التكوينات الزخرفية للأواني الخزفية في العمارة الاسلامية

Abstract

The current research dealt with decorative formations in Islamic architecture which is considered one of the necessities of life, in order to interact with the general development of humanity from ancient times until the modern era. The historical study of the arts reveals that art is a human language that addresses the mind, imagination, and conscience, and is a material reflection of peoples’ civilizations, awareness, and thought. The research contained four sections. The first section included the research problem, its importance, and the need for it. The research problem was determined by answering the following question: What are the decorative formations in Islamic architecture? The aim of the research is to identify the decorative formations in Islamic architecture. The limits of the research were limited to studying the decorative formations in Islamic architecture, from the period 358 - 567 AH / 969 - 1171 AD in Egypt and studying the decorative formations in Islamic architecture in its various variations.The second section includes a theoretical framework that contained two parts, the first deals with the elements and foundations of Islamic decoration design. The second part deals with the decorative arts of architecture in the Fatimid era. Then the indicators that the theoretical framework concluded. The third section contains the research procedures, which included the research community, its sample models, tools, and the research method, and then analyzed the sample, which consists of 2 models.The fourth section includes the results and conclusions of the research, and one of the most prominent findings of the research is that it shows the influence of the Fatimid faith on Fatimid ceramics through its combination of the material and the spiritual through form and content, as well as its forms that are open to interpretation. In early Fatimid works, the influence of the Abbasid style appears in decorative designs, which faded in later stages. The most important result reached in this paper is that Islamic decoration is based on simplification and transformation of existing forms, and the modification of the natural form with its dimensions, sizes and mass into an abstract form that lacks the characteristic of living nature. Then recommendations, proposals, and research sources.