ISLAMIC PATTERNS KEITH CRITCHLOW PDF

Add to basket Add to wishlist Description For centuries the nature and meaning of Islamic art has been misunderstood in the West, being regarded as no more than decoration. But in fact the abstract art of Islam represents the sophisticated development of a supra-naturalistic tradition, since the portrayal of human and animal forms has always been discouraged by the Prophet Muhammad, so as to avoid idolatry. Its practice rekindled the inner organ or eye of wisdom by which alone we can see the truth. The geometrical patterns of Islamic art reveal to the eye of the sensitive onlooker the intrinsic cosmological laws affecting all Creation. The primary function of these patterns is to lead the mind from the literal and mundane world towards the underlying permanent reality. The numerous sequential drawings show how the art of Islam is inseparable from the science of mathematics.

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The classic study of the cosmological principles found in the patterns of Islamic art and how they relate to sacred geometry and the perennial philosophy. Explains how these patterns guide the mind from the mundane world of appearances to its underlying reality.

For centuries the nature and meaning of Islamic art has been wrongly regarded in the West as mere decoration. In truth, because the portrayal of human and animal forms has always been discouraged on Islamic religious principles that forbid idolatry, the abstract art of Islam represents the sophisticated development of a nonnaturalistic tradition. Through this tradition, Islamic art has maintained its chief aim: the affirmation of unity as expressed in diversity. In this fascinating study the author explores the idea that unlike medieval Christian art, in which the polarization of such forms and patterns was relegated to a background against which to set sacred images, the geometrical patterns of Islamic art can reveal the intrinsic cosmological laws affecting all creation.

Their primary function is to guide the mind from the mundane world of appearances toward its underlying reality. Numerous drawings connect the art of Islam to the Pythagorean science of mathematics, and through these images we can see how an Earth-centered view of the cosmos provides renewed significance to those number patterns produced by the orbits of the planets.

The author shows the essential philosophical and practical basis of every art creation--whether a tile, carpet, or wall--and how this use of mathematical tessellations affirms the essential unity of all things.

An invaluable study for all those interested in sacred art, Islamic Patterns is also a rich source of inspiration for artists and designers.

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Islamic Patterns

The classic study of the cosmological principles found in the patterns of Islamic art and how they relate to sacred geometry and the perennial philosophy. Explains how these patterns guide the mind from the mundane world of appearances to its underlying reality. For centuries the nature and meaning of Islamic art has been wrongly regarded in the West as mere decoration. In truth, because the portrayal of human and animal forms has always been discouraged on Islamic religious principles that forbid idolatry, the abstract art of Islam represents the sophisticated development of a nonnaturalistic tradition. Through this tradition, Islamic art has maintained its chief aim: the affirmation of unity as expressed in diversity. In this fascinating study the author explores the idea that unlike medieval Christian art, in which the polarization of such forms and patterns was relegated to a background against which to set sacred images, the geometrical patterns of Islamic art can reveal the intrinsic cosmological laws affecting all creation. Their primary function is to guide the mind from the mundane world of appearances toward its underlying reality.

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TUTORS’ WORKS:

Critchlow performed national service in the Royal Air Force from to He also contributed the forewords to English editions of works by Titus Burckhardt , Frithjof Schuon , and others. He is continually inspired by the conceptioning of both earliest and latest record. One of their aims was to help reduce use of concrete and minimise the negative impact of construction on the environment. In Crestone, he contributed to a number of summer schools for Lindisfarne and taught alongside innovative thinkers from both the arts and sciences, including social philosopher and cultural critic, William Irwin Thompson founder of the Lindisfarne Association , mythographer and symbolist Robert Lawlor , poet and environmental activist Wendell Berry , biologist John Todd , and environmentalist James Lovelock. He was professor emeritus at PSTA and served as director of research.

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