The arts that shaped america arts

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The arts that shaped america arts

The arts that shaped america arts

Visual arts In order to answer whether there is an aestheticiconographic, or stylistic unity to the visually perceptible arts of Islamic peoples, it is first essential to realize that no ethnic or geographical entity was Muslim from the beginning.

There is no Islamic art, therefore, in the way there is a Chinese art or a French art.

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Nor is it simply a period art, like Gothic art or Baroque art, for once a land or an ethnic entity became Muslim, it remained Muslim, a small number of exceptions such as Spain or Sicily notwithstanding.

Political and social events transformed a number of lands with a variety of earlier histories into Muslim lands. But because early Islam as such did not possess or propagate an art of its own, each area could continue, in fact often did continue, whatever modes of creativity it had acquired.

It may then not be appropriate at all to talk about the visual arts of Islamic peoples, and one should instead consider separately each of the areas that became Muslim: Such, in fact, has been the direction taken by some scholarship. Even though tainted at times with parochial nationalismthat approach has been useful in that it has focused attention on a number of permanent features in different regions of Islamic lands that are older than and independent from the faith itself and from the political entity created by it.

Iranian artin particular, exhibits a number of features certain themes such as the representation of birds or an epic tradition in painting that owe little to its Islamic character since the 7th century. Ottoman art shares a Mediterranean tradition of architectural conception with Italy rather than with the rest of the Muslim world.

Such examples can easily be multiplied, but it is probably wrong to overstate their importance. For if one looks at the art of Islamic lands from a different perspective, a totally different picture emerges.

The perspective is that of the lands that surround the Muslim world or of the times that preceded its formation. For even if there are ambiguous examples, most observers can recognize a flavour, a mood in Islamic visual arts that is distinguishable from what is known in East Asia China, Korea, and Japan or in the Christian West.

This mood or flavour has been called decorative, for it seems at first glance to emphasize an immense complexity of surface effects without apparent meanings attached to the visible motifs.

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But it has other characteristics as well: The problem is whether these uniquenesses of Islamic art, when compared with other artistic traditions, are the result of the nature of Islam or of some other factor or series of factors. These preliminary remarks suggest at the very outset the main epistemological peculiarity of Islamic art: The key question is how this was possible, but no answer can be given before the tradition itself has been properly defined.

Such a definition can be provided only in history, through an examination of the formation and development of the arts through the centuries, for a static sudden phenomenon is not being dealt with, but rather a slow building up of a visual language of forms with many dialects and with many changes.

Whether these complexities of growth and development subsumed a common structure is the challenging question facing the historian of this artistic tradition.

What makes the question particularly difficult to answer is that the study of Islamic art is still so new. Many monuments are unpublished or at least insufficiently known, and only a handful of scientific excavations have investigated the physical setting of the culture and of its art.

Much, therefore, remains tentative in the knowledge and appreciation of works of Islamic art, and what follows is primarily an outline of what is known, with a number of suggestions for further work into insufficiently investigated areas.

Each artistic tradition has tended to develop its own favourite mediums and techniques. Some, of course, such as architecture, are automatic needs of every culture; and, for reasons to be developed later, it is in the medium of architecture that some of the most characteristically Islamic works of art are found.

Other techniques, on the other hand, acquire varying forms and emphases. Wall painting existed but has generally been poorly preserved; the great Islamic art of painting was limited to the illustration of books. The unique feature of Islamic techniques is the astounding development taken by the so-called decorative arts —e.

New techniques were invented and spread throughout the Muslim world—at times even beyond its frontiers. The kind of conclusion that can be reached about Islamic civilization through its visual arts thus extends far deeper than is usual in the study of an artistic tradition, and it requires a combination of archaeological, art-historical, and textual information.

An example may suffice to demonstrate the point. Among all the techniques of Islamic visual arts, the most important one was the art of textiles. Textiles, of course, were used for daily wear at all social levels and for all occasions.


But clothes were also the main indicators of rank, and they were given as rewards or as souvenirs by princes, high and low. Major events were at times celebrated by being depicted on silks. Many texts have been identified that describe the hundreds of different kinds of textiles that existed.

Because textiles could easily be moved, they became a vehicle for the transmission of artistic themes within the Muslim world and beyond its frontiers.

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The more unfortunate point is that the thousands of fragments that have remained have not yet been studied in a sufficiently systematic way, and in only a handful of instances has it been possible to relate individual fragments to known texts. When more work has been completed, however, a study of this one medium should contribute significantly to the commercial, social, and aesthetic history of Islam, as well as explain much of the impact that Islamic art had beyond the frontiers of the Muslim world.

The following survey of Islamic visual arts, therefore, will be primarily a historical one, for it is in development through time that the main achievements of Islamic art can best be understood.The College of Social Sciences, Arts and Humanities (CSSAH) is a multidisciplinary College connecting students to the world with an array of learning opportunities including research, internships, co-op, service learning, online instruction, and experiential urbanagricultureinitiative.comts examine enduring and systemic questions about human nature and social behavior.

Harlem Renaissance, a blossoming (c. –37) of African American culture, particularly in the creative arts, and the most influential movement in African American literary history.

Embracing literary, musical, theatrical, and visual arts, participants sought to reconceptualize “the Negro” apart from the white stereotypes that had influenced black . On December 2, , the Kennedy Center will hold its 41st annual national celebration of the arts – The Kennedy Center Honors.

Artists to be honored in include singer and actress Cher, composer and pianist Philip Glass, Country music entertainer Reba McEntire, and jazz saxophonist and composer Wayne Shorter..

This year, the co-creators of Hamilton—writer and actor Lin-Manuel Miranda. Shop EmbTao at the Amazon Arts, Crafts & Sewing store. Free Shipping on eligible items. Save on everyday low prices. The Arts That Shaped America: Arts of the s This Essay The Arts That Shaped America: Arts of the s and other 64,+ term papers, college essay examples and free essays are available now on Autor: review • December 16, • Essay • 1, Words (5 Pages) • Views.

Art by definition is the conscious production or arrangement of sounds, colors, forms, movements, or other elements in a manner that affects the sense of beauty, specifically the production of the beautiful in a graphic or plastic medium.

The Arts That Shaped America: Arts of the s - Essay