The religious reference to the forms executed on Mamluk Islamic ceramics (A Study in Symbolic Semantics)

التمائم الخزفية :

Abstract

The current research tagged (religious reference for the forms implemented on the Mamluk ceramics, a study in symbolic connotations) included four chapters, the first chapter of which was devoted to illustrate the research problem, which was presented and summarized in the possibility of answering the following question:

Are there symbolic indications in the forms executed on Mamluk ceramics?

The first chapter also included an indication of the importance of research and the need for it, as follows:

1. Create a knowledge base on the symbolic significance implemented in the Mamluk ceramics.
2. This study is useful for arts students, researchers, and art connoisseurs.

This chapter also included the objectives of the research by identifying:

1. References of symbolic shapes executed on Mamluk ceramics.
2. Symbolic indications of works performed on Mamluk ceramics.

It also included the limits of the research by studying Mamluk Islamic ceramics (dishes, vases, tiles) that appeared in Egypt and Syria at that age within the time period (13-14 BC).

  As for the second chapter, it was devoted to the theoretical framework and previous studies, where the theoretical framework included two topics, the first of which explored the concept of the symbol from a historical point of view, while the second topic was devoted to the indication and symbol of the forms implemented on the Islamic decorative design, while the third chapter included research procedures during which The research community of (72) ceramic works, the research sample and its method of selection with the research sample analysis tool and defining the research method (content analysis method) and then analyzing the research sample consisting of (5) ceramic models, while the fourth chapter is devoted to reviewing the results, conclusions and recommendations. And m The most important findings of this study:

1. The reliance of the Muslim ceramist on decorative and decorative subjects that expressed the natural, social, civilizational, cultural and psychological environment with clear indications through the artist's connection to reality and identification with him, and this is reflected in all samples of the sample.
2. The Mamluk artist collected between the various decorative units (engineering, plant, animal, and human) as indications that expressed the nature of the environment with all its data, which are absorptive signs of its environment, and this was evident in all the samples of the sample.

The most important conclusions:

1. The Muslim ceramist was concerned with transferring the vocabulary of the environmental reality to its ceramic surfaces, starting from the state of being clearly affected by life situations, and he expressed these vocabulary aesthetically and by what

Suitable for subject and idea options.

1. The plant and animal decorative units are related to the Islamic faith and they have aesthetic significance, symbol and values ​​that mimic the taste of Muslims, and for this the Muslim potter has clearly focused on them.

It was followed by recommendations and proposals, a list of sources and references, then annexes, a summary of the research, and the title in the English language.