التنوع الأسلوبي الجمالي في الخزف السلجوقي

Abstract EN

The current research seeks to understand the output mechanism and diagnose the process of stylistic diversity occurring in Seljuk Islamic ceramics, especially since this artistic genre represents one of the important types of plastic arts in Islamic arts, as the styles varied in it, whether simulated or adopted behavior down to the forms of abstraction, and sometimes To the ideal form that the Muslim artist inherited and developed through the diversity of the raw materials and techniques of ceramic art, whether in clays, color oxides, or by the creative creative imagination that reflected the distinguished style of the Muslim artist at that time.

Answering the following question: • What is the aesthetic stylistic diversity in Seljuk Islamic ceramics? 1.

The need for artists, art students and those interested in art to know the methods of depicting Hariri's maqams.

2.

Contributes to supplementing the technical library with a scientific, modest technical effort, serving the specialists.

The most important conclusions: 1.

The Muslim potter was interested in transferring the various vocabulary of environmental reality to his ceramic surfaces, based on the state of being clearly influenced by life situations, and he expressed those vocabulary aesthetically and in a manner consistent with the choices of the topic and idea and in a way that reflects.

2.

The various decorative units (plant and animal) have a connection to this Islamic belief, first, and secondly, and they have connotations, symbols and aesthetic values that simulate the taste of Muslims, and therefore the Muslim potter focused on them clearly.