Ars – tehne – zanat – fann – qadar/sina´at – „umjetnost“
Ars - Technê - Craft - Fann - Qadar/Sina´At - „Art“

Summary/Abstract: The aim of this essay is to discuss the particular issue of a possible theoretical relationship between the modality of qadar/ṣināʿat discourse and other “forms of art”, expanding the previous discussions of what is declared as or named “Islamic art” within Occidnetal-westernized theoretical views, as opposed to what such terms can entail within Islamic civilizational circle, or imply within professional-academic qualification. More precisely, we would like to present the experience of homo islamicus which is characterized by a symbolic presence of God, by beneficence and mercy, and manifested by means of many aestheticized forms of activity/ṣināʿat, of wisdom present in personified organized actions, colours, sizes and proportions of both geometric figures and human figures and objects. Besides, to more accurately understand the primordial and contemporary meaning of the word ‘art’, it is necessary to distinguish the contemporary use and meaning of this term from its crucial meaning and sense, which has traditionally been named craft, skill or artistry. Unlike the generated westernization of term art to what is ars in old Latin or to what is in old Greek called τέχνη ([technê]; 'artistry of skill', 'craft', though meaning: the power of ‘creating’ a result achieved beforehand by consciously controlled and directed activities), Arabic terms preserve the original traditional meaning in the term fann with its possible activation which means artistry of qadar/ṣināʿat. Fann is exactly the artistry of technê (τέχνη), focused on the skill of homo islamicus and generally on the formal-methodological side of the field of qadar/ṣināʿat positioned in the foundation of productive reflective discourse as an integral part of the Islamic civilizational circle.

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