چکیده:
The spread of Islam from the Arabian Peninsula to the east and west had a great impact on the region's communications; Thus, the intercultural and multicultural feature is one of the main features of Islamic art, especially in the Mediterranean area, where the three continents of Asia including Europe and Africa are connected by Mediterranean Sea. The Shiite Fatimid Caliphate (297-567 A.H) that ruled parts of southern Italy, northern Africa, the Levant and parts of Saudi Arabia for more than two and a half centuries is one of the best examples of intercultural and multicultural interaction in the history of Islamic art. Although the geographical feature of the Fatimids provided the basis for the growth of the multicultural character of their murals, such a profound transformation required other causes and reasons as well. Descriptive-analytical method for writing and library study has been used to collect data in this theoretical research. Contextualism also provides a good framework for analyzing works of art in their historical context. The outcome of this research clarifies those schools and techniques of different cultures, sects and races that were present simultaneously in the Fatimid lands. Instead of indigenous opportunities of Mediterranean region, the flourishing multicultural art of the Fatimid murals was derived from political transition, freedom of religion, backing Shia Muslims and economic growth of the era which provided fertile ground for foreign painters from Iraq, the Byzantium Empire and the Armenians.
خلاصه ماشینی:
The results of the present study show that factors such as economic prosperity, sustainable security, increased foreign interactions, religious tolerance, and support for Shia Muslims caused the growth of multicultural art in Fatimid wall paintings and facilitated the activity of painters from Iraq, Byzantium, and Armenia in Fatimid lands.
With the establishment of the city of Cairo as the center of the Fatimid Caliphate during the time of Al-Mu'izz li-Din Allah, the fourth Fatimid Caliph, (341- 365 AH), Egypt gained stable and complete political independence for the first time after the advent of Islam, and the result was a glorious artistic period that flourished thanks to the new policies of the Fatimid Shia, cultural expansion, economic growth, and control over the trade routes of the Red Sea and the Mediterranean.
He believes, citing Fatimid historical sources and especially the works of Al-Maqrizi, that the religious tolerance of the Fatimid caliphs and their support for painters and courtiers were the main reason for the flourishing of painting art during the Fatimid period, and believes that the style of Fatimid wall painting was influenced by the art of Iran and Iraq (Hassan, 2014: 90 – 105).
This feature is well represented in the wall painting of the White Monastery in Sohag, Egypt; therefore, the remaining works and evidence from the Fatimid wall paintings indicate the presence of artists from various ethnicities and religions who came to their lands, and their competition and cooperation expanded the field of multicultural art.
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