Influence of Islamic Art on Western Designs

Date: 07 May 2022 - 21:49

News ID: ۱۰۲۲۸۳

ONTARIO (Dispatches) -- What is
culture? In today’s globalized world, we are familiar with seeing various cultural objects and ornamentation outside of their original location or context.
If culture is not fixed and bound to a particular location, how does culture move and transform?
Ornamentation in Islamic art—patterned decoration or embellishment seen on objects or in architecture—is a great example of such movement of culture that can now be found across the world.
Throughout the centuries, Islamic geometric patterns and arabesque (Islimi) designs—otherwise known as biomorphic, floral patterns—have moved from east to west.
These patterns have been built upon and adapted, and as such may not even be recognized as bearing the imprint or influence of Islamic societies.
A recent exhibition, Cartier and Islamic Art: In Search of Modernity, at Musée des Arts décoratifs in Paris showcases the influence of Islamic art on the designs of French jewelry designer Maison Cartier. For example, the 19th century English designer William Morris—renowned for patterning that became known in fabrics, furniture and other Arts and Crafts movement decorative arts—was inspired by the biomorphic floral designs of the Islamic arabesque (Islimi) ornamentation.
What is fascinating about this exhibition is the paring of jewels and precious objects with the artifacts from Islamic lands such as a 14-15th century Iranian mosaic tile that were the original sources of inspiration for Cartier. This exhibition travels to the Dallas Museum of Art in May 2022.
Part of the reason for this movement of culture is the mobility of people and the portability of ornamental objects.
The notion of “cultural translation,” coined by cultural theorist Homi K. Bhabha, is the act of translation, which is neither one cultural tradition nor the other cultural tradition, but is the emergence of other positions. The root of the English word translation is from the Latin translatus meaning “to carry over” or “to bring across.”
Movement resulting from migration gives rise to people’s acts of cultural translation. Translation is the negotiation arising from encounters of two social groups with different cultural traditions.
For Bhabha, cultural difference is never a finished “thing.” Migrant experiences exist at the borders or edges of different cultures and are in flux. Consequently, people’s acts of translating language or visual signs and symbols is an act of constant negotiation between cultures.
In this process, the migrant’s struggle operates in a process of transformation in the in-between space of cultures called the third space. The third space is a hybrid space of negotiating cultural interactions.
A good example of these kinds of cultural negotiations happens in the works of contemporary artists from culturally diverse backgrounds living in the western societies (in diaspora).
For Muslim artists in diaspora, traditional Islamic art forms contextualize their connections to their cultural backgrounds within broader social, political and cultural concerns—concerns like migration, cultural identity and diversity.
Pakistani Canadian artist Tazeen Qayyum uses the language of the traditional Islamic ornamentation in her work such as A Holding Pattern (2013) in order to investigate what it means to live between two cultures.
Upon first glance, the viewer perceives an aesthetically pleasing geometric design reminiscent of arabesque tile works in Islamic architecture. However, a closer inspection reveals that the ornamental pattern is a repetition of cockroaches’ silhouettes.
In a recent article for BlackFlash magazine, Qayyum explains this work:
“I also intricately painted a set of airport lounge chairs representative of the liminal space of an airport, where migrants and refugees are neither here nor there but instead wait for clearance upon arrival at Pearson Airport. The title ‘holding pattern’ solidifies this thinking as it connotes an aircraft awaiting clearance to land. It is a state of waiting that references my own displaced identity of living between two cultures, always in transit and never truly at home.”
Contemporary cultural theorists, such as Sara Ahmed and Bhabha have argued that such artists enter a mode of cultural translation.
Artists destabilize the idea of a monolithic culture and instead construct works that are influenced by locations of cultures that reflect an “in-between space”: a site of dialogue reflecting these interconnected influences.