Islamic Art: An Expression of the Remembrance of Allah
Art, in this case, is a language of visual expression.
In the context of Islamic thought,
art is first an expression
and
second a representation of the remembrance of Allah.
In the context of Islamic thought,
art is first an expression
and
second a representation of the remembrance of Allah.
As such, traditionally and still much a practice today, the work of art does not announce the artist by means of signature in the corner of the art piece, as Allah knows from whose heart and hands it has originated. If it so happens that the work is beautiful or possibly even magnificent, it is better that a signature had not claimed the work, as the ‘success’ may cause the artist to be drowned in glory and thereby defeat the purpose of the ibadah.
It is, however, not wrong to lay claim to an art piece and even to inform separately of the person or persons responsible for producing the art piece. This is an administrative or a record keeping matter and must not be confused with acts of glorifying of the artist.
With the above understanding, most, if not all of the works produced by Black & Brown or its associates, does not carry the signature of the artist on the work itself.
It is, however, not wrong to lay claim to an art piece and even to inform separately of the person or persons responsible for producing the art piece. This is an administrative or a record keeping matter and must not be confused with acts of glorifying of the artist.
With the above understanding, most, if not all of the works produced by Black & Brown or its associates, does not carry the signature of the artist on the work itself.
Islamic Art – Quran Design
The Mushaf of al Quran: First Source of Islamic Design
The most revered art form in Islamic culture must surely be the Art of Illuminating the Quran. It is not just an art but also a holy and religious act of beautifying the pages of the Quran for the love of Allah.
There are two main components of the art. First and most critical is the calligraphy and second (a rightful sequence) the motifs that decorates or rather illuminates the pages bearing the Words of Allah. Like the calligraphy, in itself a discipline that has developed to a highly refined art, and takes years of training and continuous practice to master, the motifs too have earned its place as a highly disciplined art. Accomplished in two forms of either floral or geometric, the motifs communicate beauty and the infinite Oneness of Allah; expressed through the characteristic of the design where motifs does not have an end or a beginning.
While not all illumination works are strictly per the description above, as there are many artists practicing the art without full appreciation of the knowledge, it is nevertheless still somewhat acceptable, as most crucial is the intent rather than the product of illumination itself.
As illumination motifs appear in the material pages of the Holy Quran, by extension, they surely must be ‘good’, thus causing many an artisan to adopt its usage into other areas of decorative art. Because of this sequential possibility, these motifs, these artistic elements, become craft design elements for everyday application. This of course is not in such strict order, and one does not deny the possibility of a reverse sequence - that design motifs from other decorative application find its way to the pages of the Quran. At this point, a discourse on art history is not important, but what is, is that motifs appearing in the Mushaf as illumination often find its way to other areas of decorative art.
In this regard, Black & Brown has used, for the purpose of decorative arts, motifs developed for ayat (sentence) illumination. However, they take on a new character, as application in other areas will often require some tweaking of the original. Whether they are for fabric or tiles application, the original concept of the remembrance of Allah as its objective, is supreme.
There are two main components of the art. First and most critical is the calligraphy and second (a rightful sequence) the motifs that decorates or rather illuminates the pages bearing the Words of Allah. Like the calligraphy, in itself a discipline that has developed to a highly refined art, and takes years of training and continuous practice to master, the motifs too have earned its place as a highly disciplined art. Accomplished in two forms of either floral or geometric, the motifs communicate beauty and the infinite Oneness of Allah; expressed through the characteristic of the design where motifs does not have an end or a beginning.
While not all illumination works are strictly per the description above, as there are many artists practicing the art without full appreciation of the knowledge, it is nevertheless still somewhat acceptable, as most crucial is the intent rather than the product of illumination itself.
As illumination motifs appear in the material pages of the Holy Quran, by extension, they surely must be ‘good’, thus causing many an artisan to adopt its usage into other areas of decorative art. Because of this sequential possibility, these motifs, these artistic elements, become craft design elements for everyday application. This of course is not in such strict order, and one does not deny the possibility of a reverse sequence - that design motifs from other decorative application find its way to the pages of the Quran. At this point, a discourse on art history is not important, but what is, is that motifs appearing in the Mushaf as illumination often find its way to other areas of decorative art.
In this regard, Black & Brown has used, for the purpose of decorative arts, motifs developed for ayat (sentence) illumination. However, they take on a new character, as application in other areas will often require some tweaking of the original. Whether they are for fabric or tiles application, the original concept of the remembrance of Allah as its objective, is supreme.
Tradition of Illuminating the Mushaf of al Quran
This art form is more than a thousand years old and reached its peak some 500 years ago. The grand work of Rusbihan in Baghdad, demonstrated in the form of a fully illuminated Mushaf al Quran, stands as a mark of excellence of Islamic art, just before the erosion of the Islamic empire.
In the beginning, its personality celebrated calligraphy in its many forms and variations, and as interest and experimentation grew, the integration of decorative visual elements began. Initially, the visual elements were just to highlight certain features of the Quran, for example, a pendant or more appropriately, mark of illumination (signifying the Light of Allah), was fashioned to indicate the beginning of a Surah. This later grew into full-frame illumination, marking the maturing of the art form.
Indonesia was the first country to have revived the art on a significant basis through a project of illuminating the Quran, known as Al Quran Mushaf Istiqlal. The project took five years to complete and immediately displayed to the world in 1995. One year before this date, Black & Brown initiated and began research work a similar project, named The Al Quran Mushaf Malaysia Project.
In the beginning, its personality celebrated calligraphy in its many forms and variations, and as interest and experimentation grew, the integration of decorative visual elements began. Initially, the visual elements were just to highlight certain features of the Quran, for example, a pendant or more appropriately, mark of illumination (signifying the Light of Allah), was fashioned to indicate the beginning of a Surah. This later grew into full-frame illumination, marking the maturing of the art form.
Indonesia was the first country to have revived the art on a significant basis through a project of illuminating the Quran, known as Al Quran Mushaf Istiqlal. The project took five years to complete and immediately displayed to the world in 1995. One year before this date, Black & Brown initiated and began research work a similar project, named The Al Quran Mushaf Malaysia Project.
Commissioning an Illuminated Mushaf al Quran
There are many reasons why those with financial capacity should commission a fully illuminated manuscript of the Quran. Whatever these reasons are, they must stem from the servant’s love of Allah. Everything that emerges as an outcome is no more than mere reward from the Almighty. For example, a fully illuminated manuscript may reflect the personality heritage or identity of the individual commissioning the job, but this must only be the reward rather than the objective. Once this is clear in the hearts and minds of those involved, we can look at the earthly or material reasons for why we must pursue the very important aspect of Islamic culture- already dwindling in the face of our own weaknesses.
While the contents of the Quran are what we all should be concerned with, we must also consider an important aspect of life, the material world. Apart from living in the way as spelt out by the Quran and the Hadith, with Islam as ad Din or Way of Life, how else can we honour the gift of the Quran? Certainly not reproducing it on the cheapest of paper with the simplest of design, and binding it in the most convenient and inexpensive way, while we treat ourselves with different standards. We dress well, house ourselves in comfort and style, and even build palaces for our leaders, but the Quran? How do we honour the Words of Allah materially?
Everything has its place and time. The distribution of The Holy Quran to the masses via the cheapest possible product has its virtues, but so does a beautiful and fully illuminated Mushaf al Quran.
Those with the means must do what the means allow; this is so that we see meaning in the rightful distribution of wealth by the wisdom of The Provider. Illuminated manuscripts communicate importance and reverence. Therefore, those with the means must see to it that the Quran is treated respectfully, honoured.
Many well to do Muslims in the world spend millions on art pieces that have no bearing to the remembrance of Allah. Maybe it is time that we should assist to build this almost lost art- an art form that spells ibadah for those who commission the work, for those who are engaged in its production, and for those who get to enjoy it or even just to hear of it. We need to show our love for the Quran in more than just the usual way, for as such, it is the demonstration of our love for Him.
The commissioning of the work does not just create economic activity of a single kind, but will lead to the enrichment of other economic activities as art application in industry will add value to it.
While the contents of the Quran are what we all should be concerned with, we must also consider an important aspect of life, the material world. Apart from living in the way as spelt out by the Quran and the Hadith, with Islam as ad Din or Way of Life, how else can we honour the gift of the Quran? Certainly not reproducing it on the cheapest of paper with the simplest of design, and binding it in the most convenient and inexpensive way, while we treat ourselves with different standards. We dress well, house ourselves in comfort and style, and even build palaces for our leaders, but the Quran? How do we honour the Words of Allah materially?
Everything has its place and time. The distribution of The Holy Quran to the masses via the cheapest possible product has its virtues, but so does a beautiful and fully illuminated Mushaf al Quran.
Those with the means must do what the means allow; this is so that we see meaning in the rightful distribution of wealth by the wisdom of The Provider. Illuminated manuscripts communicate importance and reverence. Therefore, those with the means must see to it that the Quran is treated respectfully, honoured.
Many well to do Muslims in the world spend millions on art pieces that have no bearing to the remembrance of Allah. Maybe it is time that we should assist to build this almost lost art- an art form that spells ibadah for those who commission the work, for those who are engaged in its production, and for those who get to enjoy it or even just to hear of it. We need to show our love for the Quran in more than just the usual way, for as such, it is the demonstration of our love for Him.
The commissioning of the work does not just create economic activity of a single kind, but will lead to the enrichment of other economic activities as art application in industry will add value to it.
Al Quran Mushaf Malaysia
In 1994, Black & Brown initiated a project to develop a fully illuminated manuscript of the Holy Quran. Conceived by its founder-director as a unique, first ever Malaysian endeavour, the illumination comprised of no less than 1000 local Islamic Malay motifs.
In its early days, the project received full funding from Black & Brown, thus began research and development work. In 1996, the project received more funding through the assistance of a foundation that helped to channel funds from philanthropic parties as well as the government. It was then official launched by the deputy Prime Minister of Malaysia at the Islamic Centre, Kuala Lumpur during the Ramadhan of 1997. Under the new arrangement, Black & Brown signed an agreement with the foundation to stay on and complete the job in the year 2000. Later the contract went on for another two years after the completion of the manuscript, to prepare it for publication.
The manuscript, 630 pieces in all, is of AO size (841X1189mm) paper roughly 1/3 of the width and height of a door. To accomplish the task, Black & Brown developed and trained a team of no less than 50 people to accomplish expert tasks. Nine distinct work functions (from concept development to final checking) demanded either knowledge or skill and sometimes a combination of both to create the masterpiece.
Using more than 1000 motifs selected from over 3000 that were developed (there are 310 individual designs, assigning one design to every two pages) we created a wonder in the world of illumination. A masterpiece in its own right, it stands as the most intricate Islamic Art piece the world have ever seen; a treasure worthy of world admiration.
In total, the manuscript took five years to complete, involving, directly and indirectly, close to 100 people, and used up more than eight million ringgit (3 million USD). However, it is not this that must be looked at but instead the spirit of wanting to do something significant, art wise involving The Holy Quran, in the remembrance of The True Provider and The Absolute Determiner of Events.
In its early days, the project received full funding from Black & Brown, thus began research and development work. In 1996, the project received more funding through the assistance of a foundation that helped to channel funds from philanthropic parties as well as the government. It was then official launched by the deputy Prime Minister of Malaysia at the Islamic Centre, Kuala Lumpur during the Ramadhan of 1997. Under the new arrangement, Black & Brown signed an agreement with the foundation to stay on and complete the job in the year 2000. Later the contract went on for another two years after the completion of the manuscript, to prepare it for publication.
The manuscript, 630 pieces in all, is of AO size (841X1189mm) paper roughly 1/3 of the width and height of a door. To accomplish the task, Black & Brown developed and trained a team of no less than 50 people to accomplish expert tasks. Nine distinct work functions (from concept development to final checking) demanded either knowledge or skill and sometimes a combination of both to create the masterpiece.
Using more than 1000 motifs selected from over 3000 that were developed (there are 310 individual designs, assigning one design to every two pages) we created a wonder in the world of illumination. A masterpiece in its own right, it stands as the most intricate Islamic Art piece the world have ever seen; a treasure worthy of world admiration.
In total, the manuscript took five years to complete, involving, directly and indirectly, close to 100 people, and used up more than eight million ringgit (3 million USD). However, it is not this that must be looked at but instead the spirit of wanting to do something significant, art wise involving The Holy Quran, in the remembrance of The True Provider and The Absolute Determiner of Events.
Islamic Art – Quran Replica
Hand-made facsimile
The term facsimile is preferred versus replica for the reason that the Quran is often on flat writing material and is in itself a document. If, however, a copy is made of a three-dimensional item, say a carving, then it may be appropriate to use the term replica.
Making a hand-made facsimile has its difficulties versus making the original, sometimes even more difficult. Of course, the value and meaning of an original is different, a facsimile version can never take its place. Nevertheless, the need for facsimile is many and centres on two reasons.
Firstly, facsimiles of old Mushaf al Quran conserve knowledge, culture, and spirit of Muslims ago; for without them, we would not have come into the life that we know to be. Secondly, the more there are of facsimiles, the greater the number of people who will have experience with it, even though second-hand but still better than third-hand, that is to see them in photographs. Because facsimiles are exact copies of the original, many will not be able to know the difference, and because they are still the Quran, it is therefore still sacred.
Facsimiles can be of one page only or of the entire al Quran. Hand made by dedicated craftsman, its making too is a form of ibadah and so too for the beholder.
Making a hand-made facsimile has its difficulties versus making the original, sometimes even more difficult. Of course, the value and meaning of an original is different, a facsimile version can never take its place. Nevertheless, the need for facsimile is many and centres on two reasons.
Firstly, facsimiles of old Mushaf al Quran conserve knowledge, culture, and spirit of Muslims ago; for without them, we would not have come into the life that we know to be. Secondly, the more there are of facsimiles, the greater the number of people who will have experience with it, even though second-hand but still better than third-hand, that is to see them in photographs. Because facsimiles are exact copies of the original, many will not be able to know the difference, and because they are still the Quran, it is therefore still sacred.
Facsimiles can be of one page only or of the entire al Quran. Hand made by dedicated craftsman, its making too is a form of ibadah and so too for the beholder.
Islamic Fine Art
Art using natural pigments
The world is rich with numerous colour and texture. One of the reasons why naturally occurring colours look good is not so much because of the colours themselves, but it is because these colours are a part of the living. For example, the colour red on a feather looks good, sometimes not so much because of the colour itself but because it is a part of a living being. Life in itself makes colours come alive.
Nothing in nature can be replicated to be exactly the same. What we create is only a representation, not an exact copy of what He has created. This principle applies to colours too; and prior to that, the dye (pigment) that produces the colours.
Black & Brown’s production of natural colour art (using natural pigments) is not an attempt at reproducing nature but using nature in a beneficial way to product something beautiful. Because of the nature of the pigments, the resulting feel is very earthy and often pastel. The colours are soft, pleasing to the eye, and unique in texture unmatched even by pastels.
The term ‘natural colour art’ is actually a misnomer resulting from a direct translation of the term from the Malay language, Seni (art) Warna (colour) Asli (natural). However, in a sense it is not wrong to term it such because they essentially are natural colours produced from natural pigments. As such, we have kept the term in use for the pass five years.
Nothing in nature can be replicated to be exactly the same. What we create is only a representation, not an exact copy of what He has created. This principle applies to colours too; and prior to that, the dye (pigment) that produces the colours.
Black & Brown’s production of natural colour art (using natural pigments) is not an attempt at reproducing nature but using nature in a beneficial way to product something beautiful. Because of the nature of the pigments, the resulting feel is very earthy and often pastel. The colours are soft, pleasing to the eye, and unique in texture unmatched even by pastels.
The term ‘natural colour art’ is actually a misnomer resulting from a direct translation of the term from the Malay language, Seni (art) Warna (colour) Asli (natural). However, in a sense it is not wrong to term it such because they essentially are natural colours produced from natural pigments. As such, we have kept the term in use for the pass five years.
Islamic Motifs Application
Ya Sin and other special selection
The culture and practice of Islam promotes reading of the Quran, either individually or in congregation. The reading of surah Ya Sin, plus some special selection and accompanied by certain dua (prayer) is common practice among Muslims. It is convenient to have this special compilation gathered in a booklet. The fact that it is in the form of a booklet, allows for the convenience of not having to carry the complete, and sometimes bulky, Mushaf of the Quran everywhere.
As it is a requirement to have ablution when handling the complete Quran, it is therefore more convenient to carry a pullout in booklet form, as no ablution is necessary. This then is another reason for the pullout.
Sometimes we say things that we do not really know what consequences it brings; often because we have not thought about it carefully or we are simply echoing the wrong and careless opinions of others that we think are right. Some parties will take the thoughtless view that beautiful illuminations of Holy Booklets (suhafa) are not important. The most important thing is that, so long as the booklet is available (a purely utilitarian view) and it can be read, it then serves its purpose. True, if the purpose is only that, but consider that the purpose may be more. Where is the responsibility towards culture and the honouring of the Beautiful Words of Allah? Further, where is justice, for we treat other things, even our personal clothing needs, in not so utilitarian terms?
To fully illuminate the many pages of the Quran will demand more resources, but with a pullout, the effort is much lighter. This then presents the opportunity to contribute to Islam in much easier way. Remember the Hadith of the Holy Prophet: Allah is beautiful and He likes that which is beautiful.
As it is a requirement to have ablution when handling the complete Quran, it is therefore more convenient to carry a pullout in booklet form, as no ablution is necessary. This then is another reason for the pullout.
Sometimes we say things that we do not really know what consequences it brings; often because we have not thought about it carefully or we are simply echoing the wrong and careless opinions of others that we think are right. Some parties will take the thoughtless view that beautiful illuminations of Holy Booklets (suhafa) are not important. The most important thing is that, so long as the booklet is available (a purely utilitarian view) and it can be read, it then serves its purpose. True, if the purpose is only that, but consider that the purpose may be more. Where is the responsibility towards culture and the honouring of the Beautiful Words of Allah? Further, where is justice, for we treat other things, even our personal clothing needs, in not so utilitarian terms?
To fully illuminate the many pages of the Quran will demand more resources, but with a pullout, the effort is much lighter. This then presents the opportunity to contribute to Islam in much easier way. Remember the Hadith of the Holy Prophet: Allah is beautiful and He likes that which is beautiful.
Islamic Art in the built environment
Architecture is a major tool for reminding humans of the omnipresence of Allah. While nature is His Ayat and proof of His existence, so must the built environment. The buildings, bridges, and other structures that we put up are a direct reflection of our conditions, personalities and aspirations. This is why a China looks like China and not like some place else. Our environment goes into the parcel of our identity.
Allah created us in different races so that we know one another; and one of the ways to know the other is to look at the built environment. What we should reflect is of course Islam and therefore a reminder of His presence. The people of old knew this, as reflected in Sufism justification, of reasons for why buildings and ornaments are fashioned in a certain way. Each element or component of a building is representative of a specific meaning that relates back to religion.
Specific to the expertise of Black & Brown are matters that concern itself with internal and external decorative art of buildings. It is not a matter of simply taking whatever that looks Islamic, and incorporating it as the décor as long that it is there, but to actually design meaningful communicative units that causes us to remember the greatness of Allah resulting in our own humility.
Translations of concepts into the language of décor are accomplished with knowledge, so that what is created as décor and remain as permanent feature will remain meaningfully. This is where decision makers go wrong sometimes, when considerations lean towards the cheapest and the fastest without considering meanings behind designs.
Allah created us in different races so that we know one another; and one of the ways to know the other is to look at the built environment. What we should reflect is of course Islam and therefore a reminder of His presence. The people of old knew this, as reflected in Sufism justification, of reasons for why buildings and ornaments are fashioned in a certain way. Each element or component of a building is representative of a specific meaning that relates back to religion.
Specific to the expertise of Black & Brown are matters that concern itself with internal and external decorative art of buildings. It is not a matter of simply taking whatever that looks Islamic, and incorporating it as the décor as long that it is there, but to actually design meaningful communicative units that causes us to remember the greatness of Allah resulting in our own humility.
Translations of concepts into the language of décor are accomplished with knowledge, so that what is created as décor and remain as permanent feature will remain meaningfully. This is where decision makers go wrong sometimes, when considerations lean towards the cheapest and the fastest without considering meanings behind designs.
Application of Islamic design motifs – industrial, craft, & others
The critical concept in the religion that Islam is the ad Din or Way of Life must be implemented in as many ways as possible. For this to happen, we need constant reminders, and one method is to incorporate Islamic elements into all materials that requires having decorative design elements.
This may sound, to many people, too restrictive and confining but only if the scope and variety of designs are narrow. The creativity of the human genius must never be underestimated, as it is capable of producing innumerable variety of alternative Islamic designs and applications. If traditional is not the preference, then demand for the creation of non-traditional.
It is only with this way of thinking that we will be able to move forward in time, leave the past or the current, but without ever forgetting who we are.
Today’s materials and technology allows greater flexibility for the exercise of creativity by the Muslim artist and artisan alike. However, this would not mean a thing if society will not move to support them in a big and meaningful way.
This may sound, to many people, too restrictive and confining but only if the scope and variety of designs are narrow. The creativity of the human genius must never be underestimated, as it is capable of producing innumerable variety of alternative Islamic designs and applications. If traditional is not the preference, then demand for the creation of non-traditional.
It is only with this way of thinking that we will be able to move forward in time, leave the past or the current, but without ever forgetting who we are.
Today’s materials and technology allows greater flexibility for the exercise of creativity by the Muslim artist and artisan alike. However, this would not mean a thing if society will not move to support them in a big and meaningful way.