Interpreting Cultural and Historical Symbols in Islamic Art through the Creative Process of Painting: A Case Study of the Dome, the Minbar, and the Crescent
Article Sidebar
Main Article Content
Abstract
This research aims to study the interpretation of cultural and historical symbols in Islamic art through the creative process of painting, focusing on the case studies of the dome, minbar, and crescent—key elements that have appeared in Islamic architecture and art from the past to the present. The research methodology employed a qualitative approach combined with practice-based (creative) research, consisting of documentary study of historical art sources, symbolic analysis, and the creation of paintings as a process of knowledge inquiry.
The findings show that the three symbols have developed meanings according to the historical and cultural contexts of Muslim societies in each era. The dome reflects cosmological concepts and sanctity; the minbar reflects the role of religious leaders and the transmission of teachings within social contexts; and the crescent reflects identity and its relation to timekeeping systems based on the Islamic lunar calendar. Integrating these symbols into contemporary painting processes produces new interpretations that connect past and present, enabling paintings to function both as artworks and as media for transmitting knowledge of Islamic art in historical and cultural dimensions.
Article Details
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
The original manuscript published in the Burapha Arts Journal, Faculty of Fine and Applied Arts, Burapha University, is the property of Burapha University. No part of this text may be reproduced in whole or in part without written permission from the university.
References
คณะกรรมการอิสลามประจำกรุงเทพมหานคร. (2022, กรกฎาคม). นิตยสารมุสลิมกรุงเทพมหานคร (ฉบับที่ 7). กรุงเทพมหานคร: สำนักงานคณะกรรมการอิสลามประจำกรุงเทพมหานคร.
คณะกรรมการอิสลามประจำกรุงเทพมหานคร. (2023, พฤษภาคม). นิตยสารมุสลิมกรุงเทพมหานคร (ฉบับที่ 5). กรุงเทพมหานคร: สำนักงานคณะกรรมการอิสลามประจำกรุงเทพมหานคร.
ธารินี ธาดาดุสิตา. (2547/2004). กระบวนการสื่อสารผ่านคุตบะฮ์วันศุกร์ของชาวไทยมุสลิม (วิทยานิพนธ์ปริญญามหาบัณฑิต). คณะนิเทศศาสตร์ จุฬาลงกรณ์มหาวิทยาลัย.
ฮูดียา บินหมัดหนี. (2561). โทรทัศน์มุสลิม: สี่ช่องดาวเทียมแห่งประเทศไทย. วารสารรูสมิแล, 39(2).The Cloud. (n.d.). ดาวกับจันทร์เสี้ยว : จากโลโก้ยุคเมโสโปเตเมีย ถึงสัญลักษณ์ศาสนาอิสลาม.
Blair, S., & Bloom, J. (2003). The art and architecture of Islam 1250–1800. Yale University Press.
Bloom, J. (2017). Architecture of the Islamic world: Its history and social meaning. Thames & Hudson.
Burckhardt, T. (1976). Art of Islam: Language and meaning. World of Islam Festival Publishing.
Creswell, J. W. (2013). Qualitative inquiry and research design: Choosing among five approaches (3rd ed.). Sage.
D’Alleva, A. (2012). Methods and theories of art history. Laurence King.
Grabar, O. (1987). The formation of Islamic art. Yale University Press.
Hillenbrand, R. (1994). Islamic architecture: Form, function and meaning. Edinburgh University Press.
Nasr, S. H. (1987). Islamic art and spirituality. State University of New York Press.
Necipoğlu, G. (2005). The Topkapi scroll: Geometry and ornament in Islamic architecture. Getty Center.
Ruggles, D. F. (2011). The Stratigraphy of Forgetting: The Great Mosque of Cordoba and Its Contested Legacy. In H. Silverman (Ed.), Contested Cultural Heritage (pp. 51–67). Springer.
Schimmel, A. (1992). Aesthetic dimensions of Islamic culture. University of North Carolina Press.
Sullivan, G. (2010). Art practice as research: Inquiry in visual arts (2nd ed.). Sage.
Turner, B. S. (2011). Religion and modern society. Cambridge University Press.
Waines, D. (2003). An introduction to Islam. Cambridge University Press.Zelinsky-Cartledge, M. (2004). Rituals and symbols in Islam. Routledge.