Arabesque Architecture
The arabesque is an ornament painting, sculpture, engraving or repeating mosaic of symmetries that are reminiscent of stylized plant forms, more rarely of animals (the representation of the latter is discouraged in Islam). This is one of the peculiarities of the Islamic decorative arts. The choice of geometric shapes and their arrangement stems from a worldview in the Islamic world. For a Muslim, these forms constitute cause the repetition of which extends beyond the visible material world: they symbolize the infinite nature - and without a center - of creation. As Christian iconography, the arabesque is an expression of spirituality.
Summary |
In Western culture
Despite the Muslim presence in Spain is through trade relations between the Middle East and Venice that is introduced into Western art, the Italian Renaissance , the term arabesque (although the term of interlacing is already used). It could also be written rabesques (Synonymous with Moorish Moorish also wrote, from the Moors ), it clearly suggests the Muslim origin of the pattern.
If it can be traced back in 1308-1311 tables Duccio in Siena , it was not until the fifteenth century that the genre is spreading in the tables of the Venetian painters Cima da Conegliano (1460-1465), Vittore Carpaccio (1525 - 1526) and Palma Vecchio. From that time, we meet the arabesques in the illustrations in books, hit the binders, painted on pottery, embroidered on costumes, decorating tapestries and metalwork.
Used in dishes of bindings of books decorated with gold leaf called Damaschin went (by way of Damascus ) in Italy, Moorish be used in France in hardcover for King Louis XII (1510) and the first book dedicated to the Florentine Moorish is based in France, Francesco Pellegrino (1530) and then, in an original way in Europe, in the decoration of book illustrations by the editors of Lyon and Paris : frames Moorish by B. Solomon from 1547 for books published in Lyon that of G. Paradin , Memoriae nostrae, (1548), The Metamorphosis of Ovid figured by John Tournes (1557). Androuet Jacques Hoop (1563) to bring together the key in his prints.
In Germany and England are published books of designs, partly copied from the Italians.
Then, in eighteenth-century confusion settles with the grotesque (though different in their use of human and animal figures, or chimeric) and divert the use of the word arabesque, and in catalogs, drawings of grotesque students of Raphael described as arabesque.
The nineteenth century and the twentieth century , the name of arabesque is given to all playing styles of lines and it is recommended to use the Moorish word to avoid confusion and to recall the exact cultural background.
Technical terms related
Arabesque (a term referring to a curved shape stylized) may refer to many technical terms descriptive of the ornaments of Islamic palaces, such as tiles (painted stucco) or zelliges , mosaics represented here.
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