Problem statement: Islamic philosophy and art theoreticians, such as Burckhardt, considered Islamic art as abstract since it presents divine mysteries in Eastern art through symbolization. Hence, traditional art is sacred art with an abstract model of expression that avoids figurative and naturalistic representation. On the other hand, in Europe during the 20th century, Kandinsky started a movement in the visual arts to discover the visual features beyond the visual-narrative realm of the real world. They believed that painting, like music, should set itself free from the boundaries of mimesis or imitation of nature and narratives and influence its audience merely through forms and colors. Both of these attitudes have their theoretical foundations and reasons that are different from each other. The present study seeks to answer the following questions: What is the meaning, function, and characteristics of the word “abstraction” in both the abovementioned perspectives? What are the concepts of traditionalists and Western art critics from the term “abstraction” and how are they related to each other?
Research method: This basic research used a descriptive-analytical method and first attempted to find the exact meaning of the word “abstraction”. Afterward, it examined and compared the characteristics of Islamic art from the traditionalist thinkers’ points of view and the concept of “abstraction” in Western artists’ opinions.
Research objective: This study discusses art and stylistics in the theoretical field of art research and can be effective in the development of discussions on “the nature of art”.
Conclusion: There are similarities and differences in the use of the word “abstraction” in Islamic and Western art. In both of them, the artist and the audience are detached from the material and objective world. Both of these perspectives try to present something beyond what is visible and for this reason, the artists try to employ mysteries and symbols to present their artworks.