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The current paper presents an artistic analysis based on the visual features for one of the most significant stone memorial Stele of \"Naram-Sin\" . The Victory Stele was created to commemorate Naram-Sin\"s victory over Satuni king of ,,Lullubi\", a nomadic tribe. The paper discusses the importance of the Stele as an important historical record in terms of artistic features where the artist deliberately depicts landscape as well as the embodiment of the victorious Akkadian king. It is known that the representation of the concept of divinity differed from civilization to another, but the paper highlights the way in which Akkadian artist expresses the concept of the power of divinity and its relation to the power of kingship in the memorial Stele of King Naram-Sin. The current paper investigates the distinctive and fundamental role of the artistic elements of the divinity power collaborating with the royal one, in the victory over the enemies. This is reflected in many artistic manifestations that illustrate the concept of divinity in an important reference from the artist to its importance of this belief in political and military life, which was also associated with the appearance and the body of the king and his performance. All the artistic manifestations reflect the role of the goddess\" blessing for the victorious king \"Naram Sin\". The paper also analyzes the methodology of the Acadian artist in illustrating the nature. It is clear how the artist portrays the details of the nature and its vocabulary, which replaced any built environments or architectural details that may distinguish the battle location. These landscape details were useful in analyzing the nature of the geographical features of the city. The present paper stresses the importance of analysis of the memorial Stele, as the era of the time was the most important beginnings to portray the landscape in the Akkadian art.

Visual arts represented Hajj pilgrimage practices throughout history with diverse artistic materials across the Islamic communities, reflecting its deepened spiritual and communal significance. Rural Egyptian societies, especially in Upper Egypt, represent a vibrant artistic insights into their local cultural expressions of al-Hajj. Despite the richness of their symbolic and social meanings, these Egyptian Hajj mural representations, and their contributions of our local, self-educated local artists they remain understudied in the scholar landscape. drawing on a personal reading in the visual traditions of art in rural Egypt and focusing on the mural artwork of Eid Al-Salwaway, a self-taught muralist from Kom Ombo, Aswan, this research examines how these mural paintings articulate spiritual devotion, communal values, and local Islamic identities. The research will employe quantitative visual and cultural analysis methodologies to explore the recurring motifs, symbolic narratives and stylistic characteristics extraordinary to rural Egyptian murals. The research will compare these modern murals to historical representations of al Hajj throughout different manuscripts miniatures and paintings from diverse Islamic regions, the study positions the local Egyptian artistic practices within broader Islamic visual culture. The findings of the study illustrate that Hajj murals play as powerful tools for enrichment communal identity, introspective deep-seated cultural narratives, religious beliefs, and local artistic traditions. This research subsidizes to broader conversations within the Islamic art studies and visual anthropology, promoting how artistic representations mediate community practices and cultural identity formation in rural Egyptian contexts.

This paper examines the influence of the state, particularly under King Akhenaten, on Egyptian decorative arts at Tel el-Amarna, highlighting this period as a turning point in ancient Egyptian art due to profound religious and political transformations. The author explains that Akhenaten's religious revolution, centered on the exclusive worship of the Aten, directly shaped artistic and architectural production, breaking away from the rigid conventions of traditional Egyptian art. Archaeological evidence from Akhenaten's Great Palace at Amarna reveals decorated floors and walls featuring naturalistic motifs such as ponds, fish, birds, and plants, alongside depictions of foreign captives placed beneath the king's feet-symbols of both natural abundance and royal power rooted in divine authority. The study underscores that Amarna decorative art conveyed a dual message: celebrating the richness of nature in the new capital while simultaneously affirming the king's dominance. It also discusses the stylistic innovations of Amarna art, characterized by greater fluidity, realism, and dynamism compared to the static, idealized forms of earlier Egyptian art. The study concludes that decorative arts in Tel el-Amarna were not autonomous artistic expressions but direct reflections of state ideology, intertwining art, politics, and religion in ancient Egypt. Abstract Written by Dar AlMandumh, 2025, Using AI

The Landscape and buildings around us play an important role in our perception the environment around us. Landscape and its components form the background for all human daily activities, and are the space in which people's practices and interactions take place. People practices are considerable seen as an indicator of people's identity. The construction of public memories and identity through the materiality of landscape and architecture have been the focus of substantial recent research, provoking discussion from both anthropological and archaeological perspectives. during last few decades, several Arab countries have been experiencing remarkable development in urban expansion, in particular, the Gulf countries. It is unmistakable to notice western trends in architecture style. Many outlandish architecture started to be landmarks for traditional Gulf cities. These signs would construct alien cumulative memories and would have a negative effect on local identity. The current paper will discuss the role of landscape and buildings, as affective material participants in the expression of authenticity. Taking Cairo, the capital of Egypt, as the first example for a prominent Arab city to be discussed, where several vivid historical symbols were invested to inspire inhabitants. The second example is Doha, the capital of Qatar, as a different example for modern gulf community where a developed vision was set to expand the global concepts of heritage and culture in the region. This paper will discuss the power of political vision and its role in maintaining local memories, and therefore preserving the national identity. The paper will examine how heritage can be manipulated in order to reform the public identity.

This study provides an in-depth analysis of the aesthetical aspects of monumentality in Mamluk architecture, with a particular focus on the Sultan Hassan Complex in Cairo as a representative case study. The research begins by situating Mamluk architecture within its historical and political context, emphasizing that architectural grandeur was not merely an aesthetic preference but a deliberate strategy to project political legitimacy and religious authority. Monumentality is examined through its architectural and artistic manifestations, including the excessive height of façades, the massive use of stone blocks, the vast expanses of courtyards, and the monumental scale of entrances and iwans. These features are shown to function not only as structural choices but also as symbolic elements, signifying divine grandeur and the sultan's capacity to protect religion and society. The paper presents a detailed architectural study of the Sultan Hassan Complex, analyzing its overall spatial composition, the arrangement of its main architectural components, and the ornamental strategies that enhanced its sense of magnificence. The location of the complex at the foot of the Citadel is highlighted as a strategic decision, making it a highly visible landmark dominating Cairo's urban landscape. The research also explores the interaction between aesthetics and functionality, as the complex combined spaces for worship, education, and residence, thus integrating monumentality into the lived social and religious practices of the time. The study concludes that monumentality in Mamluk architecture, exemplified by the Sultan Hassan Complex, represents a synthesis of aesthetic, political, and symbolic dimensions, establishing architecture as a medium for conveying a unified visual discourse of sovereignty and faith. Abstract Written by Dar AlMandumh, 2025, Using AI

Several cities in Islamic countries had enjoyed by the affluence of aesthetic features. Islam as a religion had the ability to change the ideology of its adherents. Hence, the urban of the Muslims' cities was massively influenced by the religious needs and the Islamic political power and it adopted the Islamic conceptions. Islamic jurisprudence had an important role to identify and modify both the individuals' rights and duties in developing their cities. Different types of architecture buildings and decoration were implemented to function in the cities' urbanism contexts. Though, a spiritual, unwritten agreement for the Islamic aesthetic conceptions, was framing the identity in these cities, and generating a consolidate identity for the image of these cities. However, the current image of the contemporary Islamic cities had been dramatically altered. The scene of many contemporary Arab cities represents substantial changes resulted from several reasons. The fact that the present meager of the city image, is lacking to the meaning of \"image of the city\". The metamorphoses guise of the existing cities is a serious question, where is no clear genuine identity. Therefore, these massive changes would affect the social affiliations of the upcoming generations. Cities are always the most productive areas, where society members aim to find better jobs and wealth opportunities. Citizens are considered as a focal component that helps in draw the composition of the city's image. However, they are struggling to survive inside this incommensurate image. The current paper is investigating the Islamic aesthetic approach, that had been implemented in both the architecture and decoration in Islamic cities. Subsequently, the paper will discuss the present image of cities in two different Arab, Islamic countries: Cairo and Doha. Since the paper argues that, although these cities are considered as Islamic cities, but each represents a different image for the city. The paper will discuss the different reasons and the outcomes for marginalizing the inherited and local identities on both; the cities' scene and their users.

This research will explore the different sectors (madhhabs) of Islam. It investigates in depth how the architecture had been aspired and changed due to Islamic sect. The Fatimid power had been manifested through many practices. Architecture, in particular, was massively developed. This research inspects the relationship between - Islamic madhhab as a motivation in generating new types of architecture in the Cairo. The research will study the main changes, influences and impacts of the transformation in Islamic sectarian in Egypt during the Fatimid period, and it will measure how architecture and the community identity had been influenced and changed according to the religious transformation. The research will study the combination between the socio-cultural and built environment factors that had a great impact in shaping the identity in Sunni Egypt between the 10th and the 12th century.