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The Mediation of Ornament
How ornamentation enables a direct and immediate encounter between viewers and art objects
Based on universal motifs, ornamentation occurs in many artistic traditions, though it reaches its most expressive, tangible, and unique form in the art of the Islamic world. The Mediation of Ornament shares a veteran art historian’s love for the sheer sensuality of Islamic ornamentation, but also uses this art to show how ornament serves as a consistent intermediary between viewers and artistic works from all cultures and periods.
In this richly illustrated book, Oleg Grabar analyzes early and medieval Islamic objects, ranging from frontispieces in Yemen to tilework in the Alhambra, and compares them to Western examples, treating all pieces as testimony of the work, life, thought, and emotion experienced in one society. He defines ornaments as agents that are not logically necessary to the perception of a visual message but without which the process of understanding would be more difficult―they in fact often draw us into a work by strengthening the pleasure derived from looking at it.
A classic work by an acclaimed art historian, The Mediation of Ornament explores four particularly influential forces on the development of writing (calligraphy), geometry, architecture, and nature. It is essential reading for admirers of Islamic art and anyone interested in the ways of perceiving and understanding the arts more broadly.
Based on universal motifs, ornamentation occurs in many artistic traditions, though it reaches its most expressive, tangible, and unique form in the art of the Islamic world. The Mediation of Ornament shares a veteran art historian’s love for the sheer sensuality of Islamic ornamentation, but also uses this art to show how ornament serves as a consistent intermediary between viewers and artistic works from all cultures and periods.
In this richly illustrated book, Oleg Grabar analyzes early and medieval Islamic objects, ranging from frontispieces in Yemen to tilework in the Alhambra, and compares them to Western examples, treating all pieces as testimony of the work, life, thought, and emotion experienced in one society. He defines ornaments as agents that are not logically necessary to the perception of a visual message but without which the process of understanding would be more difficult―they in fact often draw us into a work by strengthening the pleasure derived from looking at it.
A classic work by an acclaimed art historian, The Mediation of Ornament explores four particularly influential forces on the development of writing (calligraphy), geometry, architecture, and nature. It is essential reading for admirers of Islamic art and anyone interested in the ways of perceiving and understanding the arts more broadly.
- GenresArtArt History
309 pages, Paperback
First published November 1, 1992
About the author
Oleg Grabar
52 books25 followersأوليغ غرابار (Oleg Grabar) (من مواليد 3 نوفمبر 1929 في ستراسبورغ فرنسا، مؤرخ وعالم آثار، تخصص في مجال الفنون والعمارة الإسلامية. حصل على الدكتوراه من جامعة برنستون عام 1955. كان عضو في هيئة التدريس في جامعة ميتشيغان، في 1954-69، قبل أن يحصل على تعيين أستاذ في جامعة هارفارد. في عام 1980 أصبح أستاذ عمارة وفن إسلامي في جامعة هارفارد، وبقي حتى عام 1990 عندما انضم إلى معهد الدراسات العليا. أستاذ فخري منذ عام 1998.
Oleg Grabar (November 3, 1929 – January 8, 2011) was a French-born art historian and archeologist, who spent most of his career in the United States, as a leading figure in the field of Islamic art and architecture.
Oleg Grabar (November 3, 1929 – January 8, 2011) was a French-born art historian and archeologist, who spent most of his career in the United States, as a leading figure in the field of Islamic art and architecture.
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Displaying 1 - 3 of 3 reviews
July 2, 2014
This is the book that got me seriously interested in Islamic art and architecture. I heard Grabar speak, immediately bought the book, and even dared to get him to sign it. Then I plunged in and read and re-read.
Later on, when I knew much more, I chose it when I had to do an academic book review for my MA.
And realised the many (many) problems of detail there were through the book.
By then, I'd realised more of Grabar's published work. He's a big-picture thinker. A genius big-picture thinker. And perhaps the last of the over-arching thinkers - in sad contrast to today's micro-specialism, with everyone arguing only with another one or two similar-super-specialists.
I especially like his pleas (not in this book) for more joint working, and use of IT to aggregate, share and interrogate data. We're getting more digitisation of sources, but very little truly joint working. [Sighs]
Later on, when I knew much more, I chose it when I had to do an academic book review for my MA.
And realised the many (many) problems of detail there were through the book.
By then, I'd realised more of Grabar's published work. He's a big-picture thinker. A genius big-picture thinker. And perhaps the last of the over-arching thinkers - in sad contrast to today's micro-specialism, with everyone arguing only with another one or two similar-super-specialists.
I especially like his pleas (not in this book) for more joint working, and use of IT to aggregate, share and interrogate data. We're getting more digitisation of sources, but very little truly joint working. [Sighs]
July 17, 2014
This is a tough topic. I frequently found myself lost in the prose, though I did get several insights in how ornamentation can be studied. What I learned most is that there is never only one interpretation of ornamentation and it pays to be open to multiple insights. Would recommend this for any serious art student.
December 21, 2024
While dense at times I enjoyed the book. I found the complexity/ expansiveness of his analysis necessary for the subject matter. The comparisons presented are very thought provoking and have served as a great basis for many of my projects in school!
Displaying 1 - 3 of 3 reviews