TY  - BOOK
N2  - "In this richly illustratcd book Oleg Grabar not only shares a veteran art historian's love for the sheer sensuality of Islamic ornamentation, but also uses this art to show how ornament in general enables a direct, immediate encounter between viewers and art objects from any culture and time period. Based on universal motifs, ornamentation occurs in many artistic traditions, although it seems to reach its most expressive, tangible, and unique form in the art of the Islamic world. Grabar analyzes early and medieval Islamic objects, ranging from recently discovered 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. From this discussion ornament emerges as a consistent intermediary between viewers and artistic works throughout time." "Grabar 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 major portion of this book explores four particularly influential forces on the development of ornament: writing (calligraphy), geometry, architecture, and nature. Throughout Grabar seeks to serve admirers of Islamic art as well as readers interested in the ways of perceiving and understanding the arts in general."--Jacket.
AB  - "In this richly illustratcd book Oleg Grabar not only shares a veteran art historian's love for the sheer sensuality of Islamic ornamentation, but also uses this art to show how ornament in general enables a direct, immediate encounter between viewers and art objects from any culture and time period. Based on universal motifs, ornamentation occurs in many artistic traditions, although it seems to reach its most expressive, tangible, and unique form in the art of the Islamic world. Grabar analyzes early and medieval Islamic objects, ranging from recently discovered 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. From this discussion ornament emerges as a consistent intermediary between viewers and artistic works throughout time." "Grabar 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 major portion of this book explores four particularly influential forces on the development of ornament: writing (calligraphy), geometry, architecture, and nature. Throughout Grabar seeks to serve admirers of Islamic art as well as readers interested in the ways of perceiving and understanding the arts in general."--Jacket.
T1  - The mediation of ornament /
DA  - ©1992.
CY  - Princeton, N.J. :
AU  - Grabar, Oleg.
VL  - 1989
VL  - XXXV, 38
CN  - N6260
PB  - Princeton University Press,
PP  - Princeton, N.J. :
PY  - ©1992.
ID  - 1385427
KW  - Islamic art
KW  - Communication in art.
KW  - Visual perception.
KW  - Art
KW  - Art islamique.
KW  - Communication dans l'art.
KW  - Perception visuelle.
KW  - Décoration et ornement islamiques.
KW  - Esthétique.
KW  - Art
KW  - Communication in art.
KW  - Islamic art
KW  - Visual perception.
KW  - Islamitische kunst.
KW  - Ornamentiek.
KW  - Islamic art.
KW  - Communication in art.
KW  - Visual perception.
KW  - Art
KW  - Communication visuelle.
KW  - Psychologie de l'art.
KW  - Perception visuelle
KW  - Regard
KW  - Art comparé
KW  - Art islamique
KW  - Décoration
KW  - Critique d'art
KW  - Visual arts
KW  - By
KW  - Muslims
SN  - 0691040990
SN  - 9780691040998
SN  - 0691001561
SN  - 9780691001562
TI  - The mediation of ornament /
ER  -