The formal equivalent of the metaphorical subject in Islamic art motifs

Abstract

The presence of form in artistic achievement substitutes for the narratives of the subject matter as material that embodies meanings, connotations, allusions, and their underlying implications. It conveys what the artist seeks to say in expressive discourse, adopting a coded approach with a metaphorical character that transcends the limits of direct reception through iconography and imitation. This leads to modification and abstraction of the formal system, operating within the boundaries of the apparent metaphor of the subject being embodied, particularly in Islamic decorative art. In light of the foregoing, the research problem is posed by the following question: What is the formal equivalent of the metaphorical subject in the ornamentation of Islamic art?  This research aims to uncover the formal equivalent of the metaphorical theme in Islamic art motifs. It focuses on the decorative components and their variations within architecture, carpets, and miniatures in Islamic art. The second chapter addresses the epistemological structure of the formal equivalent, the theme, and its metaphorical nature—the scenario of formation and representation. The third chapter details the analytical research methodology, using a total population of 97 models. A purposive sample of 19 models was selected, each with diverse applications of a single metaphorical theme. Among the key findings are:

1-                    The formal equivalent, in its outward formulation, relies on creating (pictorial) approaches within a harmonious context that metaphorically reflects the (conceptual) theme and its implications. This is achieved through a language comprised of components and their arrangement, which explicitly or implicitly point to what lies beyond their concepts and formal structure.

2-                    The relationship between the metaphorical subject and its formal equivalent is based on their mutual per formative interdependence, and the alternating assignment of expressive and functional action between them. This interdependence is based on an attempt to delineate the concept (the subject) and embody it in multiple forms.

The study recommended that decorators dedicate their efforts in Islamic art to strengthening the interconnected field between the (formal structure and the objective meaning) of decorative components. It also recommended moving beyond purely decorative work for aesthetic purposes and actively engaging with the expressive aspect and its symbolism, which leads to an intellectual state with cultural, religious, and societal implications. This would elevate the value of the artwork according to an Islamic aesthetic logic. The study also suggested (The Interplay of Imagination and Representation in Islamic Decorative Art).