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TYPE
Original Research
PAGE NO.
58-62
DOI
OPEN ACCESS
SUBMITED
30 October 2024
ACCEPTED
29 December 2024
PUBLISHED
23 January 2025
VOLUME
Vol.05 Issue01 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
The Importance of
Composition Principles in
Designing Pattern
Elements
Talipov Nigmatjon Nozimovich
Tashkent State Pedagogical University named after Nizami, Associate
Professor of the Department of Fine Arts, Uzbekistan
Abstract:
This article discusses the importance of
composition in designing pattern elements, the rules of
composition, and the creation of miniature works of art
using pattern elements by adhering to these rules.
Keywords:
Art of pattern-making, composition, layout,
proportionality,
rhythm,
stylization,
symmetry,
asymmetry, ratio, volume, rapport, single band, double
band, woven, branch, blossom.
Introduction:
The works of Uzbek folk applied
decorative art, with their thousand-year history, possess
high value not only for their ornate designs and
beautiful forms, but also for their deep philosophical
contemplation, significant educational importance, and
spiritual qualities. Unique historical monuments,
residential buildings, and household items adorned with
ornamental patterns awaken people's love for folk
applied art, teaching them to perceive and appreciate
the beauty in their surroundings.
Samples of Uzbek folk applied decorative art serve as an
unparalleled source for our perception of true beauty
and deeper understanding of our spirituality and
identity. Pattern compositions have long elevated
humanity's psyche, inner experiences, feelings, spiritual
world, thoughts, goals, and principles to new levels of
meaning and form.
Indeed, as we carefully observe each pattern
composition created by folk masters, we witness the
fluidity, proportion, harmony, and attractiveness of the
pattern elements. So, what exactly is a pattern and what
does it mean?
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The word "naqsh" (pattern) is derived from Arabic,
meaning "flower," "image," or "decoration." Patterns
consist of islimi (plant-like, flowing), girih (geometric),
and floral girih (mixed) designs, which in some
literature are also referred to as plant-like, geometric,
and complex. Pattern elements are decorations or
designs created by depicting and stylizing plants,
flowers, grasses, trees, insects, birds, animals, and
various geometric shapes found in nature, based on
the principles of the art of pattern-making.
Items decorated with Uzbek folk applied decorative art
have been passed down through generations,
improving both artistically and functionally, gaining
popularity through long-term use due to their
connection with people. Because they are closely
linked to people's spiritual, moral, and emotional lives,
they have become an integral part of daily life.
Household items have seamlessly integrated into
everyday life, possessing a unique compositional
meaning in terms of their shape, color, elegance,
durability, and quality.
This is why there is a commonality in the rules for
decorating tables, boxes, and pencil cases, and a
similarity in the interpretation of patterns. Along with
the decoration of buildings with intricate designs, the
art of adorning household items with patterns also
developed. Medieval miniatures provide evidence of
this. Pattern decoration played an important role in
embellishing the ceilings of architectural structures -
beams, rafters, and joists. It was also widely used in the
production of household items.
In particular, it was extensively applied to cabinets,
boxes, pencil cases, elaborate tables, national musical
instruments, as well as multi-faceted chairs that
became popular among the European urban
population in the second half of the 19th and early
20th centuries. The islimi style of pattern-making is
based on a variety of plant and plant-like, geometric
shapes in the classical decorative Islamic theme, which
has been known and widely spread throughout the
Middle and Near East since ancient times. These types
of decorations have their own strict rules in terms of
form and composition. They consist of lush,
intertwining branches covered with buds, leaves, and
flowers that merge with other similar shapes.
The study of the art of pattern-making is divided into
schools and trends based on different regions, the
lifestyle, customs, traditions, and values of the
indigenous population living in those areas, as well as
the uniqueness of the animal and plant world. For
instance, folk masters working in pattern-making
schools such as Tashkent, Fergana, Khiva, Bukhara, and
Samarkand in the territory of modern Uzbekistan are
sincerely teaching their crafts, skills, and experiences to
the younger generation, making worthy contributions to
the further development and advancement of various
types and traditions of Uzbek folk applied decorative
art.
One of the main and complex stages of the art of
pattern-making is the design of pattern elements.
Pattern compositions are created in the form of single
(yakraftor) and double-banded (duraftor or qoshraftor)
branches. Patterns acquire symbolic meaning and
content in terms of their colors, elements, and
application. When learning to create pattern
compositions, certain rules and procedures are
followed, progressing from simple to complex designs.
"Education and upbringing of the younger generation,
preparing them for future life, guiding them towards
creative activities, moral conduct, acquisition of
knowledge, and engagement in useful endeavors are
among the unique practices deeply ingrained in the
peoples of the East. The legal protection of educational
and upbringing work, with all organizational,
managerial, and support functions under state control,
demonstrates the serious concern of the state and the
people for their future.
Throughout the long history of Eastern peoples, even in
the early stages of human development, primitive
communal systems, and slave-owning societies,
attention has been paid to the upbringing of young
children and future generations. In the primitive
communal system, people were first taught to make
wooden spears with sharp points and hunt with them.
Later, they learned to attach handles made of wood to
various stone, bronze, and bone tools, to work and hunt
with them, and to create various implements. With the
advent of the slave-owning system, the manufacture of
wooden tools, handles, and devices was improved. They
were made to be unique, refined, and able to precisely
fulfill their functions based on their intended use, and
this knowledge was passed on to children and
apprentices. Household items made of wood included:
buckets, bowls, platters, troughs, barrels, water
containers, spoons, handles for various tools, wheels,
and plow parts; items for military purposes: spear and
arrow shafts, saddles, wall-breaking devices, catapults,
ladders, bridges, cooking pots, and travel equipment;
items for construction purposes: pillars, beams, doors,
fences, gates, chairs, shelves, carts, palanquins, and
hundreds of other devices were produced and
effectively used in daily life. Naturally, young
adolescents participated directly or indirectly in the
preparation, manufacture, and use of these wooden
items, thereby enhancing their knowledge in this field.
By the time of the feudal system, policies of great
statehood had been steadily developed, the production
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of tools and equipment in all spheres had expanded on
a very large scale, even reaching the level of fine art.
Now, serious attention was paid not only to the
durability of products and equipment but also to their
refinement, beauty, attractiveness, and decoration.
Human creative activity is an important factor in
comprehensive personal development, and it cannot
be imagined without aesthetic completeness. Human
life is surrounded by physical objects and items.
Colorful objects and items contribute to the beauty
and elegance of reality, encouraging people to view
the world through these principles.
Applied arts play a particularly important role in
nurturing the growing younger generation into well-
rounded individuals who meet international standards.
Applied arts are considered one of the primary and
most important sources for young people to become
well-rounded
individuals
and
accomplished
professionals in their fields.
It is known that each pattern sample is based on
unique pattern elements, using "stylized" versions of
the simplest forms of flora, fauna, and various
geometric shapes found in nature. In this process, the
chosen shape is transformed into a decorative form
that can be incorporated into the pattern composition.
In a pattern, the interconnection and proportional
relationships of elements (leaf, flower, branch, bundle
and loop, rope, spiral and bud, modohil, curl and twist,
braid and blossom) form the cohesive whole of the
pattern.
The leaf is one of the elements of the islimi pattern and
is depicted in delicate, refined, flexible, and smooth
forms. Painters have long stylized the leaves of plane
trees, willows, pomegranates, date palms, almonds,
grapes, sambac jasmine, roses, and others, effectively
using them to create pattern compositions.
The flower is an element of the islimi pattern, which
enhances the beauty and charm of the patterns after
being colored with targil. Flower elements are
primarily placed in the central parts of patterns. There
are countless types of flowers, each with its own
unique name. Types of flowers include simple and
complex forms of oygul, tulip, cotton flower, china
rose, pistachio flower, pot flower, trumpet flower,
safflower, narcissus, nail flower, and other varieties.
Bofta is an element of islimi and complex patterns. It
connects frames in the form of trays, ropes, arches,
and baskets with heart-shaped elements. Bofta
pattern elements are part of the connecting elements.
Bofta is one of the unique elements of islimi rufta and
girih border patterns.
Shukufta is an element of the islimi pattern, also
known as shkift for short. Shukufta connects the main
form-creating elements in the shape of buds and curls.
The branch is a plant-like pattern element. It connects
and fills with flowers, leaves, buds, leaflets, and other
elements. The branch not only fulfills the function of a
complement but also creates individual shapes with its
delicate and smooth directions. Since all trees and
plants in nature grow from bottom to top, the branch
elements are also moved in one direction as much as
possible.
Bindings and loops are elements of the islimi pattern.
They resemble simple connecting ropes, buds, and loop
types characteristic of branch and frame shapes.
Tanob creates the main shape paths in the patterns.
Such shapes are called mehrob, modohil, almond,
pepper, gardish, and so on. Tanob is connected with the
elements of bofta, shukufta, and binding.
Margula is in the form of a double-lined curl, signifying
the completion of certain branch and tanob shapes.
Margula
occurs
in
ornamental
compositions
sequentially with bud elements, sometimes as a
substitute.
Buds primarily have almond, pepper, and nail-like
appearances. The elements of margula and bud enrich
the appearance of branches, tanob, and forming
elements.
Modohil is an element of the islimi pattern, found in
forms resembling tulips, amulets, and trefoils. Modohil
is an element characteristic of the upper parts of
mehrob namoyon patterns.
Gajak and curls are elements of the islimi pattern. They
are stylized representations of grape vines, trumpet
flowers, and bindweed branches found in nature. The
elements of gajak and curls are found in namoyon,
bouquet, and islimi pattern combinations.
"The pattern compositions drawn by a master painter
are not simply for filling or coloring paper, or for carving
a surface, but for consciously creating pattern
compositions while adhering to the laws of nature and
artistry. From this point of view, the most difficult and
responsible stage in the creative process of a carver is
drawing a copy of the pattern composition. If the
pattern composition is constructed in violation of the
laws of nature, then no matter how successful it may be
in painting, carving, or finishing, the work will not turn
out as beautifully and charmingly as desired. "
As a result of careful analysis and study of the structure,
growth patterns, and appearance of the plant world in
nature, ornament masters use them to create various
ornamental compositions and stylize different
elements. For instance, when stylizing a leaf, the master
considers its beauty and from which perspective (top,
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side, or bottom) to depict it, and then executes it in
practice.
The naming of patterns and pattern elements is
particularly noteworthy, as they can be named after
natural plants and objects, as well as the masters and
the places where they lived and created. These
include: branch, tulip, flower, pepper, shobarg,
madohil, oygul, bofta, sebarg, turunj, mashhadi,
arabic, isfahani, and so on.
When designing pattern elements, principles such as
composition, proportionality, finding the center,
stylization (reworking), periodic repetition (rhythm),
symmetry, asymmetry, the most beautiful harmony,
color harmony and contrast, dynamism of the
ornament, naturalness, and beauty are observed.
Composition, or placement, is the correct arrangement
of the pattern composition on the surface.
Rhythm is the periodic repetition of pattern elements
at regular intervals.
Stylization (reworking) is depicting plants, animals, and
various objects from nature in their simplest form,
artistically generalizing them.
Symmetry is a Greek word meaning the proportionality
of measurements to each other.
Asymmetry is the disruption of symmetrical balance in
a composition.
When designing pattern elements, there are specific
places for composition and stages of its construction.
Each created composition is distinguished by its
content, symbolic meanings, specific forms, and color
nuances. What should be considered when designing
pattern elements?
a) maintaining the proportion of pattern elements;
b) creating a pattern composition that fits the chosen
shape;
c) emphasizing the main shape of the tanob;
d) depicting elements such as flowers, branches,
leaves, and bofta in accordance with the movement of
the branch.
Composition plays a key role in designing pattern
elements. The content, meaning, and essence of the
pattern - in a word, its beauty - depend on how and in
what manner the composition is drawn.
Every item used in daily life consists of its own
geometric
shapes,
and
accordingly,
pattern
compositions are also created within a specific shape.
When teaching the design of pattern elements, it is
advisable to start by practicing drawing simpler pattern
compositions on the surface of geometric shapes.
These are done on topics such as creating pattern
compositions within lines, squares, triangles, circles,
and polygons. For this, it is necessary to have the skill to
use rulers, compasses, and other tools well. This is
because most patterns are created based on auxiliary
lines.
For example, to draw a pattern inside a square, an
equal-sided rectangle is drawn to the required size and
divided into parts depending on the placement of the
pattern. The patterns inside the square are then
completed, as the pattern is sketched to fit such
measured surfaces. A triangular pattern, like other
patterns, is designed to fit the surface. If it needs to be
connected to a path pattern, the corner pattern should
consist of elements and shapes similar to it, otherwise,
it won't match. The pattern inside a circle is often drawn
to fit the center of surfaces. A circle is drawn with the
required diameter, and the pattern is drawn on its
surface along divisions as described above to create a
pattern composition. It is recommended to start initial
exercises by drawing pattern compositions consisting of
simple decorative elements.
It is important to maintain the symmetrical state of the
patterns drawn inside each shape, ensure the suitability
of the elements used for the shape, their uniform
growth, and interconnection. The main border of the
patterns having various figurative connecting lines
increases the diversity of compositions and makes it
convenient to adapt them to surfaces. The pattern is
selected according to the surfaces, and a composition
sketch is created. Initially, color schemes are chosen for
the sketches, and paints are tested.
Indeed, folk crafts and applied decorative arts have
deeply captured people's hearts with their ancient and
charming nature. Particularly, the art of painting is rich
in traditions. The working styles of folk masters are
distinguished by their diversity and versatility. In their
work, painters skillfully utilize the natural luster of
colors and the texture of materials to achieve vivid
expressiveness.
Humanity continuously improves and decorates all
necessary clothing, household items, and home
furnishings. At the same time, any artistically decorated
items and equipment have their own decoration
methods and stages of artistic processing of materials.
Such decorated and processed items provide aesthetic
pleasure to people and increase their love for life. The
products of painting, jewelry-making, knife-making,
embroidery, plastering, and wood carving, which are
being perfected by skilled craftsmen based on the
compositional rules of pattern elements, are considered
not only the historical wealth and spiritual values of
today but also of our future generations.
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