A Criteria for balancing between movement and stillness in Islamic decorations (Arabic calligraphy heritage applied in the field of metal furniture) | ||
| International Design Journal | ||
| Article 30, Volume 14, Issue 4 - Serial Number 62, July and August 2024, Pages 385-395 PDF (1.41 M) | ||
| Document Type: Original Article | ||
| DOI: 10.21608/idj.2024.358290 | ||
| Author | ||
| Mahytab Hassan El-Banna Abdul Aziz | ||
| Lecturer at Design of Metal Furniture & Construction Department, Faculty of Applied Arts, Helwan University, Egypt, | ||
| Abstract | ||
| When discussing the nature of Islamic decoration, we find that it is necessary to realize a basic axiom, which is the truth of the balance of both the hidden and obvious characteristics of Islamic art, which is the only art whose definition has broadened and its scope has spread behind the wall of nationalisms and tribal fanaticism, to be its primary inspiration and motivation for its artists who are multi-cultural and multi-ethnic. The essence of the doctrine of monotheism and the essence of the Holy Qur’an. The problem: This is represented by the urgent need to confirm Islamic identity and create a link between the Islamic creativity of the prosperous past and contemporary design, as it is an effective influence in communication between human cultures and civilizations. Objectives:, the research aims to contribute to protecting the Islamic artistic heritage by exploring and discussing the nature of the logical structural treatments that It controls the Islamic decorative artistic style in general and the heritage of Arabic calligraphy in particular, analyzing its intellectual dimensions, and the extent of the influence of the doctrine on its balanced structural formations, and thus applying the rules controlling the balance of the elements of Islamic decoration represented in Arabic calligraphy to the design of metal furniture. Methodology: the study followed the descriptive and analytical method in determining the standards of artistic balance in Arabic calligraphy as a model for Islamic decoration, and then the experimental method in applying it to some metal furniture products. This was done by discussing the following elements: Conclusion: Through the inductive and analytical approach to the standards of balance in Islamic decoration and Arabic calligraphy, the researcher concluded several results that can be summarized in the following: • The plastic and spiritual essence of Islamic decoration makes it a global language of communication capable of sending cultural messages confirming the greatness of Islam. • Balance is the essence of Islamic decoration as it is a plastic representation of the spirit of Islam that reflects the truth of universal laws. • Adopting Islamic decoration as a contemporary design approach is essential for supporting the Arab spirit and resisting Westernization and the dissolution of identity. • Arabic calligraphy is characterized by many structural and formative properties whose rhythms can be exploited to support contemporary design thought in the field of metal furniture. • Applying Arabic fonts as one of the vocabularies of metal furniture design leads to the production of functional and aesthetic design solutions that enhance the Arab and Islamic cultural identity. | ||
| Keywords | ||
| Arabic calligraphy; Islamic decoration; metal furniture | ||
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| References | ||
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