{"id":6470,"date":"2021-03-24T20:35:45","date_gmt":"2021-03-24T17:35:45","guid":{"rendered":"http:\/\/www.libridergi.org\/?p=6470"},"modified":"2021-03-24T22:32:12","modified_gmt":"2021-03-24T19:32:12","slug":"lbr-0212","status":"publish","type":"post","link":"http:\/\/www.libridergi.org\/en\/2019-en\/lbr-0212","title":{"rendered":"The Mirage of Islamic Art: Reflections on the Study of an Unwieldy Field"},"content":{"rendered":"
\n\t\t
\n\t\t\"\"<\/a>\n\t\t<\/div><\/div><\/figure><\/div>\n

The Mirage of Islamic Art: Reflections on the Study of an Unwieldy Field<\/em><\/h2>\n

Shelia S. BLAIR & Johnathan M. BLOOM<\/h3>\n
<\/div>\n

DOI:<\/strong> 10.2307\/3177331
\nPage:<\/strong> 152-84
\nPublication Date:<\/strong> 2003
\nJournal Name:<\/strong> The Art Bulletin <\/em>85\/1<\/p><\/div>

<\/div>\n
<\/div>\n

LIBRI<\/em> V (2019) 199-260<\/strong>
\nReceived Date:<\/strong> 26.08.2019| Acceptance Date:<\/strong> 25.10.2019
\nOnline Publication Date:<\/strong> 14.11.2019
\nTelif Hakk\u0131 \u00a9 Libri Kitap Tan\u0131t\u0131m\u0131, Ele\u015ftiri ve \u00c7eviri Dergisi, 2019<\/p>\n

<\/div><\/div>\n
\n\t
\n\t\t\n

\"pdf\" Get PDF<\/strong><\/a><\/p>\n

\"references\" View PDF <\/strong><\/a><\/p>\n

\"info\" <\/a>Citation<\/a>
\n<\/b><\/p>\n

\n\t\t

<\/div>\n\t<\/div>\n<\/div>\n<\/div>
<\/div>\n

Critical Review: Shelia S. Blair & Johnathan M. Bloom, The Mirage of Islamic Art: Reflections on the Study of an Unwieldy Field, The Art Bulletin <\/em>85\/1 (2003) 152-84. DOI: 10.2307\/3177331<\/strong><\/p>\n

To mark the 2011 Centennial of the College Art Association, the CAA Cen\u00adtennial Task Force asked the Art Bulletin editorial board to create an online anthology, consisting of the \u201cgreatest hits\u201d of the journal, and the article that forms the subject of this review was selected in 2010 by the Art Bulletin ed\u00aditorial board for reprinting in the Centennial Anthology of the Art Bulletin, which was published online on February 8th<\/sup> and revised on November 23rd<\/sup> 2011[1]<\/sup><\/a>. It stands alongside articles of landmark art historical scholarship such as: No. 4. Ananda K. Coomaraswamy, \u201cOrnament\u201d,\u00a0Art Bulletin<\/em>\u00a021, no. 4 (De\u00adcember 1939): 375-82; No. 6. Mehmet Aga-Oglu, \u201cAbout a Type of Islamic Incense Burner\u201d, Art Bulletin<\/em> 27, no. 1 (March 1945): 28-45; No. 17. Henry Maguire, \u201cThe Art of Comparing in Byzantium\u201d, Art Bulletin<\/em> 70, no. 1 (March 1988): 88\u2013103, and, No. 31. Finbarr Barry Flood, \u201cBetween Cult and Culture: Bamiyan, Islamic Iconoclasm, and the Museum\u201d, Art Bulletin<\/em> 84, no. 4 (De\u00adcember 2002): 641\u201359. It is Number 32[2]<\/sup><\/a>, and is the longest of the 33 se\u00adlected articles\/essays, there are also six reviews in this College Art Associa\u00adtion 2011 centennial anthology.<\/p>\n

Shelia S. Blair and Jonathan M. Bloom have authored volumes that are entitled: Islamic Arts<\/em>, 1997[3]<\/sup><\/a>, The Art and Architecture of Islam, 1250-1800<\/em>, 1994 and 1996[4]<\/sup><\/a> and Jonathan Bloom was the editor and an author in the volume entitled, Early Islamic Art and Architecture, <\/em>of 2002, before the much cited article by Shelia S. Blair and Jonathan M. Bloom was published in the Art Bulletin<\/em> in 2003, entitled, \u2018The Mirage of Islamic Art: Reflections on the Study of an Unwieldy Field.\u2019 Both authors of this article are the editors of the three volume work entitled, The Grove Encyclopedia of Islamic Art and Ar\u00adchitecture<\/em>, of 2009[5]<\/sup><\/a>. All of these volumes through their titles explicitly state there is such a thing as can be termed and recognised as representing, Is\u00adlamic Art, or, the Art and Architecture of Islam, in the same sense as there is such a thing as for example Hindu Art and Architecture with its various forms, symbols and styles, as there is Buddhist Art and Architecture with its various forms, symbols and styles, just as there is Christian Art and Architec\u00adture with its various forms, symbols and styles; that is arts comprising spe\u00adcific forms, designs and subjects of representation that are consequent upon the content of the religion itself, and which are expressed through a recog\u00adnisable set of visual forms and terms. The relationship between a religion and the arts associated with it and the culture that develops, which is influ\u00adenced by the particular religion, in the case of Christian art, \u201cl\u2019art chretien<\/em>\u201d, Die Christliche Kunst<\/em>, extending from the Roman catacombs to the present day, is recognisable through a group of symbolic forms, from the various cross-crucifix shapes represented in two and three dimensions, to the rep\u00adresentation of Christ, the Trinity, the dove of the Holy Spirit, the Hand of God, to particular architectural forms, bell towers, spires, etc. etc. In the 18th<\/sup> c. Enlightenment Adam Friedrich Oeser (1717-1799) wrote to Johann Joa\u00adchim Winckelmann that the secret of Christian art lay in the representation of the divine, die Versinnlichung des G\u00f6ttlichen<\/em>;[6]<\/sup><\/a> while half a millennia ear\u00adlier, Muhy\u012bd-D\u012bn ibn Arab\u012b (1165-1240) had likewise recorded a most accu\u00adrate evaluation of what lay at the heart of Christian Orthodox art, writing: \u201cThe Byzantines developed the art of painting to its perfection because for them the unique nature (fard\u0101niyyah) of Jesus<\/em> (sayyidn\u0101 \u2018Is\u0101), as expressed in his image, is the foremost support of concentration on Divine Unity\u201d<\/em>[7]<\/sup><\/a>, in\u00addicating an acute awareness by a Muslim of the meaning-content carried through non-Muslim art. This is of course, not to state that the particular forms and the way of representation employed in a particular religion re\u00admained entirely unchanged, immutable over the centuries, but, that the aim of the work that was made by means of art was to express and remind of the key elements of the particular religion in visual forms, through the use of recognisable and recognised shared religious-cultural forms and symbols of the particular religion, Hindu, Buddhist, Christian, Islamic, as other. There are of course variants over time and from region to region, within the group of structures and ornaments, constructed and employed for communal wor\u00adship within a particular religion, as for example the ecclesia<\/em>, termed: basilica, churches, chapels, cathedrals, abbeys etc. while remaining identifiable Chris\u00adtian places of communal worship. The art of Islam, in this sense, is no special case, as the same is true of those works produced by means of art by Muslim designers and craftsmen in those regions and peoples that accepted the re\u00adligion of Islam and, such works can be identified and described as being works of Islamic Art, the Art of Islam[8]<\/sup><\/a>. In contrast, nothing in the form, or in the design, or in the appearance of a bottle, or, of a can, of Coca-Cola, sug\u00adgests a particular religious affiliation, although globally today the language on the bottle, or on the can, displays particularist, national-linguistic affilia\u00adtions, and so, like most modern manufactured items, it does not come within the purview of what, in its widest cultural sense, could meaningfully be de\u00adscribed as being a work of religious art.<\/p>\n

The following important paragraph occurs in Blair and Bloom\u2019s 2003 ar\u00adticle, which states that not just that the term, \u201cIslamic Art\u201d but also, and re\u00admarkably, that \u201cIslamic art\u201d is itself, \u201clargely\u201d, a Western created cultural construct of the 20th<\/sup> century:<\/p>\n

\u201cThere is no evidence that any artist or patron in the fourteen centuries since the revelation of Islam ever thought of his or her art as \u201cIslamic\u201d, and the notion of a distinctly \u201cIslamic\u201d tradition of art and architecture, eventu\u00adally encompassing the lands between the Atlantic and the Indian oceans, is a product of late nineteenth-and twentieth-century Western scholarship, as is the terminology used to identify it. Until that time, European scholars used such restrictive geographic or ethnic terms as \u201cIndian\u201d \u201c(Hindu)\u201d <\/em>sic., \u201cPer\u00adsian\u201d, \u201cTurkish\u201d, \u201cArab\u201d, \u201cSaracenic\u201d, and \u201cMoorish\u201d to describe distinct re\u00adgional styles current in the Indian subcontinent, the Ottoman Empire, Iran, the Levant, and southern Spain. Such all-embracing terms as \u201cMahom\u00admedan\u201d or \u201cMohammedan\u201d, \u201cMoslem\u201d or \u201cMuslim\u201d, and \u201cIslamic\u201d came into favor only when twentieth-century scholars began to look back to a golden age of Islamic culture that they believe had flourished in the eighth and ninth centuries and project it simplistically onto the kaleidoscopic modern world. In short, Islamic art as it exists in the early twenty-first century is largely a creation of Western culture<\/em>\u201d[9]<\/sup><\/a>.<\/p>\n

This same idea was publicised in the 2006, New York, Museum of Modern Art (MoMA) exhibition entitled, Without Boundary: Seventeen Ways of Look\u00ading<\/em>, in, \u201cIslamic or Not<\/em>\u201d, and in its catalogue entry by Fereshteh Daftari, citing Oleg Grabar: \u201cIndeed, even the term \u2018Islamic art\u2019 is said to be the invention of the modern western art historian, having been used by Europeans (the Occidents) for the first time in the 1860s<\/em>\u201d[10]<\/sup><\/a>. This position was then reiterated by Shelia S. Blair in 2012[11]<\/sup><\/a>, \u201cThe idea of an Islamic art is a distinctly modern notion, developed not by the culture itself but by art historians in Europe and America trying to understand a relatively unfamiliar world and to place the arts created there into the newly developing field of art history. In light of the nationalism that developed during the early twentieth century, some schol\u00adars, particularly those in the Islamic lands, questioned the use of the term, opting instead for nationalistic names, speaking of, say, Turkish or Persian art. But these terms are also misleading, for Islam has traditionally been a multiethnic and multicultural society, and it is impossible to distinguish the contribution of, for example, Persian-speaking artists in what is today Tur\u00adkey<\/em>\u201d[12]<\/sup><\/a>. From thence, presumably, the circulation today on the internet of statements such as: \u201cIslamic art is a modern concept created by art histori\u00adans in the 19th century to facilitate categorization and study of the material first produced under the Islamic peoples that emerged from Arabia in the seventh century<\/em>\u201d[13]<\/sup><\/a>; \u201cIslamic art is a modern concept created by art historians in the 19th century to categorise and study of the material first produced in Arabia in the seventh century<\/em>\u201d[14]<\/sup><\/a>; \u201cIslamic Art is a modern concept, created by art historians in the nineteenth century to categorize and study the mate\u00adrial first produced under the Islamic peoples that emerged from Arabia in the seventh century<\/em>\u201d[15]<\/sup><\/a> and, \u201cNext, ask the class what exactly the term \u201cIslamic Art\u201d might mean. Here, you can point out the temporal and geographic di\u00adversity of the materials that could be included in that phrase, which could be accompanied by more familiar images like the Dome of the Rock in Jerusalem (691CE) and the Taj Mahal in India (1632-53CE).<\/em> With these, you can explain that Islamic Art is a modern concept created by art historians in the nine\u00adteenth century to categorize and study the material produced under the Is\u00adlamic peoples that emerged from Arabia in the seventh century\u201d<\/em>[16]<\/sup><\/a>.<\/p>\n

Firstly of course, \u201cIslam\u201d is not, as is stated above by Shelia S. Blair in 2012, a society, while there are of course Muslim and\/or Islamic societies. \u201cIslam\u201d, the word, is the name of a particular religion, the religion revealed by Muhammad the Prophet of Allah, the Almighty and which defines the re\u00adligion of Muslims. In Arabic the word Isl\u0101m means, submission (to God).<\/p>\n

The first sentence of the paragraph from Blair and Bloom\u2019s 2003 article, that forms the subject of this review, states: \u201cThere is no evidence that any artist or patron in the fourteen centuries since the revelation of Islam ever thought of his or her art as \u201cIslamic,\u2026\u201d<\/em>[17]<\/sup><\/a>. The assertion that no art\u00adist\/craftsman or patron over the course of fourteen hundred years thought of the work being made as being \u201cIslamic\u201d, is perhaps a somewhat strange statement to make, divorcing craft, art, work, from the religion, when they have over the course of 1400 years been intimately related and are recorded as such. This most unfortunately is rather like suggesting that the 12th<\/sup> c. Christian craftsman and Benedictine monk, Theophilus, Roger of Helmar\u00adshausen, author of De diversis artibus<\/em> – On Diverse Arts<\/em>, who opens his work: \u201cI Theophilus, a humble priest, servant of the servants of God<\/em>\u201d, and continues \u201cThrough the spirit of wisdom you know that all created things proceed from God, and that without Him nothing exists\u2026And lest perchance you have mis\u00adgivings, I will clearly demonstrate that whatever you can learn, understand or devise is ministered to you by the grace of the seven-fold spirit<\/em>\u201d[18]<\/sup><\/a>; was a man who never thought of the work of his craftsmanship as being Christian, which is of course simply nonsense. Inquire, read, ask on this matter of the aim concerning the work, for example from any master of Islamic calligra\u00adphy, past or present[19]<\/sup><\/a>, if they thought of their work, of sanat<\/em>, of their skill and of the craft, as being unconnected with the religion, with Islam. Anne\u00admarie Schimmel in 1982 indicated the case in employing the following open\u00ading quotation, taken from a 16th<\/sup> c. treaties on calligraphy, to open her own volume entitled, Calligraphy and Islamic Culture:<\/p>\n

\u201cCome, O pen of composition and write letters<\/em><\/p>\n

In the name of the Writer of the Well-preserved Tablet and the Pen!<\/em>\u201d[20]<\/sup><\/a>.<\/p>\n

This is not simply recording in the second line in a poetic form, a version of the Bismilla<\/em>, but is also an expression of iktis\u0101b, <\/em>that is, that the calligra\u00adpher, or other craftsman in the practice of their sanat<\/em>-art-craft was known and was understood to be a willing instrument, one who has indirectly through the source of the tradition of the craft, or directly, through the spir\u00aditual imagination, acquired that which is to be expressed by means of art from the Almighty (see below).<\/p>\n

As had been the case for Europeans for centuries, in the 19th<\/sup> c. Owen Jones had recognised, and he restated, that religious principles underlay the art of Islam. This reiteration occurring more than half a century before Shelia Blair and Jonathan Bloom suggest the terms \u201cMohammedan\u201d, \u201cMuham\u00admedan\u201d, \u201cMoslem\u201d, \u201cMuslim\u201d or \u201cIslamic art\u201d \u201ccame into favour<\/em>\u201d in the 20th<\/sup> c. Owen Jones wrote in his 1838 lecture entitled, \u2018On the Influence of Reli\u00adgion Upon Art,\u2019 stating that, \u201cwhere the Arabs <\/em>(meaning Muslims), not find\u00ading the Byzantine churches ready to their hands, were left to the full play of their imaginations, and produced the most fanciful and voluptuous of all kinds of art, as well as the most faithful to their religious principles<\/em>\u201d[21]<\/sup><\/a>. In stat\u00ading that the religious art of the Muslims, was \u201cthe most faithful to their reli\u00adgious principles<\/em>\u201d, he was simply reminding that the arts of Islam are to be recognised as being religious art, and faithful to, reflecting, their religious principles, which was a point that had been noted and remarked upon for centuries by Europeans (see below). This, remark made by European Chris\u00adtians, not least due to the most considerable visual absence of the usual and expected depiction of figures, human\/divine and other creatures, together with the extensive use of certain types of designs and of identifying calli\u00adgraphic inscriptions, largely in Arabic, the language of the Qur\u2019\u0101n, in the Art of Islam or Islamic Art, unlike, for example in the religious arts of Christianity, or in the religious arts of Hinduism and Buddhism, or as in the numerous and varied forms of paganism.<\/p>\n

This statement made by Bloom and Blair is quite contrary to the surviving Muslim written sources, the recorded evidence concerning this matter. The Mu\u2019tazilite, Ab\u016b \u02bfAmr \u1e0cir\u0101r ibn \u02bfAmr al-Gha\u1e6daf\u0101n\u012b l-K\u016bf\u012b (c. 728-815), was ex\u00adplicit on this matter of human actions, including that of making something by means of art:<\/p>\n

\u201cacts are created, and the single act belongs to two agents: one of them creates it, and that is God; the other acquires<\/em> (iktis\u0101b) it, and that is man. God is the agent of acts of men in reality, and men are their agents in reality<\/em>\u2019 (Maq\u0101l\u0101t, 281)[22]<\/sup><\/a>.<\/p>\n

Likewise, Ab\u016b al-\u1e24asan al-Ash\u02bfar\u012b in the second century A.H. (874-936 A.D.) posed the question, \u201cWhy do you say that God is knowing <\/em>(\u2018\u0101lim<\/em>)?\u201d On the one hand, al-Ash\u2019ari is asserting that only a knowing being could design something that is well constructed and well-ordered, and since God is the all knowing, he must be the creator of all things. An unknowing creature such as man could not possibly create even such a thing as a well-patterned bro\u00adcade according to al-Ash\u2019ari, and so God must be the creator. Likewise, the universe is a well-ordered system and since only God is such a knowing agent, only he could have understood such a thing, designed it and created it<\/em>\u201d[23]<\/sup><\/a>. That is, al-Ash\u02bfar\u012b stated the Almighty must be the (Real) creator of the de\u00adsign, with the human designer of \u201ca well patterned brocade<\/em>\u201d or, for example, of the design of the decorative tile-work on and in a dome, or the design of the forms carved in a stucco panel, or the tile-work designs of a mi\u1e25r\u0101b,<\/em> or of the right form for a particular muqarnas<\/em> vault, or the fitting design for a carpet, being the designer-craftsman who was, is, and remains, the human agent, the human instrument of Al-Musawwir<\/em>, The Fashioner, The Shaper, The Designer of Beauty, the Creator, Al-Khaliq,<\/em> the Almighty[24]<\/sup><\/a>. In the 13th<\/sup> c. for example, J\u0101l\u0101l ad-D\u012bn Rum\u012b, expressed this same sense and understand\u00ading of this relationship, which lies at the basis of the submission to the Cre\u00adator, Al-Khaliq<\/em>, writing:<\/p>\n

\u201cWe are the pen in that master\u2019s hand;<\/em><\/p>\n

We ourselves do not know where we are going<\/em>\u201d[25]<\/sup><\/a>.<\/p>\n

Are we today really supposed to believe that Muslim designers, calligra\u00adphers, and craftsmen, over the course of the past fourteen hundred years, never reflected, nor remembered from whom the Word, the design, or cho\u00adsen form, colour and pattern(s) of the work, in fact, within this particular religious perspective and context, was understood to have originated? \u201cDid He<\/em> (The Almighty) bring you forth, give you existence, and make you capable of service and worship that you should boast of serving Him? These services and sciences are just as if you carved little shapes of wood and leather, then came to offer them up to God, saying, \u201cI like these little shapes. I made them, but it is your job to give them life, You will make my works live. Or, You do not have to – the command is entirely Yours<\/em>\u201d[26]<\/sup><\/a>. And, – are we today really supposed to believe they did not know that the work that they produced was \u201cIslamic\u201d – in the sense of the reflection of the intent and of the meaning the work conveyed, in the content of the designs and in the very texts em\u00adployed, most often from the Qur\u2019\u0101n itself, that they displayed in their works? Are we today really supposed to believe that these designers and craftsmen and patrons did not recognise that their work was distinct, through the choices made and expressed, in both meaning, design, text and form, from those works that were produced by the members of different faiths within and beyond the multi-faith urban communities that formed the Islamic world? Likewise, are we supposed to think that their patrons did not mean what they wrote, as when, for example, Firuz Shah, recorded his submission to the will of the Almighty in the 14th<\/sup> c., \u201cAgain, by the guidance of Allah, I was led to repair and rebuild the edifices and structures of former rulers and ancient emirs, which had fallen into decay through lapse of time, giving the restoration of these buildings the priority over my own building works.\u201d,<\/em> and that, \u201cI was enabled by Allah\u2019s help to build a D\u0101r al-shif\u0101, for the benefit of everyone of high or low degree, who was suddenly attacked by illness and overcome by suffering<\/em>\u201d[27]<\/sup><\/a>. These were and remain \u201cIslamic works\u201d, driven from their inception, the work begun with Bismillahirrahmanirrahim<\/em>, begun in the name of the Almighty, be it a design, a construction or a restoration – a making, be it a work of calligraphy, often of a text from the Qur\u2019\u0101n, a paint\u00ading on a ceramic tile, or in the carving of a wooden spoon, with the belief of both craftsman and patron in the Almighty and his Messenger, these works from the humble to the splendiferous made by means of art, are works of belief, of tradition, craft and skill, in a similar sense as, for example, the Chris\u00adtian Catholic faith raised by means of art the Gothic cathedrals of Europe.<\/p>\n

Muhy\u012bd-D\u012bn ibn Arab\u012b (1165-1240) in Konya in 1210, relates concerning Islamic art: \u201cIt is from the Divine Name the Creator…that there derives the inspiration to painters in bringing beauty and proper balance to their pic\u00adtures. In this connection I witnessed an amazing thing in Konya in the land of the Rum. There was a certain painter whom we proved and assisted in his art in respect of a proper artistic imagination which he lacked<\/em>\u201d[28]<\/sup><\/a>. This passage is explicit, that it is \u201cFrom The Divine Name the Creator comes the inspiration<\/em>\u201d, the illumination, that brings beauty and balance to paintings, this, through the use of \u201ca proper artistic imagination<\/em>\u201d. An \u201cimproper\u201d artistic imagination within this context would be that of the Christian painter, and it seems most probable that the painter that ibn Arab\u012b assisted was a convert from Ortho\u00addox Christianity to Islam, in the art of which, as ibn Arab\u012b knew and recorded, a different spiritual imagination was required.<\/p>\n

Further, it was well known to craftsmen (as also patrons) throughout the world of Islam that the craft they practiced, that of making things by means of art, was a consequence of revelation from the Almighty; as is related for example by J\u0101l\u0101l ad-D\u012bn Rum\u012b in his F\u012bhi Ma F\u012bh<\/em>: \u201cSo when you investigate all trades <\/em>(crafts), the root and origin of them was revelation, men have learned them from the prophets and they are The Universal Intellect<\/em>\u201d[29]<\/sup><\/a>. A work of design, of craftsmanship, was understood to be the visible expression of the acquisition iktis\u0101b<\/em> of design and skill in creation from its Originator, The Cre\u00adator, and was therefore understood to be a work of the religion of Islam[30]<\/sup><\/a>, and so, of Islamic art. As earlier stated by Ab\u016b \u1e24\u0101mid Mu\u1e25ammad ibn Mu\u1e25ammad al-Ghaz\u0101l\u012b (d. 1111) in his Kimiya-yi Sa\u2019\u0101dat<\/em>, The Alchemy of Happiness, written after 1096, \u201cNo person is able to work at all kinds of trades, but by the will of God, upon one is devolved one art and upon another two<\/em>[31]<\/sup><\/a>, and the whole community is made dependent, one member upon the other<\/em>\u201d[32]<\/sup><\/a>. It has been understood over the past fourteen hundred years in the world of Islam that all the crafts, the arts, from calligraphy and the design of ornament, to pottery and leatherwork, devolve from the Almighty, Al-Mu\u00adsawwir<\/em>, and the work produced by craftsman for patrons was, and is, to be understood as being \u201cIslamic\u201d, by virtue of iktis\u0101b,<\/em> through the designer-craftsman\u2019s submission to, and the work originating from the generosity of the Divine Maker. In consequence, to rewrite Blair and Bloom\u2019s initial sen\u00adtence of the paragraph from 2003 cited above, taking into account the sources given above: \u201cThere is considerable recorded evidence to suggest that the majority of craftsmen-designers and their patrons of greater and lesser means in the fourteen centuries since the revelation of Islam thought of their craft and of the works they produced as being \u201cIslamic\u201d, this simply was understood and visible to the aware\u201d.<\/em><\/p>\n

It is unfortunately also quite untrue and simply misleading for Shelia S. Blair and Johnathan Bloom to state that before the late 19th<\/sup> c.-20th<\/sup> c. Euro\u00adpean scholars only \u201cused such restrictive geographic or ethnic terms as \u201cIn\u00addian\u201d (\u201cHindu\u201d) <\/em>sic., \u201cPersian\u201d, \u201cTurkish\u201d, \u201cArab\u201d, \u201cSaracenic\u201d, and \u201cMoorish\u201d to describe distinct regional styles current in the Indian subcontinent, the Ot\u00adtoman Empire, Iran, the Levant, and southern Spain<\/em>\u201d, to describe those works that would today be described by the term \u201cIslamic Art.\u201d Firstly be\u00adcause before the late 19th<\/sup> c. terms such as Arab, Saracenic and Moorish, were not terms that were only used in a restrictive geographic and ethnic sense, but were employed and understood to indicate the Art of Islam. It is the case that the thesis expressed by Shelia S. Blair and Jonathan Bloom, that before the late 19th<\/sup> or 20th<\/sup> century, European scholars and others did not recognise that which is today termed \u201cIslamic art\u201d existed, did not know that there was a particular and characteristic tradition of Muslim art, of making and design that extended to \u201cthe lands between the Atlantic and Indian oceans<\/em>\u201d and beyond, is quite simply, intentionally or otherwise, unfortunate and both mistaken and misleading.<\/p>\n

The reason for this noteworthy misinformation may stem from a misap\u00adprehension, or a lack of awareness of the complex terminology that has been employed by European writers and scholars to describe what is today termed \u201cIslamic Art\u201d, in the centuries before the late nineteenth and twen\u00adtieth centuries. The assertion that: \u201cSuch all-embracing terms as \u201cMahom\u00admedan\u201d or \u201cMohammedan\u201d, \u201cMoslem\u201d or \u201cMuslim\u201d, and \u201cIslamic\u201d came into favor only when twentieth-century scholars began to look back to a golden age of Islamic culture that they believe had flourished in the eighth and ninth centuries and project it simplistically onto the kaleidoscopic modern world<\/em>\u201d, is quite simply not reflected in the actual sources, it is incorrect. For exam\u00adple, G. W. Sanson, writing not in the 20th<\/sup> c., but in 1867 employed the terms \u201cMoors<\/em>\u201d and \u201cMuhammedan art<\/em>\u201d, writing, \u201cIt was of course in the North of Spain that the Mediaeval Gothic and the earliest improved Christian painting was executed; since the Southern portion of this storied land was under the control of the Moors and of Muhammedan art until nearly A. D. 1500\u2026 and lastly (an early school) at Seville in the extreme South, in old Andalusia, so near to the Moorish cities of Cordova and Granada as to breath the intellec\u00adtual atmosphere of the former and the art inspiration of the latter seat of Arabian<\/em> greatness\u201d<\/em>[33]<\/sup><\/a>.<\/em> The term, \u201cMuhammedan art\u201d<\/em>, as employed by G. W. Sanson in 1867 means much the same, as the term \u201cIslamic art\u201d <\/em>today. While Oleg Grabar, somewhat more accurately stated it was in the 1860\u2019s that the term, \u201cIslamic Art\u201d came into use[34]<\/sup><\/a>.<\/p>\n

It has been understood and recorded over the centuries by Europeans, both scholars and others, that particular forms of art were associated with the religion of Islam, i.e. that particular forms and styles of art were recog\u00adnised by Europeans as being \u201cIslamic art\u201d, long before the actual term \u201cIs\u00adlamic art\u201d was applied; not least, the use of the types of design that were first termed by European Catholics, Arabesco, Arabesk, and Moresque, the so-called Arabesque, together with the term \u201cArabian art\u201d, terms which were often employed by Europeans to mean Islamic art. In the absence of the terms\/words, Muslim\/Moslem, Islam and Islamic, in European languages in the Medieval and into the Early Modern periods in Europe (see below), the name Arab, as also, Moor and Turk[35]<\/sup><\/a>, were employed by Europeans, and these were employed in their adjectival forms, understood at that time to mean Muslim\/Islamic Art. The terms, Arabesque, Arab-Arabic-Arabick, Ara\u00adbian art, Moresk, Moorish art and turquesco<\/em>, Turky worke<\/em>-Turkish art, were not employed at that time, as later, in the 19th<\/sup> to 21st<\/sup> centuries, as \u201crestric\u00adtive geographic or ethnic terms\u201d<\/em> – they were employed for centuries and quite simply meant, and mean, the arts of Islam, those works of art produced by the religion, civilisation and culture of Muslim populations in the Muslim-Islamic world, and, as was also the case for example, after the conquest of Al-Andalus in the Catholic Crusades, when Muslim and crypto-Muslim pop\u00adulations continued producing ceramics decorated in Arabesco-Islamic style, etc. These terms were employed by Europeans in the same sense as there was understood to be such a thing as Christian art, Die Christliche Kunst, both before, and after, such divisive events as the split between the Latin and Orthodox Churches, the Great Schism of 1054, as likewise remained the case after the 16th<\/sup> c. Protestant Reformations, Lutheran, Calvinist, English, Dutch reformed, etc. It is the case that Orthodox art, Catholic art and the varieties of Protestant art, remain exemplars of what is recognisably Chris\u00adtian art and civilisation; just as works of Omayyad, Abbasid, Seljuk and Otto\u00adman, Timurid and Mughal, as well as, Fatimid and Safavid art, were, and they remain distinguishable, but recognisably works of Islamic art and civilisation.<\/p>\n

The published evidence on this matter of the recognition by European writers-scholars of works of art associated with the religion and culture of Islam is quite clear and extensive, and it dates from long before the 1860\u2019s, the date that was stated by Oleg Grabar, who \u201ctraces the first discussion of art as \u201cIslamic\u201d to Moriz Carriere\u201d<\/em>[36]<\/sup><\/a>; long before 1866 or 1900, to the \u201clate 19th<\/sup> century<\/em>\u201d or, \u201ctwentieth-century scholars\u201d<\/em>, as was stated by Blair and Bloom in 2003. \u201cIslamic art\u201d is not a modern construct, nor yet a \u201cmirage<\/em>\u201d, and knowledge of, and recognition of Islamic-Muslim Art through the use of particular terms to record it, dates in Europe from before the 14th<\/sup> c.<\/p>\n

The concept of \u201cIslamic art\u201d, meaning the Muslim equivalent of what was, and is, meant by the term \u201cChristian art\u201d, was embodied in a particular group of terms that had been employed by European scholars, including Ital\u00adian, Spanish, French, English, German and Latin speakers for centuries to in\u00addicate and described what is today termed \u201cIslamic art\u201d. These terms at the time of their use, with their variant spellings, were understood to relate, not primarily to any ethnic group[37]<\/sup><\/a>, but to the art of the religion of Islam, (except in the particular sense of including within it the ethnic fact, that the Prophet of Islam was an Arab, an Arabian, and spoke Arabic, and the Qur\u2019\u0101n was spo\u00adken and is written in Arabic, hence, Arabian Art-Arabic Art,[38]<\/sup><\/a> etc.), and it was because of the use of this particular language, employed in the religion and in the repetition in an enormous variety of calligraphic works of Islamic reli\u00adgious texts and parts and words thereof, that the terms: \u201cArabesco\u201d, \u201cArabic Art\u201d, \u201cArabian Art\u201d and \u201cArab art\u201d were employed for centuries by European scholars to describe what would today be termed \u201cIslamic art\u201d.<\/p>\n

These terms, knowingly employed for centuries to describe what is today termed \u201cIslamic art\u201d, include: Arabesco (14th<\/sup> c. It. and Portuguese), Arabesk (1610), Arabe\u2019sk-\u03b1\u03c1\u03b1\u03b2\u03bf\u03cd\u03c1\u03b3\u03b7\u03bc\u03b1, Arabesque, Arabasques, Morisco, Morisk, Moreskwork, Moorish, Moresque (1738)[39]<\/sup><\/a>. William Chauncey Fowler writes concerning the derivation of the suffix \u201cesque\u201d, \u201cThe Romanic suffix esque, (Italian, Spanish, and Portuguese esco, Provencal and Wallachian esc, French esque,) \u2026 and is found in a few words relating to art, derived from the Italian through the French. Examples: Arabesque, (Italian and Portuguese arabesco, French arabesque, German arabeske,) literally Arabic, hence something in the Arabic style or manner\u2026<\/em> Moresque, (Italian and Spanish morisco, Portu\u00adguese moresco, French Moresque,) literally Moorish, hence something in the Moorish style or manner<\/em>\u201d[40]<\/sup><\/a>. As noted above, the former terms employed for centuries before 1866 by Europeans for Islamic art also include the terms: Arabian Art[41]<\/sup><\/a>, arabischen Kunst[42]<\/sup><\/a>, Arabic Art, Arab Art, Saracenic Art, Arts of the Saracens or Arabians[43]<\/sup><\/a> (i.e. the terms Saracens and Arabians were re\u00adgarded as synonyms, meaning Muslims), \u201cSaracenic or Mussulman style<\/em>\u201d[44]<\/sup><\/a> (i.e. the terms Saracenic and Mussulman (meaning Muslim) were regarded as synonyms in the 1830\u2019s as in 1738, in terms of style). Nor was the term Saracenic in the sense of Muslim-Islamic, restricted to the Levant, hence Mi\u00adnard Lafever\u2019s use of the term \u201cSaracenic art<\/em>\u201d in 1856, not to mean of the Levant, as Blair and Bloom in 2003 state[45]<\/sup><\/a>, but rather, to mean \u201cIslamic Art\u201d, writing that, \u201cThe Taj Mahal is a structure so pure and perfect, that it occu\u00adpies that place in Saracenic art, which in Grecian art is represented by the Parthenon<\/em>\u201d[46]<\/sup><\/a>. Mussulman art, l\u2019art musulman, Mohammedan art, Mahome\u00adtan art, Mahommedan art, Moslem art, \u201cMuhammedanische Kunst\u201d, \u201cMo\u00adhammedanische Kunst\u201d, \u201cDie Kunst des Islam\u201d (1842, 1843)[47]<\/sup><\/a>, l\u2019art Islamique (1858)[48]<\/sup><\/a>, the Art of Islam (1851)[49]<\/sup><\/a>. All of these terms were employed by Eu\u00adropean scholars whose works were published before 1866 (\u201cthe late 19th<\/sup> century<\/em>\u201d), some of them centuries earlier, to define-describe that which is today termed, \u201cIslamic art\u201d.<\/p>\n

In 1826 Charles Edward Papendiek was explicit as to the terminology: \u201cThe Saracenic which is supposed to be the parent of the Gothic\u2026 The Moor\u00adish or Mauresque, and the Arabian or Arabesque styles are simply variations of the Saracenic, and differ only in the forms of the arches and in the varieties of their ornamental foliage<\/em>\u201d[50]<\/sup><\/a>. And he also noted that this art was defined in part by the absence of the depictions of creatures, \u201cArabesque or Moresque, a style of ornaments in painting or sculpture, in which no animals are repre\u00adsented<\/em>\u201d[51]<\/sup><\/a>, thereby indicating the religion, through this exclusion of the rep\u00adresentation of living creatures.<\/p>\n

Consequently, what is today termed Islamic Art, is most certainly not, in fact, a so-called \u201cmirage<\/em>\u201d, that was manufactured by European scholars in the late 19th<\/sup>-20th<\/sup> centuries, but instead has been recognised and described by European writers and scholars since the Middle Ages, as a recognisable type of religious art, a religious art which was both recognised and described as such by Europeans. It was firstly distinguished, recognised and described as such, not least, due to the most considerable absence of the depictions in two and three-dimensions of humans and creatures, of images, in com\u00adparison with Christian Art, as had been repeatedly noted for centuries by many Christian Europeans, as in the 19th<\/sup> c. in 1851 by Ralph Nicholson Wornum: \u201cThe principles of the Saracenic <\/em>(Art, i.e. Islamic Art) are soon stated: the conditions of the new Mohammedan law were stringent; there was to be no image of a living thing, vegetable (sic.) or animal. Such condi\u00adtions led of course to a very individual style of decoration, for vegetable forms <\/em>(sic.) were now excluded for the first time. However, by the eighth century when the richer works of the Saracens commenced\u2026 , were already suffi\u00adciently skilful to make light of such exclusions, and the exertion of such inge\u00adnuity which they impelled gave rise to, perhaps, a more, beautiful simply or\u00adnamental style than any that had preceded it, for there was no division of the artistic mind now, between meaning and effect; and although the religious cycles and other symbolic figures, which had hitherto engrossed so much of the artist\u2019s attention were excluded, the mere conventional ornamental sym\u00adbolism, the ordinary forms borrowed from the classic period, and geometry, left an abundant field behind, which was further enriched by the peculiarly Saracenic custom of elaborating inscriptions into the designs. Mere curves and angles or interlacings were now to bear the chief burden of a design; the curves, however, very naturally fell into the standard forms and floral shapes; and the lines and angles were soon developed into a very characteristic spe\u00adcies of tracery or interlaced strap-work, very agreeably diversified by the or\u00adnamental introduction of the inscriptions<\/em>\u201d[52]<\/sup><\/a>; as in 1842 by E. W. Lane, who wrote, \u201cPainting and sculpture, as applied to the representation of living ob\u00adjects, are, I have already stated, absolutely prohibited by the religion of El-Isl\u0101m: there are, however, some Muslims in Egypt who attempt the delinea\u00adtion of men, lions, camels, and other animals, flowers, boats, etc., particularly in (what they call) the decoration of a few shop fronts, the doors of pilgrims\u2019 houses etc.; though their performances would be surpassed by children of five or six years of age in our own country<\/em>\u201d[53]<\/sup><\/a>.<\/p>\n

This was also noted by Peter Nicholson in 1854, \u201cAmongst the many pe\u00adculiarities of Arabian art, perhaps none is more worthy of mention than that method of ornamentation which has been designated under the title of ara\u00adbesques, although the term, as applied by the moderns, does not exactly de\u00adscribe the peculiar ornament alluded to; with us, the term includes a wider range of decoration. The law of the Mohammedan faith prohibited all repre\u00adsentations of human or animal figures, as bordering too closely on the prac\u00adtices of Christianity and paganism, and this precept was at first very strictly adhered to. Their arabesques therefore, excluding all forms of animal life, consist entirely of representations of fanciful plants, stalks, and foliage, treated in an artistic manner, and gracefully entwined in an endless variety of form; these were introduced on the walls, sometimes in colour only, but very often in stucco, the pattern standing out from the wall in high relief<\/em>\u201d[54]<\/sup><\/a>.<\/p>\n

These quotations indicating the association made by Europeans between the religion of Islam and the absence of figural images, and, to the im\u00adportance given to the most considerable use of the group of designs, them\u00adselves termed by Europeans more than 600 years ago, in Latin, arabico opera ornatus,<\/em> arabicus ornatus, opus arabicum<\/em>, Arab-esco, Arab-esque, Mor-esk, Moorish, Rebesco, Rabbesco,<\/em> with arabesco, rabbesco, turquesco, moresco, <\/em>the religiously distinguishing equivalent of, Cristianesco<\/em>, chinesco, <\/em>etc. And, thirdly, to the repeated use of texts in Arabic and expressions taken from the Qur\u2019\u0101n and employed over a vast range of material surfaces on objects and structures. These three distinguishing parts, in their varied combination, de\u00adfine key elements that enabled a work to be recognised for centuries by Eu\u00adropeans as in the Arabic, that is, in the Islamic manner, and which is de\u00adscribed today as a work of traditional Muslim-Islamic Art.<\/p>\n

On some terms and dates<\/p>\n

For the English language, the Shorter Oxford Dictionary indicates the date of the first known recorded use of particular words and their various mean\u00adings in the language at that time and later, and their etymology where known, and it provides instruction concerning changes in meaning in terms and terminology, providing record when addressing matters of terminology, such as the first use in English of the words: Islam, Islamic, Muslim, Arabesk, Arabesque, etc[55]<\/sup><\/a>. The relevant and related entries, together with some ad\u00additional notes, are given below:<\/p>\n

Saracen, Old English (5th<\/sup> to late 11th<\/sup> c.), from Latin Sarracene, (Ger. der Saracene). By extension, a Mohammedan or Moslem, esp. with ref. to the Crusades[56]<\/sup><\/a>. As later, for example in the 16th<\/sup> c. John Foxe, Acts & Monuments, Richard I. \u201cslays the Saracen captives<\/em>\u201d, as likewise, \u201cCaliph, A title assumed by the successors of Mahomet among the Saracens<\/em>\u201d[57]<\/sup><\/a>. Saracens meaning Muslims. Hence: Simon Ockley\u2019s, The History of the Saracens. Containing the lives of Abubeker, Omar, Othman, Ali, Hasan, Moawiyah I. Yezid I. Moawiyah II. Abdolla, Merwan I. and Abdolmelick, the immediate successors of Ma\u00adhomet. Giving an account of their most remarkable battles, sieges, etc. par\u00adticularly those of Aleppo, Antioch, Damascus, Alexandria, and Jerusalem. Il\u00adlustrating the religion, rites, customs, and manner of living of that warlike people. Collected from the most authentic Arabic authors, especially mss. not hitherto publish\u2019d in any European language<\/em>, Cambridge, 1708. From hence Saracenic, dress armour, art etc. Also the head of a Saracen, Arab, or Turk, used as a charge in heraldry, as an inn-sign etc. as in the name of numerous inns, such as the 1242 Saracen\u2019s Head, Beaconsfied; the Saracen\u2019s Head, Ware, first mentioned in 1365; and, in the 16th<\/sup> c., Ye Olde Saracen\u2019s Head, in Coventry.<\/p>\n

Sarazen, Sarrazin, or Sarracin, Old English (5th<\/sup> to late 11th <\/sup>c. from Old French), Thomas Percy remarks, \u201cjust as in the same manner as they after\u00adwards used the name of Sarazen to express any kind of Pagan or Idolater. In the ancient romance of \u201cMerline\u201d (in the editor\u2019s folio MS.) the Saxons them\u00adselves that came over with Hengist <\/em>(mid 5th<\/sup> c.), because they were not Chris\u00adtians, are constantly called Sarazens<\/em>\u201d[58]<\/sup><\/a>. In Crusader sources it is often un\u00adclear if the saracen\/sarazen (s) who is mentioned was ethnically an Arab, a Turk, a Kurd, Persian, a Romanoi\/Rum, a Copt, a Berber, an Armenian, a Catholic Frank, or any other convert to Islam, the term Saracen was a term employed to simply mean, any Muslim. In the Expenses of the Great Ward\u00adrobe of Edward III from 21st<\/sup>. Dec. 1345 to 31st<\/sup> Jan. 1349, are the entries, pel\u016b de ope sarazen<\/em>, and, pel\u016b de ope sarasano, <\/em>meaning of Muslim-Islamic work.<\/p>\n

Sarazin, Old French, still used in 1637 in French.<\/p>\n

Scaracen, Employed in a device in heraldry from the Crusade of Richard I, 1190-1192, if not before, \u201cHeveningham Sr. the origin of which <\/em>(armorial) bearing is ascribed to Sir William Heveningham , Knt., who, \u201cGoing with King Richard I. overcame Safer, the daring Saracen, captain of the castle in Pales\u00adtine. Since that they gave his head for a crest<\/em>\u201d[59]<\/sup><\/a>. And, it was the name given to numerous inns, before the 16th<\/sup> c. The Scaracen\u2019s Head, e.g., Kings Norton, Birmingham; Saracen\u2019s Head, a London tavern and coaching establishment, which stood on the north side of Snow Hill, without Newgate, etc.<\/p>\n

Saracenic, first recorded use in English, 1638, Of, pertaining to, or char\u00adacteristic of the Saracens.<\/p>\n

Saracenical 1613, hence, \u201cSaracenical manner of building<\/em>\u201d[60]<\/sup><\/a>, In 1764, em\u00adployed in an ethnic sense to mean Arabs; \u201cand in the End, overturned the whole Saracenical System of Power in Asia<\/em>\u201d[61]<\/sup><\/a>, At times employed as a syno\u00adnym for barbarous, 1772, \u201cbarbarous, or Saracenical<\/em>\u201d[62]<\/sup><\/a>. Saracenish Em\u00adployed at times to mean the Arabic language, as in the Medieval, Enfances Vivian, <\/em>or, The Covenant of Vivian,<\/em> Ger. Saracenish<\/p>\n

    \n
  1. applied to Mohammedan architecture, or to any feature of it, from 1768[63]<\/sup><\/a>.<\/li>\n<\/ol>\n

    Saracenism n. (1659) Islam[64]<\/sup><\/a>.<\/p>\n

    Hagarene, 1535, via Latin, Agarenus, from Agar, Hagar, A reputed de\u00adscendant of Hagar, the concubine of Abraham, and the mother of Ishmael-Ismail; a Hagarite, meaning an Arab, a Saracen[65]<\/sup><\/a>.<\/p>\n

    Ismaelite, Ishmaelite, Ishmaelitic, 1571.<\/p>\n

      \n
    1. A name sometimes formerly given, especially by Jews, to the Arabs as descendants of Ishmael, and so to Mohammedans generally[66]<\/sup><\/a>.<\/li>\n<\/ol>\n

      Mahumet, The name of the founder of the Moslem religion. (from the Anglo-Norman, 1066 to the late 15th <\/sup>century).<\/p>\n

      Mahound, Mahun, (from the Anglo-Norman, 1066 to the late 15th <\/sup>cen\u00adtury.), meaning Mohammad, a false prophet or,<\/p>\n

        \n
      1. a false god or Idol[67]<\/sup><\/a>.<\/li>\n<\/ol>\n

        Mauhoumet, The name of the founder of the Moslem religion. (from the Anglo-Norman, 1066 to the late 15th<\/sup> century).<\/p>\n

        Maumet, the shortened form of the name of the founder of the Moslem religion (from the Anglo-Norman).<\/p>\n

        Mammet, from the Anglo-Norman Maumet, the shortened form of Mauhoumet – Mahumet \u2013 Muhammad.<\/p>\n

        Mahomet, Middle English (from 1066 to the late 15th <\/sup>century.), 1768, \u201cCaliph, A title assumed by the successors of Mahomet among the Sara\u00adcens<\/em>\u201d[68]<\/sup><\/a>; 1851, \u201cand like the decorations of Cairo, most probably have their source in Damascus, the common nursery of Mahometan art<\/em>[69]<\/sup><\/a>.<\/p>\n

        hence; Mahometism 1579.<\/p>\n

        Mahmets 1579 = Muslims.<\/p>\n

        Mawmentry, Late Middle English (about 1400 to about 1500,) 1412, em\u00adployed by the Benedictine, John Lydgate of Bury, Suffolk, author of The Troy Book, \u201cI have set him last of all my book, Among the gods of false maw\u00admentry, etc.<\/em>\u201d) – Mahometry, i.e. idolatry). Throughout the English 1579 translation of Marco Paolo\u2019s Travels, Mahometans and other worshippers of idols are always called Mahomets and Mahmets. And the word Mammet seems to be a corruption of Mahomet, the Anglican Archbishop of Dublin, Richard Chenevix Trench in 1885 stated: \u201cWe have another of a parallel in\u00adjustice, in the use which \u2018mammetry\u2019, a contraction of \u2018Mahometry\u2019, ob\u00adtained in our early English. Mahometanism being the most prominent form of false religion with which our ancestors came in contact, ‘mammetry’ was used up to and beyond the Reformation, to designate first any false religion, and then the worship of idols; idolatry being proper to, and a leading feature of, most of the false religions of the world. Men did not pause to remember that Mahometanism is the great exception, being as it is a protest against all idol-worship whatsoever; so that it was a signal injustice to call an idol \u2018a mammet\u2019 or a Mahomet and idolatry \u2018mammetry.\u2019 To pursue the fortunes of the word a little further, at the next step not religious images only, but dolls were called \u2018mammets;\u2019 and when in Romeo and Juliet old Capulet contemp\u00adtuously styles his daughter \u2018a whining mammet\u2019<\/em>[70]<\/sup><\/a> the process is strange, yet its every step easy to be traced, whereby the name of the Arabian false prophet is fastened on the fair maiden of Verona\u201d<\/em>[71]<\/sup><\/a>.<\/p>\n

        Mahometry 1481, meaning Mohammedanism, in the 16th<\/sup> c. misused to mean idolatry and which misuse is found earlier, as in the 12th<\/sup> c. \u201cChanson de Roland\u201d, said to describe Emperor Charlemagne’s expedition against the Spanish Moslems of 778 AD. are the following lines: \u201cThe Emperor has cap\u00adtured Sargossa and has the town searched by a thousand of his Franks. In the Synagogues and temples of Muhammed <\/em>(Mosques), with iron clubs and hand axes, they smash Muhammed and all the other idols so that no devilry or superstition will remain…His (Charlemagne\u2019s) Bishops bless the waters and lead the pagans <\/em>(meaning the Moslems and Jews) to the Baptistery. If one of them opposes the will of Charles, then he has him imprisoned, burnt or slain. More than 100,000 are thus baptized, made true Christians<\/em>\u201d.<\/p>\n

        Mahometist 1513 from French, mahom\u00e9tisme.<\/p>\n

        Mahometan, 1529, 1731[72]<\/sup><\/a>, 1747[73]<\/sup><\/a>, 1768[74]<\/sup><\/a>, so, Mahometism 1597.<\/p>\n

        Mahometanism, 1810[75]<\/sup><\/a>.<\/p>\n

        Mahomedan 1782, 1811, 1812.<\/p>\n

        Mohammed, 1615, The name of the founder of the Moslem religion.<\/p>\n

        hence:<\/p>\n

        Mohammedan, 1553, 1681.<\/p>\n

          \n
        1. Of, or relating to Mohammed, or to his doctrine.<\/li>\n
        2. A follower of Mohammed; a believer in his doctrine 1777. Hence Mo\u00adhammedanism 1815, Mohammedism, the Muslim religion 1614-1850[76]<\/sup><\/a>.<\/li>\n<\/ol>\n

          Mohammedanism \u200e<\/em><\/strong>1782[77]<\/sup><\/a> 1815.<\/p>\n

          Mohammetanes 1615 meaning Muslims, from the French, Mahom\u00e9tan, Italian, maomettane.<\/p>\n

          Moslem, meaning Muslim, first recorded use in English in 1615, from the French.<\/p>\n

            \n
          1. One who professes Islam; a Mohammedan.<\/li>\n
          2. Adj. Of or pertaining to the Moslems, Mohammedan 1777.<\/li>\n<\/ol>\n

            Muslim 1615, meaning Muslim.<\/p>\n

            Mussliman 1615, meaning Muslim.<\/p>\n

            Musleman 1697, meaning Muslim.<\/p>\n

            Muslimon 1697, meaning Muslim.<\/p>\n

            Mussulman 1563, 1768[78]<\/sup><\/a>, 1818[79]<\/sup><\/a>, meaning Muslim, hence Mussulmanic, Mussulmanish, Mussulmanism.<\/p>\n

            Mussulmanish 1818 adj. from Mussulman[80]<\/sup><\/a>.<\/p>\n

            Mahom\u00e9tisme Le, French (Ce mot fait d\u2019islam ou eslam est de la creation de Barth\u00e9lemy d\u2019Herbelot De Molainville (1625-95)[81]<\/sup><\/a> However, the term, Mahometisme is recorded by Pierre Bergeron before 1637[82]<\/sup><\/a>.<\/p>\n

            Moslem, Musulman, Mosleman, French.<\/p>\n

            Musulmanisme (Le), French, The religion of Muslims, all employed in d\u2019Herbelot\u2019 Biblioth\u00e8que Orientale<\/em>, 1697.<\/p>\n

            Turk<\/p>\n

              \n
            1. often used of = Moslem or Mohammedan, 1548[83]<\/sup><\/a>. Hence, Turk\u2019s Head, before 1667 there was the Turk\u2019s Head in Bishop\u2019s Gate-Street London, where the first edition of John Milton\u2019s Paradise Lost was sold.<\/li>\n<\/ol>\n

              Maure, since the 11th<\/sup> century, from Anglo-Norman, a Maure, is a Moor, belonging to the people of mixed Berber and Arab race and Mohammedan in religion[84]<\/sup><\/a>. Hence Mauresque[85]<\/sup><\/a>, a variant of Moresque. A term employed in armory, a Maure, the Moor\u2019s head symbol. Shakespeare (1604), Othello, The Moor of Venice, – Othello, Le Maure de Venise. French 1835: Maure, transcription, messl\u00e8me, messelmine p.[86]<\/sup><\/a>; Mauresque, transcription, m\u00e9celma, m\u00e9celmi\u00e0te p.[87]<\/sup><\/a>.<\/p>\n

              Mauresque, 1830, \u201cMauresque, the style of building peculiar to the Moors and Arabs. See Arabian Architecture<\/em>\u201d[88]<\/sup><\/a>.<\/p>\n

              Moor, Late Middle English (from about 1400 to about 1500). Later on belonging to the people of mixed Berber and Arab race, Mohammedan in religion, who in the 8th<\/sup> c. conquered Spain.<\/p>\n

                \n
              1. also meaning, A Mohammedan, esp. one living in India 1588[89]<\/sup><\/a>. Hence, John Borthwick Gilchrist\u2019s, A Dictionary, English and Hindoostanee: In Which The Words Are Marked With Their Distinguishing Initials, As Hinduwee, Ara\u00adbic And Persian. Whence The Hindoostanee, Or What Is Vulgarly, But Improp\u00aderly, Called The Moor Language, Is Evidently Formed<\/em>, Calcutta, Vol. I, 1787, and, II., 1790.<\/li>\n<\/ol>\n

                Moor, 1768.<\/p>\n

                  \n
                1. A Negro; 1593-4, \u201ca black-a-moor<\/em>\u201d, Shakesp[90]<\/sup><\/a>.<\/li>\n<\/ol>\n

                  Moor\u2019s Head, 1731, \u201c[in Engineery] a kind of bomb or grenado shot out of a cannon<\/em>\u201d[91]<\/sup><\/a>.<\/p>\n

                  Moor\u2019s Head, 1731, \u201c[with Chymists] a cover or cap of an alembick, hav\u00ading a long neck for the conveyance of the vapours into a vessel that serves as a refrigerator\u201d<\/em>[92]<\/sup><\/a>.<\/p>\n

                  Moorish, Late Middle English (from about 1400 to about 1500).<\/p>\n

                    \n
                  1. also meaning, Mohammadan[93]<\/sup><\/a>.<\/li>\n<\/ol>\n

                    Moorman, 1698, in India, a Mohammedan[94]<\/sup><\/a>.<\/p>\n

                    Morisca, Spanish, Arabesco[95]<\/sup><\/a>.<\/p>\n

                    Moreskwork, in Spanish, s. Arabesco[96]<\/sup><\/a>. \u201cMor\u2019esk, and Mo\u2019res (s. from Mo\u00adrisco). A kind of antique work in painting or carving done after the manner of the Moors<\/em>. Mor\u2019esk (adj. from the sub.) Morisco, Moorish, done after the manner of the Moors. Mor\u2019eskwork (s. from moresk, and, work) A kind of antique work in painting or carving done after the manner of the Moors). Moris\u2019co (s. from the Spanish) A Moor, the language of the Moors (Ara\u00adbic)\u201d[97]<\/sup><\/a>. Moresken.<\/p>\n

                    Morysse (1548) meaning moresk-worke.<\/p>\n

                    Arabesk 1610, from French Arabesque[98]<\/sup><\/a>. 1731, \u201cArabesk (so called from the Arabs <\/em>(meaning Muslims), who used this kind of ornaments, their religion forbidding them to make any images or figures of men or animals) a term apply\u2019d to such painting, ornaments of freezes, etc. which constituted wholly of imaginary foliages, plants, stalks, etc.. without any human or animal fig\u00adures<\/em>\u201d)[99]<\/sup><\/a> Arabique\/Arabesque, Arabasques, sf. Pl. arabesks, whimsical orna\u00adments, (in painting)[100]<\/sup><\/a>. Samuel Johnson\u2019s Dictionary, \u201cA’rabesque.* adj. [Fr. arabesque, Su. and Dan. arabisk. A word derived from the Arabs.] Relating to the architecture of the Arabs and other Mahometans; to the ornaments of foliage, plants, and the like, on their buildings; and sometimes used as distin\u00adguishing the lighter kind of Gothick architecture in general..<\/em>\u201d.<\/p>\n

                    Arabesque 1656 A. adj. Arabian, Arabic 1842.<\/p>\n

                      \n
                    1. 2. Mural or suface decoration in colour or low relief, composed in flow\u00ading lines of branches, leaves and scroll-work fancifully intertwined.<\/li>\n<\/ol>\n

                      esp. carved and painted in arabesque from 1656[101]<\/sup><\/a>; Arabesque, a. Span\u00adish Arabesco[102]<\/sup><\/a>. Italian, Arabesco, Orabesco[103]<\/sup><\/a>.<\/p>\n

                      Arabasques,<\/p>\n

                      Arabique, Fr. 1756, \u201cARABIQUE. adj. lat. Arabicus. angl. arabick. Qui ap\u00adpartient \u00e0 l\u2019Arabe\u201d[104]<\/sup><\/a>.<\/p>\n

                      Arabesken, pl. arabesky: Czech, applied to ornaments consisting of imag\u00adinary foliage, stalks, plants, etc. arabesco, rabeschi<\/em>.<\/p>\n

                      Rebeck-Rabask 1542 \u201ca traile of Rebeckes<\/em>\u201d in the 1542 inventory of Whitehall refers to a trail of arabesques, which are also termed \u201cra\u00adbask\/rabesk\/rebesk (-work)<\/em>\u201d in English texts[105]<\/sup><\/a>. Rebeske worke<\/em>; 1611, a small, and curious flourishing[106]<\/sup><\/a>.<\/p>\n

                      Eslam, 1697 \u201cfrom the Arabic Word Salama, which in the Fourth Conju\u00adgation is Aslama, to enter into the state of Salvation, hence Eslam, the Saving Religion, and Muslimon, or as we call it, Musleman, he that believeth therein<\/em>\u201d[107]<\/sup><\/a>. In Spanish by 1602. In French, employed in d\u2019Herbelot\u2019 Biblio\u00adth\u00e8que Orientale, ou, Dictionaire universel: contenant generalement tout ce qui regarde la conoissance des peuples de l’Orient<\/em>, Par la Compagnie des libraires, Paris, 1697, 325, s.v. \u201cEslam, l\u2019Islamisme ou le Musulman\u00adisme…aussi Islam\u201d.<\/p>\n

                      Islamisme, 1697 \u201cthe Name whereby the Mahometans themselves most love to call it<\/em>\u201d[108]<\/sup><\/a>. In French Islamisme, s.m. Mahom\u00e9tisme[109]<\/sup><\/a>, French, 1697 d\u2019Herbelot\u2019 Biblioth\u00e8que Orientale<\/em>, 1697, 325. Defined by l\u2019abb\u00e9 Fran\u00e7ois d\u2019Alberti Villanova (1737-1800) in his, Grand Dictionnaire fran\u00e7oise-italien<\/em>, of 1840 as: \u201cNom que prend le Mahom\u00e9tisme. <\/em>Il se dit aussi relativement aux pays Mahom\u00e9tans, dans le m\u00eame sens que Chr\u00e9tient\u00e9 par rapport aux Chr\u00e9\u00adtiens. Islamismo; Maomettismo; paese in cui si segue la Religion Maomet\u00adtana<\/em>\u201d. In Spanish, Islamismo\/eslamismo: la fe mahometana\/el mahom\u00adetismo.<\/p>\n

                      Islam, 1613 (In French, employed in d\u2019Herbelot\u2019 Biblioth\u00e8que Orientale<\/em>, 1697, 325, as later[110]<\/sup><\/a>. From 1818 to describe the Mohammedan world.<\/p>\n

                      Isl\u00e2m, 1734, in George Sale\u2019s translation of the Kor\u00e2n, \u201cVerily the true re\u00adligion in the sight of God, is Isl\u00e2m<\/em>\u201d, Note to the verse, Isl\u00e2m, \u201cThe proper name of the Mohammedan religion, which signifies the resigning or devoting one\u2019s self entirely to God and his service. This they say is the religion which all the prophets were sent to teach, being founded on the unity of God<\/em>\u201d.<\/p>\n

                      Islamism 1810 \u201cIslam, or Islamism; the true faith, according to the Ma\u00adhometans. See Mahometanism<\/em>\u201d[111]<\/sup><\/a>. In 1815, \u201cPraise be to God for the bless\u00adings of Isl\u0101mism<\/em>\u201d[112]<\/sup><\/a>.<\/p>\n

                      Islamic 1817.<\/p>\n

                      Islamize, to convert or conform to Mohammedanism.<\/p>\n

                      To look for the term \u201cIslamic art<\/em>\u201d in the work of English scholars before the term \u201cIslamic Art<\/em>\u201d was first employed in the English language in the 19th<\/sup> c., without looking for the modern term\u2019s earlier synonyms, is somewhat pointless, as is the case for the equivalents in French, German, Italian, Span\u00adish and other European languages. Just because the term \u201cIslamic art<\/em>\u201d was not used until the 19th<\/sup> c. in German, English, French etc., does not of course mean that the people who spoke these languages before the 19th<\/sup> c. did not recognise what we today term Islamic art, they described it in words and terms, but they employed other words and terms, than the 19th<\/sup>-21st<\/sup> c. term \u201cIslamic Art\u201d.<\/p>\n

                      Some pre 1866 record from the nineteenth century of the recognition of that which is today termed Islamic Art, recognised as religious art, that was formerly termed: Arabian, Moresque, or Saracen-Saracenic art, Moham\u00admedan, Mahommedan art, Mahometan art, Mussulman art, l\u2019art musulman, Moslem art, Muhammedanische Kunst, Mohammedanische Kunst, die Kunst des Islam, etc.<\/p>\n

                      1816 \u201cthe superb magnificence of the mosque at Cordoba, of the city and palace of Azzahru, and of the royal fortress and palaces of the Alhamra and Al Generalife, which have already been described, surpass everything that is recorded relative to the most splendid cities of antiquity. But, in reviewing the various remains of Arabian Art, it is a circumstance worthy of remark, that no people ever constructed so many edifices as the Arabs, who extracted fewer materials from the quarry<\/em>\u201d[113]<\/sup><\/a>.<\/p>\n

                      1824 \u201cSaracenischen Styl<\/em>\u201d[114]<\/sup><\/a>, at Tunis.<\/p>\n

                      1827 \u201cThe noblest remains of Mohammedan art and splendour in the South of India, are those of Bejapoor, styled by Sir James Mackintosh<\/em>[115]<\/sup><\/a>,\u201cthe Palmyra of the Deccan<\/em>\u201d[116]<\/sup><\/a>.<\/p>\n

                      1830 \u201cThose who wish to see a representation of Gutachuc may be grat\u00adified, in examining that fine composition in the last number of Captain Grindlay\u2019s \u201cScenery etc. of Western India\u201d<\/em>; a work which evinces his love of the arts, in preserving from the universal destroyer some of the finest speci\u00admens of Hindu and Mahommedan art yet existing<\/em>\u201d[117]<\/sup><\/a>.<\/p>\n

                      1832 \u201cThe noblest remains of Mahommedan art in the S. of India are the ruins of the city of Bejapoor, styled by Sir James Macintosh \u2018the Palmyra of the Deccan<\/em>\u201d[118]<\/sup><\/a>.<\/p>\n

                      1834 \u201carabischen Kunst<\/em>\u201d[119]<\/sup><\/a>.<\/p>\n

                      1835 \u201cThe arches above in the usual horse-shoe forms are four feet in the larger, and three in the lesser spaces. The ceiling of the portico is a splendid exhibition of the elaborate genius and intricate combinations of Moslem art. The stucco ornaments are laid on with unrivalled skill; the delicacy with which it is frosted in the handling of the ceiling boasting intricate beauties alto\u00adgether inimitable. The capitals are of various design, richly decorated; but in the infinite diversity of its foliages and grotesques, there is remarked not the slightest imitation of animal life<\/em>\u201d[120]<\/sup><\/a>.<\/p>\n

                      1838 \u201cMoorish, or Moresque Architecture, is a peculiar manner of design in building, which the inhabitants of Morocco, in common with most other Mohammedan nations, employed in mosques and other public edifices, and which appears to have previously prevailed in Persia and Constantinople. Its chief features were pointed, depressed, scalloped, horse-shoe, and ogee arches, lofty elongated cupolas, and a profusion of elegant tracery, and sculpted detail. In Spain it prevailed whilst that country was under the Moor\u00adish domination and many interesting examples of it remain in the Alhambra, at Granada<\/em>\u201d[121]<\/sup><\/a>.<\/p>\n

                      1840 \u201cThe noblest remains of Mahometan art in the country; it has been called the \u201cPalmyra of the Deccan<\/em>\u201d[122]<\/sup><\/a>.<\/p>\n

                      1840 \u201cThe whole reign of the Ommiad Caliphs passes, in mental review, before us. Once the seat of Arabian art, gallantry, and magnificence, the southern kingdom of Spain <\/em>(sic.) was rich and flourishing. Agriculture was respected; the fine arts cultivated; gardens were formed; roads executed; palaces erected; and physics, geometry, and astronomy, advanced<\/em>\u201d[123]<\/sup><\/a>.<\/p>\n

                      1840 \u201cCependant, si on ne s’y ren ait pas, il faudrait encore, pour admet\u00adtre le syst\u00e8me qu\u2019elle combat, supposer que l\u2019art chr\u00e9tien ait pu accepter le symbolisme de l\u2019art musulman; or, si l\u2019on examine le plan et la d\u00e9coration des cath\u00e9drales et des mosqu\u00e9es, et qui l\u2019on compare les id\u00e9es g\u00e9n\u00e9rales qui dominent dans la construction de ces \u00e9difices\u201d<\/em>[124]<\/sup><\/a>.<\/p>\n

                      1842 William H. Bartlett on the Tomb of Sultan Kaitbay, \u201cThe lofty mina\u00adret, with its successive stages, tapering gracefully to the summit, and encir\u00adcled by galleries, is a beautiful specimen of this unique invention of Mahom\u00admedan art in its highest enrichment, and the dome is perhaps un-equalled for its graceful proportion and its delicate detail, the whole producing an ef\u00adfect at once grave, elegant, and fanciful; an original combination which no one at all affected by art, nor even one of ruder stamp, can possibly behold without a feeling of exquisite delight<\/em>\u201d[125]<\/sup><\/a>.<\/p>\n

                      1842 Joseph Gwilt, in Section X of his volume, itself entitled, Arabian, Mo\u00adresque, or Saracenic Architecture, (indicating they are synonyms) \u201cIf the pleasure – perhaps we may say sensuality – of the eye is alone to be consulted, the Arabians <\/em>(meaning Muslims) have surpassed all other nations in their ar\u00adchitecture. The exquisite lines on which their decoration is based, the fantas\u00adticness of their forms, to which colour was most tastefully superadded, are highly seductive\u201d<\/em>[126]<\/sup><\/a>.<\/p>\n

                      \u201cThough the late Sultan built a new palace in the Italian style at Constan\u00adtinople, the Moslem will not easily relinquish a style intimately allied to their habits and religion, a style whereof, fig. 89, will convey some idea to the reader. He is also referred to figs 31, 32 and 33., as an example of the same style in Persia<\/em>\u201d [127]<\/a><\/sup>.<\/p>\n

                      1842 \u201cdie Kunst des Islam<\/em>\u201d[128]<\/sup><\/a>, as also, \u201cMuhammedanische Kunst\u201d<\/em>, \u201cmu\u00adhamedanischen kunst\u201d<\/em>[129]<\/sup><\/a>, \u201cMohammedanische Kunst\u201d <\/em>and \u201cDie Baukunst des Islams\u201d<\/em>[130]<\/sup><\/a>.<\/p>\n

                      1842 \u201cl\u2019art Musulman<\/em>\u201d[131]<\/sup><\/a>,<\/p>\n

                      1842 \u201c\u2026dans son \u00e9tat actuel, est loin de comprendre tous les pays o\u00f9 l\u2019art musulman a marqu\u00e9 son empreinte; mais on peut dire qu’il renferme le tab\u00adleau de ce qu’a produit de plus caract\u00e9ristique l\u2019architecture arabe et maure en Occident, depuis l\u2019imposante mosqu\u00e9e de Cordoue jusqu\u2019aux \u00e9difices fr\u00eales et enjoliv\u00e9s de l\u2019Alger de nos jours<\/em>\u201d[132]<\/sup><\/a>.<\/p>\n

                      1842 \u201c\u2026, il est facile de reconnaitre le style qui marqua la premi\u00e9re \u00e9poque de l\u2019art musulman dans la P\u00e9ninsule<\/em>\u201d[133]<\/sup><\/a>.<\/p>\n

                      1844 \u201cMuhammedanische Kunst<\/em>\u201d[134]<\/sup><\/a>, \u201cMoslemischen Kunst<\/em>\u201d[135]<\/sup><\/a>.<\/p>\n

                      1847 \u201cL\u2019art chr\u00e9tien, l\u2019art arabe ou plut\u00f4t l\u2019art musulman se sont d\u00e9velop\u00adp\u00e9s sans distinction de bassins ou de climats, partout o\u00f9 ces deux religions ont modifi\u00e9 l\u2019homme<\/em>\u201d[136]<\/sup><\/a>.<\/p>\n

                      1848 \u201cFor such buildings <\/em>(the tombs of Europeans at Surat from the 17th<\/sup> c. onwards) Mussulman art afforded models, and these, being ready at hand, were adopted. These European tombs then are in a kind of arabesque style, being clumsy imitations of Moorish mausoleums. The expense of them must have been considerable<\/em>\u201d[137]<\/sup><\/a>.<\/p>\n

                      1849 \u201cMahommedan Art will be considered, as also Byzantine and Gothic. The book before us therefore constitutes the first part of this projected work<\/em>\u201d[138]<\/sup><\/a>.<\/p>\n

                      1850 \u201cIt was the time when the most celebrated monuments of the Ara\u00adbian art were raised: the mosque of Cordova, – the Alhambra,- the Alcazars of Grenada and Seville<\/em>\u201d[139]<\/sup><\/a>.<\/p>\n

                      1850 \u201cThe two principal seats of government, which still exhibit striking remains of Arabian art, were Cordova and Granada:\u201d \u201cThe remains of Ara\u00adbian art still existing in Spain, together with the united testimonies of their historians, impress the mind with a high sense of their former grandeur<\/em>\u201d[140]<\/sup><\/a>.<\/p>\n

                      1851 \u201c\u2026hospitable quarters, with here and there symptoms of modern improvement and even refinement, setting forth to advantage the Sultan\u2019s tombs, the fountains and other relics of old Byzantine and Mohammedan art and civilisation. Only let the barriers of religious animosities be fully over\u00adthrown, only let a Christian have his choice of a residence, and there can be no European so utterly destitute of taste as not to prefer a sojourn in free-breathing, whitewashed Stamboul to that of cramped, stifled, dingy, and dreary Galata-Pera<\/em>\u201d[141]<\/sup><\/a>.<\/p>\n

                      1851 \u201cand like the decorations of Cairo, most probably have their source in Damascus, the common nursery of Mahometan art<\/em>\u201d[142]<\/sup><\/a>.<\/p>\n

                      1851 \u201cBut one more remained, which is justly considered the most splen\u00addid specimen of Moslem art, and could not, of course, be omitted: this was the great mosque of \u201cSuleiman the Magni\ufb01cent<\/em>\u201d[143]<\/sup><\/a>.<\/p>\n

                      1851 \u201cIn this respect Byzantium served as a model to the image-hating Saracen art, and probably received many an impulse from her in return<\/em>\u201d[144]<\/sup><\/a>.<\/p>\n

                      1851 \u201cdoch unterscheidet sich die Kunst des Islam von der christlichen wesentlich durch den Mangel aller bildlichen Darstellung, namentlich menschlicher Figuren, welche die Religion streng verbot<\/em>\u201d[145]<\/sup><\/a>.<\/p>\n

                      1852 \u201cThese celebrated monuments of Mussulman art lie to the east of Cairo, – behind the crest of the same hill on which, more to the south, the citadel is built. They are thus severed and protected from the busy hum of the city, and standing as they do on the verge of the desert, form a small \u2018city of the dead\u2019 most appropriately situated<\/em>\u201d[146]<\/sup><\/a>.<\/p>\n

                      1853 \u201cThey do not at all accord with the character of Roman Architecture, and are much more analogous with Mahometan art<\/em>\u201d[147]<\/sup><\/a>.<\/p>\n

                      1855 \u201cAt Aleppo: \u201cThere are many mosques and tombs, which were once imposing specimens of Saracenic art; but now, split and shivered by wars and earthquakes, are slowly tumbling into utter decay<\/em>\u201d[148]<\/sup><\/a>.<\/p>\n

                      1855 \u201cBy far the most elegant mosque of this age -perhaps indeed of any period of Moslem art-is the Mootee Mesjid, or Pearl mosque, built by Shah Jehan in the palace of Agra<\/em>\u201d[149]<\/sup><\/a>.<\/p>\n

                      1855 \u201cEvery detail of the building itself could be made out with the utmost clearness, even to the many-coloured pillars of the arabesque paneling with which the sides are encrusted. The beautiful pulpit near one of the south gates of the platform- a perfect gem of Arabian art-was a favourite object of examination. Distance, in short, seemed quite annihilated; and, seated at our ease, we were enabled to enjoy the beauties of the enclosure, almost as much as if privileged to wander freely about it<\/em>\u201d[150]<\/sup><\/a>.<\/p>\n

                      1856 \u201cThe case is the same with Byzantine and Saracenic art, and with the great styles of Italy, especially the Trecento and the Cinquecento, in which all the most perfect schemes are purely conventional, or upon a strict geo\u00admetrical basis, whatever the treatment of the detail may be<\/em>\u201d[151]<\/sup><\/a>.<\/p>\n

                      1857 \u201cArabian art is traceable to the demands of the new civilization and wider culture that Mohammedanism introduced. The Mosque of Toloon in Cairo, erected only 250 years from the establishment of Islamism, shows a style of architecture complete in itself, and betraying no signs of direct imi\u00adtation of the Byzantine<\/em>\u201d[152]<\/sup><\/a>.<\/p>\n

                      Memoir of Mr. James Murphy, \u201cThe interesting but imperfect description of the remains of Arabian art, exhibited in the volumes of some modern trav\u00adellers, as existing in the once renowned Mohammedan cities of Granada, Cor\u00addova, and Seville, excited in the author an ardent desire to visit them. He ac\u00adcordingly embarked for Spain, and arrived at Cadiz in May in the year 1802<\/em>\u201d[153]<\/sup><\/a>.<\/p>\n

                        \n
                      1. \u201cOn the 11th of March (1855), Broussa was visited by a shock far more destructive than that of the 28th<\/sup> of February. The greatest part of the city was levelled with the ground, and some of the finest monuments of Ro\u00adman, Byzantine, and Mussulman art destroyed<\/em>\u201d[154]<\/sup><\/a>.<\/li>\n<\/ol>\n

                        1858 What to Observe in Syria and Palestine, \u201cThe mosks <\/em>(sic.) of Syria are worthy of the artist\u2019s attention, and perhaps also the architect\u2019s. Many of the older ones are patched-up temples and churches, re-decorated with lying inscriptions, calculated to flatter the vanity of the Arab; but some are pure Saracenic art. Their fretted minarets, inlaid walls, deeply-recessed door\u00adways, marble courts, and arabesqued interiors, are all models of airy ele\u00adgance-graceful and fantastic as an Arab poet\u2019s dream<\/em>\u201d[155]<\/sup><\/a>.<\/p>\n

                        1858 \u201cWhile dwelling on the southern and oriental styles of Architecture, it may be well in passing to take review of Arabian or Saracenic art, which, although much influenced by the Byzantine, has nevertheless many inde\u00adpendent features and characteristics in its composition. It is doubtless an off\u00adshoot from that of Byzantium, so modified by new forms and principles, as almost to have lost all similitude to its parent. The original (the Byzantine) had its birth in Christianity, and was scarcely, either in form or detail, adapted to the necessities of the worship of the disciples of Mahomet<\/em>\u201d[156]<\/sup><\/a>.<\/p>\n

                        1859 Prescott, on Medoza in exile in Granada from Phillip II\u2019s court, \u201cHe devoted himself to the study of Arabic, to which he was naturally led by his residence in a capital filled with the monuments of Arabian art<\/em>\u201d[157]<\/sup><\/a>.<\/p>\n

                        1859 \u201cStyl der saracenischen Kunst<\/em>\u201d[158]<\/sup><\/a>.<\/p>\n

                        1859 \u201cOn Monday, the 31st alt.<\/em> (January) Dr. G. Kinkel delivered a lecture \u201cOn Mahometan art, illustrating the Influence of Byzantine Art on the Schools of the East, the development of the Arts of the Mahommadans in Egypt, Spain, and India, as seen in their Mosques and other Buildings and Decora\u00adtions, by Dr. G.<\/em> Kinkel.\u2026In Cairo Mahometan art reached its greatest com\u00adpleteness, as far as regards plan, and displayed splendid roofs, rich gilding, and the pointed arch. In western Asia the pointed arch had been used shyly before the Christian era. The Arabs were not satisfied with the round arch: the pointed, as being more picturesque, suited them better, and they used it early. To them, he thought we owed it<\/em>\u201d[159]<\/sup><\/a>. In the Sixth Report of the Depart\u00adment of Science and Art of the Committee of Council on Education: with ap\u00adpendix: presented to both Houses of Parliament by command of Her Maj\u00adesty, Great Britain, Department of Science and Art, London, 1859, the title of the lecture is recorded as \u201cOn Mohammadan Art\u201d, (38) not as advertised, \u201cMahometan art\u201d.<\/p>\n

                        1860 \u201cThe modern fashion of assuming everything Muhammadan to be of true Arabian art has misled art critics; and the undue importance that has been given to the degraded style of the Alhamhra (which is to mosques of the best Cairo time as late Perpendicular is to early English and Decorated Gothic), and to the bastard edifices of Mohammadan India,- because some\u00adthing is known about these and next to nothing of the true art – has induced the most erroneous conclusions<\/em>\u201d[160]<\/sup><\/a>.<\/p>\n

                        1862 For the Holy Roman Emperor Frederick the Second, Thomas Lau\u00adrence Kington-Oliphant wrote, \u201cSaracen art found more favour, than did the Greek remains, in Frederick\u2019s eyes. He had many Sicilian palaces, the work of the Arabs, and we find him writing to forbid the planting of vineyards too near the curious Ziza at Palermo<\/em>\u201d[161]<\/sup><\/a>. For mention of the Zisa as being an ex\u00adample of \u201cSaracen art\u201d[162]<\/sup><\/a> together with the Kooba, Palermo, see the paper presented to the RIBA by Sidney Smirke, R.A., read Nov. 5 1860, entitled, \u201cRecollections of Sicily\u201d, published 1862.<\/p>\n

                        1862 Of the explorer James Bruce, \u201cThrough Spain, through Portugal, he travelled, noting the remains of Saracen art,\u2026<\/em>\u201d[163]<\/sup><\/a>.<\/p>\n

                        1864 \u201cDie Kunst des Islam<\/em>\u201d[164]<\/sup><\/a>.<\/p>\n

                        1864 \u201cwelche den Styl der saracenischen Kunst<\/em>\u201d[165]<\/sup><\/a>.<\/p>\n

                        From the above quotations it is evident that that which is today termed \u201cIslamic Art<\/em>\u201d was certainly not any new European construct of the late 19th<\/sup> and 20th<\/sup> centuries, as was stated by Blair and Bloom in 2003, a statement which has been repeated, cited and circulated since 2003, as is noted above. The terms that had been employed earlier by Europeans, such as: Mussul\u00adman Art, Mohammadan Art, l\u2019art Musulman, Mohammedanische Kunst, Mu\u00adhammedanische Kunst, Moslem art, etc., were not employed as \u201crestrictive geographic or ethnic terms<\/em>\u201d, but were employed and are to be read, like Arabian Art and Saracen art, as being synonymous with todays\u2019 terms: Is\u00adlamic Art, l\u2019art islamique, Islamische Kunst[166]<\/sup><\/a>. Nor is the first use of a German equivalent of this term to be dated to the 1860\u2019s, as had been stated by Oleg Grabar, and cited in 2006 in the MOMA exhibition catalogue, as is noted above. The first published use of the term, \u201cdie Kunst des Islam<\/em>\u201d dates from at least two decades earlier, from 1841 and \u201cdie Baukunst des Islams<\/em>\u201d, from 1842, if not earlier, as is noted above, while terms had earlier been em\u00adployed in German that carried much the same meaning as noted above.<\/p>\n

                        Perhaps the earliest of European terms employed to describe the Reli\u00adgious Art-the works of Islam, Islamic Art, as being work that has been made, (In the manner of ) The Lord<\/p>\n

                        The term \u2018arabesk<\/em>\u2019 was brought into English from the start of the 17th<\/sup> c.[167]<\/sup><\/a>, \u2018arabesque<\/em>\u2019 employed in 1611[168]<\/sup><\/a>, from 16th<\/sup> c. French, from the Portu\u00adguese and Italian \u2018arabesco<\/em>,\u2019 a term which was in use in the 14th<\/sup> c., as later, \u2018arabeschi,<\/em>\u2019 \u2018orabesco<\/em>\u201d, and also, \u2018rabeschi<\/em>\u2019[169]<\/sup><\/a>. These words usually are rec\u00adorded as meaning the Arabic or Moorish (i.e. the Muslim-Islamic) style of ornamental design, in Latin, arabico opera ornatus,<\/em> arabicus ornatus, opus arabicum<\/em>, that was understood to belong, in consequence of its frequent use of inscriptions in Arabic and its most considerable exclusion of the forms of humans and creatures, to the religion of Islam, i.e. meaning that which is today termed, Islamic art. It seems possible to speculate that the terms: ar\u00adabesco, arabeschi, arrabesco, arabescato, orabesco, arabesque, and, rabesco, rabesca, rabescato, rabescare, rabeschi, rabesci, rabiscu, rabbesco, rabbiscu, rabesch[170]<\/sup><\/a>, etc., may however, in their origin, not be related to the ethnic term Arab, as has been most frequently repeated, but may instead reflect the actual Arabic term that was employed by Muslims from before the 14th<\/sup> c. to describe to others, to non-Muslims, this type of work that is without figural images but often with script. This would therefore be an Ar\u00adabic term which was translated into Portuguese, Spanish, Italian and Sicilian, and a term which relates the name of this type of work to the Arabic word Rabb<\/em>, meaning Lord, and which was then combined with the Italian, Spanish, and Portuguese suffix esco<\/em>, hence, with the Arabic article, ar-rabb<\/em>+esco, or, without the article, rabb<\/em>+esco, terms which would, if this suggestion seems correct to those of greater competence in these matters, signify designs rep\u00adresenting or associated in some way with the otherwise non-representable (except through letters), Allah, The Almighty. It is noteworthy that in thirty-three s\u016bras of the Qur\u2019\u0101n the Almighty is referred to simply as \u2018Lord\u2019 (ar-rabb), and it was and is understood that with the Arabic article, ar-rabb<\/em> the word could only refer to The Almighty[171]<\/sup><\/a>. That is, it can be suggested, that the Arabic form of this term was employed to mean something like, in the Lord\u2019s manner, <\/em>or, in the manner satisfying the Lord\u2019s requirements,<\/em> that is, precisely meaning Islamic Art in the traditional sense, the work of those who have submitted to The Lord and from whom they have acquire their acts, as was stated in the 9th<\/sup> c. as noted above, \u201cacts are created, and the single act belongs to two agents: one of them creates it, and that is God; the other acquires<\/em> (iktis\u0101b) it, and that is man.\u201d<\/em> Although the word \u2018rabesco-rabbesco\u2019 has been described by Italians and others as the ill-educated, or the mis\u00adtaken writing of the word \u2018arabesco\u2019[172]<\/sup><\/a>, it is the same word, just without the article, both representing the same religious term employed by the Muslim \u201cother\u201d, to thereby indicate the style or manner of art that is associated with The Lord, Ar-Rabb-<\/em>Allah. In the first volume of the Italian-French dictionary of Nathanael Duez published in Venice in 1662, directly below the entry \u201cRabesco-Arabesque<\/em>\u201d, is the entry, \u201cRabi, rabbi, ou rabby, maistre<\/em>\u201d[173]<\/sup><\/a>, but the suggested relationship between ar-rabb<\/em> and Arabesco, rabb<\/em> and Rabesco, was not noted. These descriptive terms have subsequently been understood in Europe through the guidance of the Catholic educated per\u00adspective, as being an ethnic term relating to the Arabs, or to the Arabic lan\u00adguage[174]<\/sup><\/a>, rather than being a Muslim term used before the 14th<\/sup> c. in describ\u00ading the forms of decoration displayed on artefacts that are clearly acceptable to the object of Muslim worship, The Lord of the Worlds –al-<\/em> rabbi l-\u02bf\u0101lam\u012bn, <\/em>decoration without representation of humans or creatures.<\/p>\n

                        The word \u2018arabesco<\/em>\u2019, occurs in Giovanni Boccaccio\u2019s mid-14th<\/sup> c. Decamer\u00adone,<\/em> employed to describe the abbot\u2019s style of dress in the Tale of Saladin as a Merchant-Saladino mercante<\/em>[175]<\/sup><\/a>. It seems probable that Boccaccio em\u00adployed this term in describing the abbot\u2019s style of dress in a knowing and deliberate fashion for the reader. Ambrogio Calepino (1440?-1510) in his Latin lexicon records, \u201cArabesco. arabicus ornatus, opus arabicum<\/em>\u201d[176]<\/sup><\/a>. In 1548 it was employed to describe the Arab-Islamic style of painting, \u201cMolte alter uie ui sono di colorire \u00e0 secco con colori, o con alcune stratie bollite in diversi succi. Cotesto \u00e8 lo dipignere Arabesco usato da Mori, altri modi in charte, in cera, in uetro, cuoi, m\u00e0 coteste sono semplicit\u00e0, o folle fratesche da non conumerar nella pittura<\/em>\u201d[177]<\/sup><\/a>. In Italian in 1612, \u201cArabicus. v. Arabesco<\/em>\u201d is recorded and also that Orabesco was a synonym for Arabesco, \u201cArabesco all\u2019araba, e, al mondo arabo. <\/em>Lat. Arabicus. Bocc.n. 99.45. Con muto ch\u2019egli anesse la barba grande, e in abito arabesco fosse. E arabesco, orabesco, si dice a une sorte dipintura a fogliame, e intrecciatura de line, satta all\u2019araba<\/em>\u201d[178]<\/sup><\/a>. (Repeated in the 1697 edition, Indice Delle Voci e Locviooni Latine<\/em>: \u201cArabicus. v. Arabesco<\/em>\u201d[179]<\/sup><\/a>, and \u201cArabesco, all\u2019araba, e, al mondo arabo. Lat. arabicus. Bocc.n. 99.45. Con rutao (sic.) ch\u2019egli auesse la barba grande, e in abito arabesco fosse. Arabesco. Orabesco, si dice a una sorte dipintura a fogliame, e interciatura di linee, satta all\u2019araba<\/em>\u201d[180]<\/sup><\/a>). In 1611, \u201cCaved or painted in Arab or Moorish ornamental design; strangely mixed or fantastic<\/em>\u201d[181]<\/sup><\/a>. In 1646, \u201cArabesque, de fa\u00e7on, et de forme d\u2019Arabe: Arabicus, a, um. <\/em>Arabius. a. um<\/em>\u201d[182]<\/sup><\/a>. In 1681, \u201cArabesco, o rabesco si dice a una sorte di dipintura a fogliame, e intrecciatura di li\u011fnee, fatta all\u2019araba<\/em>\u201d[183]<\/sup><\/a>. And also, \u201cRabescare. Far rabeschi. Rabescato add. Fatto con rabeschi. <\/em>Rabesco m.V. Arabesco<\/em>\u201d[184]<\/sup><\/a>. In 1726-1727, \u201cArabe\u2019sco, adj. (all\u2019araba, al modo arabo) Ara\u00adbian, Arabick\u201d<\/em>[185]<\/sup><\/a> and, \u201cRabesc\u2019are (onar con rabeschi) to adorn or embellish with Arabick work. Rabesca\u2019to, adj. adorned or embellished with Arabick work. Rabe\u2019sco, s. m. (arabesco) Arabick work\u201d<\/em>[186]<\/sup><\/a>. In 1730, \u201cArabe\u2019sk [so called from the Arabs, who used this kind of Ornaments, their Religion for\u00adbidding them to make any Images or Figures of Men or Animals] a Term ap\u00adply\u2019d to such Painting, Ornaments of Freezes, &c. which consisted wholly of imaginary Foliages, Plants, Stalks, etc. without any human figures<\/em>\u201d[187]<\/sup><\/a>. As is likewise stated in Chambers 1738: \u201cArabesk\u201d<\/em>; \u201cArabesque, or Arabesk, some\u00adthing done after the manner of the Arabians. Arabesque, Grotesque, and Mo\u00adresque, are terms applied to such paintings, ornaments of freezes, etc. wherein there are no human or animal figures, but which consist wholly of imaginary foliage, plants, stems, etc. See Grotesque, and Morisco. The words take their rise from hence, that the Moors, Arabs, and other Mahometans, use these kinds of ornaments; their religion forbidding them to make any im\u00adages or figures of men or other animals<\/em>\u201d[188]<\/sup><\/a>. In 1740 the synonym of Ara\u00adbesco, \u201cOrabesco\u201d was employed in respect to the Qur\u2019\u0101n: \u201cConvien ad ogni modo star saldo, e mostrare arditamente la fronte, con replicare in faccia a tutto il Mondo insolente: Non orabesco Evangelium <\/em>(the Qur\u2019\u0101n). <\/em>Io non mi vergogno dell\u2019Evangelio di Cristo. <\/em>(I am not ashamed of the Evangelium of Christ)\u201d[189]<\/sup><\/a>. In 1751, \u201cArabesques. On nomme ainsi des rinceaux ou branches de feuillages imaginaires, & autres ornemens de caprices, don\u2019t on se sert quelquefois dans la d\u00e9coration des cabinets, des grottes, etc. <\/em>Ces ornemens sont appell\u00e9s Arabesques, parce que l\u2019invention en est attrbu\u00e9e aux Arabes, qui suivant leur Religion, ne peuvent conform\u00e9ment aux autres<\/em> Peuples Ma\u00adhome\u00e9tans, repr\u00e9senter des figures d\u2019hommes & d\u2019animaux<\/em>\u201d[190]<\/sup><\/a>; translated into Italian in 1768, \u201cArabeschi: fimigliantemente appellanfi alcuni rametti, o, branche di fogliami immaginarj, ed altri capricciofi ornamenti, de\u2019quali al\u00adcuna siata fi abbellifcono i gabinetti, la grotte, e simili. Questi ornati detti sono Arabeschi per efferne attribuita agli Arabi I\u2019invenzione, i quali la Reli\u00adgione loro seguendo, ficcome gli altri Popoli Maomettani, rappresentar non poffono figure d\u2019uomini, ne d\u2019animali<\/em>\u201d[191]<\/sup><\/a>. In 1756, \u201cArabesque. Adj. lat. Ara\u00adbicus. angl. arabiau. Qui est fait \u00e0 la maniere des Arabes. Sorte d\u2019ornement en usage dans la peinture & dans la broderie\u201d[192]<\/sup><\/a>. In 1765, \u201cArabesco, opus arabicum<\/em>\u201d[193]<\/sup><\/a>, \u201crabescare, opera arabico ornare; rabesco, opus arabicum<\/em>\u201d[194]<\/sup><\/a>. In 1766, \u201cArabesque or, Arabesk, something done after the manner of the Arabians<\/em>\u201d[195]<\/sup><\/a>. In the definition provided by Facciolati in 1772 of \u201cCiamber\u00adlato<\/em>\u201d, \u201cornato d\u2019intaglii rabesci, e simili. <\/em>Arabico opera ornatus<\/em>\u201d[196]<\/sup><\/a>, meaning, ornamented with arabesques. In 1775, \u201cAr\u2019abesk (s. from the Arab.) <\/em>A paint\u00ading or ornament consisting entirely of foliage<\/em>\u201d[197]<\/sup><\/a>. In 1790, \u201cRabbiscu, fregio format da foglie, e fiori, e per lo piu con tirate di penna, rabesco, arabesco. <\/em>Arabicum opus. Presso P. MS. Si legge \u201cRabiscu opus Arabicum, pictura, c\u00e6latura, sculptura more Arabico. Apud nos quodlibet ornamentum sive in teconica sive ubicumque sit, e ramis foliis, floribus, & similibus concinne ex\u00adcurens ita appellatur Arabes namque, ii scilicet qui post Mahumedem fluxerunt quum hominum aut animalium figuras, nec conficere, nec retinere ex praecepto sui Alcorani possunt; hinc quodlibet simile opus ita excurrens sic appellatur. <\/em>Dictum autem a vulgo fuit rabbiscu pro arabiscu, dempta per aph\u00e6resin primalirera ut atiam Ital. rabesco, & rangio, color, pro arangio<\/em>\u201d[198]<\/sup><\/a>. In 1794, \u201cArabeschi ornamenti bizzarri e immaginarj in pittura, in scultura, e anche in architettura per decorare muri, pilastri, fregj, porte, volte ec. Il nome d\u2019Arabesco viene dagli Arabi, I quali non potendo per la loro religione impie\u00adgar immagini di uomini n\u00e8 di bestie, fecero uso di fiori, di fogliami, e di frutti per adornare gli edificj; introdussero questo loro gusto nella Spagna, da dove si diffuse per tutta I\u2019Europa, e fu chiamato arabesco o moresco\u201d<\/em>[199]<\/sup><\/a>; \u201cL\u2019armo\u00adnia, ch\u2019\u00e8 il principio delle arti, deve osservarsi nella composizione, nell\u2019esecuzione, e nella disposizione degli arabeschi. L\u2019armonia delle idee \u00e8 nell’ nnit\u00e0 del motivo, nell\u2019intelligenza de\u2019 dettagli, nel rapporto delle parti fra loro, e nel concefrto di tutti gli attribute e ditutti gli accessorj tendenti tutti ad uno stesso scopo. Cosi l\u2019arabesco diviene una specie di linguaggio ed di scrittura simbolica<\/em>\u201d[200]<\/sup><\/a> in 1794, \u201cArabesco, all\u2019araba, e al modo arabo, arabigo. Arabico, o arabesco, arabigo<\/em>\u201d[201]<\/sup><\/a>. In 1795, \u201cRabesca, o rabesco, la\u00advoro, opus arabicum<\/em>\u201d[202]<\/sup><\/a>. In 1798, \u201cArabesque, or, Arabesk, something done after the manner of the Arabians (from, Arabesco. Arabicum opus). Ara\u00adbesque, Grotesque, and Moresque, are terms applied to such paintings, or\u00adnaments of freezes, &c. wherein there are no human or animal figures but which consist wholly of imaginary foliages, plants, stalks, & c. The words take their rise from hence, that the Moors, Arabs, and other Mahometans, use these kinds of ornaments; their religion forbidding them to make any images or figures of men or other animals<\/em>\u201d[203]<\/sup><\/a>. In 1810, \u201cArabesco, fregio format da foglie, e fiori, ar\u00e0psko slikkov\u0101nje, cviche na ar\u00e0psku ispis\u0101no, arabicus or\u00adnatus, arabicum opus<\/em>\u201d[204]<\/sup><\/a>. In 1822, \u201cArabeschi, ornamenti bizzarri e immagi\u00adnari in pittura, in scultura, e anche in architettura per decorare muri, pilastri, fregi, porte, volte ec. Il nome d\u2019Arabesco viene dagli Arabi, i quali non po\u00adtendo per la loro religione impiegar immagini di uomini n\u00e8 di bestie, fecero uso di fiori, di fogliami, e di frutti per adornare gli edifici; introdusero questo loro gusto nella Spagna, da dove si diffuse per tutta l\u2019Europa, e fu chiamato arabesco o moresco<\/em>\u201d[205]<\/sup><\/a>. Robert Stuart in his 1830 publication describes the \u201cArabesque (fr.) a building after the manner of the Arabs. Ornaments used by the same people in which no human or animal figures appear, represen\u00adtations of these being forbidden by the koran. Sentences from the koran in\u00adtroduced as ornaments to buildings or apartments, occasionally interwoven with foliage and geometrical figures. Intricate lineal compartments and chili\u00adgon mosaics which adorn the walls, ceilings, and floors of Arabian buildings. The term is synonymous with Moresque, (which see)<\/em>\u201d[206]<\/sup><\/a>. While Henry Neu\u00adman in his, A New Dictionary of the Spanish and English languages, <\/em>of 1831 records: \u201cM\u00f3res, M\u00f3resk, M\u00f3risk, or Morisco, s. Arabesco. M\u00f3reskwork, s. Arabesco; dicese de ciertas labores, dibuxos, y pinturas al estilo de los Moros \u00f3 Arabes<\/em>\u201d[207]<\/sup><\/a>.\u00a0And, \u201cA\u2019rabesque, a. Arabesco, en estilo de los arabes, -s. Lem\u00adgua arabe \u00f3 ar\u00e1biga<\/em>\u201d[208]<\/sup><\/a>. In 1835, in F. C. Meadows, New Italian-English Dic\u00adtionary: \u201cRabbesco, sm. Arabic work; wavy carved work. Rabbescone, sin. Great large arabesks. Arabescato, Arabesco,-a. adj. fancifully carved<\/em>\u201d[209]<\/sup><\/a>. In 1838, \u201cArabesque, adj. m. f Arabesco: dicese de todo lo que tiene relacion \u00e1 moda, gusto, \u00f3 labor. En este sentido se llaman con el n. s. y pl. de ara\u00adbesques: arabescos, los adornos y labores de rasgos y follages hechos al es\u00adtilo de los \u00c1rabes\u201d<\/em>[210]<\/sup><\/a>. And, \u201cMoresque, s. f. Arabesco: d\u00edcese de ciertas la\u00adbores, dibujos, y pinturas al estilo de los Moros, \u00f3 Arabes<\/em>\u201d[211]<\/sup><\/a>. In 1849, \u201cAra\u00adbescato,<\/em> Chiabr. <\/em>Fr. 5. 63., v. rabescato. Arabesco, fregio format da foglie e fiori <\/em>(Arab-Muslim frieze\/design formed by leaves and flowers), arabicus or\u00adnatus, opus arabicum<\/em>\u201d[212]<\/sup><\/a>. In 1851, \u201cRabbiscu, sm. Arabesco, lavoro a guise di foglie accartocciate, viticcioli, rabesco<\/em>\u201d[213]<\/sup><\/a>. In 1869, \u201cArabesc, Arabesco, rabesco<\/em>\u201d[214]<\/sup><\/a>. And, \u201cRabesch, rabesco (afer. di arabesco); fig. cosa o persona a rabesco, falla a capriccio<\/em>\u201d[215]<\/sup><\/a>.<\/p>\n

                        Conclusions<\/p>\n

                        One may well wonder why some western scholars, such as Shelia S. Blair and Jonathan Bloom in this article of 2003, reprinted in 2011, with those of the school of Oleg Grabar in the 21st<\/sup> century, wish to deny the existence of Islamic Art, that which was formerly termed in Europe, arabesco, rabesco, rabbiscu,<\/em> an Islamic work of design, described as made in the manner of The Lord, and which is today termed, \u2018Islamic Art\u2019 – to describe it as a \u201cmirage\u201d – to deny that which has been for more than six centuries recognised in Eu\u00adrope, understood, recorded and related as being a religious art, the theo\u00adcentric art of Islam; to deny its unity and coherence, and, instead, in the 21st<\/sup> century to state that Islamic art is a western orientalist invention of the latter part of the 19th<\/sup> c. and to partition a whole into \u201cdistinct regional styles<\/em>\u201d an error previously displayed in Owen Jones\u2019 Grammar of Ornament<\/em>, of 1856, is one that resembles the practice of divide et impera<\/em>, wa-ll\u0101hu alam<\/em>, and God knows best.<\/p>\n

                        However, what actually matters, and that which defines the Art of Islam, \u201cIslamic Art\u201d, \u201cArabesco\u201d, \u201cRabbesco\u201d, that is art that is (made in the manner of) The Lord, is the statement that is made through its use over a vast range of surfaces. This concerns the relationship between this worldly-temporal reality and The Reality, indicated in representation through script, the callig\u00adraphy of The Word, and, by the ever present tawrique<\/em>, tawr\u012bq<\/em>, tezy\u00eenat<\/em>, by the arabesco<\/em>, rabesco,<\/em> arabicus ornatus<\/em>, the arabesque\/orabesco<\/em>, address\u00ading the matter of representation and beauty for those who are worshipping The Formless, as is stated in Qur\u2019\u0101n Ash-Shuraa, 42:11, \u201cNothing is like unto Him<\/em>.\u201d And, thereby, in Islamic art, through the use and development of these two elements, through the display of The Word, and of certain design types that have been termed arabesque, that serve to conceal and so deny the physicality of temporal forms upon which the individual elements of the art\/design are based; are brought together through the makers\u2019 virtue in re\u00adalising iktis\u0101b<\/em>, of the artist-craftsman\u2019s submission to The Maker; and also, to a large extent, as has been noted for centuries by Europeans, works which for religious reasons largely excluded the representation of images of hu\u00admans and creatures, thereby largely limiting, through deliberate choice, through both the inclusion and the exclusion of subjects within the work of design, and thereby denying the potential in naturalistic representation for the idolatry of worldly forms, this because for example the Prophet \u0130brahim-Abraham stated, \u201cunto his father and his folk: What are these images unto which ye pay devotion?<\/em>\u201d Qur\u2019\u0101n Al-Anbiya 21:52.<\/p>\n

                        [1]<\/a> \u00a0\u00a0\u00a0 https:\/\/www.collegeart.org\/publications\/art-bulletin\/centennial<\/p>\n

                        [2]<\/a> https:\/\/www.collegeart.org\/pdf\/artbulletin\/Art%20Bulletin%20Vol%2085%20No%2 01%20Blair%20and%20Bloom.pdf<\/p>\n

                        [3]<\/a> \u00a0\u00a0\u00a0 Phaidon Press, London.<\/p>\n

                        [4]<\/a> \u00a0\u00a0\u00a0 Yale University Press, Pelican History of Art, New Haven, Conn.<\/p>\n

                        [5]<\/a> \u00a0\u00a0\u00a0 Oxford University Press.<\/p>\n

                        [6]<\/a> \u00a0\u00a0\u00a0 North 2012, 13.<\/p>\n

                        [7]<\/a> \u00a0\u00a0\u00a0 Burckhardt 1987, 222.<\/p>\n

                        [8]<\/a> \u00a0\u00a0\u00a0 This point was for example remarked upon by Peter Nicholson in 1854: \u201cMOORISH, Moresque, Arabian or Saracenic Architecture: – The style of building indifferently des\u00adignated by any one of the above titles, is that which was practiced by the Arabs or Moors, and which, owing to the migratory conditions of that race, and to their widely-spread influence, prevailed in many parts of the eastern continent. It is sometimes styled Mohammedan, for under the auspices of that faith it chiefly flourished; and amongst the edifices which Islamism gave rise to, are to be found some of the most magnificent and characteristic examples of the style.<\/em>\u201d Nicholson 1854, 208, and, \u201cIt is remarkable that while the Arabs were diffused so widely over the earth\u2019s surface, the style of architecture adopted by them retained in every place a striking identity. It is true that differences of detail may be found in different places, as well as variety in application, yet in every country their buildings retain a very close resemblance. This similarity is to be accounted for probably by the peculiarity of their religious creed, which, wherever it is professed, diffuses a close uniformity of habits, manners and opinions…The style, which is eminently peculiar, would seem to have been a de\u00advelopment of their religious creed; it breathes the very spirit of Islamism; it is sensual and voluptuous, and appeals to the gratification of the senses rather than to the higher and nobler faculties of the mind <\/em>(sic.):<\/em>…\u201d Nicholson 1854, 209.<\/p>\n

                        [9]<\/a> \u00a0\u00a0\u00a0 Blair \u2013 Bloom 2003, 153.<\/p>\n

                        [10]<\/a> \u00a0\u00a0 Daftari \u2013 Bhabha \u2013 Pamuk 2006, 10, fn. 3, citing Oleg Grabar, \u201c Grabar traces the first discussion of art as \u201cIslamic\u201d to Moriz Carriere, Die Kunst im Zusammenhang der Cul\u00adturentwickelung und die Ideale der Menschheit: Die Kunst im Zusammenhang der Cul\u00adturentwickelung und die Ideale der Menschheit, 5 vols, Brockhaus, Leipzig, 1863-73.<\/em>\u201d This date does not correspond to the first use of the term to describe art as \u201cIslamic\u201d, (see below). https:\/\/books.google. com.tr\/books?id=9v9cj7uGZucC&pg=PA10&hl =tr&source=gbs_toc_r&cad=3#v=onepage&q&f=<\/p>\n

                        [11]<\/a> \u00a0\u00a0 Having three years earlier, in their jointly edited 2009 publication stated in respect to what is termed \u201cIslamic Art\u201d that, \u201cThroughout the Islamic lands, Jews and Chris\u00adtians (who were also known as \u201cPeople of the Book\u201d or dhimmis, tolerated minorities) shared the visual vocabularies of their Muslim neighbours, if not their faith, and it is often difficult if not impossible to distinguish a work of ISLAMIC ART made for a Mus\u00adlim from one made for a non-Muslim. The use of Hebrew inscriptions is a sure sign of Jewish patronage, and indeed<\/em> many of the craftsmen making \u201cIslamic art\u201d may have been Jews or Christians, despite the fact that it has been defined as the art made by artists or artisans whose religion was Islam, for patrons who lived in predominantly Muslim lands, or for purposes that are restricted or peculiar to a Muslim population or a Muslim setting.\u201d <\/em>Bloom \u2013 Blair 2009, II, 361. The idea that, \u201cmany of the crafts\u00admen making \u201cIslamic art\u201d may have been Jews or Christians<\/em>\u201d, seems to be without established scholarly foundation. Some are recorded, such as the mosaic artists sent from Constantinople for Caliphal commissions, but the suggestion that \u201cmany<\/em> of the craftsmen making \u201cIslamic art\u201d may have been Jews or Christians\u201d,<\/em> rather than the majority over the course of 14 centuries being Muslims, seems rather odd.<\/p>\n

                        [12]<\/a> \u00a0\u00a0 8 march 2012 S. Blair, http:\/\/islamic-arts.org\/2012\/islamic-art\/ Accessed March 2019.<\/p>\n

                        [13]<\/a>\u00a0\u00a0\u00a0 Arts of the Islamic World (article) | Khan Academy https:\/\/www.khanacademy.org \/…\/art-islam\/…islamic-art\/…\/ar… Accessed March 2019.<\/p>\n

                        [14]<\/a>\u00a0\u00a0\u00a0 What exactly is Islamic Art? – The Muslim Vibe https:\/\/themuslimvibe.com \/…is\u00adlam\/what-exactly-is-islamic-ar.. Accessed March 2019.<\/p>\n

                        [15]<\/a>\u00a0\u00a0\u00a0 The History of Art and Architecture in the Islamic World \u2013 Brewminate https:\/\/brew minate.com\/the-history-of-art-and-architecture-i Accessed March 2019.<\/p>\n

                        [16]<\/a>\u00a0\u00a0\u00a0 Islamic Art | Art History Teaching Resources arthistoryteachingresources.org\/les sons\/islamic-art\/<\/p>\n

                        [17]<\/a>\u00a0\u00a0\u00a0 Blair \u2013 Bloom 2003, 153.<\/p>\n

                        [18]<\/a> \u00a0\u00a0 Holt 1957, 7.<\/p>\n

                        [19]<\/a> \u00a0\u00a0 Such as was recorded by Henry Glassie over decades, e.g. Glassie 1993,119, as re\u00adgarding the calligrapher, Mahmut \u00d6nc\u00fc and a\u015fk<\/em>.<\/p>\n

                        [20]<\/a> \u00a0\u00a0 Schimmel 1990, 1. As likewise in sense, from R. A. Nicholson\u2019s, Selected Poems from the Divani Shamsi Tabriz, XXX:<\/p>\n

                        \u201cMy heart is as a pen in thy hand, <\/em><\/p>\n

                        Thou art the cause if I am glad or melancholy<\/em>\u201d.<\/p>\n

                        [21]<\/a> \u00a0\u00a0 Jones 1863, 18-19.<\/p>\n

                        [22]<\/a> \u00a0\u00a0 Bennett 2016, 154.<\/p>\n

                        [23]<\/a> \u00a0\u00a0 Huff 2017, 87-88, citing from McCarthy 1953, 12-13.<\/p>\n

                        [24]<\/a> \u00a0\u00a0 \u201cThe acts of man are created and\u2026a single act comes from two agents, of whom one, God, creates it, while the other, man, \u2018acquires\u2019 it\u2026; and<\/em> (according to this view)<\/em> God is the agent of the acts of men in reality, and\u2026men are the agents of them in reality<\/em>\u201d (Huff 2017, 88).<\/p>\n

                        [25]<\/a> \u00a0\u00a0 Cited, Schimmel 1990, 86.<\/p>\n

                        [26]<\/a> \u00a0\u00a0 Arberry 1977, 367-368.<\/p>\n

                        [27]<\/a> \u00a0\u00a0 Excerpts from Fairchild \u2013 Ruggles 2011, 163-164.<\/p>\n

                        [28]<\/a> \u00a0\u00a0 Austin 1970, 40-41.<\/p>\n

                        [29]<\/a> \u00a0\u00a0 Arberry 1977, 38. For the earlier, Ism\u0101\u2019\u012bl\u012b Ikhw\u0101n al-saf\u0101 position on the relationship of the crafts and the Almighty, see for examples, Ghabin 2009, 149-150, as, for this perfect art, or skilful art-craft, God likes him (the craftsman-artist).<\/p>\n

                        [30]<\/a> \u00a0\u00a0 Qur\u02be\u0101n, Ali \u2018Imran 3:19, \u201cIndeed, the religion in the sight of Allah is Islam<\/em>\u201d.<\/p>\n

                        [31]<\/a> \u00a0\u00a0 It seems probable that al-Ghaz\u0101l\u012b meant here, \u201canother art\u201d, rather than, another possessing two arts\/crafts, as translated.<\/p>\n

                        [32]<\/a> \u00a0\u00a0 Homes 1873, 68-69.<\/p>\n

                        [33]<\/a> \u00a0\u00a0 Samson 1867, 643.<\/p>\n

                        [34]<\/a> \u00a0\u00a0 Op. cit. fn. 11.<\/p>\n

                        [35]<\/a> \u00a0\u00a0 As with the use of the word \u201cTurks\u201d to mean Muslims, as by John Selden in the 17th<\/sup> c., \u201cII. We charge the prelatical clergy with popery, to make them odious, though we know they are guilty of no such thing: just as hereforeto they called images, Mam\u00admets, and the adoration of images, mammetry; that is, Mahomet and mahometry; odious names, when all the world knows the Turks<\/em> (meaning Muslims) are forbidden images by their religion<\/em>\u201d (Selden 1789, 111). Bailey 1731 s.v. \u201cAlcoran, the Turk\u2019s book of their law, or gospel, or the revelations and prophecies, etc. written by their false prophet Mahomet<\/em>\u201d. Also: \u201cCE\u2019CA (in Corduba in Spain) a religious house, from whence the Spaniards have framed this proverb, to go from Ceca to Mecca, i.e. to turn Turk or Mahometan<\/em>\u201d. Bailey 1731 s.v. \u201cCECA\u201d. As likewise the English expression \u201cto turn Turk<\/em>\u201d, common from the 16th<\/sup> c. onwards meaning to \u201cturne Mahometist<\/em>\u201d, to convert to Islam, to become a runagate, a word in common use from c 1530 to 1700, meaning a religious renegade from Christianity (the word probably from the Fr. rena\u00e9gat<\/em>, an apostate from Christianity) as in Sp. 1763, enacia\u2019do, da<\/em>, adj., applied to one who changes his religion or principles of any kind. So common an occurrence was it that in the commentary on The English Catechisme<\/em> of 1621, one reads, No. 2, The Question. \u201cWhether a man may change his name or not? \u2026\u201cAnd the same is the practice of the Turks at this day, if any man turne Mahometist, he receiveth a new name, as that famous, Prince, George Castriot of Epyrus, had his name changed into Scanderbeg<\/em>\u201d (Mayer 1621 npn. No. 2).<\/p>\n

                        [36]<\/a> \u00a0\u00a0 Op. cit. fn.11. Meaning, Moritz Carri\u00e8re, the German philosopher and historian, 1817-1895.<\/p>\n

                        [37]<\/a> \u00a0\u00a0 There are exceptions before 1866, as in, The Athenaeum review of Owen Jones\u2019s The Grammar of Ornament, where ethnic distinctions are drawn between Moors and Ar\u00adabs, \u201cArabian ornament is, as we might have suspected, a strong point with Mr. Jones, who has only just doffed his turban. Arabian art is traceable to the demands of the new civilization and wider culture that Mohammedanism introduced. The Mosque of Toloon in Cairo, erected only 250 years from the establishment of Islam\u00adism, shows a style of architecture complete in itself, and betraying no signs of direct imitation of the Byzantine. In the distribution of masses, and ornamenting the sur\u00adfaces of ornaments, the Arabs never equalled the Moors. They were more monoto\u00adnous, and left gaps, from mere want of invention, or, perhaps from a greater rudeness and simplicity of taste. The twisted cord, the interlacing lines, the crossing of two squares, are the stock sources of Arab design<\/em>\u201d (Athenaeum 1857, 442).<\/p>\n

                        [38]<\/a> \u00a0\u00a0 Review 1865, 653, \u201cThe second volume speaks of the influence of Arabic poetry on that of Christian Europe; also of Arabic art, chiefly architecture, and of the extinction of Arabic culture in Europe.\u201d<\/em>; likewise, \u201cin Saracenic or Arabic Art…\u201d<\/em> Atlantic 1861, 81, i.e. it was known that \u201cArabic Art\u201d and, \u201cSaracenic Art\u201d were synonyms, and these terms described a distinct art.<\/p>\n

                        [39]<\/a> \u00a0\u00a0 Regarding Arabesque and Mooresque etc., these terms were recognised as belong\u00ading to the religion of Islam, \u201cThe words take their rise from hence, that the Moors, Arabs, and other Mahometans<\/em>\u201d, Chambers 1738 npn. s.v. \u201cARA\u201d.<\/p>\n

                        [40]<\/a> \u00a0\u00a0 Fowler 1850, 385.<\/p>\n

                        [41]<\/a> \u00a0\u00a0 Tim Stanley writes, \u201cOwen Jones (1809-74), who probably knew more about what he called \u2018Arabian art\u2019, and which we now call \u2018Islamic art\u2019, than anyone else in Britain at this time<\/em>\u201d (Stanley 2012, 195). After Owen Jones, Auguste Racinet remarked, \u201cBe\u00adfore altogether leaving Arabian art, we must speak of what it became in the hands of the Spanish Moors. It is merely a continuation of our subject; for the Moorish style, with a few distinguishing peculiarities of its own, belongs to the Arabian family.<\/em>\u201d, i.e. Islamic Art=Arabian art and its various branches.<\/p>\n

                        [42]<\/a> \u00a0\u00a0 E.g. the term \u201carabischen Kunst<\/em>\u201d occurs in August Pfeiffer, Antimelancholicus: oder Melancholey-Vertreiber<\/em>, of 1684\/6, 544; as later in, Stieglitz 1792, 196, \u201cder arab\u00adischen Kunst<\/em>\u201d.<\/p>\n

                        [43]<\/a> \u00a0\u00a0 Miss M. P. Merrifield writes \u201cAs to the date of the third book of Eraclius, it appears to me that it must not be considered earlier than the twelfth, or later than the thir\u00adteenth century. The allusions to the arts of the Saracens or Arabians in Nos. IX, XXXII., XLVI., and XLVII., prove that the work could not have been earlier than the ninth cen\u00adtury, and the recipe for dyeing cordovan leather (No. XXXII.), in which the word \u201cWarancia\u201d occurs, affords a strong presumption that it was much later, in order to give time for the Moorish art to become known in those countries where madder was called by the above name<\/em>\u201d (Merrifield 1849, 176-177).<\/p>\n

                        [44]<\/a> \u00a0\u00a0 \u201cRecent travels in Upper India\u201d From the Edinburg Review, Museum of foreign liter\u00adature, science and art,<\/em> Nov. 1833, E. Littell, Philadelphia, 563.<\/p>\n

                        [45]<\/a> \u00a0\u00a0 Blair \u2013 Bloom 2003, 153.<\/p>\n

                        [46]<\/a> \u00a0\u00a0 Lafever 1856, bk. I, 78.<\/p>\n

                        [47]<\/a> \u00a0\u00a0 E.g. Handbuch der kunstgeschichte<\/em>, von dr. Franz Kugler, Ebner & Seubert, Stuttgart, 1842, 393-414, where the term, \u201cdie Kunst des Islam<\/em>\u201d is repeatedly employed; Lit\u00aderarische Zeitung; in Verbindung mit mehreren Gelehrten hrsg. … 1843, 358\u201cIn der Kunst des Islam werden 1) die spanischen Monumente betrachtet; 2) die \u00e4gyptischen, syrischen, sicilianischen; 3) die der europ\u00e4ischen T\u00fcrkei, vorz\u00fcglich die zu Konstan\u00adtinopel, wo allein 346 Moschen erhalten sind. <\/em>Unter denen 74 von h\u00f6herer Bedeutung); 4) die indischen u. persisechen<\/em>\u201d; Conversations-Lexicon F\u00fcr Bildende Kunst, erster Band., Romber\u2019s Verl., Leipzig, 1843, 556, \u201cDie monumentalen Zeugnisse dieser gl\u00e4nzendsten Periode der Kunst des Islam in Indien liefern die beiden Residenzen Delhi und Agra und deren Umgebung<\/em>\u201d. Likewise, P\u00fctz 1851, where, die kunst des Islam<\/em>, is translated as, The Art of Islam<\/em>, 218.<\/p>\n

                        [48]<\/a> \u00a0\u00a0 Jules Gailhabaud 1858, the term repeatedly used is, \u201cl\u2019art islamique\u201d.<\/p>\n

                        [49]<\/a> \u00a0\u00a0 L\u00fcbke 1864, 254-278. II. Die Kunst des Islam<\/em>, translated as, History of Art<\/em> by Wilhelm Lu\u0308bke; translated by F. E. Bunnett, Smith Elder and Co., London, 1869, Vol.1, Chapter II. The Art of Islam<\/em>, 331-354, idem, 1. Character and Artistic Feeling of the Arabians, 331-334.<\/p>\n

                        [50]<\/a> \u00a0\u00a0 Papendink 1826, 52.<\/p>\n

                        [51]<\/a> \u00a0\u00a0 Papendink 1826, 69. As was also noted in the same year by Elmes 1826, npn. s.v. ALH, On the Alhamra, \u201cThe ceilings and walls of all the courts are covered with fret work and that description of ornament from which the human figure is religiously excluded, called after the Arabs, Arabesque; together with series of minute and intri\u00adcate combinations of geometrical figures, of which no verbal description can give an adequate account; but of which Mr. Murphy\u2019s splendid work on the Arabian Antiqui\u00adties of Spain, contains many beautiful engravings, and to which we refer the inquiring student<\/em>\u201d. As earlier in 1731 by Bailey: \u201cArabesk (so called from the Arabs (meaning Muslims), who used this kind of ornaments, their religion forbidding them to make any images or figures of men or animals) a term apply\u2019d to such painting, ornaments of freezes, etc. which constituted wholly of imaginary foliages, plants, stalks, etc.. without any human or animal figures\u201d)<\/em>, Bailey 1731, s.v. \u201cARABE\u2019SK\u201d as subsequently by Lacombe 1768, 21, as by Samson 1867, 643.<\/p>\n

                        [52]<\/a> \u00a0\u00a0 Wornum 1851, III.<\/p>\n

                        [53]<\/a> \u00a0\u00a0 Lane 1842, II, 2-3. It was of course the case, as was pointed out by Sir Thomas Arnold in his Painting in Islam: A Study of the Place of Pictorial Art in Muslim Culture, of 1928, that there were numerous figural works produced, not least those painted on the walls of hamam to serve psychological and therapeutic requirements, as is re\u00adpeatedly noted in sources from the 9th<\/sup> c. onwards, including Ab\u016b Bakr Muhammad ibn Zakariyy\u0101 al-R\u0101z\u012b, into the 14th<\/sup> c.: \u201cOn the ideal bath he writes, \u201cIt should contain pictures of high artistic merit and great beauty, representing pairs of lovers, gardens and beds of flower, fine galloping horses and wild beasts; for pictures such as these are potent in strengthening the powers of the body, whether animal, natural or spir\u00aditual. Badr ad-Din ibn Muzaffar, the Q\u0101d\u012b of Ba\u2019albak, says in his book Mufarrih an nafs (The gladdener of the soul): \u201cAll physicians, sages and wise men are agreed that the sight of beautiful pictures gladdens and refreshes the soul, and drives away from it melancholic thoughts and suggestions, and strengthens the heart more than any\u00adthing else can do, because it rids it of all evil imaginings.\u201d Some say, If a sight of actual beautiful objects is not possible, then let the eyes be turned towards beautiful forms, of exquisite workmanship, pictured in books, in noble edifices or lofty castles. Such is also the thought that Muhammad ibn Zakar\u012by\u0101 ar-R\u0101z\u012b expresses and strongly urges on any one who finds within himself carking cares and evil imaginings that are not in harmony with the poise of nature; for he says, When in a beautiful picture harmoni\u00adous colors such as yellow, red and green are combined with a due proportion in their respective forms, then the melancholy humors find healing, and the cares that cling to the soul of man are expelled, and the mind gets rid of its sorrows, for the soul becomes refined and ennobled by the sight of such pictures. Again, think of the wise men of old, who invented the bath, how with their keen insight and penetrating wis\u00addom the recognized that a man looses some considerable part of his strength when he goes into a bath; they made every effort to devise means of finding a remedy as speedily as possible; so they decorated the bath with beautiful pictures in bright cheerful colours. These they divided into three kinds, since they knew that there are three vital principles in the body-the animal, the spiritual and the natural. Accordingly they painted pictures of each kind, so as to strengthen each one of these potentiali\u00adties; for the animal power, they painted pictures of fighting and war and galloping horses and the snaring of wild beasts; for the spiritual power, pictures of love and of reflection on the lover and his beloved, and pictures of their mutual recriminations and reproaches, and of their embracing one another, etc.; and for the natural power, gardens and beautiful trees and bright flowers<\/em>\u201d. Arnold 1928, 88, with well-known examples surviving from the 8th<\/sup> onwards.<\/p>\n

                        [54]<\/a> \u00a0\u00a0 Nicholson 1854, 210-211.<\/p>\n

                        [55]<\/a> \u00a0\u00a0 There are also the invaluable collections of published Arabic loan words into English, such as: Cannon \u2013 Kaye 1994; Peters \u2013 Salloum 1996.<\/p>\n

                        [56]<\/a> \u00a0\u00a0 S.O.D.3<\/sup>, s.v. \u201cSaracen\u201d.<\/p>\n

                        [57]<\/a> \u00a0\u00a0 Johnson 1768 s.v. \u201cCAM\u201d.<\/p>\n

                        [58]<\/a> \u00a0\u00a0 Percy 1846, 56.<\/p>\n

                        [59]<\/a> \u00a0\u00a0 Corder 1998, 311.<\/p>\n

                        [60]<\/a> \u00a0\u00a0 S.O.D.3<\/sup>, s.v. \u201cSaracenical\u201d.<\/p>\n

                        [61]<\/a> \u00a0\u00a0 Anderson 1764, v. I., Bk. III., 42.<\/p>\n

                        [62]<\/a> \u00a0\u00a0 Smollett 1772, 140.<\/p>\n

                        [63]<\/a> \u00a0\u00a0 S.O.D.3<\/sup> s.v. \u201cSaracenical\u201d.<\/p>\n

                        [64]<\/a> \u00a0\u00a0 Cannon \u2013 Kaye 1994, 293.<\/p>\n

                        [65]<\/a> \u00a0\u00a0 \u201cDuring Holy Week in 1680, Hagarene (meaning Muslim) pirates looted and ravaged the coastal areas around Rafina and sacked The Holy Monastery of Pantokrator-Tao<\/em>\u201d (Ntaou) Penteli, near Athens, killing 179 monks. www.pantokratoros-tao.gr\/…\/4-the-martyrdom-of-the-holy-… Accessed 2019.<\/u><\/p>\n

                        [66]<\/a> \u00a0\u00a0 S.O.D.3<\/sup>, s.v. \u201cIsmaelite\u201d.<\/p>\n

                        [67]<\/a> \u00a0\u00a0 S.O.D.3<\/sup> s.v. \u201cMahound\u201d.<\/p>\n

                        [68]<\/a> \u00a0\u00a0 Johnson 1768 s.v. \u201cCAM\u201d.<\/p>\n

                        [69]<\/a> \u00a0\u00a0 Wornum 1851, x\u0131x.<\/p>\n

                        [70]<\/a> \u00a0\u00a0 Act III, Scene 5. \u201cAnd then to have a wretched puling fool, A whining mammet, in her fortune’s tender, To answer \u2018I\u2019ll not wed; I cannot love, I am too young; I pray you, pardon me<\/em>\u201d.<\/p>\n

                        [71]<\/a> \u00a0\u00a0 Trench 1881, 169.<\/p>\n

                        [72]<\/a> \u00a0\u00a0 Bailey 1731 s.v. \u201cMAH\u201d.<\/p>\n

                        [73]<\/a> \u00a0\u00a0 S.O.D.3<\/sup> s.v. \u201cMahomet\u201d.<\/p>\n

                        [74]<\/a> \u00a0\u00a0 Johnson 1768 s.v. \u201cALE\u201d.<\/p>\n

                        [75]<\/a> \u00a0\u00a0 Britannica 1810, Vol. XI, 360.<\/p>\n

                        [76]<\/a> \u00a0\u00a0 S.O.D.3<\/sup> s.v. \u201cMohammedan\u201d.<\/p>\n

                        [77]<\/a> \u00a0\u00a0 William Jones, The Mahomedan Law of Succession to the Property of Intestates: In Arabick, Engraved on Copper Plates from an Ancient Manuscript<\/em>, J. Nichols, London, 1782.<\/p>\n

                        [78]<\/a> \u00a0\u00a0 Johnson 1768, s.v. \u201cMUS\u201d.<\/p>\n

                        [79]<\/a> \u00a0\u00a0 Johnson 1818, s.v. \u201cMUS\u201d.<\/p>\n

                        [80]<\/a> \u00a0\u00a0 Johnson 1818, s.v. \u201cMUS;\u201d \u201cMUSSULMANISH, m\u00fcs-s\u00fcl-m\u00e4n-nish, adj. muselm\u00e4nnisch. – faith, der Islam, Hilpert 1831, 96.<\/p>\n

                        [81]<\/a> \u00a0\u00a0 Claude Marie Gattel (1743-1812), Gattel 1840, T. II., (I-Z), s.v. \u201cMahom\u00e9tisme<\/em>\u201d 50.<\/p>\n

                        [82]<\/a> \u00a0\u00a0 Bergeron 1735, Table des Chapitres.<\/p>\n

                        [83]<\/a> \u00a0\u00a0 S.O.D.3<\/sup> s.v. \u201cTurk\u201d.<\/p>\n

                        [84]<\/a> \u00a0\u00a0 S.O.D.3<\/sup> s.v. \u201cMaure\u201d.<\/p>\n

                        [85]<\/a> \u00a0\u00a0 Britton 1838, 312, \u201cMauresque or Moorish Architecture\u201d.<\/p>\n

                        [86]<\/a> \u00a0\u00a0 Bussy 1835, 14.<\/p>\n

                        [87]<\/a> \u00a0\u00a0 Bussy 1835, 14.<\/p>\n

                        [88]<\/a> \u00a0\u00a0 Stuart 1830, Vol. II, s.v. \u201cMauresque\u201d.<\/p>\n

                        [89]<\/a> \u00a0\u00a0 S.O.D.3<\/sup> s.v. \u201cMoor\u201d.<\/p>\n

                        [90]<\/a> \u00a0\u00a0 Cited Johnson 1768 s.v. \u201cMOO\u201d, Shakespeare, Titus Andronicus (1593-94): [Aar.] \u201cO how this … But what care I? I care not an she were a black-a-moor; \u2018tis all one to me\u201d<\/em> (1.1.74-78).<\/p>\n

                        [91]<\/a> \u00a0\u00a0 Bailey 1731, s.v. \u201cHEAD\u201d.<\/p>\n

                        [92]<\/a> \u00a0\u00a0 Bailey 1731, s.v. \u201cHEAD\u201d.<\/p>\n

                        [93]<\/a> \u00a0\u00a0 S.O.D.3<\/sup> s.v. \u201cMoorish\u201d.<\/p>\n

                        [94]<\/a> \u00a0\u00a0 S.O.D.3<\/sup> s.v. \u201cMoorman\u201d.<\/p>\n

                        [95]<\/a> \u00a0\u00a0 Blanc 1848, 380.<\/p>\n

                        [96]<\/a> \u00a0\u00a0 Blanc 1848, 380.<\/p>\n

                        [97]<\/a> \u00a0\u00a0 Ash 1775 s.v. \u201cMOR\u201d.<\/p>\n

                        [98]<\/a> \u00a0\u00a0 S.O.D.3<\/sup> s.v. \u201cArabesk\u201d.<\/p>\n

                        [99]<\/a> \u00a0\u00a0 Bailey 1731, s.v. \u201cARABE\u2019SK\u201d.<\/p>\n

                        [100]<\/a> Nugent 1797, 11.<\/p>\n

                        [101]<\/a> S.O.D.3<\/sup> s.v. \u201cArabesque\u201d.<\/p>\n

                        [102]<\/a> Blanc 1848, 31.<\/p>\n

                        [103]<\/a> Vocabolario 1612, 70.<\/p>\n

                        [104]<\/a> Dyche 1756, 67.<\/p>\n

                        [105]<\/a> Semler 2018, note in reference to Inventory, Whitehall Palace 1542, Item 60.<\/p>\n

                        [106]<\/a> Cotgrave, 1611 npn., s.v. Arabesque.<\/p>\n

                        [107]<\/a> Prideaux 1697, 19. Reprinted unchanged 1713, 1730. Cited, Johnson 1818 s.v. \u201cMUS\u201d.<\/p>\n

                        [108]<\/a> Prideaux 1697, 19. Reprinted unchanged 1713, 1730.<\/p>\n

                        [109]<\/a> Gattel 1840, Vol. II., (I-Z), s.v. \u201cIslamisme<\/em>\u201d 50.<\/p>\n

                        [110]<\/a> Claude Marie Gattel (1743-1812), Gattel 1840, II., s.v. \u201cIslam<\/em>\u201d 50.<\/p>\n

                        [111]<\/a> Britannica 1810, Vol. XI, 360.<\/p>\n

                        [112]<\/a> Murphy 1815, 18, 19. Also, Athenaeum 1857, 442.<\/p>\n

                        [113]<\/a> Shakespear \u2013 Horne, 1816, 280.<\/p>\n

                        [114]<\/a> Utert 1824, 501, \u201cUnter dem Geb\u00e4uden zeichnen sich einige Moskeen aus, und der neue Palast des Bey’s, ein prachtvoller Bau, im Saracenischen Styl, mit gro\u00dfen Kosten aufgef\u00fchrt. Der untere Theil ist mit einer Menge seltsamer Laden angef\u00fcllt, in denen die<\/em>\u201d.<\/p>\n

                        [115]<\/a> Who visited Bejapoor (Bijapur the former premier city of the Deccan), in 1808.<\/p>\n

                        [116]<\/a> Traveller 1827, 312.<\/p>\n

                        [117]<\/a> Transactions 1833, 152.<\/p>\n

                        [118]<\/a> Bell 1832, 564.<\/p>\n

                        [119]<\/a> Stieglitz 1834, 20, \u201cHierin bestand das Eigenth\u00fcmliche der arabischen Kunst<\/em>, das sie als einen besondern Styl betrachten l\u00e4\u00dft. Laborde stellt drei Zeitr\u00e4ume der arabischen Kunst in Spanien auf<\/em>\u201d.<\/p>\n

                        [120]<\/a> Jennings 1835, 246.<\/p>\n

                        [121]<\/a> Britton 1838, 321.<\/p>\n

                        [122]<\/a> Goodrich 1840, 942.<\/p>\n

                        [123]<\/a> Bucke 1840, 247.<\/p>\n

                        [124]<\/a> Bas 1840, 294.<\/p>\n

                        [125]<\/a> Bartlett 1849, 72.<\/p>\n

                        [126]<\/a> Gwilt 1842, 55.<\/p>\n

                        [127]<\/a> Gwilt 1842, 55-56.<\/p>\n

                        [128]<\/a> Kugler 1842, 393, 394, 395, 396, 398, 400, 404, 408, 414.<\/p>\n

                        [129]<\/a> Kugler 1842, 395, 401, 412, 438, 440.<\/p>\n

                        [130]<\/a> Mener 1842, 848.<\/p>\n

                        [131]<\/a> Aicard et al.<\/em> 1842, 42, 44-46.<\/p>\n

                        [132]<\/a> Asiatique 1842, 339.<\/p>\n

                        [133]<\/a> Revue 1842, 464.<\/p>\n

                        [134]<\/a> Schnaase 1844, \u201cAltchristliche und muhammedanische Kunst<\/em>\u201d; VIII.<\/p>\n

                        [135]<\/a> Schnaase 1844, 423.<\/p>\n

                        [136]<\/a> Lortot, 1847, 52.<\/p>\n

                        [137]<\/a> Calcutta 1848, 123.<\/p>\n

                        [138]<\/a> Art-Journal 1849, 67.<\/p>\n

                        [139]<\/a> Vericour 1850, 232.<\/p>\n

                        [140]<\/a> Horne 1850, 219.<\/p>\n

                        [141]<\/a> Urquhart 1851, 26.<\/p>\n

                        [142]<\/a> Wornum 1851, x\u0131x.<\/p>\n

                        [143]<\/a> Beldam 1851, 361.<\/p>\n

                        [144]<\/a> Kugler\u2019s handbook 1851, 58.<\/p>\n

                        [145]<\/a> P\u00fctz 1851, 218.<\/p>\n

                        [146]<\/a> Athenaeum 1852, 403.<\/p>\n

                        [147]<\/a> Museum 1853, 467.<\/p>\n

                        [148]<\/a> Taylor 1855, 211.<\/p>\n

                        [149]<\/a> Fergusson 1855, 431.<\/p>\n

                        [150]<\/a> Bartlett 1855, 124.<\/p>\n

                        [151]<\/a> Wornum 1856, 15.<\/p>\n

                        [152]<\/a> Athenaeum 1857, 442.<\/p>\n

                        [153]<\/a> Nichols 1858, VI, 434.<\/p>\n

                        [154]<\/a> Tyrrell 1858, 111.<\/p>\n

                        [155]<\/a> Travellers 1858, Lx.<\/p>\n

                        [156]<\/a> Ashlar 1858, 349.<\/p>\n

                        [157]<\/a> Prescott 1859, 201.<\/p>\n

                        [158]<\/a> Kugler 1859 176-177. \u201cZu den fr\u00fchsten Arbeiten geh\u00f6rt eiu Portal an der Grabkapelle Bohemunds zu Canosa, von Rogerius aus Amalfi gefertigt, mit reichern Ornanient\u00adstreifen, welche den Styl der saracenischen Kunst nachahmen, und mit zwei streng behandelten fig\u00fcrlichten Tafelen<\/em>\u201d.<\/p>\n

                        [159]<\/a> Builder 1859, 93.<\/p>\n

                        [160]<\/a> Lane 18605<\/sup>, Appendix F, 589-590.<\/p>\n

                        [161]<\/a> Kington 1862, 454, I.<\/p>\n

                        [162]<\/a> RIBA, 1862, 10.<\/p>\n

                        [163]<\/a> Celebrated men 1862 182.<\/p>\n

                        [164]<\/a> L\u00fcbke 1864, 254-278.<\/p>\n

                        [165]<\/a> M\u00fcller, 1864, 354. \u201cRogerius, Bildhauer aus Amalfi, bl\u00fchte um ds 12. <\/em>Jahrhundert. <\/em>Er fertigte ein Portal an der Grabkapelle Bohemunds zu Canosa mit reichen Ornament\u00adstreifen, welche den Styl der saracenischen Kunst nachahmen, und mit zwei streng behandelten fig\u00fcrlichen Tafeln<\/em>\u201d.<\/p>\n

                        [166]<\/a> Jens Kr\u00f6ger notes that Friedrich P. T. Sarre (1865-1945) used the terms, Muhammed\u00adanische Kunst, and, Islamische Kunst, \u201cinterchangeably\u201d in 1910, regarding them as synonyms, Kr\u00f6ger 2010, 72.<\/p>\n

                        [167]<\/a> S.O.D.3<\/sup> s.v. \u201cArabesk\u201d.<\/p>\n

                        [168]<\/a> Cannon \u2013 Kaye 1994, 137.<\/p>\n

                        [169]<\/a> Facciolati 1772, 42.<\/p>\n

                        [170]<\/a> As also perhaps the Italian Piacenza dialect term, marlinga<\/em>, listed in, Foresti 18552<\/sup>, 384, as \u201cMarlinga, Rabescato, ornato con Rabeschi. <\/em>Marlingadura, Arrabesco, Rabesco. Lavoro bizzarro dipinto, o scolpito rappresentate foglie accartocciate, viticci e simili<\/em>\u201d.<\/p>\n

                        [171]<\/a> The word rabb<\/em> is a common noun in Arabic meaning \u201cmaster\u201d, or \u201cowner\u201d, but a hadith (narrated by Sayyidina Abu Hurayrah, Al-Bukhari, 2552) forbids slaves from referring to their master as lord, rabbaka<\/em>, which must instead be replaced by master, saiyidl<\/em>, in vulgar Arabic sidt<\/em>, or, guardian, maulat<\/em>, thereby suggesting the importance of this word in the 1st<\/sup>\/7th<\/sup> c. A.D. The term as-saiyidl<\/em> does not occur in the Qur\u2019\u0101n as a Name of the Almighty, ar-rabb<\/em> does, hence for example the expression, The Lord remains The Lord and the servant remains the servant, ar-Rabbvabaa’ ar-Rabb, wa-l-‘abd vabaa’ al-‘abd<\/em>.<\/p>\n

                        [172]<\/a> \u201cOkunam\u0131yan yaz\u0131-yaz\u0131lm\u0131\u015f yaz\u0131<\/em>\u201d, M\u00fclayim 1983, 66, fn. 8.<\/p>\n

                        [173]<\/a> Deuz 1662, 315.<\/p>\n

                        [174]<\/a> The word Arabesk as employed in Turkish today derives from the French word Ara\u00adbesque, 1. \u0130sim, Arap m\u00fczi\u011fini and\u0131ran, genellikle karamsarl\u0131\u011f\u0131 konu edinen bir m\u00fczik t\u00fcr\u00fc<\/em>. 2.isim Mimarl\u0131k, Giri\u015fik bezeme:<\/em><\/p>\n

                        \u00a0\u00a0\u00a0\u00a0\u00a0 \u201cKelimelerden birtak\u0131m arabeskler yap\u0131yor. Bizim b\u00fct\u00fcn divan edebiyat\u0131m\u0131z i\u015fte hep bu arabeskler, bu minyat\u00fcrlerdir<\/em>.\u201d-Yakup Kadri Karaosmano\u011flu, http:\/\/sozluk.gov.tr\/<\/p>\n

                        [175]<\/a> \u201cL’abate, con tutto che egli avesse la barba grande ed in abito arabesco fosse, pur dopo alquanto il raffigur\u00f2; e rassicuratosi tutto, il prese per la mano e disse: Figliuol mio, tu sii il ben tornato<\/em>\u201d.<\/p>\n

                        [176]<\/a> Calepino 1718, 10.<\/p>\n

                        [177]<\/a> Pino 1548, 20. (\u201cCotesto \u00e8 lo dipignere Arabesco usato da Mori<\/em>\u201d, -This is the Arab-like painting used by Mori, the Moors.<\/p>\n

                        [178]<\/a> Vocabolario 1612, 70.<\/p>\n

                        [179]<\/a> Vocabolario 1697, 8.<\/p>\n

                        [180]<\/a> Vocabolario 1697, 73.<\/p>\n

                        [181]<\/a> Cannon \u2013 Kaye 1994, 137.<\/p>\n

                        [182]<\/a> Monet 1646, npn. s.v. \u201cARA\u201d.<\/p>\n

                        [183]<\/a> Baldinucci 1806, 5.<\/p>\n

                        [184]<\/a> Baldinucci 1806, 60.<\/p>\n

                        [185]<\/a> Altieri 1726, I., npn. s.v. \u201cARA\u201d.<\/p>\n

                        [186]<\/a> Altieri 1727 II., npn. s.v. \u201cR\u201d.<\/p>\n

                        [187]<\/a> Bailey 1730, npn. s.v. \u201cArabe\u2019sk<\/em>\u201d; Likewise, Bailey 17362<\/sup>, npn. s.v. \u201cArabe\u2019sk<\/em>\u201d, \u201cSo called from the Arabs, who use this kind of ornaments, their religion forbidding them to make any images or figures of men or animals a term apply\u2019d to such painting, ornaments of freezes, &c. which consisted wholly of imaginary <\/em>foliages, plants, stalks, etc. without any human or animal figures<\/em>\u201d.<\/p>\n

                        [188]<\/a> Chambers 1738 npn. s.v. \u201cARA\u201d.<\/p>\n

                        [189]<\/a> Segneri 1740, 63.<\/p>\n

                        [190]<\/a> Lacombe 1752, 34. (Arabesque, meaning foliage or branches of imaginary foliage, and other ornaments of imagination, are sometimes called, which are sometimes used in the decoration of rooms, grottos, etc. These ornaments are called Ara\u00adbesques, because their invention is attributed to the Arabs, who, according to their religion, cannot, as is the case also with other Muslim peoples, depict the figures of men and animals).<\/p>\n

                        [191]<\/a> Lacombe 1768, 21, meaning: Arabesques: and similarly named, some twigs, or branches of imaginary leaves, and other capricious ornaments, these friezes embel\u00adlish the cupboards, the rooms, and the like. These ornate designs are Arabesques, the invention to be attributed to the Arabs, which Religion they follow, like the other Muhammadan Peoples, they do not represent the figures of men or of animals.<\/p>\n

                        [192]<\/a> Dyche 1756, 67.<\/p>\n

                        [193]<\/a> Mandosio 1765, 16.<\/p>\n

                        [194]<\/a> Mandosio 1765, 177.<\/p>\n

                        [195]<\/a> Crocker 1766, npn. s.v. \u201cArabesque\u201d.<\/p>\n

                        [196]<\/a> Facciolati 1772, 42.<\/p>\n

                        [197]<\/a> Ash 1775, npn. s.v. \u201cARA\u201d.<\/p>\n

                        [198]<\/a> Pasqualino 1790, IV, 213.<\/p>\n

                        [199]<\/a> Milizia 1797, 45 (Arabesque, bizarre ornaments and imaginary, in painting, in sculp\u00adture, and also in architecture employed to decorate walls, pillars, friezes, doors, vaults, etc. The name Arabesco comes from the Arabs, who, being unable for their religion to employ images of men or beasts, made use of flowers, leaves, and fruits to adorn their buildings; they introduced this taste in Spain, from where it spread throughout Europe, and was called Arabesque or Moorish).<\/p>\n

                        [200]<\/a> Milizia 1797, 48 (The harmony, which is the principle of the arts, must be observed in the composition, in the execution, and in the arrangement of the arabesques. The harmony of ideas is in the unity of the motif, in the intelligence of the details, in the relationship of the parts between them, and in the conception of all the attributes and all the accessories all aimed at the same purpose. Thus the arabesque becomes a kind of language and symbolic writing).<\/p>\n

                        [201]<\/a> Franciosini 1794, 67.<\/p>\n

                        [202]<\/a> Vocab 1795, 554.<\/p>\n

                        [203]<\/a> Encyclopaedia 1798, 148. Likewise, Vincenzo Abbondanza wrote it was the silk ara\u00adbesques that defined Damascus cloth in the 16th<\/sup> c.: \u201cErinomata per I suoi Drappi di Arabesco in seta, che per questo motivo hanno poi tutti di qual\u017fivoglia paese reso il nome di Damasco, perch\u00e8 oltre l\u2019arte di ben lavorarli in essa furono inventati<\/em>.\u201d Ab\u00adbondanza 1786, 110. etc.; as also, \u201cthe Moors, Arabs, and other Mahometans, use these kinds of ornaments, their religion forbidding them to make any images, or fig\u00adures of men,, or other animals<\/em>. Ed.\u201d Golberry 1808, 236.<\/p>\n

                        [204]<\/a> Stulic\u0301 1810, 133.<\/p>\n

                        [205]<\/a> Milizia 18222<\/sup>, 48. (ARABESCHI, bizarre and imaginary ornaments in painting, sculp\u00adture, and even architecture to decorate walls, pillars, friezes, doors, vaults, etc. The name Arabesco comes from the Arabs, who could not use images of men or animals for their religion, made use of flowers, leaves, and fruits to adorn the buildings; they introduced their taste in Spain, from where it spread throughout Europe, and was called arabesque or Moorish).<\/p>\n

                        [206]<\/a> Stuart 1830, Vol. I., s.v. \u201cARA\u201d.<\/p>\n

                        [207]<\/a> Neuman 1823 npn. s.v. \u201cMOR\u201d.<\/p>\n

                        [208]<\/a> Neuman 1823 npn. s.v. \u201cARA\u201d.<\/p>\n

                        [209]<\/a> Meadows 1835, 259, 27.<\/p>\n

                        [210]<\/a> Taboada 1838, 59. (Arabesque, adj. m. f Arabesque: tells of everything related to fashion, taste, or work. In this sense they are called with the n. s. and pl. of ara\u00adbesques: arabesques, adornments and works of traits and foliages that are fashioned in the style of the Arabs).<\/p>\n

                        [211]<\/a> Taboada 1838, 631. (Said of certain works, drawings, and paintings in the style of the Moors, or Arabes).<\/p>\n

                        [212]<\/a> Pasini 1849, 38.<\/p>\n

                        [213]<\/a> Biundi 1851, 239. <\/em>(Rabbiscu, sm. Arabesque, work in the form of inter-twined leaves, vine tendrils, rabesco).<\/p>\n

                        [214]<\/a> Pasquali 1869, 27.<\/p>\n

                        [215]<\/a> Pasquali 1869, 452. (Figurative, thing or person in rabesco, do it at whim).<\/p>\n

                        Akdeniz \u00dcniversitesi
                        \nAkdeniz Uygarl\u0131klar\u0131 Ara\u015ft\u0131rma Enstit\u00fcs\u00fc
                        \n<\/strong><\/p><\/div>\n

                        T. M. P. DUGGAN\u00a0\u00a0 (Lecturer)
                        \ntmpduggan@yahoo.com
                        \n<\/strong><\/p>\n

                        <\/div>

                        <\/div>\n
                        <\/div>\n

                        <\/a>