This is a work of pure design, crafted with exceeding
intricacy and beauty. The design is so sensitive that letterforms blend into
and are enveloped by the patterns and motifs. Even in its aged condition, an
impression of depth is created. |
I
chose to describe this work as objective abstraction, rather than
non-objective, because of the impression it creates that there are multiple layers
viewed from directly overhead that can offer footing and be explored. In
addition, some forms are recognizable as foliage and plants. Of course, an
argument could easily be made that the impressions are just that, and this work
is nothing more than a series of shapes and spacing.
This is an excellent example of the unsurpassed design achievement of Islamic culture during the middle ages. The design is the subject of this piece; the result is a level of intricacy and elemental density that is simply amazing. Visually, this work is peaceful.
Sumptuous pattern is the primary vehicle used; it borders on overly-dense but is well-spaced and ordered. Calligraphic shapes and lines, an interplay of the two kinds of space and a strong supportive alternating value pattern integrates into the overall structure of this work. A satisfying texture is a side-effect of this elemental unification.
Patterns framed by patterns nearly break this work’s pictorial flatness. If you will, this work has some of the most “plastic decorativeness” to be found in two-dimensional art. I believe value builds this work’s depth. It clearly defines shapes; midtones are found raising up high-key shapes; similarly, dense tones sink behind other lighter strokes in some of the cells woven into the patterns. Arguably, radial symmetry applies.
Lush. This work is teeming with narrow, graceful lines, straight and rounded, with full variation in measure and value. Line both frames and embellishes, provides rest and action, builds shapes and subjects. The amazing, complicated use of line develops texture, depth and harmonizes a visually stimulating, lush work of art.
I cannot speak or read Farsi or Urdu; if I could it’s possible the message of the decorative strokes that clearly form words would capture and hold initial interest. It goes without saying text is effective at attracting attention. Aside from this, the central, complicated star-figure draws a lot of visual effort even with its formatting nearly embedding it into its surroundings. The framing devices not only cradle it but seem to spiral towards it in spite of their angular, perpendicular formatting. This work toys with the idea of ambiguity because of its global decorative appearance.
These designs respect the limitations of the “field” they are designed on. The formatting of the elements and arrangement in their assigned areas, when globally considered in area-to-area relationships, strive to use space to maximum decorative effect. This work is simply a masterpiece of design. Its overall mood is restful, but there is undeniable energy based on the incredible detail present. The care in planning and execution clearly reflect the respect both the creator(s) and patron(s) had for the Holy Book.
This is an excellent example of the unsurpassed design achievement of Islamic culture during the middle ages. The design is the subject of this piece; the result is a level of intricacy and elemental density that is simply amazing. Visually, this work is peaceful.
Sumptuous pattern is the primary vehicle used; it borders on overly-dense but is well-spaced and ordered. Calligraphic shapes and lines, an interplay of the two kinds of space and a strong supportive alternating value pattern integrates into the overall structure of this work. A satisfying texture is a side-effect of this elemental unification.
Patterns framed by patterns nearly break this work’s pictorial flatness. If you will, this work has some of the most “plastic decorativeness” to be found in two-dimensional art. I believe value builds this work’s depth. It clearly defines shapes; midtones are found raising up high-key shapes; similarly, dense tones sink behind other lighter strokes in some of the cells woven into the patterns. Arguably, radial symmetry applies.
Lush. This work is teeming with narrow, graceful lines, straight and rounded, with full variation in measure and value. Line both frames and embellishes, provides rest and action, builds shapes and subjects. The amazing, complicated use of line develops texture, depth and harmonizes a visually stimulating, lush work of art.
I cannot speak or read Farsi or Urdu; if I could it’s possible the message of the decorative strokes that clearly form words would capture and hold initial interest. It goes without saying text is effective at attracting attention. Aside from this, the central, complicated star-figure draws a lot of visual effort even with its formatting nearly embedding it into its surroundings. The framing devices not only cradle it but seem to spiral towards it in spite of their angular, perpendicular formatting. This work toys with the idea of ambiguity because of its global decorative appearance.
These designs respect the limitations of the “field” they are designed on. The formatting of the elements and arrangement in their assigned areas, when globally considered in area-to-area relationships, strive to use space to maximum decorative effect. This work is simply a masterpiece of design. Its overall mood is restful, but there is undeniable energy based on the incredible detail present. The care in planning and execution clearly reflect the respect both the creator(s) and patron(s) had for the Holy Book.
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