Muslim Ornaments Pdf

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Throughout history, Islamic Ornamentation was the most characteristic to identify Islamic architecture. It used in mosques and other Islamic buildings. Many studies were about the formation of Islamic art from pre-existing traditional elements and about the nature of the power which wrought all those various elements into a unique synthesis. Nobody will deny the unity of Islamic art, despite the differences of time and place. It's far too evident, whether one contemplates the mosque of Cordoba, the great schools of Samarkand or Al-Mustansiriya. It's like the same light shone forth from all these works of art. Islam does not prescribe any particular forms of art. It merely restricts the field of expression. Ideology of Islam depends on the fixed and variable principles. Fixed indicate to the main principles of Islam that could not be changed in place and time including the oneness of God, while the variable depends on human vision in different places through time. It's called the intellectual vision inherited in Islamic art. Islamic Ornamentation today is repeating the same forms, by which, it turns to a traditional heritage art. From this specific point the research problem started. Are we able to find different style of ornament that refers to Islamic Art? Islamic ideology in its original meaning is a faculty of timeless realities. Islamic art derives its beauty from wisdom. The aim of this study is to contextualize the concept and analyze the Islamic traditional ornamentation, focusing on the principles of Islamic ideology, which was behind the formation of a distinct identity and uniform architecture in Islamic cities and across time. Second step is about suggesting some of the Islamic architectural elements as new ornamental elements that have the same effect within the limit of Islamic ideology and principles, in order to present new ornamentation elements. Finally applying the new elements in models of artistic paintings as a practical application done by researcher to produce the new vision as a contemporary Islamic ornamentation.
Many regular shapes placed inside circular forms.
Symmetry in architecture of Al-Mustansiriya school, Iraq
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Arts and Design St udies www .iiste.org
ISSN 2224-6061 (Paper) ISSN 2225-059X (Online)
Architectural Elements in Islamic Ornamentation: New
Interior Design Dpt., Applied Sciences Private University, P .O. Box 166, Amman 1 1931 Jordan.
* E-mail of the corresponding author: j _shafiq@asu.edu.jo
Throughout history, Islamic Ornamentation was t he most characteristic to identify Islamic arc hitecture. It used in
mosques and other Islamic buildings. Many studies were about the f ormation of Islamic art f rom pre-existin g
traditional elements and about the nature of the power which wrought all those various elements into a uniq ue
synthesis. Nobody will deny t he unity of Islamic art, despite the differences of time and pl ace. It’s far too evident,
whether one contemplates t he mosque of Cordo ba, the great schools of Sa markand or Al- Mustans iriya. It’s like
the same light shone forth from all these works of art.
Islam does not prescribe a ny particular forms of art. It merely restricts the field of expression. Ideology of Islam
depends on the fixed and variable principles. Fixed indicate to the main principles of Islam that could not be
changed in place and time including the oneness of God, while the variable depends on human vision in different
places through time. It's called the intellect ual vision inherited in Islamic art.
Islamic Ornamentation today is re peating the same forms, b y which, it turns to a trad itional heritage art. Fro m
this specific point the research pro blem started.
Are we able to find different style of ornament that r efers to Islamic Art? Islamic ideology in its original meaning
is a faculty of timeless realities. Islamic art der ives its beauty from wisdom.
The aim o f this st udy is to contextualize the concept and analyze the Islamic traditional ornamentation, focusin g
on the principles of Islamic ideology, which was behind the formation of a distinct identity and uniform
architecture in Isla mic citie s a nd acro ss time. Second step is about suggesting some of the Islamic architectural
elements as new ornamental elements that have the sa me effect within the limit of Islamic ideology and
principles, in order to present new ornamentation elements. Finally applying the new elements in models of
artistic paintings as a practical applicatio n done by researcher to produce the new vision as a contemporar y
Keywords: Islamic Ornamentation, Traditional Islamic Art, Contemporary Art, Islamic Architecture.
By looking at the discernment at the extremely varied manifestations of I slamic art over vast expanses of sp ace
and ti me, the question arises as to the so urce of the unifying principles of this art. What is the origin of this art
and the nature of this unifying principle whose dazzling effect can hardly be denied?
There is the same feel ings and expressions within the same artistic and spiritual universe despite all the local
variations in material, structural techniques, etc.
Ornaments and the o rigin of Isla mic art depend on principles and ideology of Islam which brought this art. It’s
related to the world view of Islam itself, to the Islamic revelation whose radiatio ns is d irectly the sacred art of
Islam and indirectly the whole of Islamic ar t. The causal relation between the Islamic r evelation and Islamic art,
moreover, is borne out by the organic rapport between this art and Islamic worship. Between the contemplat ion
of God as recommended in the Quran and the contemplative nature of this art, between the remembrance of Go d
which is the final goal of all Islamic worship, and the role p layed by Isla mic art in the life of individual Muslims
and the co mmunity as a whole. This art could not perform such a spiritual function if it were not related in the
most intimate manner to both the form and co ntent of the Islamic revelation (Hossein, 19 87).
The creation of this artistic universe with its particular genius, distinct c haracteristics, and formal homogeneity
underlying distinctions of a cultural, geographical or tem poral n ature requires a cause, for no ef fect of such
immense dimensions can be considered as simple result of chance or the agglomeration of accidental historical
All previous studies and research condense on the Islamic orna ment itself b y focusing o n the st yle, type, linea ge
and color as a traditional art that belongs to the Islamic society long time ago. From this point the study problem
... Islamic ornaments involve many regular shapes placed inside circular forms, where the shapes inside the circular forms emerge as star-shaped polygons. The rhythmical repetition of circles produces different arrangements formed at the connection points, creating motifs with more circles and polygons [32] . Every ornament is based on a motif derived from the contemplation of divine unity, where the ornaments are placed as if they extend in four directions from the center: upward, downward, to the right, and to the left [32]. ...
... The rhythmical repetition of circles produces different arrangements formed at the connection points, creating motifs with more circles and polygons [32]. Every ornament is based on a motif derived from the contemplation of divine unity, where the ornaments are placed as if they extend in four directions from the center: upward, downward, to the right, and to the left [32] . ...
... Islamic geometric ornamental designs are based on the principles of symmetry and repetition [32] . Repetition is the most effective and important theme for geometric patterns, where ornamental designs generally generated by repeating square and triangle shapes [33]. ...
Ethnomathematics makes school mathematics more relevant and meaningful for students. The current research aims to study the effect of using ethnomathematics in the context of Islamic ornamentation on learning the topic of congruent triangles. To achieve this aim, 30 10th-grade students engaged in ethnomathematics by learning about congruent triangles using Islamic ornamentation. Data was gathered via (a) videotaping and transcribing students’ learning and (b) students answering two parallel questionnaires that included proof questions on the three congruence theorems. The students were required to answer one questionnaire before the learning process and one after it. The main results indicated that the students succeeded in constructing the concepts of congruence and congruent triangles via the ethnomathematics learning process. In addition, the students succeeded in arriving at and formulating the three congruence theorems. Moreover, findings obtained from the questionnaires indicated that the students improved their proving processes as a result of ethnomathematics-based learning. Furthermore, paired sample t-tests indicated significant differences between the students’ mean scores before and after the learning process.
... Hence, the Islamic art aesthetics is from the philosophical characteristics which reinforce and proliferate a shared feeling and expression within the same artistic and spiritual universe [29] . Butterworth (2000) states that spaces, and places are not only for people's everyday lives; they are embedded with deeper personal and cultural meaning and symbolise personal histories, relationships, people's values and sense of belonging [30]. ...
Studying the sensation and viewing angles towards the monument, which began to affect negatively on receiving the historical interaction and interruption of communication.
Much has been written about the formation of Islamic art from pre-existing traditional elements and about the nature of the power which wrought all those various elements into a unique synthesis. Nobody will deny the unity of Islamic art, either in time or in space; it is far too evident, whether one contemplates the mosque of Cordoba, the great school of Samarkand or Al-Mustansiriya. It's like ... [Show full abstract] the same light shone forth from all these works of art. Islam does not prescribe any particular forms of art. It merely restricts the field of expression, and restrictions are not creative in themselves. On the other hand, if one simply attributes the unity to religious feeling as one often does. However intense emotion will never be able to shape a whole world of forms into a harmony which is at the same time rich, unique, overwhelming and precise. There is something that evidently surpasses the mere power of emotion, which is necessarily vague and always fluctuating, which we call it the intellectual vision inherent in Islamic art. From this specific point the research problem started. Are we able to find different style of ornament that refers as an Islamic Art? Islamic ideology in its original meaning is a faculty of timeless realities. Islamic art derives its beauty from wisdom. This research aims to analyze the Islamic traditional ornamentation focusing on the principles of Islamic ideology. This ideology enabled to formulate a distinct identity and uniform architecture in Islamic cities and across time. Second step is about finding ornamental elements that have the same effect within the limit of Islamic ideology and principles, in order to get ornamentation by a contemporary artistic view and applying the new vision in models of artistic Paintings as a case study done by researcher. Finally compare the product as a contemporary Islamic ornament.
The study aimed to clarify the concept of type and style and to analyze the basic principles that influenced the formation of identity in the Arab Islamic Architecture and interior design. Through the use of the descriptive, analytical method in studying the intellectual and ideological bases and analyzing the relationship between Arab Muslim and (God, nature, man), with the reflection of each ... [Show full abstract] one on forming the constant type. The study then focused on the relationship between the diversity in style within the same spirit and the mechanism of variation in style to suit different conditions. The most important results of the study were that the type represents the essence of the fixed factors of Arab Muslim's thought and behavior, but the style reflects the changing appearance within the essence unity, which led to the continuation of identity in Arab Islamic Architecture and interior design despite the difference in time and place.
Contemporary scholars regularly made attempts to explore the iconography of the mosque and to reveal the symbolism of its planning and structural elements. One can notice the difference in tasks and approaches to research. Analysis of scientific publications shows that authors from Muslim countries accent primarily the "spiritual component" ignoring the architectural realities; at the same time ... [Show full abstract] many of European (and Russian) scientists routinely build on specific monuments, mistakenly following the practice of analyzing the temple architecture. Thus, one group of scientists explores the "idea of a mosque" in isolation from architecture, while the other studies concrete constructions ignoring their religious component. The lack of religious norms and the ability of mosque architecture to transform force the author of the article to raise the question: what is predetermined by the establishment of Islam in the building of a mosque as a religious object, and what should be perceived as an optional reflection of influences not related to religious practice? The article demonstrates that the entire architectural body of a mosque can be regarded as an interpretation of factors external to religious doctrines.
June 2020 · Test Engineering and Management
The Islamic architectural heritage is a rich heritage with multiple sources and resources both intellectually and materially. The intellectual aspect has contributed to supplying the Islamic architectural heritage with the unity factor despite the diversity of spatial and temporal data. Unification of God Almighty and the relationship of the servants in terms of submission to him and comply with ... [Show full abstract] his orders such as the most important intellectual source that contributed to the formation of Islamic architecture and arts. Mystic Thought is one of the most important intellectual resources in the Islamic heritage and the most influential on the artistic and architectural output in Islamic countries. The research attempts to investigate the impact of Mystic Thought on Islamic architectural output in Iraq in particular. This is done by studying the holy Kadhimiya threshold and analyzing it according to Sufi architectural concepts.
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