Oriental art in general, and Islamic art in particular, is characterized by its use-wise character. It is an art placed at the service of the daily life of people, with its diversity, richness and multiplicity. Therefore, they entered all fields, such as external architecture, interior architecture (decoration), crafts, industries, crafts and tools, thanks to a set of specific aesthetics that it includes, flirting with vision and insight at the same time.
Outside and inside the architecture
Eastern art was attached, from the very beginning, to functions and tasks that are directly related to the daily life service of man. That is, there is no art in it just because of art, as it appeared in Western arts.
Nevertheless, despite the prominence and predominance of reserved abstract artistic and aesthetic values, whose modernity preceded by what European art had reached after the birth of modern trends in it, and evaded from the hegemony of Greco-Roman art, and its openness to the arts of other peoples that were the Western Europeans. It looks at us with an inferior view, until intellectuals and artists changed this impression, when they adopted the heritage of these peoples as a main platform for the launch towards modernity and contemporary styles.
The process of identifying the use and aesthetic values in oriental art covered architecture from the outside and the inside.
They are present in the external building block and its vertical and horizontal elements, the spaces that pass through it, the general movement that it achieves in the void, and its compatibility with the surrounding architectural blocks, or spaces, occupied with trees, plants and grass areas.
We find this symmetry also in the ornaments and decorations that encircle some of the facilities of the external architecture, and specific areas of the blocks rising in the void. These elements come from the material in which the architecture was executed (marble, stone, cement) or from materials and additives (mosaic, earthenware, tiles, colored marble, metal). It may come in the form of deliberate lighting (natural or artificial).
In the furniture
We find the characteristic of a harmonious combination of use and aesthetic values in the interior oriental architecture, which has become popular today with the term (decoration). We find them in furniture, doors, windows, pulpits, muqarnas, arches, means of lighting (lamps, lanterns) and in various handicrafts and handicrafts, which are widely used in daily life, such as jugs, cups, jewelry boxes, perfume bottles, vases, candlesticks, incense burners, trays, and saucers.
We find them in decorative lakes, fountains, multi-tasking water channels, chairs, beds, tables, chairs, storage, shelves, decorative barriers, calligraphy, swords, daggers, masks, horse saddles, camel decorations, rugs, carpets, woven fabrics … And much more. Where the taste of eastern people insists on its decoration, adornment, decorating and beautification, with the aim of satisfying the other side in itself, which is equivalent to the material-use aspect, which is the spiritual side.
Coexistence and harmony
Eastern and Islamic art has embraced, with ingenuity, coexistence, harmony and astonishment, the use values and aesthetic artistic values, so that they respond at the same time to two human needs inherent in the human being, from its existence until today: the material need and the spiritual need.
What balance is the human being, matter and spirit? The values in fine arts, crafts and handicrafts meet the daily material requirements in eating, drinking, sleeping, washing, selling, buying, working, traveling, resting and moving, and the aesthetic artistic values represented in beautifying the exterior and interior of the building, and the elegant design of the needs that assist him in the exercise of his daily life, or those that he considers. Above the shelves, and on the tables, there are antiques, bands, and artworks, or that cushion the walls and ceilings, including paintings, carpets, textiles, decorations, and writings, all of which the Eastern people are keen on to be beautiful in shape.
And an incubator for decorations, ornaments and writings, with connotations and signals related to his aesthetic taste, habits, thinking, beliefs and legacies, so she flirts with his insight, harmonizes with his feelings, and launches his soul to fly in mystical spaces, delighting it, after which the body and soul are happy at the same time, which leads to the balance and stability of the human being at the same time. (Physiologically and psychologically).
As much as a person needs food to continue with it and through it, in life, he needs beauty of many forms, formulas and fields, to move his imagination space, and make it a spacious space for the launch of his feelings, emotions, and immaterial tendencies, and the arts in general are the best way to achieve this.
Whether visual (architecture, plastic arts, theater, cinema, television) or oral (stories, narratives and narratives, poetry) or written (novel, stories, articles) or musical audio (songs and musical pieces).