عنوان المقالة:المعالجات التشكيلية التى قام عليها الفن الإسلامى لتحقيق الحركة The plastic treatments on which Islamic art was based to achieve the movement
إن النظم الإيقاعية فى الفن الإسلامى الهندسى قد تحققت عن تصميمات تحتوى على مفردات هندسية
الملخص الانجليزي
The rhythmic systems in Islamic engineering art have been achieved by designs that
contain geometric vocabulary in a series of simple or complex relationships such as
seam, overlap, interlacing and exchange, resulting in systems that suggest an illusory
movement of the eye, this movement has a character of continuity in the visual
perception of those works, and the student will present Various examples of these
relationships can influence the nature of the perceived movement in Islamic art. ASeam: It is the relationship that arises from the meeting of two shapes in the so-called
position of the seam, and it may be a point, an angle, or a full side, which represents a
group of seams that achieve different types of movement. b- Superposition: It is the
relationship that is based on hiding one of the shapes for a part of another shape,
whether these shapes are different or similar. C- Interlacing: It is a term used where
the lines take paths similar to braids of hair or braided threads, and the rule in making
interwoven lines is one, no matter how small or large the number of their paths,
where the first line starts from the bottom of the left side and then passes hidden
under the second line that started from the top of the right side Thus, the two lines
alternate in appearance and disappearance to the end of the lines. D- The exchange
between the figure and the ground: It is the relationship that is based on the equality
of the forces of form and the ground so that it is difficult to distinguish between them,
and each of them exchanges appearance as a form once and as a ground again in the
perceptual field, and this depends on the value of attention to the viewer It can also
identify the possible types of movement of the design. Through the depictions of
Islamic art, we note two trends: • The trend based on geometric shapes: in which the
Muslim artist avoids expressing the themes of life because of his connection to places
of worship, where all of them are based on abstract geometric expression and the
relationship appears in several types: • A relationship that unifies the surface between
"shape and floor" and looks This relationship is as in the previous artwork, and it
appears in this work that the Muslim artist is a repetitive system of a single unit, so
that this unit becomes in an infinite steadily and growth that occupies the surface of
the artwork, and it became difficult to distinguish what was form of it and what was
ground. The interweaving of the “shape and the floor: It appears in the artwork,
where the shapes and the floors seem to intertwine in lines, converging in their
extension and intersecting when changing the directions of each of them.” He has the
freedom to express the material existence in which he lives, and the new addition that
the Islamic photographer broadcasts appears in this art, which is the relationship
based on combining different times and places in one space, where the floor
represents the place and the form together, the event that represents time. He creates
his own relationship to bring out his forms that combine perspective and flat solutions
at the same time, and combine semi-perspective solutions in the relationship of form
with the ground, "a kind of awareness of the relationships that make up the subject,
characterized by the arts of the East, and it is a mental awareness corresponding to
visual perception, and it is called - sometimes - The spiritual perspective and
sometimes the innate vision.” One of the best models of Islamic photography, in
which several methods and high-level aesthetic values come, is a stylized “Accident
in the Mosque” by Sheikh Zadeh, the photographer Barziani, the creator of the
miniature “A. stylizedMiniature"In which he was also concerned with showing all the
distinctive details of his subject without ambiguity or distortion in the forms by
deceiving the spatial depth.
أ.د/عصام محمد محفوظ | Prof.Dr.Essam Mohamed Mahfouz | 21472