Composition

    

Fig.1 Ceramiche invetriate policrome

Iran, IX-X sec. d.C.



Fig. 2 Lastra, marmo scolpino a basso rilievo

Afghanistan, fine XI-inizio XII sec. d.C
















    




    

    


Fig. 3 Ceramiche orientale policrome

Iran, IX-X sec. d.C.



     Islamic art is generally used for decoration, incorporating various geometric shapes as the most significant ornamental design. These shapes are used as patterns, rationally interconnected, but without a clear beginning or end. Furthermore, the decoration of ceramic plates and bowls usually includes a certain figure or a shape (eg.animal, man, circle etc.) placed at the centre, around which all of the other figures and forms are positioned (Fig. 1). This may indicate that there is always one crucial character or life segment, controlling the other circumstances and events. In addition, all of the geometric patterns used are symmetrical and often reflected. They are also repeated many times, extending continuously and creating a perfectly harmonious composition. This applies to architectural design (Fig. 2) too, including floral shapes and calligraphy as part of the decorative scheme. The particular letters are also integrated as repetitive patterns, placed around the figures and probably used as inscriptions (Fig. 3). Therefore, the juxtaposition of animal and human figures with various geometric shapes and calligraphy imposes the inventive aspect of Islamic art and its social context. Moreover, the geometric shapes, floral and animal images (Fig. 4) are also used for decoration of the drinking bowls, cups and vases. They are again interrelated and spread out with no distinct starting or ending point, still exposing a completely ordered system of figures and forms. This may even be an allegorical depiction of the mutual dependence on each other (eg.food chain) and the various natural relations between humans, animals and plants. In addition, the same compositional principles apply to the decoration of tiles (Fig. 5), reflecting rhythmic and vibrant depiction of figures or events. Thus, Islamic art has a decorative function primarily, with shapes expanding on and on, on their way to unity and concord.

Kirila Cvetkovska

Fig. 5 Mattonella a rilievo con figure di cavalieri,

giocatori di polo, Iran, fine XIII sec. d.C.



Fig.4 Rappresentazione di figure umane ed animali

Iran, VI-VII sec. d.C.