Geometric in Islamic art and design: infinite point or creativity through compass and digital

Hussin Ridzuan, Mokhtar Asmahan, Jantan Ramlan,

Abstract

The creativity of earlier artists and sculptors in designing geometric are extraordinary provided with only a compass. Indeed, geometric in Islamic art and design are unique and have their own aesthetic values. In order to further understand geometric, self-learning with the approach of hands-on would be appropriate. For this study, Islamic themed geometrics designed and created, concerning only; i). The Square Repetition Unit and √2, ii). The Hexagonal Repetition Unit and √3 and iii) Double Hexagon. The aim of this research is to evaluate the creativity of Islamic geometric patterns artworks, through Fundamental Arts and Gestalt theory. Data was collected using specific tasks, and this research intends to identify the difference of Islamic geometric between 21 conventional (compass) untitled selected geometric artworks and 25 digital untitled geometric pattern artworks method. The evaluation of creativity, colors, layout, pattern and unity is known to be of utmost importance, although there are differences in the conventional or the digital approach.

References

1. Al-Qur’an. 2. Abd Rahman Hamzah. (2011). Islamic inscription in mosques: The forms and meanings. Johor Bahru: Penerbit UTM Press. 3. Brough, E. (2008). Islamic geometric patterns. London: Thames and Hudson. 4. C. Keith. (1995). Islamic patterns. An analytical and cosmological approach. London: Thames & Hudson. 5. Carey, M. (2012). An illustrated history of Islamic art & design. Leicestershire: Southwater. 6. Danby, M. (1995). Moorish Style. London: Phaidon Press Limited. 7. Iberahim Hassan. (2000). Prosiding Konvensyen Kebangsaan Pendidikan Seni Visual. Kuala Lumpur: BSLN, hlm. 74-84. 8. Issam El-Said. (1993). Islamic art and architecture. The System of Geometric Design. Reading: Garnet Pub. Ltd. 9. L. Mozzati. (2010). Islamic art. London: Prestel Pub. Ltd, pp. 24. 10. Mohd Fauzi Sedon, Tajul Shuhaizam Said, Harozila Ramli & Siti Fazlina Isnin. (2013). Repetition and accumulation. Kupas Seni. UPSI. Vol 1. 11. Noor Hafiza & Norwani. (2013). Pandanus, pattern and design. International Journal of Literature and Art (IJLA), 1, 1-6. Retrieved from http://www.seipub.org/ijla. 12. Pentak, S. Roth, R and A.Lauer, D. (2013). Design basics 2D and 3D. Boston: Wadsworth. 13. Ruzaika Omar Basaree & Sumardianshah Silah. (2012). Aesthetics & geometrical principle of Malay woodcarving. The International Journal of Arts, Culture & Heritage. iJACH. 1, 77-100. 14. Waijittragum, P. (2012). A trace of Islamic art in Thai Mosques. World Academy of Science, Engineering and Technology, 6, 1154-1157. Retrieved from http://www.waset.org/Publication/15285. 15. Zahra Ahmed Al-Zadjali. (2015). The influence of Islamic arts on omani weaving motifs. World Academy of Science, Engineering and Technology Vol: 9 2015-09-01.