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This article re-examines the established findings about Umayyad art as a transitional production essentially anchored in the Western and Eastern Late Antique traditions that have inspired it. It argues instead that the Umayyads brought about an aesthetic revolution laying out the foundations of what has become known as “Islamic ornament,” a predominantly aniconic art form. An epistemological shift from art history to critical inquiry allows us to show that, beyond the adaptive borrowing of pre-existing forms, the Umayyads redefined the art’s condition of meaning based on an unprecedented attitude to images and visual discourse informed by Islamic ontotheology and logocentric metaphysics.

Aporia in Umayyad Art or the Degree Zero of the Visual Forms’ Meaning in Early Islam