Islamic architecture, a form of Islamic art, contributes significantly to portraying God Almighty's supremacy. In Islamic art, there are numerous ways to place emphasis on this architecture; one of which is through high aesthetic value. In Islamic art and architecture, the greatest extent of ornamentation and motifs probably describe aesthetic values. Islamic ornamentation serves as a platform for delivering information about Islam's culture including Islamic values and identity. Additionally, the most distinguishing characteristic of Islamic ornamentation is the richness of meaning behind it, that might influence a person's perception of spiritual aesthetics. Therefore, this article explore what spiritual aesthetic means and how it relates to Islamic ornamentation. Furthermore, Islamic ornamentation should be considered a part of the interior of the Islamic architecture rather than just decorations added after the fact or to cover in gaps. Through the interplay of the people and interior space, these ornaments have the potential to engage with human aesthetics. Therefore, this research also focuses on the aesthetics and beauty of ornaments, which satisfy one of human psychological needs: to be in a beautiful environment. Because emphasis of the research is to explore how people perceive the aesthetics of Islamic ornamentation, a semiotics method was chosen because of its capacity to transcend literal meanings. The identification and evaluation of the aesthetic and religious qualities of the Islamic ornamentation brought out in this paper can be very helpful for the artists as well as scholars in understanding the Islamic art. Keywords: Islamic Ornaments, Islamic Architecture, Aesthetic Value, Spiritual Aesthetics, Islamic Art, Architectural Ornaments
The investigation on Islamic calligraphy, particularly Nasta‘liq calligraphy, mainly focuses only on the history of calligraphy, calligraphers’ biographies, and calligraphy’s origins and training. No significant or pervasive research has been done on the identity or characteristics of the calligraphy forms and their traditional principles. Fewer studies have examined the visual character of calligraphy academically or considered it a research subject in its own right. Moreover, the Persian influence on Mughal architectural calligraphy faces a recognition gap and there is a need for more academic documentation. These are the particulars that this research aims to address. The research focuses on the characteristics and prominent features of Persian calligraphy, especially Naskh and Nasta‘liq writing styles of Persian origin. The study also dwells on the Persian calligraphy influences on the mosque architecture of the Mughal era. This research explored the physicality and intellectual characteristics of the Mughal calligraphy visuals. Two art theories—instrumentalism and formalism—are combined as a research method.
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