A Symbolic Reading of Geometric Arabesques in Damask Brocade Fabric Based on Erwin Panofsky’s Theory

Document Type : Original Article

Authors

1 PhD Student of Art Research, Faculty of Art, Alzahra University, Tehran, Iran.

2 Associate Professor, Department of Art Research, Faculty of Art, Alzahra University, Tehran, Iran, Corresponding Author.

10.22051/pgr.2024.46099.1236

Abstract

 
 
 
Fabric weaving stands as one of the oldest handicrafts in Syria. Hand-woven, Damascus brocade fabric is one of the world's most precious silk fabrics. Syria’s ancient textile industry developed during the Islamic era. In the past, the brocade fabric was used to decorate women’s clothes and in parts of men’s clothes. This fabric was commonly used in interior decoration for furniture covers, curtains, and luxurious decorations. However, its usage has declined in the current era as artificial silk threads have replaced natural silk threads. Nowadays, it is produced using industrial weaving machines.
There are two main styles of brocade fabrics, distinguished by their patterns. The first style showcases motifs influenced by different civilizations, descriptions of novels, and historical epics that were introduced to Syria through silk and trade exchanges. The other type is brocade fabric with motifs related to the elements in the environment of Damascus. It is divided into two types: A) brocade fabric with plant motifs inspired by nature, plants, and trees of Syria. B) Brocade fabric with geometric motifs inspired by Islamic art such as arabesque. This research focuses on the motifs of the second type.
Damascus brocade fabrics often feature woven geometric motifs that can be traced back to the emergence of Islam and arabesque art. These motifs, rooted in Islamic culture, hold meanings and symbols that reflect the vibrant history and civilization of Syria.
Damascene silk brocade fabrics are classified as an element of Syrian heritage; because fabrics containing different motifs and symbols are a cultural and social heritage that reflects the details of the life values of its time. The purpose of this research was to explore the meanings of selected motifs found in natural silk fabrics mixed with gold and silver. These motifs had not been previously investigated and are considered part of Syrian culture.
This research examines the cultural-Islamic significance of geometric arabesque motifs in Damascus brocade fabric. It employs Erwin Panofsky's iconological approach to answer the following questions:

What do arabesque motifs symbolise in Syrian brocade fabric?
Which motifs in Syrian fabric belong to Islamic culture and which are unique to Syria?
What is the value and importance of the designs placed on the meticulously woven silk fabric?

In this research paper, we explore a specific cloth with geometric arabesque motifs. This cloth is mentioned in Florence Oliveri's book and can still be found in Syrian markets. To understand the symbols of the selected artwork, three stages of description, analysis, and interpretation were conducted.
To understand the intrinsic meaning of brocade fabrics, the motifs are examined and digitally redrawn, followed by analysing each element individually and interpreting the inscriptions.
The presence of geometric arabesque motifs on silk fabrics carries cultural and Islamic significance, symbolising life, fertility, and the pursuit of spiritual enlightenment. The motifs of geometric arabesque art have cultural and religious meanings, which were determined during the interpretation stage. The components and whole motifs definitely rely on Quranic verses as a reliable reference.
The results of this research demonstrate the significant role of geometric arabesque designs in the beautiful Syrian brocade fabric, which can be categorised into two groups: one consists of the patterns that are the geometric evolution of an Islamic knot and are part of the overall culture of the Islamic world. The other one is a cultural addition to the main role like the sun and the Damascus rose in Syrian culture. Arabesque art motifs were found to possess cultural and religious meanings, with Quranic verses serving as the most reliable reference. In the contemporary Islamic era, Syrian textile artists and designers utilised geometric motifs to create visions abundant in symbols and principles.
The motifs have evolved to showcase a geometric composition, intellectual harmony, and symbolic unity while maintaining a variety of motifs. Geometric motifs depict symbolic and supplementary elements that arise from the philosophy of monotheism and sincerity in obeying and worshiping the Creator and are a means of expressing divine unity. In his works, the artist demonstrates a preference for creating general compositions that symbolise fertility, beauty, and modernity in life. Cultural and religious values deeply inspire the spiritual aspects of this artwork through obedience and understanding so wearing this fabric as a dress is an honor. Brocade textile is a precious fabric of silk with gold threads, which is seemingly associated with heaven. Islamic motifs on silk fabric hold significant value and are considered as dignified as the clothes of the people of heaven, as mentioned in the Holy Book of Muslims. This relevance highlights the significance of the profound meanings of the motifs of this exceptionally exquisite fabric and the need to preserve and revive it. The current research proposes to circulate this precious fabric in the textile industry to preserve its artistic values full of meanings and prevent its destruction. Geometric arabesque on Damascus brocade fabrics are very suitable for formal religious gatherings because of their monotheistic symbols.
 
 

Keywords

Main Subjects

References

منابع
آیات قرآن کریم. ترجمه فولادوند.
رزاقی، فهیمه، دادخواه، ‌پژمان و مسعود محمدزاده. (1401). خوانش آیکونولوژیک نشانه‌ی نمادین سیمرغ در منسوجات ساسانی مبنی بر دیدگاه پانوفسکی.  فصلنامه‌ی رهپویه‌ی هنرهای صناعی. 1 (3). 7-21.
طالبی، حسن. (1399). قابلیت‌های نقوش اسلامی در گرافیک شهرهای اسلامی در دوران معاصر. دوفصلنامه پژوهشنامه گرافیک و  نقاشی. 3 (4)، 100-121.  
ویلسون، اوا. (1397). طرح‌های اسلامی. ترجمه محمد رضا ریاضی. تهران. سازمان مطالعه و تدوین کتب علوم انسانی دانشگاه‌ها (سمت). مرکز تحقیق و توسعه‌ علوم انسانی.
الأسعد، خالد و هانس، فیین أوفه ویدبرغ. (2006). زنوبیا ملکه تدمر و الشرق. دمشق. مؤسسة الصالحانی للطباعة و النشر.
الأطرش، ریم منصور. (1996). الحریر فی سوریه. الطبعه الأولى. دمشق. وزاره الثقافه.
الجبلاوی، کمال محمود. (2009). موسوعه الأفکار الرمزیه بالعماره المصریه بعد دخول الاسلام. المجلد الأول. القاهره.
الحسن، أحمد محمود. (2008). الأزیاء الشعبیه النسائیه فی سوریه. دمشق. منشورات الاتحاد العام النسائی.
الزعبی، سوسن- غنوم، سمیر و غنوم، محمد. (2018). الزخرفه العربیه. جامعه‌ دمشق. کلیه الفنون الجمیله.
الفیاض، محمد فیاض و حمود، ماجد هاشم. (2011). الحرف التقلیدیه فی سوریه. دمشق: الاتحاد العام للحرفیین. دار الهدى للنشر.
برکات، محمد مراد. (2002). الخط العربی والرقش (الأرابیسک). مجله الذخائر. 9. 56-93.
بهنسی، عفیف. (1986). الشام الحضاره، دمشق. وزاره الثقافه.
بهنسی، عفیف. (2008). الصناعه الیدویه الدمشقیه. مجله المعرفه. 532. 95-111.
حسن، زکی محمد. (2012). فی الفنون الاسلامیه. مصر، القاهره. مؤسسه هنداوی للتعلیم و الثقافه.
حمامی، حسن. (1971). الأزیاء الشعبیه وتقالیدها فی سوریه. دمشق. منشورات وزاره الثقافه.
طبرسی، فضل بن حسن. (1372). مجمع البیان فی تفسیر القرآن. چاپ سوم ج10. تهران. انتشارات ناصر خسرو.
عوض، عصمت أحمد (1999). التعویذه و التمائم و الأحجبه. القاهره. مکتبه مدبولی.
غزوان، معتز. (2012). الدلالات الفکریه والرمزیه للفن الاسلامی فی التصمیم المعاصر. مجله کلیه الاداب. 101. 505-549.
قانصو، أکرم. (1995). التصویر الشعبی العربی. الکویت. عالم المعرفه.
کیال، منیر. (2007). مآثر شامیه فی الفنون والصناعات الدمشقیه. دمشق. الهیئه العامه السوریه للکتاب. وزاره الثقافه.
مرزوق، محمد عبد العزیز. (1980)، قصه الفن الاسلامی. القاهره. الانجلو المصریه.
معلا، طلال. (2014). التراث الثقافی اللامادی السوری المهارات المرتبطه بالفنون الحرفیه التقلیدیه، الجزء الأول. وزاره الثقافه-الأمانه السوریه للتنمیه.
مهدی سلامه، هیام. (2016). جمالیات الشکل الهندسی فی الفن الاسلامی وتطبیقاتها المعاصره. مجله العماره و الفنون و العلوم الانسانیه. 1 (3). 307-321.
ویلسون، ایفا. (1999). الزخارف و الرسوم الاسلامیه. ترجمه. آمال مریود. بیروت. دار قابس للطباعه و النشر و التوزیع.
یوسف، محمد عصام و حسن منهل. (2006). تصنیف الأقمشه التقلیدیه السوریه. رساله جامعیه. قسم النسیج. جامعه دمشق.
 
References
Alafandi, R., Asiah, A. (2014). Umayyad Mosque in Aleppo yesterday, today and tomorrow. International Journal of Arts and Sciences, 7 (5), 319-347.
Alafandi, R., Asiah, A. (2015). Aleppine Polychrome Wooden (Ajami) Rooms in Syria. 2nd International Scientific Conference on Applied Sciences and Engineering,11-24.
Alafandi, R., Asiah, A. (2016). The Lost Treasure of  The Polychrome Wooden (`ajami) Interior of Ghazalyeh House, Aleppo, Syria. Procedia - Social and Behavioral Sciences, 596-620.
Alasaad, K., Hansen, V., (2006). Zenobia Malekat Tadmor wal Sharq, Damascus: Salhani Printing Establishment, (Text in Arabic).
AlAtrash, R., (1996). Alharir fi Dimashq, (1st ed), Damascus: Ministry of Culture, (Text in Arabic).
Alfayyad, M., Hammoud, M., (2011). Traditional Crafts in Syria, Damascus: Al-Huda Publishing House, (Text in Arabic).
Alhasan, A., (2008). Alazya' Alsha'biya Alnisaeiya fi Souria, Damascus: General Federation of Women in Syria Publication, (Text in Arabic).
Alzobi, S., Ghanom, S., Ghanom, M., (2018). Alzakhrafa Alarabiya, Damascus: University of Damascus, Faculty of Fine Arts, (Text in Arabic).
Awad, E., (1999). Alta'wiza wl Tamaem wl Ahjiba, Cairo: Madbouly Bookshop, (Text in Arabic).
Bahnassi, A. (2008). Alsina'a Alyadawiya Al-Dimashqia. Al-Marifa, 532, 95-111. (Text in Arabic).
Bahnassi, A., (1986). AlSham Alhadara, Damascus: Ministry of Culture, (Text in Arabic).
Barakat, M. (2002). Alkhat AlArabi w Alraqsh Arabesque. Dakhaer Journal, 9, 65-93. (Text in Arabic).
Elgabalawy, K., (2009). Mawsoet Alafkar Alramzeya Belamara Almasriya Ba'ad Dokhoul Al-Islam, (1st ed), Cairo, (Text in Arabic).
Ghazwan, M. "The intellectual and symbolic connotations of Islamic art in contemporary design". Al-Adab Journal, 101, 505-549. (Text in Arabic).
Hammami, H., (1971). Alazya Alsha'biya w Taqalidoha fi Souria, Damascus: Ministry of Culture, (Text in Arabic).
Hasan, Z., (2012). Fi Alfnon Al-Islamiya, Cairo: Hindawi Publication, (Text in Arabic).
Kalter, J. ,Pavaloi, M., Zerrnickel, M., and Behnstedt, P., (1992). The Arts and Crafts of Syria, London: Thames and Hudson Ltd.
Kayyal, M., (2007). Maather Shamiya fi Alfonoun wl Sina'at Al-Dimashqiya, Damascus: Syrian General Organization of Books, (Text in Arabic).
Mahdy Salama, H. (2016). Aesthetics geometric shape in Islamic arts and it's modern applications. Journal of Architecture, Arts and Humanistic Science, 1 (3), 307-321, (Text in Arabic).
Marzouk, M., (1980). Qessat Alfan Al-Islami, Cairo: The Anglo Egyptian Bookshop, (Text in Arabic).
Moualla, T., (2014). Al-turath Al-thaqafi Al-lamadi  Al-Souri, (1st ed), Damascus: Syria Trust For Development, (Text in Arabic).
Ollivry, F., (2011). La soie et l'orient, Rouergue.
Panofsky, E. (1980). The Icon as Logos. Visual Resources, 1:2-3, 123-126.
Qanso, A., (1995). Altasweer Alsha'bi Al-Arabi, Kuwait: Aalam Almarifah, (Text in Arabic).
Quraishi, L.H. (1967). Muslem Art. Al-Abhath Magazine, 22 (1), 17-28.
Razouk, S. (2019). Silk discovery and analysis of the characteristics and types of Syrian silk. Arab Journal for Scientific Publishing, 13, 94-110.
Razzaghi, F., Dadkhah, P., Mohammadzadeh, M. (2022). "Iconological Reading of the Symbolic Motif of Simurq in Sassanid Textiles based on Panofsky’s Views". Rahpooye Honarha-ye Sana'ee Quarterly, 2 (1), 7-21. (Text in Persian).
Schmidet-Colinet, A., (1994). Palmyra, Selbstverlag des Instituts für Orientalistik der Universität Wien.
Tabrisi, F., (1993). Majma' Albayan fi Tafsir AlQuran, (3rd ed), Tehran: Naser Khosro Publication, (Text in Arabic).
Talebi, H. (2020). Capabilities of Islamic Motifs in the Graphics of Islamic Cities in the Contemporary Era. Journal of Graphic Arts & Painting Research, 3 (4), 110-121, (Text in Persian).
The Holy Quran, Translated by Fouladvand, (Text in Arabic and Persian).
Wilson, E., (1999). Islamic Decorations And Drawings, translated by: Amal Aaryoud, Beirut: Qabes Publications, (Text in Arabic).
Wilson, E., (2018). Islamic Designs, translated by: MohammadRiza Riazi, (9th ed), Tehran: SAMT, (Text in Persian).
Yousif, M., Manhal, H., (2006). Classification of Syrian traditional fabrics, Thesis, Damascus: University of Damascus, (Text in Arabic).
URLs
URL1: https://ich.unesco.org/en/RL/practices-and-craftsmanship-associated-with-the-damascene-rose-in-al-mrah-01369, date access: 2/12/2023.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Files

Share

How to cite

Statistics