The Question of Justification in the History of Art
| dc.contributor.author | Aktay, Yasin | |
| dc.date.accessioned | 2023-05-28T21:01:40Z | |
| dc.date.available | 2023-05-28T21:01:40Z | |
| dc.date.issued | 1999 | en_US |
| dc.department | Selçuk Üniversitesi, Edebiyat Fakültesi, Sosyoloji Bölümü | en_US |
| dc.description.abstract | I want to make some general remarks on the question of justification of art as it was put by Gadamer, and to try to prepare a ground for treating the position of art in Islam. For, the question of justification of art would be quite fruitful in treating the position of art in Islam. That is because of the fact that, as I shall try to show, in almost most of its forms art has always been subjected to a serious problem of justification. It might be concluded that the reason have been the well-known iconoclastic attitude from the very beginning. But as I shall try, again to show, it is not just the fact that Islam was an anti-paganist religion that caused the interruption of the development of pictorial arts in Islam. There can be found almost for every sect of the artistic activities some negative discourses in the original scriptures. That is, for poetry, music, painting. architecture etc. But the negative discourses don't always eliminate the all possibilities of participating any artistic activity. For example, to know that there is no forbidding command about neither poetry nor painting and nor the architecture in the Quran, had created a relatively tolerant condition for the arising of the so-called 'Islamic Art'. My intention in this study is to catch the point that although there is not literally a forbidding discourse on the artistic activities. the dominant discourse of Islamic message marks the artistic activities in secondary values. On the other hand, applying Gadamer's characterisation of art with the three elements as 'play', 'symbol' and 'festival', my contention will be that Islamic life is already an artistic life because of the play every Muslim is charged to take and the everyday symbolical activities that has within and together with his community that creates the conditions of a festival. Although such application of the word is unique, there are many positive connotations that an Islamic point of view could appropriate. | en_US |
| dc.identifier.citation | Aktay, Y., (1999). The Question of Justification in the History of Art. Selçuk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 4, 293-311. | en_US |
| dc.identifier.endpage | 311 | en_US |
| dc.identifier.issn | 2667-4750 | en_US |
| dc.identifier.issue | 4 | en_US |
| dc.identifier.startpage | 293 | en_US |
| dc.identifier.uri | https://hdl.handle.net/20.500.12395/47618 | |
| dc.institutionauthor | Aktay, Yasin | |
| dc.language.iso | en | en_US |
| dc.publisher | Selçuk Üniversitesi | en_US |
| dc.relation.ispartof | Selçuk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi | en_US |
| dc.relation.publicationcategory | Makale - Uluslararası Hakemli Dergi - Kurum Öğretim Elemanı | en_US |
| dc.rights | info:eu-repo/semantics/openAccess | en_US |
| dc.selcuk | 20240510_oaig | en_US |
| dc.title | The Question of Justification in the History of Art | en_US |
| dc.type | Article | en_US |
