جماليات الرقش الأندلسي بين حدس الرؤية و منطقية التشكيل

الملخص EN

The current research sheds light on (the aesthetics of the Andalusian mottling between the intuition of vision and the rationality of formation), because it is based on a philosophical structure that constitutes it and that is related to religious and spiritual belief and abstract thought.

The research covers four chapters, the first of which contains the problem, which is represented in the form of the following questions: (1) is Islamic art loaded with aesthetic values? (2) how could the Arabic artist employ the two terminologies: intuition and rationality? (3) in which stylistic and structural way through them does the Arabic artist embody the mixture of contrast in Andalusian mottling?).

The chapter also includes the importance of the research and the need for it, in addition to the aim of the research recognition to(the aesthetics of the Andalusian mottling between the intuition of vision and the rationality of formation) as well as the limits of the research and the identification of its terminologies.

As for the second chapter, it involves the theoretical framework which includes three topics.

The first is intuition and rationality in Islamic philosophical thought.

The second tackles Islamic art and its characteristics.

Whereas the third is devoted to the art of mottling between the intuition of vision and the rationality of formation.

The third chapter includes research methodology and samplesearch the researcher did the analysis of the samples of the research which amount to (3) samples.

The research ends with the fourth chapter which consists of a set of results, conclusions, recommendations and suggestions.

Among the findings are the following: the use of geometric shapes appeared in the art of mottling, which expresses an absolute, permanent and constant reality and represents a means of spiritual expressing through the use of pure form that tended towards abstraction, simplification and flatness, which characterized the decorative works of the Muslim artist who employs them as an ideal expression of his intellectual orientation towards achieving beauty.

This can only be done through abstracting the form and maintaining its ideal essential image.

The search ends with a list of references and appendixes