Ornaments views of a metal case from the Qajari period add new features in the Arts of Islamic Manuscripts

Abstract

Islamic art emerged with its components of the aesthetic, intellectual and spiritual components to dazzle all from the East and West with the gorgeous aesthetic and originality of its style and approach, It was born as the fruit of a spiritual, scientific, philosophical and intellectual richness that the Muslim artist, in general, and the artist of Qajari in particular worked on for he understood the religion as a belief, worshiping, principles and behavior, so he formed that concept and made it into a pure beautiful visual art. The philosophy of aesthetics and the new visual solutions resulted from the merge of the spiritual concepts with the other Scientific, Social and intellectual aspects all together. The Muslim Artist would not create the intellectual and technical solutions that conform with his own aesthetic perspective without his interaction with the visual discoveries for he expressed the beauty of the universe through a symbolistic visual forms and paintings that was inspired from the nature around such as plants, Animals, ...etc. Therefore the artist made a unique aesthetic and philosophical technique for those motifs and pictorials to bring us to "The Hidden Speech" as Mr. "Henrey Fosion", the historian and aesthetic researcher, called it. And those hidden meanings, that the research in the Islamic art features seeking to find an effective visual reading to detect and deeply monitoring them, are not confined only to the spiritual Islamic aspects but it is related to both the divine and the living in the Muslim's life. To read the motifs and pictorials that are executed on the masterpiece, a special tools and visual reading skills are required. Those tools must stems from a deep understanding of Islam and the way it relates to life and then connect that understating with an intelligence and a sensitive visual taste to bring the recipients to those hidden meanings. It should be mentioned that the importance of the need to develop a visual reading keys not only for its role in assuring attention and awareness of Islamic art as it deserves, but for its role in consolidation of identity and the cultural and spiritual self, that has become one of the pressing issues in our current era, which dominating by the Westernization and globalization and the rotation in the orbit of the other, therefore, thinking of motifs and pictorials are highly engaged to the so-called visual thinking , which is an attempt to understand these forms through the language of the forms painted on a masterpiece in order to develop communication skills, creative and logical thinking that would contribute to revival of new explanatory insights to open horizons for various future studies on this field. Reviewing and examining the motifs and pictorials executed on the metal masterpiece concerned may contribute to show and define the features and principles that should be achieved when constituting the picture and the way to deal with technical changes and using them to build different configurations to achieve the general principles of the constitution of the picture and to develop the sense of artistic values; to make the artistic culture among recipients ,and thus the image becomes an entrance to taste it and to improve and to rich the public taste. Aim of the research: Detecting pictorials and multiple motifs, which are paramount in identifying aspects of Islamic civilization which reflecting different aspects of religious and artistic life and offer a valuable insight about the social and intellectual life prevalent in that era; therefore we have been focusing on a comprehensive visual reading through the language of the form painted on the masterpiece aiming to develop communication skills, creative and logical thinking which consist with the third axis of the conference themes that manage the Islamic Arts characteristics, aspects of creative interaction with world cultures and technological advances.