eprintid: 8666 rev_number: 21 eprint_status: archive userid: 21 dir: disk0/00/00/86/66 datestamp: 2023-10-26 12:53:16 lastmod: 2023-11-08 14:42:38 status_changed: 2023-10-26 12:53:16 type: article metadata_visibility: show creators_name: Al-Azzam, Hashim title: The denied line : Transcultural dimensions in Picasso's and Kandinsky's works : A critical examination of oriental influences subjects: ddc-750 subjects: ddc-760 divisions: i-9 cterms_swd: Picasso, Pablo cterms_swd: Kandinsky, Wassily cterms_swd: Plato cterms_swd: Islamische Philosophie cterms_swd: Kalligraphie cterms_swd: Orientalismus abstract: This paper explores the connection between Islamic ornamental calligraphic expressions and the works of several classical modern artists, indicating similarities and an aesthetic nexus. Picasso and Kandinsky can be described as neophiles and innovators who admired traditional artefacts from foreign cultures. However, their artistic influences also reflect questionable behaviours, highlighting phenomena from the 19th and early 20th centuries where "the Orient" was not recognized as a civilized entity. Veiled and denied calligraphic linear aesthetics point to issues of Orientalism and primitivism. The artists sought purity and primitiveness in forms that would prompt a different perception for the avant-garde audience, cleansing their view from the beauty of idealism and the tangible world. Paradoxically, these attributes were characteristic of Islamic ornamentation, despite its symbolism and religious mysticism. Thus, modern artists' ambiguous attitudes must be examined, making this topic relevant to today's intercultural and transcultural discussions. Art allows viewers to experience and reflect on the artist's emotions and intentions. Early modern artists already depicted the Orient as a world of fantasy and exoticism while simultaneously portraying it as wild and threatening. Abstractions also reflect such controversies but with different artistic means. These problematic perspectives and veiled references fade over time behind the aura of such artworks. This issue is also present in Islamic ornamentation, whose grandfather, according to the author, is Plato. Consequently, the critical examination is crucial today to reflect on the concept of culture, detach pure ideas from their taken-for-grandness, and unveil obscured intercultural and transcultural perspectives. date: 2023 id_scheme: DOI id_number: 10.11588/artdok.00008666 ppn_swb: 1869727894 own_urn: urn:nbn:de:bsz:16-artdok-86667 language: eng vgwort_code: 460cf3b6e989431cab4c6cd235ed04eb bibsort: ALAZZAMHASTHEDENIEDL2023 full_text_status: public pagerange: 1-28 oa_type: gold themen: T15 themen: T25 themen: T20 themen: T14 laender: LFr laender: LSo citation: Al-Azzam, Hashim (2023) The denied line : Transcultural dimensions in Picasso's and Kandinsky's works : A critical examination of oriental influences. document_url: https://archiv.ub.uni-heidelberg.de/artdok/8666/1/Al_Azzam_The_denied_line_2023.pdf