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Cultura E Scienza Del Colore - Color Culture and Science Journal, 10, Pp
7 1Meriem Benkhedda [email protected] Color on Ceramics in the Medieval 2Kheira Tabet Aoul [email protected] Architecture of Tlemcen, Algeria: [corresponding author] 1Département d’Architecture, Light, Ambiance and Symbolism Université des Sciences et de la Technologie d’Oran Mohamed Boudiaf, USTO-MB, Oran, Algeria ABSTRACT 2 Department of Architectural Engineering, College of Engineering, United Arab The architectural heritage of the Marinid and Ziyanid dynasties in the region of Emirates University, POBox Tlemcen (Algeria) is characterized by geometric and floral shapes of the ornamental 15551, Al Ain, United Arab ceramic of particularly rich polychromic expressions. This ornamentation defines Emirates the minarets, porches, interior courtyards and patios. The ceramic colors in different tones and arrangements provide spaces with an exceptional quality that highly characterizes this medieval Arab architecture. The polychromic compositions of the ceramic with their intrinsic spatial and aesthetical value remain largely unexplored. This research attempts to explore first, an untapped ancestral know-how or “savoir- faire” and second, to demonstrate that this architectural heritage has a colorful atmosphere, whose evolution is linked to the relationship between shapes, lights, materials and colors as well as its socio-cultural context. The investigation method consists of a survey of colors on ceramics and an analysis of arrangement patterns between colors and geometry (relationship and mixtures of colors) to determine the rhythms, harmonies of figures and background, optical compositions, and finally determine the color language and agreements that result. Color properties, the subtle combination of colors and materials interacting with an exquisite geometry display a decisive influence on the appearance and the ambiance that emerge, providing brightness and light, creating rhythm, motley and fusion in a web of optical effects, filled with symbolism, suitable for the cultural and religious circumstances of the place. -
Sacred Geometry in Masonry: Basic Concepts by Bro
Sacred Geometry in Masonry: Basic Concepts By Bro. David Lang Masonic District No. 2 Education Officer Grand Lodge of Virginia Sacred geometry is a term used to describe repeating patterns found in the natural world from the subatomic to the galactic and beyond. These patterns have been recognized since the earliest days of recorded history and duplicated in art, architecture, and philosophy. Sacred geometry is also incorporated into Masonic ritual and teaching and forms the basis for many common Masonic symbols. This is emphasized to us as new Fellowcrafts when we are introduced to the Seven Liberal Arts and Sciences, arrested by the fifth science, or Geometry, and reminded that this science treats the powers and properties of magnitudes in general. It is noteworthy that the word magnitudes is capitalized in the Manual of Work thus hinting at the significance of the concept. We are then informed that the superstructure of Masonry is erected upon geometry and that by geometry we may trace the windings of nature to her most concealed recesses and discover the power, wisdom, and goodness of the Grand Artificer of the Universe. Building Blocks: The Golden Rectangle One of the basic concepts of sacred geometry is the Golden Rectangle, Golden Section, Golden Ratio, or Divine Proportion. Based upon the irrational number Phi (φ) or 1.618033…, the Golden Rectangle (or oblong square as it is known in Masonry) describes many proportions in nature and is frequently replicated in architecture, art, and music as a representation of perfect beauty. More importantly, the existence of the Golden Rectangle in everything from the path of elementary particles to the structure of the known universe provides compelling evidence for the idea of intelligent design or the presence of the divine in everything around us. -
The Sasanian Tradition in ʽabbāsid Art: Squinch Fragmentation As The
The Sasanian Tradition in ʽAbbāsid Art: squinch fragmentation as The structural origin of the muqarnas La tradición sasánida en el arte ʿabbāssí: la fragmentación de la trompa de esquina como origen estructural de la decoración de muqarnas A tradição sassânida na arte abássida: a fragmentação do arco de canto como origem estrutural da decoração das Muqarnas Alicia CARRILLO1 Abstract: Islamic architecture presents a three-dimensional decoration system known as muqarnas. An original system created in the Near East between the second/eighth and the fourth/tenth centuries due to the fragmentation of the squinche, but it was in the fourth/eleventh century when it turned into a basic element, not only all along the Islamic territory but also in the Islamic vocabulary. However, the origin and shape of muqarnas has not been thoroughly considered by Historiography. This research tries to prove the importance of Sasanian Art in the aesthetics creation of muqarnas. Keywords: Islamic architecture – Tripartite squinches – Muqarnas –Sasanian – Middle Ages – ʽAbbāsid Caliphate. Resumen: La arquitectura islámica presenta un mecanismo de decoración tridimensional conocido como decoración de muqarnas. Un sistema novedoso creado en el Próximo Oriente entre los siglos II/VIII y IV/X a partir de la fragmentación de la trompa de esquina, y que en el siglo XI se extendió por toda la geografía del Islam para formar parte del vocabulario del arte islámico. A pesar de su importancia y amplio desarrollo, la historiografía no se ha detenido especialmente en el origen formal de la decoración de muqarnas y por ello, este estudio pone de manifiesto la influencia del arte sasánida en su concepción estética durante el Califato ʿabbāssí. -
Islamic Geometric Patterns Jay Bonner
Islamic Geometric Patterns Jay Bonner Islamic Geometric Patterns Their Historical Development and Traditional Methods of Construction with a chapter on the use of computer algorithms to generate Islamic geometric patterns by Craig Kaplan Jay Bonner Bonner Design Consultancy Santa Fe, New Mexico, USA With contributions by Craig Kaplan University of Waterloo Waterloo, Ontario, Canada ISBN 978-1-4419-0216-0 ISBN 978-1-4419-0217-7 (eBook) DOI 10.1007/978-1-4419-0217-7 Library of Congress Control Number: 2017936979 # Jay Bonner 2017 Chapter 4 is published with kind permission of # Craig Kaplan 2017. All Rights Reserved. This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. -
Investigating the Patterns of Islamic Architecture in Architecture Design of Third Millennium Mosques
European Online Journal of Natural and Social Sciences 2014; www.european-science.com Vol.3, No.4 Special Issue on Architecture, Urbanism, and Civil Engineering ISSN 1805-3602 Investigating the Patterns of Islamic Architecture in Architecture Design of Third Millennium Mosques Parvin Farazmand1*, Hassan Satari Sarbangholi2 1Young Researchers and Elite Club, Tabriz Branch, Islamic Azad University, Tabriz, Iran; 2Architecture Group of Azad-e-Eslami University, Tabriz Branch *Email: [email protected] Abstract Islamic architecture, which is based on the Islamic school, has been shaped by the total awareness of architects’ of techniques of architecture and adherence to the principles of geometry and inspired by religious beliefs. Principles of geometry and religious beliefs caused certain patterns to take shape in Islamic architecture that were used in designing buildings including mosques. With the advancements in technology, architecture entered a new stage considering the form of construction and the buildings. Islamic architecture and mosque, which is the primary symbol of Islamic architecture, are not different and consequently went through changes in forms and patterns. In this paper, the purpose is to express the place of patterns of Islamic Architecture in the mosques of the third millennium. The method used is descriptive-analytic and the mosques of the third millennium are the statistical population and ten of them are the statistical sample. The tools used are the library studies and the data has been analyzed using chars obtained from Excel. The result indicated that in the architecture of the mosques of the third millennium, the patterns of Islamic architecture have been fixed and proposed, and yet do create different designs that would be novel. -
A Study of Kufic Script in Islamic Calligraphy and Its Relevance To
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1999 A study of Kufic script in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century Enis Timuçin Tan University of Wollongong Recommended Citation Tan, Enis Timuçin, A study of Kufic crs ipt in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century, Doctor of Philosophy thesis, Faculty of Creative Arts, University of Wollongong, 1999. http://ro.uow.edu.au/ theses/1749 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. A Study ofKufic script in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century. DOCTORATE OF PHILOSOPHY from UNIVERSITY OF WOLLONGONG by ENiS TIMUgiN TAN, GRAD DIP, MCA FACULTY OF CREATIVE ARTS 1999 CERTIFICATION I certify that this work has not been submitted for a degree to any university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, expect where due reference has been made in the text. Enis Timucin Tan December 1999 ACKNOWLEDGEMENTS I acknowledge with appreciation Dr. Diana Wood Conroy, who acted not only as my supervisor, but was also a good friend to me. I acknowledge all staff of the Faculty of Creative Arts, specially Olena Cullen, Liz Jeneid and Associate Professor Stephen Ingham for the variety of help they have given to me. -
Semiology Study of Shrine Geometric Patterns of Damavand City of Tehran Province1
Special Issue INTERNATIONAL JOURNAL OF HUMANITIES AND December 2015 CULTURAL STUDIES ISSN 2356-5926 Semiology Study of Shrine Geometric patterns of Damavand City of Tehran Province1 Atieh Youzbashi Masterof visual communication, Faculty of Art, Shahed University, Tehran, Iran [email protected] Seyed Nezam oldin Emamifar )Corresponding author) Assistant Professor of Faculty of Art, Shahed University, Tehran city, Iran [email protected] Abstract Remained works of decorative Arts in Islamic buildings, especially in religious places such as shrines, possess especial sprits and visual depth. Damavand city having very beautiful architectural works has been converted to a valuable treasury of Islamic architectural visual motifs. Getting to know shrines and their visual motifs features is leaded to know Typology, in Typology, Denotation and Connotation are the concept of truth. This research is based on descriptive and analytical nature and the collection of the data is in a mixture way. Sampling is in the form of non-random (optional) and there are 4 samples of geometric motifs of Damavand city of Tehran province and the analysis of information is qualitatively too. In this research after study of geometric designs used in this city shrines, the amount of this motifs confusion are known by semiotic concepts and denotation and connotation meaning is stated as well. At first the basic articles related to typology and geometric motifs are discussed. Discovering the meaning of these motifs requires a necessary deep study about geometric motifs treasury of believe and religious roots and symbolic meaning of this motifs. Geometric patterns with the centrality of the circle In drawing, the incidence abstractly and creating new combination is based on uniformly covering surfaces in order not to attract attention to designs independently creating an empty space also recalls “the principle of unity in diversity” and “diversity in unity”. -
A Look at the History of Calligraphy in Decoration of Mosques in Iran: 630-1630 AD Cengiz Tavşan, Niloufar Akbarzadeh
World Academy of Science, Engineering and Technology International Journal of Architectural and Environmental Engineering Vol:12, No:3, 2018 A Look at the History of Calligraphy in Decoration of Mosques in Iran: 630-1630 AD Cengiz Tavşan, Niloufar Akbarzadeh as strength, comfort and expansion. Throughout history, Abstract—Architecture in Iran has a continuous history from at Iranian architecture had its own originality and simplicity. All least 5000 BC to the present, and numerous Iranian pre-Islamic parts of Iran, especially villages and ancient monuments are elements have contributed significantly to the formation of Islamic like a live but old book of art and architecture, history, which art. At first, decoration was limited to small objects and containers in a brief moment, each page of that opens the gates of several and then progressed in the art of plaster and brickwork. They later applied in architecture as well. The art of gypsum and brickwork, thousand years of history to the visitors [7]. which was prevalent in the form of motifs (animals and plants) in Repeat motifs, symbolic role and decorations are one of the pre-Islam, was used in the aftermath of Islam with the art of main subjects in Iranian art. In Iranian architecture, the calligraphy in decorations. The splendor and beauty of Iranian symbolic elements generally embossed with carving and architecture, especially during the Islamic era, are related to painting integrated with elements of construction and decoration and design. After the invasion of Iran by the Arabs and the environmental, which makes it a new and inseparable introduction of Islam to Iran, the arrival of the Iranian classical architecture significantly changed, and we saw the Arabic calligraphy combination. -
Casablanca ENG.Indd
2 3 Casablanca SPAIN MEDITERRANEAN SEA Saïdia Rabat ATLANTIC OCEAN 5 Editorial Zagora 6 A city with the ocean on its doorstep 8 A city of the future ALGERIA CANARY ISLANDS 10 The Hassan II Mosque 12 Casablanca, a happening city 16 Experiencing the city 18 Activities in the city 20 Casablanca, seaside resort 22 The Casablanca region 26 Information and useful addresses MAURITANIA 4 5 Editorial Casablanca, an exhilarating megalopolis The sun is scarcely above the horizon and Casablanca is already waking up. Little red taxis play dodgems at the feet of the white city’s ultra-modern buildings. There is no escaping the allure of its grandeur, its pure energy, and all of a sudden we ourselves are imbued with the same heady dynamism. Casablanca, economic heart of the Kingdom, lives at a frenetic pace. Business and art go side by side here, often intermingling. It is here, above all, that tones and trends are set. Why is it that so many artists have found their inspiration in Casablanca? Perhaps the contrasting curves of its Art Deco buildings are enough to cast a spell over them. The richness of the city’s architectural heritage is sufficient in itself to call forth the image of a city where time has no hold. Charged with In Casablanca, modern history yet resolutely turned towards the future, this most cosmopolitan of cities, buildings stand side where every nationality is represented, parades its modernity for all to see. by side with Arab-An- dalusian architecture and Art Deco creations Morocco’s economic nerve centre and keeper of a unique historical heritage, from the 1920s Casablanca reveals all of its many faces to us. -
An Artistic and Mathematical Look at the Work of Maurits Cornelis Escher
University of Northern Iowa UNI ScholarWorks Honors Program Theses Honors Program 2016 Tessellations: An artistic and mathematical look at the work of Maurits Cornelis Escher Emily E. Bachmeier University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2016 Emily E. Bachmeier Follow this and additional works at: https://scholarworks.uni.edu/hpt Part of the Harmonic Analysis and Representation Commons Recommended Citation Bachmeier, Emily E., "Tessellations: An artistic and mathematical look at the work of Maurits Cornelis Escher" (2016). Honors Program Theses. 204. https://scholarworks.uni.edu/hpt/204 This Open Access Honors Program Thesis is brought to you for free and open access by the Honors Program at UNI ScholarWorks. It has been accepted for inclusion in Honors Program Theses by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. Running head: TESSELLATIONS: THE WORK OF MAURITS CORNELIS ESCHER TESSELLATIONS: AN ARTISTIC AND MATHEMATICAL LOOK AT THE WORK OF MAURITS CORNELIS ESCHER A Thesis Submitted in Partial Fulfillment of the Requirements for the Designation University Honors Emily E. Bachmeier University of Northern Iowa May 2016 TESSELLATIONS : THE WORK OF MAURITS CORNELIS ESCHER This Study by: Emily Bachmeier Entitled: Tessellations: An Artistic and Mathematical Look at the Work of Maurits Cornelis Escher has been approved as meeting the thesis or project requirements for the Designation University Honors. ___________ ______________________________________________________________ Date Dr. Catherine Miller, Honors Thesis Advisor, Math Department ___________ ______________________________________________________________ Date Dr. Jessica Moon, Director, University Honors Program TESSELLATIONS : THE WORK OF MAURITS CORNELIS ESCHER 1 Introduction I first became interested in tessellations when my fifth grade mathematics teacher placed multiple shapes that would tessellate at the front of the room and we were allowed to pick one to use to create a tessellation. -
The Creative Act in the Dialogue Between Art and Mathematics
mathematics Article The Creative Act in the Dialogue between Art and Mathematics Andrés F. Arias-Alfonso 1,* and Camilo A. Franco 2,* 1 Facultad de Ciencias Sociales y Humanas, Universidad de Manizales, Manizales 170003, Colombia 2 Grupo de Investigación en Fenómenos de Superficie—Michael Polanyi, Departamento de Procesos y Energía, Facultad de Minas, Universidad Nacional de Colombia, Sede Medellín, Medellín 050034, Colombia * Correspondence: [email protected] (A.F.A.-A.); [email protected] (C.A.F.) Abstract: This study was developed during 2018 and 2019, with 10th- and 11th-grade students from the Jose Maria Obando High School (Fredonia, Antioquia, Colombia) as the target population. Here, the “art as a method” was proposed, in which, after a diagnostic, three moments were developed to establish a dialogue between art and mathematics. The moments include Moment 1: introduction to art and mathematics as ways of doing art, Moment 2: collective experimentation, and Moment 3: re-signification of education as a model of experience. The methodology was derived from different mathematical-based theories, such as pendulum motion, centrifugal force, solar energy, and Chladni plates, allowing for the exploration of possibilities to new paths of knowledge from proposing the creative act. Likewise, the possibility of generating a broad vision of reality arose from the creative act, where understanding was reached from logical-emotional perspectives beyond the rational vision of science and its descriptions. Keywords: art; art as method; creative act; mathematics 1. Introduction Citation: Arias-Alfonso, A.F.; Franco, C.A. The Creative Act in the Dialogue There has always been a conception in the collective imagination concerning the between Art and Mathematics. -
The Traditional Arts and Crafts of Turnery Or Mashrabiya
THE TRADITIONAL ARTS AND CRAFTS OF TURNERY OR MASHRABIYA BY JEHAN MOHAMED A Capstone submitted to the Graduate School-Camden Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Master of Art Graduate Program in Liberal Studies Written under the direction of Dr. Martin Rosenberg And Approved by ______________________________ Dr. Martin Rosenberg Camden, New Jersey May 2015 CAPSTONE ABSTRACT The Traditional Arts and Crafts of Turnery or Mashrabiya By JEHAN MOHAMED Capstone Director: Dr. Martin Rosenberg For centuries, the mashrabiya as a traditional architectural element has been recognized and used by a broad spectrum of Muslim and non-Muslim nations. In addition to its aesthetic appeal and social component, the element was used to control natural ventilation and light. This paper will analyze the phenomenon of its use socially, historically, artistically and environmentally. The paper will investigate in depth the typology of the screen; how the different techniques, forms and designs affect the function of channeling direct sunlight, generating air flow, increasing humidity, and therefore, regulating or conditioning the internal climate of a space. Also, in relation to cultural values and social norms, one can ask how the craft functioned, and how certain characteristics of the mashrabiya were developed to meet various needs. Finally, the study of its construction will be considered in relation to artistic representation, abstract geometry, as well as other elements of its production. ii Table of Contents Abstract……………………………………………………………………….……….…..ii List of Illustrations………………………………………………………………………..iv Introduction……………………………………………….…………………………….…1 Chapter One: Background 1.1. Etymology………………….……………………………………….……………..3 1.2. Description……………………………………………………………………...…6 1.3.