During the Paleolithic period, one form of art was through clay sculptures. Normally the scriptures were created through the etching of images or writings on wet clay using bones and were left to sundry. At that time man was used to hunting and gathering and constant movement. His itineraries followed a returning to family caves and huts that were made out of clay. On the other hand, Muslim sculpture has evolved over the years through gothic art. Gothic art developed after the Romanesque in the 12 th Century. At that time, art and main architecture were in the form of a pointed arch.
A common theme addressed in both clay scriptures and Islam gothic art sculptures is religion. Artistic objects that time used religious motifs and inspiration with the intention of uplifting the spiritual mind (White, 1980). As noted every ancient culture practiced religion. Among the Egyptians, for instance, temples were dominated by sculptures of ziggurat structures made of clay that was considered to be the home for their deity gods. On the other hand, Muslim mosques were characterized by art and architecture that was gothic-inspired in a bid to promote religion.
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In ancient times as the Paleolithic era, art confined to processes of carving, writing scriptures and modeling using clay. Among the Egyptian’s for instance, the clay cuneiform scriptures were used on hanging. The compositional properties of clay scriptures were incised on the vessel which they called tablets at that time (Yusof and Barudin, 2017). One of the comparable compositional properties between clay scripture and Muslim Gothic art is mass and space. For the latter, there is a lot of mass or rather solid bits contained in the surfaces of the written scriptures. On the other hand, Muslim Gothic art was mainly characterized by space around the piece of art. Space is critical in part because it defines the edges of the piece, forms hollows in the parts of emptiness, and links separate areas of hence making them look relatable to one another (Luttikhuizen, 2006). Another important property of the two pieces of art surfaces. Depending on the kind of surface they are on, they are likely to have different visual effects on the viewers.
Depending on the art, symbolic language varies in meaning in different religions. In clay scriptures, a combination of water and clay had to be put together. The symbolic communication in the use of clay is that human beings are vessels to be used by God. In addition, the use of clay on scriptures is the representation of a pliable human mind that can be taught and influenced. When a person is born they are soft (Tacon, 2004). However, as they get exposed to the ways of the world, they become hardened. Just like clay is soft when mixed with water. When it is exposed to sun and fire it hardens. Gothic art, on the other hand, symbolizes the nature of sensitive forms that can be easily understood and physical beauty from the Islamic dimension of their iconography. The pursuit of beauty in Gothic art symbolized the convey of the story of Muhammad and the religion for those that were illiterate.
The pieces of art are visually unified in bringing out their theme by the surfaces on which they are embedded. Clay scriptures, for instance, are flat modeled and uncolored. Normally a flat surface has no three-dimensionality. However, that of gothic art gives concave or convex visual effects. In addition, most of the traces of clay pigments have disappeared while those of gothic sculptures are still intact. The pointed arch in gothic sculptures and art give a visual effect that communicates both the theme and other structural elements.
References
Luttikhuizen, H., & Verkerk, D. (2006). Snyder's Medieval Art . Prentice Hall.
Taçon, P. S. (2004). Ochre, clay, stone, and art. Soils, stones, and symbols: Cultural perceptions of the mineral world , 31-42.
White, V. P. (1980). Artists and Patrons. In Grants for the Arts (pp. 1-18). Springer, Boston, MA.
Yusof, A. M., Barudin, M. A., & Isa, M. L. M. (2017). Clay as a Potential Parasite Cleanse in the Light of Islamic Perspective. Revelation and Science , 7 (1).
