The aesthetics of the decorative units in the holy shrines

Abstract

The Arab-Islamic decoration is linked to the diversity of its evidence and the expansion of the Islamic world with the diversity of its patterns of geometric, botanical, epigraphic and others, with a strong bond that allows it to be classified within a well-established intellectual approach, an artistic framework, and a unified aesthetic, which combines all these artistic achievements, despite its temporal dimension and the variables of the environment, and place. The multiplicity of materials, and the conditions of human creativity, as the art of architecture is one of the important arts, which is consistent with the aesthetics of Islamic decoration, and this is what led him to employ many materials that are available in the environment, emphasizing through them on many aesthetics, and this is what led him to create multiple architectural elements It was consistent with beauty, and reflected the uniqueness and creativity. Islamic architecture was and still represents the unity of the Islamic faith throughout the ages and the different places, because Islam is the religion of monotheism, it has eliminated the differences arising from the difference of races and traditions, and I have directed the affairs of thought and morals in different countries.

The artistic output that appeared on these walls, doors, and ceilings indicated his ingenuity in his decorative formations, which included the diversity of their form and decorative forms in terms of decorations (geometric, plant, linear, and animal) according to the morphological plurality of their structural components, as well as their spatial organization, in addition to diversity In the operational technique adopted in it and the color treatment of the space and its decorative configurations, which was considered one of the most important technical achievements that reflected a prestigious level in terms of design and technology.

The research included four chapters: The first chapter is about the methodological framework of the research and it contains the research problem, its importance and its goal of (b) to reveal the aesthetic relationships of the decorative units in the holy shrines, while the limits of the research were limited to the study of pottery from (2000-2018), and the researcher identified some Terms and their definition.

As for the second chapter, it included a presentation of the theoretical framework and previous studies, as the theoretical framework contained two sections, the first of which was studied (conceptual beauty), while the second topic reviewed in detail (the decoration and its functions in the holy shrines), and then the researcher reached the indicators of the theoretical framework.

The third chapter was devoted to (research procedures), where the researcher included the research community by limiting it to (20) models, and the research sample was limited to (4) models, which the researcher analyzed according to the descriptive analytical approach.

As for the fourth chapter, it is devoted to a review of (the results and conclusions), and the most important findings of this study are:

1. The Muslim artist achieved the aesthetic dimension in the decorative parts, and in turn achieved a structural formation stemming from the geometric and vegetal structures resulting from the diversity in shades and light.
2. The imagination of the Muslim artist had a great role in the formulation of empty spaces surrounding the decorative formations, which opened the way for the recipient to move to complete the reading of the missing parts.
3. The Islamic decoration represents an integrated intellectual structure implemented by the Muslim artist to transcend the spiritual meanings by realizing the deep meanings behind the abstract forms, through which he transcended all the realistic and sensible forms, which gave them a spiritual character.

The most important conclusions:

1. The nature of the decorative diversity in the structural formations of the interior and exterior decorations found in the holy shrines is related to the data of the aesthetic organization of the elements and the foundations linking them.
2. The decorative diversity in the interior and exterior wall spaces in the holy shrines led to an aesthetic intensification of the visual vision through structural and technical treatments that support the state of diversity in those spaces.
3. The manifestation value is enhanced in the act of transformation in decorative designs by moving from the sensory level of the decorative image to the spiritual (absolute) level of it.

It was followed by recommendations, suggestions, a list of sources and references, and then supplements.