البنية المكانية في الفن الإسلامي

الملخص EN

The present study addressed the issue of the spatial structure of Islamic Art, which formed a cognitive phenomenon very art require that produces perhaps the image material is, and contain the level of Michi, depth, and sometimes pictures be imagined; Valtsoar gives us a sense of emptiness and Aihama so void - an invisible vacuum, and this sense of imagined It gives us a vision of where I am.

The place a comprehensive system of signs is transmitted through physical blades Daulah through a set Brown, is not permissible to rely engineering level and considering the place is just a selected area and pose a relational format Madepen thing and its surroundings, or Oketlhomahatha vacuum.

The current research aimed to spatial structure in Islamic art disclosure has included research on the three chapters: the first chapter addressing the problem of research and the importance of research and the need for him and the limits of research and determine the terminology, Kalpnah, location, and structure of spatial ..

The second chapter: Vtm Review Investigation theoretical framework for search as follows: first topic: the existential need of the place and the second topic: the aesthetic representation of a place in Islamic Art and the third section: spatial structures.

The third chapter: (research procedures) have been dealt with community research and modeling research sample selected and the (four models) purposely selective, and then the sample.

As Chapter IV models analysis: it has been a review of the most important findings of the research, including: • spatial structure of Islamic Art withstand Ta Ava Nskie, or a private system, through the synergy problem elements Mnmnh (models 3 and 4) and that any shift in those elements significant shift is happening in the rest of the infrastructure elements, if change the shape and size of the formative element president in the form of (1 ) to form Kaaba will alter the nature of the spatial structure and posed and Mathvl its deliberative and well-established concepts.

• It is most important to a Astnatajat: The place Ptgelet across the three structures (physical, efficiency, and conceptual), we find the time emerges in his presence and echoing through the sayings of these functions and mobilize brands.

One of the main proposals: .abanny spatial actors in the Muslim porcelain.