Evolution of Islamic Geometrical Patterns
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Door/Window Sensor DMWD1
Always Connected. Always Covered. Door/Window Sensor DMWD1 User Manual Preface As this is the full User Manual, a working knowledge of Z-Wave automation terminology and concepts will be assumed. If you are a basic user, please visit www.domeha.com for instructions. This manual will provide in-depth technical information about the Door/Window Sensor, especially in regards to its compli- ance to the Z-Wave standard (such as compatible Command Classes, Associa- tion Group capabilities, special features, and other information) that will help you maximize the utility of this product in your system. Door/Window Sensor Advanced User Manual Page 2 Preface Table of Contents Preface ................................................................................................................................. 2 Description & Features ..................................................................................................... 4 Specifications ..................................................................................................................... 5 Physical Characteristics ................................................................................................... 6 Inclusion & Exclusion ........................................................................................................ 7 Factory Reset & Misc. Functions ..................................................................................... 8 Physical Installation ......................................................................................................... -
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. -
The Fire of 884/1479 at the Umayyad Mosque in Damascus and an Account of Its Restoration
DORIS BEHRENS-ABOUSEIF SCHOOL OF ORIENTAL AND AFRICAN STUDIES UNIVERSITY OF LONDON The Fire of 884/1479 at the Umayyad Mosque in Damascus and an Account of Its Restoration Among the series of fires that are reported to have hit the Umayyad Mosque of Damascus during its pre-modern history, the fire of 884/1479 is so far the least known.1 The well-known sources for this period, such as the contemporary Cairene chronicles of Ibn Iya≠s and al-S˛ayraf|, do not mention it; nor does al-Sakha≠w| refer to the subsequent substantial restoration of the Umayyad Mosque in his long list of Qa≠ytba≠y's construction and renovation works.2 The Syrian historian Ibn T˛u≠lu≠n (880–953/1476–1546), whose chronicle starts in 884, the same year when the fire broke out, when he was still a child, refers only briefly to the restoration works that followed this fire.3 In his biographical dictionary of the viceroys of Damascus, however, he does not include any reference to this fire under the entry of Qa≠ns˝u≠h al-Yah˝a≠w|, the viceroy in charge at that time.4 However, a detailed description of the catastrophe and the following restoration works can be found in the chronicle H˛awa≠dith al-Zama≠n wa-Wafaya≠t al-Shuyu≠kh wa-al-Aqra≠n by the Damascene historian Ah˝mad ibn Muh˝ammad ibn ‘Umar al- Middle East Documentation Center. The University of Chicago. 1Earthquakes occurred in 132/748, 233/847, 587/1191, 702/1302, and 1173/1759, and fires in 461/1069, 552/1157, 562/1166, 570/1174, 646/1247, 740/1340, 803/1401, 884/1879, and in 1893. -
THE AMERICAN UNIVERSITY in CAIRO School of Humanities And
1 THE AMERICAN UNIVERSITY IN CAIRO School of Humanities and Social Sciences Department of Arab and Islamic Civilizations Islamic Art and Architecture A thesis on the subject of Revival of Mamluk Architecture in the 19th & 20th centuries by Laila Kamal Marei under the supervision of Dr. Bernard O’Kane 2 Dedications and Acknowledgments I would like to dedicate this thesis for my late father; I hope I am making you proud. I am sure you would have enjoyed this field of study as much as I do. I would also like to dedicate this for my mother, whose endless support allowed me to pursue a field of study that I love. Thank you for listening to my complains and proofreads from day one. Thank you for your patience, understanding and endless love. I am forever, indebted to you. I would like to thank my family and friends whose interest in the field and questions pushed me to find out more. Aziz, my brother, thank you for your questions and criticism, they only pushed me to be better at something I love to do. Zeina, we will explore this world of architecture together some day, thank you for listening and asking questions that only pushed me forward I love you. Alya’a and the Friday morning tours, best mornings of my adult life. Iman, thank you for listening to me ranting and complaining when I thought I’d never finish, thank you for pushing me. Salma, with me every step of the way, thank you for encouraging me always. Adham abu-elenin, thank you for your time and photography. -
Architecture and Urbanism in the Middle East
Viewpoints Special Edition Architecture and Urbanism in the Middle East The Middle East Institute Middle East Institute The mission of the Middle East Institute is to promote knowledge of the Middle East in Amer- ica and strengthen understanding of the United States by the people and governments of the region. For more than 60 years, MEI has dealt with the momentous events in the Middle East — from the birth of the state of Israel to the invasion of Iraq. Today, MEI is a foremost authority on contemporary Middle East issues. It pro- vides a vital forum for honest and open debate that attracts politicians, scholars, government officials, and policy experts from the US, Asia, Europe, and the Middle East. MEI enjoys wide access to political and business leaders in countries throughout the region. Along with information exchanges, facilities for research, objective analysis, and thoughtful commentary, MEI’s programs and publications help counter simplistic notions about the Middle East and America. We are at the forefront of private sector public diplomacy. Viewpoints is another MEI service to audiences interested in learning more about the complexities of issues affecting the Middle East and US relations with the region. To learn more about the Middle East Institute, visit our website at http://www.mideasti.org Cover photos, clockwise from the top left hand corner: Abu Dhabi, United Arab Emirates (Imre Solt; © GFDL); Tripoli, Libya (Patrick André Perron © GFDL); Burj al Arab Hotel in Dubai, United Arab Emirates; Al Faisaliyah Tower in Riyadh, Saudi Arabia; Doha, Qatar skyline (Abdulrahman photo); Selimiye Mosque, Edirne, Turkey (Murdjo photo); Registan, Samarkand, Uzbekistan (Steve Evans photo). -
Bab Al-Nasr • Is the Massive Fortified Gate with Rectangular Stone Towers Flanking the Semicircular Arch of the Eastern Portal
كلية السياحة والفنادق)قسم اﻻرشاد السياحي( مادة اثار مصر اﻻسﻻمية 1كود المقرر ر.س 326 الفصل الدراسي الثاني الفرقة الثالثة إرشاد سياحي أ.د سماح عبد الرحمن اﻻستاذ بالقسم القائمه علي تدريس المقرر [email protected] 01010119940 Bab Zuwayla (Bab al-Mitwalli) المحاضرة اﻻولي .(1092A.D/485A.H) • One of the three Fatimid gates that remain standing, this one at the south end of al- Qahira is perhaps the least interesting structurally. An attack from Syria was expected from the north, not the south. Visually, however, with its crowning fifteenth-century minarets, it is the most dramatic and it gives into abazaar quarter that is as full of life today as it was in the middle Ages المحاضرة اﻻولي • Bab Zuwayla, also called Bab al-Mitwalli, dates from 1092. It was part of the city fortifications put up by the Armenian wazir Badr al-Gamali and his Anatolian or Mesopotamian Christian architects. The gate was named after Fatimid soldiers from the Berber tribe al-Zawila who were quartered in the vicinity after the building of the original gate in 969, when alQahira was founded. The name Bab al-Mitwalli dates from Ottoman times, when the wali, or Ottoman officer, charged with maintaining public order, had his residence and headquarters near here. المحاضرة اﻻولي • The gate's projecting, rounded towers connected by a covered passageway over the large, arched opening are northern Syrian or Byzantine, not Arab, in inspiration and spirit. The two minarets that spring from the towers belong to the Mosque of al-Mu'ayyad Shaykh, just inside the gate, which forms the wall to the west. -
What Is Islamic Art?
What is Islamic art? What do we actually mean by Islamic art? A central feature of Islamic art is its emphasis on crasmanship. Creating a high quality object – something that is a delight to behold – is much more important than producing something new and innovative. Another characteristic of Islamic art is that it does not necessarily tell us anything about the artist’s personal ideas or feelings. Islamic artists and crasmen oen focus on a long, tried-and-true tradition. What is most important is creating something beautiful and well made, oen something with a practical use. In other words, Islamic art largely aims at beautifying everyday life and making utilitarian objects into works of art. en what does “Islamic” have to do with it? At the David Collection, we generally define Islamic art as works of art produced in the part of the world where the religion of Islam has played a dominant role for a long period of time. ey do not necessarily have to be works of art made by or for Muslims. e artists might also be followers of another religion, for example Christians or Jews. And the message conveyed by their art does not have to directly reflect the religion of Islam. It can also have a purely secular character. DURING THE GUIDED TOUR OF THE MUSEUM: When pupils are shown around the museum, the guide will focus on a number of common features of Islamic art: vegetal ornamentation, geometric patterns, calligraphy, and the stylized depiction of reality. Historical aspects will also be dealt with and, depending on the work of art, an object’s function and relevant cultural and historical aspects will be discussed. -
The Transformation of Calligraphy from Spirituality to Materialism in Contemporary Saudi Arabian Mosques
The Transformation of Calligraphy from Spirituality to Materialism in Contemporary Saudi Arabian Mosques A dissertation submitted to Birmingham City University in fulfilment of the requirement for the degree of Doctor of Philosophy in Art and Design By: Ahmad Saleh A. Almontasheri Director of the study: Professor Mohsen Aboutorabi 2017 1 Dedication My great mother, your constant wishes and prayers were accepted. Sadly, you will not hear of this success. Happily, you are always in the scene; in the depth of my heart. May Allah have mercy on your soul. Your faithful son: Ahmad 2 Acknowledgments I especially would like to express my appreciation of my supervisors, the director of this study, Professor Mohsen Aboutorabi, and the second supervisor Dr. Mohsen Keiany. As mentors, you have been invaluable to me. I would like to extend my gratitude to you all for encouraging me to conduct this research and give your valuable time, recommendations and support. The advice you have given me, both in my research and personal life, has been priceless. I am also thankful to the external and internal examiners for their acceptance and for their feedback, which made my defence a truly enjoyable moment, and also for their comments and suggestions. Prayers and wishes would go to the soul of my great mother, Fatimah Almontasheri, and my brother, Abdul Rahman, who were the first supporters from the outset of my study. May Allah have mercy on them. I would like to extend my thanks to my teachers Saad Saleh Almontasheri and Sulaiman Yahya Alhifdhi who supported me financially and emotionally during the research. -
Revitalization of the Bazaar Neighborhood in Tehran
REVITALIZATION OF THE BAZAAR NEIGHBORHOOD IN TEHRAN BY PARDIS MOINZADEH THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Landscape Architecture in Landscape Architecture in the Graduate College of the University of Illinois at Urbana-Champaign , 2014 Urbana, Illinois Adviser: P Professor D. Fairchild Ruggles Abstract The word “bazaar” comes from an ancient word “wazaar” meaning market. The word “baza” has been used in other countries such as Turkey, Arabic countries and India as well.1 Bazaars are historic market places that provide trade services as well as other functions. Their historic buildings are renowned for their architectural aesthetics, and in old cities such as Tehran (Iran) they are considered the centerpiece of activities with architectural, cultural, historical, religious, and commercial values. However, during the past 400 years, they have undergone social and environmental changes. The neighborhood of the Tehran Bazaar has in recent decades become degraded, which has consequently decreased the social value of the historic Bazaar. The ruined urban condition makes it impossible for contemporary visitors to have a pleasurable experience while visiting the Bazaar, although that was historically their experience. As Tehran began to grow, much of the trade and finance in the city has moved to the newly developed section of the city, diminishing the importance of the bazaars. Today, shoppers and residents living in the Bazaar neighborhood inhabit dilapidated buildings, while customers and tourists—when they go there at all—experience a neighborhood that lacks even the most basic urban amenities such as sidewalks, drainage, benches, trees and lighting. This design study required a number of investigations. -
The Fractal Shapes in Islamic Design & Its Effects on the Occupiers of The
مجلة العمارة والفنون والعلوم اﻻنسانية – عدد خاص اكتوبر 2020 The Fractal shapes in Islamic design & its effects on the occupiers of the interior environment (case study: El Sultan Hassan mosque in Cairo) Assist. Prof. Dr. Doaa Ismail Ismail Attia Assistant Professor of Interior Design and Furniture, Faculty of Applied Art, Benha University, Benha, Egypt. [email protected] Abstract: The Islamic civilization are distinct for using the art of geometry in their creative designs. In the early Islamic period, designs used simple forms like square shape, gradually more geometrical transformations are applied such as; shapes subtraction, addition, subdivisions, branching and rotation. The aim of this study is to show that the fractal geometrical shape, with the feature “self-similarity, infinite number of iterations for shapes with reducing scale, in finite region ”is one of the most influential elements in the Islamic design and consequently has its beneficial effects on the occupiers of Islamic interior environment. This study analyzed the existence of fractal shapes in the Islamic design with finite number of iterations since the old centuries through analyzing El Sultan Hassan mosque in Cairo, Egypt (1356-1362) as a case study. The fractal shapes are used in the Islamic design of the walls, ceiling, doors, domes and floors. The study also suggested a new contemporary Islamic golden and non-golden fractal shapes with large number of iterations to be generated by using the computer technology that can be used in the interior design. The Islamic fractal design acts as a strong stimulus to the brain generating strong emotions in very short time.