Modern contexts and innovative concepts draw inspiration from Islamic decoration, reshaping them with visions that resonate with the essence of traditional heritage while still reflecting contemporary life. This fusion creates a unique scene where the aesthetics of creative brilliance merge with advanced technological techniques.
In the recent exhibition “Jewels of the Manuscript: A Dialogue of Decoration and Calligraphy” held at the Sultan Bin Ali Al Owais Cultural Foundation in Dubai, this exquisite philosophy was evident in the intricate decorated artworks, showcasing captivating visual elements and vibrant colors.
A Golden Era
Artist Marwan Al Aridi stated that the art of decoration is currently experiencing a golden phase in Arab society, thanks to new technologies allowing artists to explore a palette of 16.4 million colors. He noted that three centuries ago, artists were limited to just seven colors: black, blue, yellow, green, red, turquoise, and gold.
Al Aridi highlighted that decoration has a rich history, originating from Chinese artistry and spanning over 4,000 years. Each era has contributed unique characteristics to decoration, enriching it with diverse and profound experiences. He explained that Islamic arabesques, Victorian art, the Renaissance, and Baroque styles all share a common heritage despite their varied creative expressions.
He emphasized, “Decoration is a form of beauty that conveys heritage and traditions while also delivering a message that impacts society and reflects its values.” He praised Dubai’s art exhibitions for fostering interaction between the public and creative works, leading to a more cultured audience who benefits from the social media boom, enabling them to understand and compare different artworks.
New Techniques
Artist Musab Al Douri further shared that the art of decoration is inspired by contemporary themes, innovations, and advancements. He pointed to the works of Marwan Al Aridi exhibited in “Jewels of the Manuscript,” noting how his art embraces new techniques and materials like wood and metals that were previously unused in this genre.
He remarked, “Islamic decoration began with using gold in the pages of the Quran and mosque walls, and later, Arab artists drew inspiration from other cultures to create works on ceramics, ornaments, and textiles.” Al Douri believes that artificial intelligence will enhance decorative arts in terms of design and materials, while classical works will continue to preserve their traditional essence as seen in ancient manuscripts.
Regarding decoration as a form of art that reflects the creator’s vision, Al Douri said, “There are two distinct approaches among decorators: one that focuses solely on aesthetics and another that embraces a specific philosophy intending to communicate with the audience. The symbols within decorations vary based on historical contexts, regions, and philosophical schools.” He commended the cultural events in Dubai for expanding audiences’ perspectives and enabling them to analyze the beauty of decoration.
A Pioneering Project
Calligrapher Taj Al-Sir Hassan noted that decorative art has introduced new dimensions and expanded into modern realms by leveraging technological advancements. He referenced Marwan Al Aridi’s pioneering creative project, initiated 40 years ago, which employs laser techniques using vector technology that allows for infinite resizing without losing quality.
Hassan stated, “Advanced techniques in both calligraphy and decoration offer creators various options, such as wood engraving, printing, and weaving. Artificial intelligence has become a supportive tool for artistic creativity, although it cannot replace the expressive transformations brought about by the human hand.” He dismissed concerns about the risks associated with integrating modern technology into art, highlighting its positive contributions.
He added, “Islamic arts are deeply rooted in history, encompassing numerous centuries. The rapid spread of Islamic teachings allowed these arts to absorb influences from the cultures of the regions where Islam spread.” He elaborated that decorative styles vary based on the cultures that produced them, with different schools such as Safavid, Turkish, and Isfahan among others.