أثر الأساليب الفنية الإسلامية على الزخارف النباتية الصفوية لابتكار تصميمات أقمشة ملابس السيدات المطبوعة للسهرة

Abstract EN

It is known that, the Islamic art that has spread allover the Arab regions and elsewhere is only a new formulation of the arts prior to Islam in these areas, after adding the principles and character of Islam.

Although external differences of figures may be observed, serious harmony in substance and content exist.

Islamic arts are distinguished by their united character which unites them so that any piece of work produced during Islamic civilization, in any muslim country, can be easily recognized.

This is may be one of the excellence secrets of Islamic civilization and its unique ability to produce artistic pieces of the same character in all countries.

On the other hand, this unity does not preclude the existence of Islamic styles which distinguishe various Islamic countries in their eras of art development.

The Muslim artist has used all means of decoration and ornamentation in producing antiques and buildings, depending on plant, geometric, linear, human and animal figures.

He often coupled these elements although they are mostly characterized by their tending to be abstract not committed to the natural figures they are derived from.

It is clearly observed in plant ornaments and figures that they have neither a start nor an end but are likely to expand expressing the eternal life and human spiritual freedom away from strains and boundaries.

These ornaments prove that the artist was fond of following things by analyzing details to reach extreme skillfulness and professionalism, and feel the glory of victory to overcome the difficulty of filling the spaces as well as installing various figures to reach the sweet harmony between these different elements.

Hence, it is important to follow the impact of Islamic arts in some regions and countries that were under Islamic rule in general and plant motifs in particular.

In the present work, the Safavid era in Iran has been chosen for study since it is considered as the golden era in which these ornaments flourished in pottery and textiles and especially on carpets.

Due to the shortage of academic studies that addressed the impact of Islamic art on the Safavid plant ornaments in terms of comparative, analytical and artistic point of view, the researcher assumes that, this point includes many artistic and philosophical values that are worth studying.

Consequently, the present study aims to make an artistic analytical comparative study of decorative plant elements on some applied Art models that belong to the Safavid era in Iran along with a description of the artistic values and structural basis of these motifs in order to create design solutions that have a special character in designing ladies’ evening printed clothes.