This paper discusses geometric proportions which serve as a design tool, especially for Islamic pattern design. The key role of geometry in Islamic patterns is discussed with relation to proportions which act as the underlying structure of the design process. Evaluations based on spatial structure and esthetic criteria are integrated into the conceptual islamic art and geometric design pdf of the design process.
This paper analyzes geometric principles and design features of traditional Islamic patterns, involving geometric proportion analysis. It also describes the syntheses of Islamic patterns from the perspectives of Islamic cosmology, philosophy and metaphysics of geometry, which can be seen as following a pre-established principle of geometric and proportional design with high accuracy and great precision. Furthermore, the underlying relationship between cosmology and geometry is manifested in Islamic patterns where geometry acts as the vocabulary underpinning the pattern language. These findings support the argument that geometry was independently discovered and applied by Islamic culture as a universal language, constituting one of the most important multicultural symbols in design. Peer review under responsibility of Southeast University.
2012 Higher Education Press Limited Company. Production and hosting by Elsevier B. To this end, a detailed survey is conducted on the decorative patterns of 100 surviving buildings in the Muslim architectural world. The patterns are analyzed and chronologically organized to determine the earliest surviving examples of these adorable ornaments. The origins and radical artistic movements throughout the history of IGPs are identified.
With consideration for regional impact, this study depicts the evolution of IGPs, from the early stages to the late 18th century. 2013 Higher Education Press Limited Company. Arabesques are a fundamental element of Islamic art but they develop what was already a long tradition by the coming of Islam. The past and current usage of the term in respect of European art can only be described as confused and inconsistent. Islamic world has not left us documentation of their intentions in using the decorative motifs they did.
At the popular level such theories often appear uninformed as to the wider context of the arabesque. Byzantine artists in their usual style. In the process of development the plant forms became increasing simplified and stylized. Islamic capital between 836 and 892, provide examples of three styles, Styles A, B, and C, though more than one of these may appear on the same wall, and their chronological sequence is not certain. Though the broad outline of the process is generally agreed, there is a considerable diversity of views held by specialist scholars on detailed issues concerning the development, categorization and meaning of the arabesque. Near Eastern civilizations through the classical world to the Islamic arabesque. Islamic form, though not without precedent.