Arch. Brunilda Basha
As mentioned above, Islamic Art and
Islamic Architecture is created on the basis of the essential harmonies of
nature, along with various symbolic meanings and theories of perfect
proportions. Repetitive patterns are a symbol of the idea of the infinite and
timeless, infinitely expandable; symbol from the inner dimension of Islam on
the importance of unity. Depending on this, Muslim artists developed certain
decoration techniques and elements, which reflected the universal message and
spirit of that faith. The purpose of each aesthetic element was in service of
the connection between the Creator, the environment and Man. Among the
traditional elements and forms of Islamic decoration and embellishment we can
list: Geometry, Calligraphy, florals (plant motifs), arabesques, mukarnas,
figures, light and water.
Geometry
The geometry and proportion were
obvious features of Islamic arts. They have been used since its inception to
create unique geometric shapes and have served as the basic structure of the
Islamic design process. Hasan Fathy says that the science of “sacred” geometry
aims to create a space in complete physical/environmental harmony, which
reflects the Divine concept of harmony of humanity and it is a means to display
the way of life according to the Divine faith, the perception of the world and
the rational thought of life. It is worth noting that the application of
geometry in Islamic art was a perfect choice, given that in Islam the painting
of life figures, animals, people or even sculptures of living beings is
forbidden. So, playing and manipulating geometric figures in the right
proportions, creating such abstract and endless mosaics, was innovative and
creative. Their application took place in the exterior facade, in the interior
spaces, in mashrabiyyat, in the windows, ceiling and wall decoration, in the
flooring, in the cladding of the minarets, in the entrance gates (iuanet), as
well as in the interior decoration of furnitures; whether shelves or pulpits.
“Muslim artists aimed to stimulate
the ends of the human mind by stylizing and creating endless patterns. Thus,
the user of a given space is not merely a mere observer of certain forms, but
he floats through his strong connection with the cosmos and nature, allowing
the mind to travel to infinity and to have the opportunity to meditate on the
greatness of the Creator.
Calligraphy
Calligraphy is considered as one of
the most important and essential elements of Islamic arts. Almost all buildings
have some kind of surface inscription in stone, mortar, marble, mosaic or
painting. From Spain to China, Islamic architecture and calligraphy are
inevitably intertwined. Mosques, tekkes, mausoleums, libraries, and even baths
or market places, hold masterpieces of calligraphy. It is an element which has
been present both in ancient times and today. Through calligraphy was tried to
combine art with spiritual meaning and aesthetic beauty. So, a message was
conveyed through words and letters. At the same time, that word was used by the
artist as a tool and decorative element of the facade where it was applied. The
inscription can be a verse from the Qur’an, lines of poetry, or names and
dates. In many cases it stands alone, in other cases it becomes part of a whole
composition with florals in different reliefs. Its “sanctity” lays in the fact
that it was first and foremost the language of the Qur’an. Over the centuries,
calligraphy evolved and appeared in different styles and forms such as that of
Kufi, Thuluth, or Divan, developed in Ottoman period and had a success not only
in the Arab world, but also beyond. Due to the elegance and aesthetic values
of the early 14th century, some Italian paintings present a delicate, fluent
script, which at first glance seems to be Arabic.
Muqarnas
Muqarnas is a three-dimensional
decoration of Islamic architecture. The dome at Muqarnas is a completely
Islamic creation, unprecedented in any other civilization. The Muqarna arches
were among the characteristic features of medieval Islamic architecture from
Iran to Spain. Muqarnas were and still are used in domes, niches and arches. In
each case, the modulus and depth of the mukarnas composition is different and
adapts to the size of the area where applied or to the intended purpose. In the
ceilings, it is used purely for architectural reasons, or at least, to create a
moving illusion which culminates in a smaller dome. Muqarnas is at once a
linear system and a mass organization. It is a ceiling treatment like the stair
structure until it reaches the flat plane. Each side intersects with the other,
creating a 90 degree angle or a 45 degree angle, their sum or a combination of
both. The two sides, together with their roof, create a cell. Adjacent cells,
which have their bases on the same surface parallel to the horizon, are called
a layer. The base size of the largest site is called the Muqarna module.
Arabesques
Arabesques are also a well-known
decorative form in Islamic art, used to decorate the walls or windows of
mosques and buildings like the house. Arabesque is a fine application of
repetitive geometric shapes that often reflect plant shapes, and sometimes
animal shapes (especially birds). The choice of which geometric shapes to use
and how to shape them is based on the Islamic view of the world.
Dobree states that “Arabesque tries
not to focus on a particular object, to enliven and speed up the evaluative
skills, but to disperse them. It is centrifugal and leads to a kind of
abstraction, even a kind of self-hypnosis, so that the worshiper kneeling
towards Mecca can confuse himself in the labyrinth of the regular pattern that
comes before him and free his mind from any connection with the body or earthly
things. There are two types of arabesques found in Islamic art.
Florals: Plant motifs or flowers have long
been among the foundations of Islamic decoration. Floral decorations are so
stylized that it loses its resemblance to nature, by obeying only the laws of
rhythm. It is truly a graphic expression of rhythm and harmony, a wavy line,
and every surface has its opposite counterpart. Burckhardt (1967) states that
Arabesque is at once logical and rhythmic, mathematical and melodic, and this
is most significant to the spirit of Islam in its balance of love and
intellectual sobriety.
On the other hand, the background of
primary floral decoration provides space for further inclusion of secondary
decorations with smaller flowers, with an almost identical style. In this type
of decoration, the motifs of leaves and flowers are combined with branches, but
it is not clear. The actual plant was used to shape it in a way that differed
stylistically from the multi-tiered flower pattern.
Light
Architect Le Corbusier has said:
“Architecture is a instructional game, accurate and magnificent, of shapes
gathered in light.” Light is the symbol of divine unity. According to the
Qur’an, one of God’s creations is light and it represents the divine, therefore
natural light is an integral element of design in Islamic architecture. In
architecture it functions decoratively, by modifying other elements or forming
patterns. With the right light, perforated facades can look like lace screens,
without a body. Light can add a dynamic quality to architecture by extending
shapes and patterns to the dimensions of time. The combination of light and
shadow creates strong contrasts of the planes and gives structure to different
surfaces and materials. In Islamic architecture, light has not only a
decorative function, but also expresses the philosophy of the Islamic faith.
The Qur’an identifies divine revelations with “nur”, light that helps people
walk and stay on the right path. Therefore, the main task of the prophets was
to guide people from darkness to light. (Al-Maidah 5:15, 5:44). The term “nur”
in the Qur’an is used to express physical, moral and spiritual vision. That is
why light plays an important role in shaping the interiors of mosques, but also
of other buildings, which aim to illuminate the environment and remove
darkness. Magnificent domes, delicately carved windows and screens, reconstruct
light in new ways, which not only beautify surfaces, but extend structural
lines and illuminate specific parts of the interior façade.
Water
The Qur’an states that all the
living things are made of water, emphasizing the importance of this element in
Islamic life. Water plays an integral role in Islamic architecture throughout
the Middle East and beyond. It is as symbolic (representing purity and life) as
it is practical (used to cleanse the body and freshen the air). The decorative
effect of water is also essential in Islamic architecture, which emphasizes
rich and intricate patterns. The presence of water in every part of the design
makes it an important part of the individual’s life. It causes inner calmness,
creates the feeling of change and liveliness since it is always in motion. In
gardens, water forms the symbolic center of the design base. In terms of
design, it gives a sense of direction, the paths and stones also suggest
direction. Inside the garden, the views are directed not only from the entry
point, but in specific directions, following the axes defined by the water
channels. Water was also used creatively to symbolize serenity, depth and
freshness. To reflect this in a physical form, were created pools, reservoirs
and canals.
Water is the indispensable element
in symbolizing traditional Islamic gardens. Throughout history, the Moors and
Persians constantly tried to imitate Paradise in developing the design of the
palace garden, by building elegant water features, pools and fountains on the
mission of imitating the Qur’anic Paradise on earth. Most of the elements are
intertwined in designing stunning parks, melting the water and the grandeur of
the natural environment, which would fill the soul with confidence and
happiness.
Painting
Islam is sensitive to human and
animal figures and sculptures, so as a result of this religious sentiment,
figures in painting were often stylized and brought into abstract forms. For
this reason, there was not a massive or highly applied decoration of figures.
However, as with other forms of Islamic embellishment, Muslim artists freely
adapted and stylized basic human and animal forms, providing a great variety of
figuratively based designs. Figurative motifs are found in the decoration of
the surfaces of buildings or architectural facades, as part of woven or applied
patterns of textiles, and, more rarely, in sculptural form. In some cases,
decorative images are closely related to the tradition of narrative painting,
where text illustrations provided sources for decorative themes and motifs.
There was also a further category of figures, from which decorative patterns
were generated. Some motifs such as harps (female-headed birds) and griffins
(winged felines) were taken from pre-Islamic mythological sources, while others
were created through visual manipulation of figurative forms. As for the
illustration of the manuscript, the miniature paintings were an integral part
of these works of art as visual aids to the text, so no restrictions were
imposed.
Source:
- Burckhardt,Titus, 2009, “Art of Islam, Language and
Meaning”, Commemorative Edition, World Wisdom
- Dalu Jones, 1978 , “The elements of decoration : surface,
pattern and light”, Thames and Hudson Ltd, London
- Etikan Sema (2011), “The Principles of Ornament in Islamic
art and effects of these Principles on the Turkich Carpet Art”, Religion and
Science Publications, Vol. 3(2), PP. 87-95.
- Hillenbrand, Robert, 1998, “Islamic art and architecture”,
London: Thames and Hudson
- Jeanan Shafiq, 2014, “Architectural Elements in Islamic
Ornamentation: New Vision in Contemporary Islamic Art,” Arts and Design
Studies, Vol. 21
- Oleg Grabar, (1973), “The Formation of Islamic Art”, Yale
University Press
- Valérie Gonzalez, 2001, “Beauty and Islam. Aesthetics in
Islamic Art and Architecture.”, I.B.Tauris Publishers, London
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