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Volume :11 Issue : 44 1993      Add To Cart                                                                    Download

The Reciprocal Relationship Between Shape & Background in Wall Decorative Patterns up to the Bahria Mamluk's Period (263 - 784 / 876 - 1382) (in Arabic)

Auther : Esam Arafa Mahmoud

The researcher began this study by dividing the research into three historical periods. The first one was the pre-Islamic period, where the researcher described the emergence and development of the reciprocal relationship between the shape and background, which was characterized by unorganized and spontaneous attempts. The second period covered the Islamic Egypt up to the Mamluk period. During that period, the Moslem artist paved the way for the Mamluk artist through establishing some artistic basics, which illustrated and presented the style of the reciprocal relationship between shape & background in some artistic works through the ages of Islamic Egypt. The researcher has identifed three reciprocal comprehension styles which were as follows:

1. Decorative patterrns based on the reciprocal comprehension between shape and background with differences in the appearances of them.

2. Decorative patterns based on the reciprocal comprehension within shapes only.

3. Decorative patterns based on reciprocal comprehension between shape and background and in accordance with each other.

From the above classification, the researcher has analyzed wall decorative patterns up to the Malmuks period, based on the mentioned styles. Through this study the researcher has reached several conclusions which confirmed the existence of different styles of reciprocal comprehension between shape and background, on different decorative forms such as: geometrical, floral and inscription patterns. and also on stone, marble and stucco materials.

In the first style, the Moslem artist accomplished the reciprocal comprehension between shape and background for decorative geometrical, floral and Inscription patterns. For the second style, the Moslem artist, also accomplished the reciprocal comprehension through the utilization of multiple directions of similar and dissimilar elements. In the pattern for the third style, the Moslem artist accomplished the reciprocal comprehension through the distinction between shape and background. The first two styles were spread out in different positions in each building, the thrid style was limited to arches, relieving arches and Hate arches. Finally, the researcher concluded his study by illustrating the impact of reciprocal coloring on the reciprocal comprehension between shape and background.

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