[ التجريد الهندسي فى التصوير النوبى وابتكار تصميمات لطباعة أقمشة المفروشات ]
Volume 10, Issue 4, March 2015, Pages 1195–1212
Sahar Ahmed1
1 Textile Printing, Dyeing and Finishing Department, Helwan University, College of Applied Arts, Cairo, Egypt
Original language: Arabic
Copyright © 2015 ISSR Journals. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
The Geometric ornaments co-ordinate with many beliefs and ideas in different civilizations, these ornaments have especially harmonies when they combined and creation new decorations and configurations marked by contemporary.
The Geometric ornaments in Nubian painting were marked by Geometric abstraction in the Christian era (Byzantine), Geometrical designs which came in the Nubian painting based on construction, abstract form and color as well as thought. The decomposition of the color and form were free from their traditional to become aesthetics composition allowing the artist to record symbolic forms which are relied on the vertical and horizontal lines, oblique, curved, opposite or tangled that give a Geometrical design including dynamics relations reflect the symmetry and balance.
Therefore, the research aims to analyze the Geometric ornaments which are included in the Nubian painting and varied between geometric interlacing, as well as circles which related to each other by a unit or separated with different types of roses, in addition to horizontal tapes decorated with circles, squares, plait shapes , plant leaves and roses.
Through the study and analysis, modern designs have been discovered for the printed contemporary upholstery fabrics depend on the abstract current in composition, construction and find new relationships.
Author Keywords: Geometric abstraction, Nubian painting, Faras Cathedral in Nubia, Upholstery fabrics.
Volume 10, Issue 4, March 2015, Pages 1195–1212
Sahar Ahmed1
1 Textile Printing, Dyeing and Finishing Department, Helwan University, College of Applied Arts, Cairo, Egypt
Original language: Arabic
Copyright © 2015 ISSR Journals. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
Abstract
The Geometric ornaments co-ordinate with many beliefs and ideas in different civilizations, these ornaments have especially harmonies when they combined and creation new decorations and configurations marked by contemporary.
The Geometric ornaments in Nubian painting were marked by Geometric abstraction in the Christian era (Byzantine), Geometrical designs which came in the Nubian painting based on construction, abstract form and color as well as thought. The decomposition of the color and form were free from their traditional to become aesthetics composition allowing the artist to record symbolic forms which are relied on the vertical and horizontal lines, oblique, curved, opposite or tangled that give a Geometrical design including dynamics relations reflect the symmetry and balance.
Therefore, the research aims to analyze the Geometric ornaments which are included in the Nubian painting and varied between geometric interlacing, as well as circles which related to each other by a unit or separated with different types of roses, in addition to horizontal tapes decorated with circles, squares, plait shapes , plant leaves and roses.
Through the study and analysis, modern designs have been discovered for the printed contemporary upholstery fabrics depend on the abstract current in composition, construction and find new relationships.
Author Keywords: Geometric abstraction, Nubian painting, Faras Cathedral in Nubia, Upholstery fabrics.
Abstract: (arabic)
يعتبر المذهب التجريدى فى التصوير النوبى مدخلا يوحى بانطلاقة اكبر نحو تحقيق إبداعات قوية تفوق ما تحقق بوحى تقليد الطبيعة . وتتفق الزخارف الهندسية فى التصوير النوبى مع العديد من المعتقدات والأفكار فى الحضارات المختلفة ، ولهذه الزخارف تناغمات خاصة عند دمجها مع بعضها البعض واستنباط زخارف وتكوينات جديدة تتميز بالأصالة والمعاصرة .
وقد اعتمدت هذه الزخارف فى فن التصوير النوبى خلال العصر المسيحي(البيزنطي) على البناء والشكل التجريدى واللون بالإضافة إلى الفكر ، وقد تحلل اللون من وظيفته التقليدية ليصبح تشكيل جمالى ، وكذلك تحرر الشكل بدوره أيضا مما أتاح للفنان أن يسجل أشكالا رمزية. اعتمدت على الخطوط الراسية والأفقية ، مائلة ومنحنية ، متقابلة أو متشابكة تعطى فى حرية تعارضها وتقابلها تصميم هندسى محكم يشتمل على علاقات ديناميكية تعبر عن التماثل والاتزان.
لذلك يهدف البحث إلى إجراء دراسة تحليلية للزخارف الهندسية التى اشتمل عليها فن التصوير النوبى والتى تنوعت بين التشبيكات الهندسية بأشكالها المختلفة ذات الخطوط المزدوجة والمفردة ، وكذلك الدوائر المتصلة ببعضها عن طريق وحدة تربط بينها أو المتباعدة وبها أنواع من الزهور، إلى جانب الأشرطة المزينة بالدوائر والمعينات والمربعات ، والأشكال المضفورة ، والأوراق النباتية ، والزهور. والتى من خلالها تم ابتكار تصميمات لطباعة أقمشة المفروشات المعاصرة تعتمد على الاتجاه التجريدى فى التركيب والبناء وإيجاد علاقات جديدة.
Author Keywords: التجريد الهندسي ، التصوير النوبى، كاتدرائية فرس بالنوبة ، أقمشة المفروشات.
How to Cite this Article
Sahar Ahmed, “Geometric abstraction in the Nubian painting and creating designs for printing upholstery fabrics,” International Journal of Innovation and Applied Studies, vol. 10, no. 4, pp. 1195–1212, March 2015.
