The Principle of Movement in Moroccan Design; as a source of inspiration for contemporary artistic applications Practice-based research in Art and Design Naser Hassan AI-Rifaei A thesis submitted in partial fulfilment of the requirements of the University of Brighton for the degree of Doctor of Philosophy March 2009 University of Brighton Abstract This project focuses on utilizing the principle of movement contained in traditional Moroccan design (PMMD) for the production of new and inventive artworks. The PMMD is one of the main concepts that rules the creation and construction of design elements; it consists of a group of advanced technical procedures applied to achieve the highest levels of unity, harmony, variation and rhythm between lines and shapes. Great consideration in the PMMD is given to the viewer's perception, as all parts are formed to be equally interesting and to work harmoniously together suggesting ways for the viewer's eye to interact with and move in and throughout the composition. The purpose of this research is to examine viable methods for stimulating new ideas by taking the aesthetic and technical significances of the PMMD as a source of creative inspiration. The work involved analyzing the relationship between form, method and perception in traditional compositions by exploring the role of PMMD in 1) the process of creating and shaping design elements separately, 2) methods of relating the lines and shapes of different design components. Data on PMMD was collected from recent literature on Islamic art and Moroccan design, from interviews with master-craftsmen, and from my personal analyses and observations. The studio engagement, which is represented in a group of oil, batik and acrylic paintings, explored the transformation of PMMD's arrangements to my personal artistic style, in which I offer varied ways of developing, refining and connecting the traditional forms with contemporary concepts of art. 2 Acknowledgements "In the name of Allah, the Beneficent, the Merciful. All praise is due to Allah, the Lord of the Worlds. The Beneficent, the Merciful. Master of the Day of Judgment. Thee do we serve and Thee do we beseech for help. Keep us on the right path. The path of those upon whom Thou hast bestowed favours. Not (the path) of those upon whom Thy wrath is brought down, nor of those who go astray" (AI-Fatiha, the first chapter of the Holy Quran). I owe a huge debt of gratitude to several people without whose assistance and support this research would not have been possible. First and foremost, I would like to extend my grateful and sincere thanks to Dr. Peter Seddon my chief supervisor, for his guidance, enthusiastic supervision, unfaltering trust and constant encouragement, which have been essential to my success. I would like to thank him for who he is as a person; sagacious, honest, responsive and supportive in the difficult times I have been through. I would like also to thank my assistant supervisor Dr. Paddy Maguire for his contribution and for valuable discussions. My thanks are due to Professor Jassem Abdulgader, Dr. Mohammed Al-Mahdi and Dr. Mahmoud Said for their precious suggestions and valuable assistance which were of great benefit in the progress of my work. I would especially like to acknowledge my informants in Morocco, master-craftsman of woodwork Kammal Bellamin and master of calligraphy and ornamentation Ibrahim Haneen, for their time, patience and kindness in dealing with my continuous inquiries 3 and for copious information that made my final work rewarding. My sincere thanks also go to Dr. Jan-Mark Castera for his generosity in allowing me to use photographic images from his book (Arabesque), and also for his valuable interest in and discussions about my artworks. I wish to express my grateful appreciation to the Centre for Research and Development at the Faculty of Arts and Architecture, University of Brighton, especially those members who were a great help when it was most required, Professor Jonathan Woodham, Ms. Lena Warming, Dr. Michael Wilson, Dr. Chris Pierce, Dr. Anne Galliot, and from the Registry Ursula O'Toole. Finally, my appreciation and gratitude goes to all my family and friends for their continuous help and encouragement, and most importantly, my dear wife and children for their enduring support, patience and endless love. 4 Declaration I declare that the research contained in this thesis, unless otherwise formally indicated within the text, is the original work of the author. The thesis has not been previously submitted to this or any other university for a degree, and does not incorporate any material already submitted for a degree. Signed: Dated: 6-4- -2.CJ(;} 5 Table of contents Abstract--------------------------------------------------------------- 2 Acknowledgements----------- -------------------------------------- 3 Declaration------------------------------------------------------------- 5 Table of contents----------------------------------------- -- 6 Nomenclatures------- ----------- - ·------------- 9 Chapter 1 - Theoretical framework Introduction - background to the study-------------------10 Outline of successive chapters----- --------------------- 17 The PMMD and distinctiveness of Moroccan design---------------------18 Research problem--- --------------------------- 22 Research questions.------·--------- --- --------- 24 Aims of the research---- -------------------- 25 Methods and procedures---------------------- ---- 26 Importance of the study---- ----- ---------- 28 Chapter 2 - The principle of movement in contemporary art 1 Introduction--------------------------~---- - 29 2 Genesis and development of contemporary Islamic art---------------- 29 2-1 The impact of social and political events in the Islamic world on the status of arts and crafts--------------------------- 29 2-2 Attempts towards revitalization of Islamic heritage-------------------36 2-2-1 Traditional artisan crafts------------------ ----37 2-2-2 Islamic art in modern architecture--------------- 41 3 Early inspirations from Islamic art (1940s to 1960s) ---------------------45 4 The principle of movement in contemporary Islamic art · 58 4-1The principle of movement in classical calligraphy------- 59 4-2 The principle of movement in abstract approaches------------------ 68 4-3 Moroccan design in contemporary art--------------------------- 73 5 Lack of practical knowledge about the ornamental culture--· ---- 79 Chapter 3 - An overview of Moroccan design 1 Introduction--------------------------------·-------------- · · --85 2 Islamic art--- ---- ----------------------------85 3 Islamic religion's influence on the genesis and development of design elements-------------------------------------------- 88 4 Historical development of Moroccan design-------------------94 4-1 The Umayyad caliphate of Spain (756-1031) ----------------95 4-2 The Almoravids dynasty ( 1073-114 7) ------------------------99 4-3 The Almohads dynasty ( 1130-1269) -----------------------------101 4-4 The Marinid dynasty (1215-1420) --------------102 6 4-5 The Nasrid Kingdom of Granada (1237-1492) ------------------------104 4-6 Moroccan design from the 1500s to date--------------------------------109 Chapter 4 - The role of PMMD in creating geometric decoration 1 lntroduction----------------------·------------------------114 2 Arrangement of line and shape in geometric pattern construction----------------------·-- --- - 114 3 Main characteristics of the principle of movement in geometric patterns-------------------------------·----------- 122 3-1 Continuity of lines------------------------------------ 122 3-2 Interlacing lines----------------------- ----- 125 3-3 Repetition and variation,-----------------------------------------128 Chapter 5 - The role of PMMD in creating vegetal ornamentation 1 Introduction--- -------"--------------------131 2 The formation of basic elements-----------------------------132 3 Historic leaf styles---- --------------------------------- 134 4 Methods of constructing a vegetal pattern--------------- 136 4-1 One-level vegetal patterns-------------- ----------------- 137 4-2 Multi-level vegetal patterns--- ----------------------140 4-3 Vegetal repeated units------------------------------------------143 5 Variety and variation in vegetal ornamental structures-----------146 Chapter 6 - Movement in calligraphic decorations 1 Introduction----------------------------·---------- 150 2 The development of calligraphic styles---------------------------- 151 3 Movement as a decisive factor in good calligraphic practice 157 4 Moroccan calligraphic styles------------------------·---------- 162 4-1 Mag hribi style--------·---------------------------------------------- 162 4-2 Moroccan Thuluth----------------------------- ---- 165 4-3 Kufic styles-------------------------·---------------- 170 4-3-1 Floral Kufic------------------------·--------------- 170 4-3-2 Square Kufic-------------·-------------------- 174 4-3-3 Knotted Kufic-------------·----------------------------- 175 5 Kufic decorations ------------------------------179 Chapter 7 - The role of PMMD in composing design elements 1 Introduction---------------------------------------·-----------------182 2 Continuity of lines,--------------·------------------183 3 Line interlacing------------------------- --- -----------------184 4 Methods of connecting a series of different design elements-------- 185 4-1 Connecting lines of multi-unit patterns-------------------------------- 185 7 4-2 Connecting the interior lines of single units---------------------------