content in their artwork. It has to be addressed prior to the creation of form. It is the content that determine the form. The message of Islam (tawhid) is being transmitted through form.
In Islamic art, the concept of tawhid formed the content of the art work.
Based on the: a. Al-Quran and Al-Hadith b. Nature There are two processes in creative work:
a. The problem solving process b. The creative process
(Process a is an activator assisting in the process b)
Define Analyze Idea Select Implement Evaluate
Form Generation Stages in the creative process:
1. Imitation of nature 2. Stylization of nature (denaturalization of nature) 3. Abstraction of nature
Muslim artist imitate nature to produce art work. He realized that man can never create Gods creation in nature.
(Nothing in this world that can match the Wahyu i.e. Al- Quran. Nature is also another form of the words of God) In any instance, an artist cannot reproduce nature. He can imitate nature but it is not the true thing an illusion.
What he had created is in the form of stylization of nature, which in other words - a denaturalized form. His creation cannot be equated with the Gods creation.
The creative process had undergone stages of imitation and stylization of nature (the denaturalization of nature), and finally the stage of abstraction of nature.
The composition of the abstract form can be organic or geometric, or both to create an Islimi design known from the Ummayad to the present day. Evidence of these stages can be seen in any Islamic art work. It can be either on the:
First stage: imitation of nature Second stage: stylization of nature Third stage: abstraction of nature Or An Islamic Art work may consists of any one of the followings:
a. First and second stage b. Second and third stage c. First and third stage d. All the three stages
Visual Elements of Form Perception Theory Communication Theory Human Factors and Dimensions Form Configuration, Structure, and Materials Unity of Form
Visual and Physical Attributes of Form Value/Tone, Colour Texture Dimension Shape Proportion Space, Depth, and Distance (2- and 3-Dimensional Form Perception) Light/Brightness Illusions Monocular Cues (size, partial overlap, value, colour, aerial perspective, detail perspective, linear perspective, texture gradient, shadow, blurring detail, transparency)
Binocular Cues (muscular cues, parallax cues) Position Orientation Motion Time Organizational Principles in 2 and 3 Dimensions Visual Perception Concepts/Principles 1. Gestalt Theory Figure Laws, Grouping Laws 2. Figure/Ground Distinguishing Figure from Ground, Ambiguous Figure, Stability / Instability, Figure Closure, Figure / Ground Reversal, Pattern & Figure / Ground Reversal, Figure Overlap Prescriptive Principles of Organization 1. Spatial Organization Centralized, Linear, Radial, Clustered, Grid / Lattice Systems 2. Symmetry Groups Identity, States of Being, Operations (translation, rotation, reflection, glide reflection) Symmetry, Transformations 3. Compositional/Visual Organization Balance (symmetrical / asymmetrical), Repetition, Harmony, Rhythm, Variety, Contrast, Dominance 4. Acquired Associations Free Association, Familiarity, Reading Order, Hierarchies of Information general to specific, specific to general, chronological (affine, perspectivity, dilatative, topological, golden section, root rectangles) 3. Dynamic Symmetry Proportional Systems (arithmatic, harmonic, geometric), Proportional Theories (Golden Section, renaissance, the Modular, anthropometrics) Communication Theory
Verbal & Nonverbal Communication
Pattern Recognition Human Recognition (Relative to Social / Cultural Patterns Visual Language Semiotic (Theory of Signs) Theory by Charles Morris Semiosis Sign Vehicle, Designatum, Interpretant Syntactics Semantics Pragmatics Communication Theory Semiotic (Theory of Signs) Theory by Charles Morris Syntactics Formal Concept of Language, Syntactical Rules (formation rules, transformational rules) Semantics Relation of Signs to Their Designata, Semantics Rule, Linguistic Structures, Nonlinguistic Structures Process by D. Berlo
Source Message Channel (Media) Receiver Semiotic (Theory of Signs)
Pragmatics Relation of Signs to the User, Pragmatical Rules User Requirements
Social / Cultural Factors
Economic Factors
Anthropometrics / Human Dimensions Structure and Material Structure Systems
Static Structures Solid, Skeletal Surface / Planar Matrials and Their Characteristics Wood Paper Plastic Metal Fabric Ceramics Glass Art Forms Architecture Design Forms Visual Messages Products Structures Interiors Form Media (art tools and materials)
The Elements of Art Line, Shape Value, Texture, Color
The Principles of Organization Harmony (involving rhythm-repetition) and Variety (involving contrast-elaboration) (Balance, Movement, Proportion, Dominance, Economy and space) Unity means oneness, an organization of parts that fit into order of a whole and become vital to it
Both two- and three-dimensional compositions and forms are created by combining:
a. Subject matter b. Meaning/intent with material/media
Artists/designers/architects manipulate components to devise and produce meaningful Islamic art forms, products, buildings, interior spaces, communications, and so on.