Arabeska, tradicionalna forma islamske umjetnosti između interpretacije i devijacije
Arabesque – A Traditional Form of Islamic Art, between Interpretation and Deviation

Summary/Abstract: Since all traditional forms of art are based on the metaphysical concepts arsing from the spiritual tradition the art presents in the manifest world, the arabesque as the Islamic art form presents certain aspects of this spiritual tradition. Different dilemmas and problems appeared in the field of protection of cultural and historical heritage due to the lack of understanding of the principles that the art of the arabesque is based on, as well as the total suspension of this form of art. Namely, due to the suspension of the original knowledge and skills that allowed this artistic tradition to maintain its vitality and credibility, different dilemmas and misunderstandings appeared in restoration and reconstruction of different materials created in this form. The consequence is that there are different interpretations, which are, in reality, de facto deviations of the arabesque painting from its original form. One of the aspects of this form of art is the phenomenon of empty space, which is a very important element in composing an arabesque. This lack of understanding, caused by the suspension of the spiritual place of origin of this art, led to different forms of forgery of this authentic Islamic expression. Or rather, these deviations are caused by inadequate and illegitimate approach to the form. Namely, as this is a traditional art form, an entirely modern approach in the sense of free interpretation is, in itself, totally illegitimate and thus wrong. This is particularly visible in wall decorations found inside the Ferhadiya Mosque in Banja Luka at the time of its destruction, substantiated by a good photo-library. The total denial of the phenomenon of empty spaces as an inseparable part of the arabesque is visible in some of the painted segments of the decoration. This is particularly relevant to the position of the dome, the semi-dome, the pendants, as well as decorations on the surfaces of the member and the mihrab, where this deviation is particularly evident.

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