CC BY
9ART STUDIES
ТРАДИЦП ТА ОСОБЛИВОСТ1 ГЕОМЕТРИЧНОГО ОРНАМЕНТУ В 1СЛАМСЬКОМУ
МИСТЕЦТВ1
Аззаарi А.
астрант
Кшвський нацюнальний yHieepcumem технологш та дизайну, Кшв
TRADITIONS AND FEATURES OF GEOMETRICAL DECORATIVE PATTERN ARE IN ISLAM
ART
Azzaari A.
Graduate Student
Kiev National University of Technologies and Design, Kyiv
Анотащя
Мета статтi проаналiзувати особливосп юламського геометричного орнаменту як юторичного та сучасного мистецького явища, його формування, становлення, традицшш структурнi елементи. Методо-логiя. Застосовано загальнонауковi методи дослiдження, зокрема хронолопчний та юторико-компаратив-ний, а також образно -стилютичний, семантичний та теоретико-мистецтвознавчий аналiз. Результати. Проаналiзовано особливосп iсторичного розвитку геометричного орнаменту в кранах iсламу, його нацю-нально-юторичш, ментальнi, образно-художнi риси. Визнаний у свт як унiкальний витвiр мистецтва, ш-ламський геометричний орнамент за композицшним побудуванням складаеться iз простих елементiв (коло, квадрат, трикутник), що шляхом поеднань i повторiв за певною схемою-сггкою утворюють складний малюнок (шестикутник, восьмикутник, зiркоподiбний рапорт). У розмагтп його варiантiв втiлюеться ба-гатство художньо! культури iсламу. З'ясовано, що геометричний орнамент, який е проввдним декоратив-ним елементом на численних предметах, унаочнюе глибокий духовний змiст. Геометричний iсламський орнамент ввдображае тисячолiтню творчу практику, що стала традицшною на арабському Сходi. Водночас в сучасному свiтi мусульманськ1 орнаментальш традицп залишаються актуальними i виявляють можливо-стi реалiзацil набутого художнього досвiду арабських кра1н в нових творчих практиках, в тому числ^ у графiчному дизайнi. Наукова новизна полягае у з'ясуванш мюця та значення iсламського геометричного орнаменту в сучасних культурно-мистецьких процесах, з урахуванням його традицiйного естетичного, змь стовного, структурно-композицшного наповнення. Практичне значення. Запропоноване дослвдження ро-зширюе уявлення про можливостi застосування традицiй юламського орнаменту в сучасних творчих практиках. Результати можуть бути використаш у практицi дизайну.
Abstract
The article aim to analyze the features of Islamic geometric ornament as a historical and modern artistic phenomenon, its formation and formation traditional structural elements. Methodology. General scientific research methods are used, chronological and historical-comparative, as well as image-stylistic, semantic, and theoretical-artistic analysis. Results. The peculiarities of the historical development of geometric ornament in the countries of Islam, its national-historical, mental, figurative and artistic features are analyzed. Recognized in the world as a unique artistic phenomenon, the Islamic geometric ornament consists of simple elements (circle, square, triangle), which by combinations and repetitions according to a certain grid scheme forms a complex pattern (hexagon, octagon, star-shaped report). The variety of its variants embodies the richness of the artistic culture of Islam. It has been found that geometric ornament, which is the leading decorative element on many objects, reveals a deep spiritual meaning. The geometric Islamic ornament reflects the millennial creative practice that has become traditional in the Arab East. At the same time, in the modern world, Muslim ornamental traditions remain relevant and reveal the possibilities of implementing the acquired artistic experience of Arab countries in new creative practices, including graphic design. Scientific novelty. Is to clarify the place and significance of Islamic geometric ornament in modern cultural and artistic processes, considering its traditional aesthetic, meaningful, structural, and compositional content. Practical significance. The proposed study expands the understanding of the possibilities of applying the traditions of Islamic ornament in modern creative practices. The results can be used in design practice.
Ключовi слова: юламська культура, дизайн, творча практика, композицшна побудова, елементи орнаменту.
Keywords. Islamic culture; design; creative practice; compositional construction; elements of ornament.
Introduction
Geometric ornament belongs to the original phenomena of Islamic art culture. Being one of the oldest types of ornamentation, it is part of the decor system,
which is characterized by a specific concrete form, content and aesthetics. Geometric ornament has been used for centuries to decorate the exterior and interior, household items, weapons, tools, textiles. Nowadays,
this type of decor remains one of the most popular: it is quite easy to use and very effective from an aesthetic point of view, which makes it relevant for both classical arts and the modern, in particular, design. This is evidenced by a number of international projects for the construction and restoration of religious and memorial buildings in the East and in Europe, where a significant place was given to ornamental decor, such as works in the mosque Masjid al-Haram ( The Great Mosque, Mecca), Al Masjid an Nabawi ( the Prophet's Mosque), The tomb of Sheikh Hujwiri (Lahore), the Ismaili Center in London.
Analysis of previous studies. The history of geometric ornament, its artistic aspects have been the subject of study for the last two centuries. One of the first publications to collect information on geometric patterns was the encyclopedia of Henry Shaw [10], which contained information about the ornaments and ornamental decor available at the time of writing, the first half of the nineteenth century. Even though today the content of this book seems quite limited, it remains interesting for modern researchers as a primary source.
The interest of scientists in geometric ornament and its properties is also revealed by modern publications, in particular, a collection of materials of the international conference on the topic of geometric art from early history to the present [9]. Focused mainly on archeological monuments, the collection does not contain any articles related to the art of Islam. Thus, the Islamic geometric ornament remained outside the scope of this conference.
At the same time, the specificity of geometric ornament, which exists in Islamic countries, is a scientific problem to which the works of famous researchers. considered, in particular, the ornament of Islamic antiquities, architectural decor, decor of Islamic documents, objects of worship and everyday life, J.Bonner [7; 8], M.Piotrovsky [4, c. 13-15; 5], A.Hallab [5], H.A.Al Sa-ker [2].
Thus, Jay Bonner, who was educated in London and later became a participant in a lot of international architectural and design projects, is the author of lots of works on Islamic ornament, including fundamental research in the form of a monograph [7]. He specializes in architectural decor, which he devoted his main attention to architectural decor, which, in particular, is dedicated to the publication. In it, D.Bonner revealed the specifics of polygonal technique, which is the main method of masters of the past in creating Islamic geometric patterns. considering that this technique is lost, the researcher restores it to historical records, which allows to restore this tradition, including in modern design. The historical explorations to which the author refers prove the formative role in the Islamic decorative art of geometry. The author also raises the question of the classification of Islamic patterns.
The collection of fundamental works on the culture of the East, including Arab-Muslim art culture, belong to the director of the State Hermitage, M.Piotrovsky. In the publication "On Muslim art", he in a separate chapter of the book considers the geometric decorative ornament, religious connotations, aesthetic and functional properties [4, p. 35-50].
The authors also addressed the issues of Islamic geometric ornament A.Hallab, H.A.Al Saker which includes dissertation research on Islamic art. In the first case, the aesthetic qualities of the ornament of Islamic countries were considered [5], in the second - the ornamental art of the Arabs of the Middle Ages [2], where the geometric decor was considered not specifically, but in the context of other ornaments.
Thus, oriental, in particular Islamic geometric ornament, remains insufficiently studied. For example, the search for new forms of use and at the same time a new aesthetics of traditional ornament, related to the demands of modern design, is relevant. Such this aspect opens new possibilities of geometric ornament as a source for the development of modern design. In this sense, the conditions of its formation, substantive features, compositional components, including religious and cultural aspects, are far from fully covered. Their research actualizes the study of this phenomenon for the history of culture and art, as well as for the theory and practice of design.
Problem Statement. In the practice of graphic design, modern authors turn to a variety of ideas that find their figurative, ideological and stylistic solution. At the same time, the modern demand for the organization and design of the design solution involves recourse to various sources, among which a significant place belongs to national cultures. Its analysis and multi-layered interpretation often require the designer to understand the nature of a particular phenomenon, its origins, semantic, aesthetic, historical and cultural value. In this sense, the Islamic geometric ornament is a rich source of ideas, because it is the bearer of religious, everyday customs, national historical, artistic and aesthetic traditions that can be used in design. The main objectives of this study are to analyze the Islamic geometric ornament, its history, origin, semantic specificity, as a basis for the modern creative process in the field of fine arts and design.
The aim of the study- to identify the role and place of Islamic geometric ornament in the artistic and design process as a traditional type of creative practice with a deep history, endowed with high aesthetic and artistic qualities. To achieve this goal in the direction of the study the task was to reveal aspects of geometric ornament in Islamic countries as a phenomenon that embodies the religious national-historical and figurative-artistic load; to consider aspects of the historical condition-ality of the origin and formation of the geometric ornament-goal; to analyze the possibilities of realization of constructing geometric ornament in modern creative design practice.
Results
Objects decorated with geometric ornaments have been known since Paleolithic times [2, p. 25-26]. In the east, its best examples appeared during the so-called Islamic Renaissance - the historical period of development of culture and art of the Middle East during the Umayyads of the VII-VIII centuries. Through the Umayyad period, Islamic art was formed, which was influenced by the classical cultures of the Mediterranean and in the process of adaptation of which a new style of artistic expression appeared - geometric Arab-
Islamic ornament. It was his masterpieces that adorned the Umayyad mosques in Damascus, which was their capital (Fig. 1).
Fig. 1. The Great Mosque of the Umayyads.
Among the buildings outside Damascus, one of built. The Dome of the Rock was decorated with geo-
the most famous is the building of the Dome of the metric ornaments both in the interior and outside, in the
Rock in Jerusalem, or Masjit Kubbat al-Sahra, it is a exterior, including windows and doors (Fig. 2). Muslim sanctuary on the foundation stone of the Tem-
Fig. 2. Dome of the Rock in Jerusalem. geometric ornament, Jerusalem, Palestine, 2020, catalog by Yusuf al-
Natsheh
Islamic geometric ornament continued to develop through the transition period of Islamic art in the days of the Abbasids between the IX-X centuries. In the new capital of Baghdad, and then in Samarra, where the formation of Islamic art in general and geometric ornament in particular. The architecture has a special style
and advanced technologies, including new methods of carving and engraving on surfaces in the form of abstract geometric shapes. The geometric ornament was painted with white paint, which was applied to the surface of porcelain and ceramics, thus adding more aesthetics than before (Fig. 3) [6, p. 1-8].
Fig. 3. Bowl The foot bears an Arabic inscription that reads baraka (blessing) in kufic script, Attributed to Iraq, era of the Abbasids, IX-X centuries; Fragment of a photo from the archive of the Metropolitan Museum, New
York, USA
Thus, in the historical context, the geometric pattern arose and developed under the influence of political factors, including the conquest of different territories and peoples by Muslims. As an art form, geometric ornament absorbed the traditions of the cultures of neighboring and conquered peoples, among which were both Muslim and non-Muslim traditions: Greek, Byzantine, Sassanid and others. Geometry has gained primacy in Eastern art due to the fact that the image of living beings contradicts the canons of Islam. Developing over the centuries, Islamic geometric ornament reflected primarily the foundations and roots of Islam, it was inspired by religion and tradition. The image in such an ornament lost its value and became part of the pattern. This property has led to the principles of Islamic art, which are completely different, along with traditional European art, filled with images of people, animals and nature. Islam has transformed artistic techniques of depicting animals into complex geometric
patterns and perfect linear structures [1, p. 27-30]. The ban on portraits of people and images of animals has led to the great attention of the Muslim artist to the decoration, as well as to the skill of its execution, which was passed down from generation to generation, the school of skill. The mastery of decor, which is the basis of geometric ornament in Islamic countries, testifies to the high spiritual and intellectual level of the masters. Virtuosos of Islamic geometric ornament has a professional specialty called Muzkhryv. Al Muzkhryv is created by real masterpieces of decorative art, which are perfectly mastered. This is evidenced by illuminated documents, although the background for their implementation can be the walls of gates and doors of buildings and windows, and mihrabs of mosques, as well as patterns of fabrics and carpets, metal products, wood, ivory (Fig. 4), stained glass works, etc. (Fig. 5).
Fig. 4. Panel Wood (fig); mosaic with bone and four different types of wood, Attributed to probably Egypt second half 8th century;Fragment of a photo from the archive of the Metropolitan Museum, New York, USA
The Muslim religion invested in the ornament its inherent sense of beauty. The key techniques of Muslim artists arose from classical traditions. They complicated and detailed the elements for the new form of ornament, the characteristic feature of which was the value of
unity and order. The significant intellectual contribution of mathematicians, astronomers and Islamic scientists was of great importance for the creation of the ornament model [8]. Over time, artists developed unique decorative techniques and shapes based on classical designs that distinguished their work from others.
Fig. 5. Mosaic window of the prayer
Mathematical calculations and geometric constructions had a significant place in the creation of the ornament because the decor of the geometric ornament is based on a combination of geometric figures. Along with simple elements and shapes - circle, triangle, rectangle - such patterns included straight and curved lines. One of the common elements of the ornament
was a rhombus, which is the basis of the ornament as a whole. It includes, for example, a rhombo-meandering geometric element, which is considered a structurant.
Non-pictorial, abstract Arabic geometric ornament went down in history as (Arabic - "knot"). Its complex geometric pattern, built in the form of various geometric shapes - stars, rectangles, rhombuses, and
other similar shapes, is used in the decoration of mosques and other buildings, in contrast to the ornament to decorate books, clothes, utensils and other household items where used an Islam ornament is a pattern that combines a winding stem and a plant-style spiral. The artistic side of the ornament directly depends on where, on what subject, it will be performed.
The design of the oriental decor was determined by a tightly connected ornamental grid. In particular, the basis of the (girih tiles) ornament is a circle divided into parts. In this way, all other shapes are constructed - triangle, rectangle, polygon and others. This composition allows you to create symmetrical motifs.
Geometric ornament is always mathematically correct and can be divided into equal parts. The peculiarity of the Arabic grass is a certain deviation from such precision that gives the artist space for creativity. In general, the creation of Islamic ornament consists of the following stages: 1. selection of a specific reporting system; 2. construction of individual motives; 3. placing them on the grid; 4. the choice of method of execution in accordance with the material. A feature of the Arabic pattern is also the ability to obtain very complex geometric systems for only one reason. The ornament marks a great variety of colors. It has a deep meaning, due to the use of signs and symbols that make up the pattern. Geometric ornament symbolically embodies the ideas of unlimited and diverse beauty of the world. Ornamentation always has a sacred semantic language. Geometric ornament is easily combined with other types of ornament, such as floral ornamentation, with calligraphic inscriptions, etc.
Ornament- is a special kind of art, which is completely owned only by specialists. Muslims begin to master the ornament from a young age and the skills and abilities of its creation are passed directly from teacher to student in the learning process. Already in the XVIII century. Islamic artists were able to harmoniously combine twelve angular stars with pentagonal ones. They skillfully deviated from the strictly mathematical construction and arrangement of motifs in favor of aesthetically perfect composition. Breaking the grid, they used geometrically irregular shapes, or added new ones. As a result, there were several varieties of Arabic ornaments. The style of Islamic ornament follows the rhythm of classical Arabic poetry and music, which corresponds to the ideas of Muslim theologians about the fabric of the universe, which will exist indefinitely. The religious orientation of the ornament gives it a special cultural significance in Islamic society. The lines of the ornament can be "stopped" in a certain rhythm or continued without violating the integrity of the pattern. The ornament easily adapts to any surface and any shape and size, it is able to receive any "load" from a decorative composition. The logic of creating its elements embodies its limitless possibilities and creative potential.
Conclusions
Geometric ornaments in Islamic countries reflect an important part of their history and culture. It arose in the conditions of formation and prosperity of the Arab-Muslim world and became one of the essential expressions of the Islamic mentality. Geometric ornament acts as the main decorative element on numerous objects, has its own spiritual meaning, which gives it a high artistic value. The geometric Islamic ornament reflects
the rich creative practice that has been traditional in the Arab East for centuries. In structure, it consists of simple shapes, circles and squares, as well as their combinations and repetitions in "nests" and "groups" according to a certain grid scheme. Most grids are hexagons, octagons, and star shapes derived from squares and triangles inscribed in a circle. Complex patterns include different shapes having different locations. Their options and composition are infinitely diverse. Islamic geometric ornament embodies highly artistic features that have gained worldwide recognition as a unique art form. In modern conditions, Islamic geometric ornament is a source of borrowing for various creative practices, including design.
Funding
The author received no financial support for the research, authorship and publication of this article.
Conflict of interest
The author declare that there is no conflict of interests.
References
1. Azzaari, A. (2020). Islams'ka kalihrafiia: istoriia ta suchasna tvorcha praktyka. [Islamic calligraphy: history and modern creative practice]. Art and Design, 2, 27-30. [in Ukrainian].
2. Al Saker, H.A. (1984). Ornamentalnoye is-kusstvo arabov periods srednovekovie. [Ornamental art of the Arabs of the Middle Ages]. Extended abstract of candidate's thesis. Moscow. URL: https://www.disser-cat.com/content/ornamentalnoe-iskusstvo-arabov-peri-oda-srednevekovya (Last accessed: 04.10.2020). [in Russian].
3. Mykhailova, R. (2001). Symvol u pervisnomu mystetstvi. Symvolizm u mystetstvi ta arkhitekturi.[Symbol in primitive art. Symbolism in art and architecture]. Art and Architecture, Vol. 2, P. 2526 [in Ukrainian].
4. Piotrovsky, M. (2000). Zemnoye iskusstvo -Nebesnaya krasota. Iskusstvo islama [Earthly art -Heavenly beauty. The art of islam]. Petersburg. 93. URL: https:// www.twirpx.com/file/2892080/ (Last accessed: 04.10.2020). [in Russian].
5. Hallab, A. (1999). Aesthetic foundations of Islamic ornament. [Aesthetic bases of Islamic ornament]. Extended abstract of candidate's thesis. Moscow. URL: https://www.dissercat.com/content/ esteticheskie-os-novy-islamskogo-ornamenta (Last accessed: 04.10.2020). [in Russian].
6. Bonner, J. (2017). The Historical Antecedents, Initial Development, Maturity, and Dissemination of Islamic Geometric Patterns, Santa Fe, 152. [in English].
7. Bonner, J. (2017). Islamic Geometric Patterns. Springer, 616. [in English].
8. Metropolitan museum of art. URL: https://www.met-
museum.org/toah/hd/geom/hd_geom.html (Last accessed: 07.08.2020). [in English].
9. IV colloque franco-ukrainien d'archéologie "L'Art geometrique de la prehistoire a nos jours". Kyiv, avril. URL: https://institutfrancais-ukraine.com/ pro-grammation/colloque-archeologie (Last accessed: 25.08.2020). [in English].
10. Shaw, H. (2006). The Encyclopaedie of Ornament. London: W. Pickering, 146. [in English].
