Study of the ornamentation of Bhong Mosque for the survival of decorative patterns in Islamic architecture Frontiers of Architectural Research (original) (raw)
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Bagh-e Nazar, 2022
Problem statement: This study attempts to examine the decorative motifs of mosques (Atiq Mosque in Shiraz and Cordoba Mosque in Cordoba) in Iran and Spain in the third century A.H. These decorative designs are in accordance with the beliefs of the people of the region and regardless of all their differences, they share common goals in the Islamic world and through these designs spiritual and mental concepts are conveyed. Decorative patterns, which are symbols of the elements of nature, are rooted in Iranian-Sassanid art; Byzantium and have been continuously repeated as motifs in the art of the Islamic era. Research objective: This study attempts to compare the decorative motifs of the Atiq Mosque in Shiraz with those of the Cordoba Mosque in Cordoba with a contextualist approach. Research method: This article used a descriptive and analytical method to study the decorations of the Atiq Mosque in Shiraz and the Cordoba Mosque in Spain and to identify similarities and shared symbols. Conclusion: Decorative designs in Islamic art are derived from the beliefs of people over the centuries. The continuity in Islamic art has spread from Iran to the Islamic world. The architectural formation of Atiq and Cordoba mosques is not contextual, because they are built based on the pattern of the Prophet's Mosque-Shabestani columnar mosque. However, the decorations of both mosques are contextual and inspired by Sassanid art in Iran and Byzantium in Andalusia.
Architectural Elements in Islamic Ornamentation: New Vision in Contemporary Islamic Art
Arts and Design Studies, 2014
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.
Xian Journal of Architecture and Technology, 2020
The decoration is a vital element in Islamic art and architecture. The Muslim designers finished various art, artifacts, religious objects, and buildings with many types of ornamentation such as geometry, epigraphy, calligraphy, arabesque, and sometimes animal figures. Among them, the most universal motif in ornamentation which was extensively used is the arabesque. The arabesque is an abstract and rhythmic vegetal ornamentation pattern in Islamic decoration. It is found in a wide variety of media such as book art, stucco, stonework, ceramics, tiles, metalwork, textiles, carpets, etc.. The paper discusses the fact that arabesque is a unique, universal, and vital element of ornamentation within the framework of Islamic Architecture. In this paper, the etymological roots of the term 'Arabesque', its evolution and development have been explored. The general characteristics as well as different modes of arabesque are discussed. This paper also analyses the presentation of arabesque with specific reference to Indian and Persian Islamic heritage buildings.
An analytic study on architectural decorations in early Islamic architecture
2014
Islamic architecture dating back to about 1400 years ago, has been affected by territories under the Islam dominance from the view point of the form as well as architectural decorations. That is why some critics has considered the form similarities as a weak point in the Islamic architecture, while others are denying any derivation in Islamic architecture and believe that its principles have been extracted from the Islam religion. In this regard, Iran as a country having a civilization which both affected and was affected on/by the adjacent civilizations may be assumed as the basis for the Islamic architecture formation at the very beginning centuries and may overcome the related ambiguities.The present article attempts to consider the effects of the pre-Islamic patterns on Islamic architectural decorations during the first to fourth centuries (Hijri). Therefore, we firstly provide definitions and concepts as requirements of such study in the field of religious art and architecture ...
Study of Decorative Art in the Muslim Religious Monuments with Religious Significance
The Muslim monuments specially the religious (Mosques and Tombs) have no pictorial art designs due to the prohibition of picturing animate objects in Islam. Alternatively, the art which was highly valued by the Muslims themselves was that of calligraphy and floral decoration in polychrome and in verity of writing styles and design. The paper focuses on the nature of Islamic art with religious significance. A comprehensive study and attempt are made in this paper that as per the education of painters, calligraphers and masons, they kept themselves away from the pictorial art and designs especially in the religious monuments like mosques and tombs and what type of alternative they produced for the replace of the same. How they make it too much valuable and supportive against the other mural art.
Bagh-e Nazar, 2022
Problem statement: Decoration is the most valuable part of Islamic Art. Decoration can reflect the religious beliefs and manifestations of culture and art of the Islamic period and with all the ups and downs it has had over the centuries, it has been able to expand significantly and leave lasting works through unique and unified expressions in different climates. Among all kinds of architectural decorations, tiling and painting are the most attractive among Muslim architects and are considered the most important and effective factors in the beauty and grandeur of Islamic buildings. Research objective: The main purpose of this study is to examine the decorative patterns of the two 'Kabud' (blue) mosques of 'Mazar-e-Sharif' and 'Sultan Ahmed'. The unique decorations of the blue mosques are compared to clarify the similar and dissimilar items in the decorative designs used on the tiles, which are inspired by nature and ethnic and regional influences and are derived from the art of ancient Iran and Islamic Iran. Research method: The results were obtained by comparing the decorative patterns of the two mentioned mosques using the descriptive and analytical methods with the help of the tables, written documents, and data analysis. Conclusion: The origin of decorative patterns in the two buildings is rooted in Iran, but each region has used its own mechanism and creativity to localize the designs. The tiling decorations used in the two blue mosques of 'Sultan Ahmed' and 'Mazare-Sharif' are simple, with emphasis on the commands of Islam, and are abstracted from nature in a vegetal, geometric and symbolic manner. Along with beautification, they have meanings and show order, multiplicity, and unity, and add to the coherence of the spiritual atmosphere of the environment.
Evolution of Islamic geometric patterns
Frontiers of Architectural Research, 2013
This research demonstrates the suitability of applying Islamic geometrical patterns (IGPs) to architectural elements in terms of time scale accuracy and style matching. 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.
Decoration in the Interior of Mosque: A Review of Current Literature
Mosques are decorated with either high or less decoration. The most part which decorated normally with decorative pattern especially on the kiblah wall. The decoration in the interior of mosque gives both negative and positive impacts to the mosque user. Some scholars are agreed with the ornamentation in the interior mosque through Islamic art concept and some are not based on the prophet's mentioned tradition. Therefore this paper will present an overview of current literatures on the discussion about the ornamentation in interior mosque. This paper will cover the function of ornamentation and decorative pattern in interior mosque as well the advantages and disadvantages of using it.