جماليات التكوينات الزخرفية المنفذة على السيوف الإسلامية

Abstract EN

Islamic swords possess an aesthetic in their decorative formations, whether they are scriptural, vegetable, animal, or even human, which may be due to the intellectual and cultural heritage that the Islamic world possesses, as well as to the multiplicity of regions and Islamic societies that blended and homogenized to become a new art called Islamic art.

The Muslim artist sought to be creative in dealing with the vocabulary of nature and treating it artistically through modification and innovation in order to be able to highlight a renewed aesthetic in the decoration on the swords, which showed the importance of beauty besides the function and in line with his Islamic spirit.

From here came this research (to study the aesthetics of the decorative formations executed on Islamic swords), which included four chapters : The first chapter dealt with a presentation of the research problem, and it was summarized by the following question: What are the variations in the decorative formations used in the manufacture of Islamic swords, which give them an aesthetic character? The spatial limits of the research were limited (the Islamic state) and the temporal limits were the Islamic period (the middle and late eras), while the second chapter - the theoretical framework - included the following topics: 1- Elements of decorative composition 2- Types of decorative formations 3- Historical overview of Arab and Islamic sword making (Their types and the decorations executed on them).

This was followed by the indicators of the theoretical framework, and the third chapter came with research procedures from defining the research sample by the intentional method, which numbered (5) elements.

Most notably 1.

The animal, plant and epigraphic motifs executed on Islamic swords came with a character characterized by its elongation and in a continuous horizontal manner, in an attempt by the Muslim artist to fill the void in a unique aesthetic style.

2.

The Muslim artist used his decorative formations, influenced by the arts of the neighboring countries, Turkey and Eastern Europe, due to the development of decorative arts, to express the beauty of these decorative formations.

Among the conclusions were : 1.

The art of Islamic decoration, with its decorative compositions, expresses the evolution of the era with beautification through artworks, with the cohesion of its units and their interconnectedness in a way that gives them a unique beauty.

2.

The use of written, plant, animal and human decorative formations by the Muslim codification in an aesthetically pleasing manner and composition, followed by a list of Arab and foreign sources and references.