The aesthetics of metaphor and allusion in Islamic arts

Abstract

The current research entitled (The Aesthetics of Metaphor and Implication in Islamic Arts) consists of four chapters. The first chapter includes the research problem, which is summarized by the following question: What are the aesthetics of metaphor and implication in Islamic arts?

            The importance of the research and the need for it, then the goal of the research: to reveal the aesthetics of metaphor and inclusion in Islamic arts, then the limits of the research which were limited to the products of Islamic pictorial art executed with various materials and substances used, such as inks, leather, papers, etc., by Islamic art painters, and the time limits of the twelfth century AD, the seventh century AH, to the sixteenth century AD, the eleventh century AH, i.e. (1273 AD - 1670 AD), from the first miniature of Al-Wasiti to the decline in Islamic pictorial art, then defining the terms.

            The second chapter consists of two sections: the first (Metaphor and Implication Conceptually) and the second (Features of Metaphor and Implication in Islamic Arts), followed by the indicators identified in the theoretical framework.

The third chapter comprises the research procedures: 1- The research population,

 2- The research sample of (3) examples of Islamic pictorial art, the research instrument, the research methodology, and the analysis of the research sample.

Chapter Four includes: 1- Research findings, including:

1- The analysis of this miniature reveals that the artist Yahya ibn Mahmud al-Wasiti borrowed and incorporated stylized forms from ancient historical civilizations, such as the Assyrian civilization and ancient Babylonian myths—that is, from civilizations with a solid cultural heritage and origin, as illustrated in Sample No. (1).

2- The artist Behzad utilized the literary content of the artwork, meaning he drew upon and incorporated its meaning, transforming its impactful value for the artist into a sensory and mental image.

2- Research conclusions, including:

1- We conclude that, in modern criticism, borrowing and incorporating elements into aesthetic imagery is a means of expressing the inner world of the poet and the artist.

Then, the recommendations and suggestions, followed by a list of research sources.