebraic religion and its inflexible

monotheism influenced Islamic perception vis--vis of the arts. The interdiction

concerning make image human or any animate object is deeply rooted in the Judaism and

is clearly written in the Torah: Thou shalt not make unto thee any graven imager or any

likeness of anything that is in heaven or that is in the earth beneath or that is in the water

under the earth. (Exodus 20.4) There is no such commandment in the Quran, however

the hadiths, a part of Sunni tradition, denounce painters: [h]e who creates pictures in this

world will be ordered to breathe life into them on the Day of Judgment, but he will be

unable to do so.Hadith, Sahih Muslim (818-875). That is for say only God can create andgives life; consequently person who imitates Gods work commits sin regarding Sunni

tradition. The fear of idolatry has shaped the countenance of the Islamic art and its form.

However the opinions diverge on the subject. According to the Muhammed Abduh, mufti

in Al-Azhar at the end of the 19th

century, the ban on images applied to an earlier period

in Islam when the danger of idol worship was much more imminent.(K. H. Ramadan,

2007, p. 50). The scholars so interpret in different way corpus of Islamic tradition, that is

say Quran and hadiths (sayings of the Prophet). Consequently the Islamic art develop its

quintessence in the abstraction. The absence of animal of human figures does not

diminish the aesthetic quality of the creations of Islamic art. The change of emptiness and

forms provokes rather amazing aesthetic experience moreover the element of

interlacement incites the eye follows of intertwining and compensating forces

(Buckhardt, p. 44). This continuity and meditative nature is in certain sense the expression

of unity and spiritual message, the principle of the tawhid (so called divine unity) which

plays central role when the nature of Islamic arts are concerned. This unity reflects strict


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monotheism and ban to associate anyone or anything to God, because association (shikr)

is considered as the gravest sin in Islamic belief. All force of the Islamic arts consists

consequently in abundance of abstract or plant motives and its imaginative aspect

therefore the Islamic art has been considered simply as decorative art and not as full-

bodied form of fine arts1. This reading is typically Western one where the image and

figurative representation play very important role as well in the profane as sacred sphere.

The traditional Islamic arts are based on the geometry and calligraphy; these

forms are taught in the programme VITA (Visual Islamic and Traditional Arts) at the Royal

College, founded by Prince Charles foundation in 1984. The goal of the institution is to

preserve traditional arts and so perpetuate the traditional knowledge of the craft

industry. And it was actually Victorian Craft and Art movement which was influenced by

decorative Islamic art, first of all William Morris. Indeed there is same rationale that is to

say no distinction between fine arts and craft industry and valuation of hand-made work.

Traditional artisan is not only about technique but it includes also the spiritual aspect. The

know-how is passed on along with cultural heritage and values, the complex knowledge

filled with deep religious sense, called also adab in the classical Arabic tradition. In spite

of aesthetic aspect and its importance, the Islamic art is not art for arts sake as it was a

case in the Aesthetic Movement in the 19th

century. The beauty celebrates divine,

because according to the Sufi mystic, but also poet, jurist and theologian Rumi all things

reflect divine beauty. Each piece of art is so glorification of God and his creation. This

principle echoes in the statement of Ruh Al-Alam, appeared in the Guardian: [t]he

concept of al-fan al-hadif ("art with purpose") is what defines myself, [Sami] Yusuf and the

others."

http://www.bbc.co.uk/worldservice/documentaries/2009/08/090807_wiilam_and

_the_muslims.shtml

Knowledge and writing is highly esteemed. The first order which the Prophet

Muhammad received was Read! And thy Lord is Most Bountiful. He, who bestowed

knowledge through pen. (Surah 96, Al-Alaq) Thus, knowledge lies in the Quran, and

1Vronique Rieffel, Islamania, de lAlhambra la burqa, histoire dune fascination artistique, Beaux Arts

Editions, 2011, p. 46
http://www.bbc.co.uk/worldservice/documentaries/2009/08/090807_wiilam_and_the_muslims.shtmlhttp://www.bbc.co.uk/worldservice/documentaries/2009/08/090807_wiilam_and_the_muslims.shtmlhttp://www.bbc.co.uk/worldservice/documentaries/2009/08/090807_wiilam_and_the_muslims.shtmlhttp://www.bbc.co.uk/worldservice/documentaries/2009/08/090807_wiilam_and_the_muslims.shtmlhttp://www.bbc.co.uk/worldservice/documentaries/2009/08/090807_wiilam_and_the_muslims.shtml


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know-how of calligraphy allows communicating and spreading this knowledge as a light in

regard of Islamic belief, even more if the revealed character of the Quran is taken in

account. Indeed the symbolic of the light is greatly important in the Islam. God is often

compared with light as in the surah of Light (An-Nur)Allah is the Light of the heavens

and the earth.The parable of His Light is a niche wherein is a lampthe lamp is in a glass,

the glass as it were a glittering starlit from a blessed olive tree, neither eastern nor

western,whose oil almost lights up,though fire should not touch it.Light upon light.Allah

guides to His Light whomever He wishes.Allah draws parables for mankind,and Allah has

knowledge of all things. The light plays important role in the architecture, Burckhardt

refers to the alchemy of Light, evoking transcendental feature of architectural elements

combined with technical devices achieved thanks to the mathematical knowledge. The

geometric elements as for example moucharabieh or muqarnas creates light effects and

impression of lightness. The light holds clue place in the artistic creation of all three

artists, they connect often the motion of light with Prophet Mohammed like in the

Mohammed Alis Dubai Collection, where luminosity of his graffiti is striking. Moreover

the light effect is highlighted by inscription arranged in way to produce like flash effect.

The architecture being one of the most visible and studied form of Islamic art, it is

quite inseparable from calligraphy where genius of Islamic art and power of Islamic faith

is plainly expressed and which can be designed like its standard and whose magnitude is

expressed in the statement uttered by James W. Allan For to me, as a western Christian

curator of Islamic art collections, it is above all in Arabic calligraphy that Islamic identity

belongs. And it is my belief that it is the ability of contemporary artists to express that

calligraphic tradition in a contemporary way that will bring Islamic art once again into the

forefront of artistic expression worldwide. The statement expresses a constancy of

calligraphy and universality of it throughout the Muslim community, regardless

nationality. Calligraphy requires patience and skills and according to professional

calligrapher Taha Al-Hiti it is long process to create a letter of calligraphy, which is so

arts of itself. It is not only a means to rewrite a speech it has also a spiritual dimension

moreover due to the intricate tie with Quran and so privileged statute in the Islamic arts.

However letters in the Arabic alphabet have not a similar numerical value as it is a case in

Jewish alphabet and is consequently interpreted and commented by Jewish mystics, the


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letters [have] personality of its own and symbolize in visual form a particular Divine

quality since the letters of the sacred alphabet correspond to features and qualities of God

as the Divine scribe.2Over the centuries the art of calligraphy had developed different

styles like kufi, thuluth, nasqhki, riqa or diwani, due to the geographic extent of Islamic

influence. More strict or more flowing, clearly readable or interlacing in way where very

word is hardly recognizable due to the proliferation of running on from single letters.

Especially in the case of Kufic writing, which was not ruled by proportional criteria like

the cursive naskhi, but obeyed the calligraphers own aesthetics, the letters were

transformed into ornament. They were foliated or floriated, twisted and plaited, knotted,

intersected, intertwined in endless geometrics, and even animated with figures.3

Moreover the letters in Arabic can be also composed in order to create zoomorphic

figures, a way to make human or animal figures in a certain respect of tradition. It shows

an artistic and aesthetic dimension which is rather independent from the primary

function of writing down and demonstrates imaginative power of calligraphy and its

possibilities.

2Seyeed Hossein Nasr, Islamic art and spirituality, State University of New York Press, 1987, p.30

3Doris Behrens-Abouseif, Beauty in Arabic Culture, 1999, Markus Wiener Publishers, p. 140


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II.

The artists Mohammed Vaseem, Ruh Al-Alam and Mohammed Ali made deliberate

choice to not represent human or animal figures and conform to the orthodox Sunni

interpretation concerning painting as Mohammed Vaseem declared in the interview for

the Islamic Art magazine: I made a conscious decision when embarking on this career to

abstain from using animate images in this work in accordance with this tradition. They

take calligraphy as a starting point in their creation, however their creation may be on

edge of the figurative art as it is can see in the Mohammed Alis graffiti where appears

veiled female figures. At the same time the figures are design vaguely without concrete

features which are only roughly sketched and so it does not compete with Gods creation,

in theological mean of word. They take up the Muslim heritage as calligraphy and reuse it

in contemporary way in order to bridge the western and Muslim world. Hence the using

of inscriptions in Arabic, evoking spiritual and cultural character of their creation and

application of more western techniques of painting like collage or layering of paint, reveal

degree of appropriation of contemporary modes of the arts and integration in the

mainstream culture. The innovation and modern approach to the tradition challenge the

prejudices against the Muslim and Islam, which is also one of the concerns of this second-

born generation of Muslim British artists and who is also often committed to the both

civil British society and causes implying universal Muslim community, designed frequently

as ummah.

The quite sculptural approach may be seen in the work of Mohammed. Circle

form, a base of all geometric forms is also a form of full moon. The Islamic calendar is, on

contrary to the Georgian one, lunar like Hebraic one. Moon also rhythm the religious

feasts such as Ramadan, one of the pillars of Islam. If we consider the unity of circle and

fact that there is no beginning and no end, it can stand for eternity of God and its

perfection, indeed the painting (p. 8) is called As Samad (The Eternal), making clear

allusion to the God and his principal attribute. The work dates from 2009s collection

Familiar and Unfamiliar Territories. The form of moon is quite omnipresent in his work

as well as incorporated in the paintings or as independent painting, like piece As Samad,

which is alternate through colours, inscriptions or changes of the surface. But


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Mohammed is not only who uses the motive of moon, one of Ruh Al-Alams work is

entitled Muhammad(Qamar/ Moon), did in black and white.

How Vaseem Mohammed states himself, he was influenced as well by his four-

months trip to the Pakistan, the country of his ancestors, as by his growing up in the East

London. It can be seen in the rough texture of his works. He so translates the scruffy

character of the East London of his childhood. Those memories inspire me; dilapidation,

paint peeling off and things like that. In myparentshouse, which was over a hundred

years old I used to peel at the wall paper, as children do, and there was decades of

wallpaper there, layers and layers and subconsciously I started using that in my work.

The likeness of distinct layers of wall paper can be seen partially in the golden strips

which like protrude from the painting. The juxtaposition and torn parts of canvas appear

frequently in his work. The plasticity is accentuated by reliefs resembling to the craters,

he actually works his paintings in quite experimental way using chemicals to blend paint

or cutters to give more depth to his works.

Moreover he graduated from Art & Design, Graphics and Creative Computing &

Illustration at Tower Hamlet College, the area is nicknamed Banglatown due to the

strong concentration of the Bangladeshi community in the area. But it was actually

Pakistan which influenced the aesthetic of his works and provided new theme for his

painting. As in the Unity (p. 9) he paints the cities which he saw there, especially by

medinas, the old parties of towns, inspired by walled deserted city of Multan. The

minarets, domes and flat roofs are spread throughout the Islamic world; consequently the

painting could be taken as illustration of any city in the North Africa with its minarets,

terraces and domes of zaouias (tombs of saints)4. It shows the universality of the Islamic

architecture and patterns and so common heritage of Arabic influence. But if there is a

set of collective features, the variety of styles due to the ethnic diversity, what Burckhardt

calls diversity in unity, or () unity in diversity.5

4Art With a Conscience, Emel Magazine, May / June 2004 5Titus Burckhardt, Art of Islam: Language and Meaning, World of Islam Festival Publishing Company Ltd.,

1976, p. 117


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As Samad (The Eternal), 2009


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The Unity (Ibrahim), 2008


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The graphic designer Ruh AlAlam of Bangladeshi descent, was born and grown up

in East London, graduated at Central Saint Martins College of Arts and Design in

illustration and graphic design. Alongside the technical skills concerning design he

completed his artistic formation in Egypt where he studied calligraphy for two years. He

coined the term Visual Dhikr (Remembrance) which became the trading mark in 2003. He

collaborates closely with Islamic Design House, Emel, Radical Middle Way or Islamic Relief

within his own design agency that he founded in 2001.

But the calligraphy is not his only source of inspiration, how he states [l]ike many

Muslim calligraphers, architects and artists throughout Muslim history, we also take good

inspiration from other cultures, including western and eastern concepts.6 There is so

clearly impact of Islamic heritage but also the new technique of creating, whatever

calligraphy is at the root of his work. Al-Alam so produces as well oil or acrylic canvas,

posters as the range of t-shirts or eco-bags signed Keep It Halal. The Islam and its

aesthetic and ethics are omnipresent in his work, even if his design is written in Latin

letters the inspiration from form of Arabic letters and arabesques is visible.

Similar modern approach can be seen in the creation of street artist Mohammed

Ali, who is originated from Birmingham where resides one of the largest Pakistani and

Kashmiri communities in the UK. He graduated from Multimedia Design, and even if he

did graffiti since his was ten, he did not become artist immediately. How he acknowledges

personality which influenced him was American photographer Henry Chalfant whose

book Subway Art is like a Bible for anyone who is interested in graffiti. Ali launched his

mark Aerosol Arabic, defining as urban spiritual art and nowadays he become around the

globe, his works being exhibited in the United States, Canada, Australia or Dubai.

Originality of Alis work lies in combination of graffiti and Islamic message and so

reverses the egoism of the graffiti to message of share, tolerance and opening, according

to his own word a mixture of sacred script of God and selfish script of man. However,

the street art and art more generally can be a medium to bring people together, to

achieve an understanding of each other. (Mohammed Ali) It is no longer about to tag

6The Muslim Council of Britain, 24 October 2003


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his name on the wall, as it was a case before his rediscovery of Islam. The spiritual

awakening gave to his graffiti pieces deeper sense and means to make people think when

seeing his work in the street.7

His rediscovery with Islam also change his way of making

the graffiti. Nowadays he paints exclusively on the legal grounds. He co-founded The

Hubb Arts Centre in Birmingham in order to transmit his art in the spirit of open-

mindedness and tolerance, mainly to the young generation. The liberal atmosphere and

diverse ethnic composition of population play its role in liberation of second or third

generation in questioning the tradition and ancestral values that encourage going beyond

ones own community, and respecting others beliefs.8

That is shared value by all three

artists, they advocate the exchange between the communities and the arts seem to be

more than adequate means of communication. That was a case of exhibition Light of

Hope organized by Vaseem Mohammed with the cooperation of Revd. Dr. Brian Lee, in

July 2005, at St. Botolphs Church Aldegate in London. Lee considered the exhibition as

symbol of learning, tolerance and solidarity, in the atmosphere of mistrust and

suspicion towards Muslim community which reigned after 7/7 attacks in London. The goal

was so show that Islam can bring something positive through artistic creation.

7

Independent, 26 April 20098Humayun Ansari, The Infidel Within: Muslims in Britain since 1800, London, C. Hurst&Co Publishers, 2004,

p. 393


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III.

The fusion of modern western painting or techniques and classical Islamic heritage

like calligraphy or traditional Arabic motives make create unique style where both worlds

meet to give original aesthetic result. Moreover the rich creation proves that Islam is not

a barrier to the artistic creation but on the contrary one of the major source of inspiration

which brings richness and diversity into mainstream British artistic scene. The piece Eid

(feast) can server of example poses phonetic representation of word eidstylized in the

Arabic style and word in the Arabic. The style is rather Kufic one, which is characterized by

angular forms and is one of the oldest forms of calligraphy. The written element is

combined with abstract graphic components. The result gives modern graphic visual

effect, characterized by simplicity, but also by the harmony of whole.

Moreover, all three artists take full advantage of internet platform which become

not only tool of communication or work, but also a space for discussion and larger

interaction between the communities and the artists themselves. It helps also to promote

on larger scale their projects, for that all three artists run their internet pages which

represent their e-gallery but also the links on another artistic web pages or events.

The cyberspace gives also opportunity to denounce injustice and express political

opinions. However the question of political commitment of artists is highly controversial.

The debate if artist scene should be free from any political influence is on-going. The

British Muslim artists do not hesitate take position in case of the Gaza, and Israeli-

Palestine conflict. The point is very delicate, if we consider British commitment in Iraq.

Moreover the opinion on the British presence in Iraq was rather divided, and the British

Muslims have experienced strong vague of discrimination and suspicion since 2001. The

arts can actually play important role to fight against the prejudices and to promote

interaction between distinct ethnic and religious entities. This power of arts was

expressed by Isabel Carlisle (director of Festival of Muslim Cultures) [t]he art is the last

freedom, it is open and fluid, it is a world in which we can all connect.


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