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TYPE
Original Research
PAGE NO.
53-68
DOI
OPEN ACCESS
SUBMITED
22 January 2025
ACCEPTED
26 February 2025
PUBLISHED
29 March 2025
VOLUME
Vol.05 Issue03 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
The Use of Miniatures in
Decorating Islamic Cloaks,
the Bird as a Model (an
Applied Study)
Noor Shaker Mahmoud Al-Zaidi
Najaf Education Directorate
Durgham Saad Falih Al-Awadi
Al-Furat Al-Awsat University, Najaf Technical Institute
Zahraa Falah Al-Shamisawi
Al-Furat Al-Awsat University, Najaf Technical Institute
Abstract:
The current research includes a study on using
miniatures to decorate Islamic abayas, using the word
"bird" as a model. The research problem was
summarized as the following question: Can miniatures
be utilized and employed to decorate Islamic abayas?
The current research consists of four chapters. In the
first chapter, the researchers outlined the research
problem, identified its importance, and then stated the
objective: identifying the use of miniatures in
decorating Islamic abayas. They presented decorative
designs for Islamic abayas (using the word "bird"). The
second chapter was divided into two sections: the first
(The Art of Miniatures) and the second (Drawing on
Clothing and Fashion). The researchers then arrived at
the most important findings of the theoretical
framework as indicators representing the foundations
upon which they relied in analyzing the research
sample. The third chapter was devoted to the research
procedures and analyzing the sample's models. Most
importantly, the fourth chapter included the results:
The researchers implemented new and contemporary
ideas inspired by Islamic miniatures and motifs in
innovative designs.
Introduction:
First: The Research Problem:
Miniatures are among the most important Islamic arts,
as they address the aesthetics of life through the
spiritual character of the Islamic faith.
Muslim artists used geometric, plant, and animal
symbols as decorative elements in Islamic painting after
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transforming them into decorative, symbolic, and
abstract forms. "The Muslim artist was drawn to
drawing animals only because of their decorative
nature, as well as their various movements, including
grace and tonal harmony, which fill spaces and cover
surfaces in an integrated, aesthetic manner." (1)
Fashion is one of the arts associated with a society's
character, distinguishing it from other societies and
thus expressing it. Since inherited beliefs and values
play an important role in the fashion and clothing of
the general public, they attempt to decorate them with
geometric, plant, and animal motifs.
The painting technique on fabric and clothing has
spread in recent years, as people prefer to add designs
that reflect their character and culture. In Arab
countries, this method emerged as an innovative way
to compete with clothing and fabrics imported from
abroad with designs of an Arab or Islamic character.
The methods of drawing on fabrics and clothing vary.
This diversity is due to artistic trends, representing an
important threshold for artistic transformation. This is
due to the diverse and modern approaches adopted by
artistic trends, particularly modern schools, for each
contemporary artist, reflecting their cultural and social
structure. Freed from the limitations of their methods
of achievement and techniques, they choose their
diverse techniques in their tools and display
mechanisms, exploit their artistic elements and
employ them according to renewed systems and
contexts in the final production of the artwork,
reflecting the artist's identity and style in crafting the
artwork. Hence, the current research problem can be
summarized in the following question: Is it possible to
benefit from miniatures and employ them to decorate
Islamic abayas?
Second: The importance of the research and the need
for it
The importance of the current research lies in shedding
light on:
1-
It may be useful in designing Islamic abayas that
emdiv modern and new ideas.
2-
It may be useful in producing Islamic abayas
decorated with miniatures (the single bird motif) with
aesthetic value.
3.
The current research results may benefit art
students and art education departments in developing
small projects.
Third: Research Objectives
The research aims to:
1. Identify the use of miniatures in decorating Islamic
abayas.
2.
Provide decorative designs for Islamic abayas (using
the term "bird").
Fourth: Research Limits
Miniatures (the term "bird") decorate Islamic abayas in
Najaf Governorate for 2025-2026.
Fifth: Defining Terminology
1.
Functioning
Muhammad defined it as: "It is the process of utilizing
decorative units and Arabic letters and the extent to
which they are utilized in women's textile designs." (2)
Scott defined it as: "Employment is derived from
function, which is the specific benefit achieved by
something." (3)
Given the specificity of the current research,
researchers define employment procedurally:
(It utilizes miniatures (the singular of a bird) to decorate
the Islamic cloak.)
1- Miniatures
Abu Khazam defined it as: "Those small drawings found
in manuscripts that represent Islamic imagery in the
decoration of history books, stories, and natural
sciences." (4)
Al-Bahnasi defined it as: "The art that emerged since
Islam and spread and flourished in lands where Islam
prevailed and includes architecture, decoration,
calligraphy, and other arts." (5)
Researchers define miniatures procedurally as:
(They are drawings that represent Islamic imagery for
decoration in history, storybooks, and natural sciences,
or they appear individually as a complete work of art,
using geometric, plant, animal, and human motifs.)
2- The Islamic Abaya
(Joudah) defined it as: "It is a loose outer garment worn
by both men and women. The abaya reaches the feet in
length and has a collar in the front centre that extends
to the end of the abaya and closes with buttons. It has
long sleeves that end with cuffs. The collar, collar, and
cuffs are often decorated with machine embroidery or
decorative ribbons made of silk or synthetic fabrics." (6)
Yunus defined it as: "It is a black piece of cloth, common
in all Arab countries. The abaya was designed to fit the
shape of the Arab Muslim woman, covering her normal
clothing. It consists of a long-sleeved black robe
covering all div parts except the face, hands, and
feet." (7)
The researchers adopt Yunus' definition as a procedural
definition, as it is closer to the objective of their
research.
Chapter Two: Theoretical Framework
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Subject One:
The Art of Miniatures (Islamic Painting)
Miniatures are illustrative paintings that flourished
under Islamic civilization. Artists inspired themes from
poetry collections, literary texts, heroic epics, and
religious stories. It is a traditional art with a spiritual
aesthetic, as decoration is accompanied by customs,
traditions, and symbols that have persisted into
modernity and its transition to modern techniques and
advanced means. (8) Ornamentation is one of the most
important means of creating beauty, demonstrating its
preeminence in Islamic art. Even form and content,
essential components of every work of art, are united
in the art of ornamentation. (9) The artist did not
invent new decorative units but used existing units
from pre-Islamic art. However, he arranged these units
unprecedentedly, innovatively combining them and
coordinating their parts to make them appear like
something new, invented for the first time. The artist
combined the inherited units of the art of
ornamentation and blended them with his philosophy
and imagination, producing something new and
distinctive. Thus, miniatures or ornaments deserve the
honour of being amazed and bearing the name of
Islam. (10) The most important characteristic of
miniatures is their small size. Therefore, the effect of
looking at a small picture differs from looking at a large
oil painting. The smaller it is, the more private it is, such
that it can only be seen by getting closer and closer to
it. (11)
We must mention the schools of Islamic miniatures,
which differed according to the local artistic heritage,
environment, and materials. These include the
Baghdad School, the Iranian (Persian) School, the
Timurid School, the Safavid School, the Bukhari School,
and the Indian School.
In the Islamic era, various decorative elements were
used, some of which originated from the arts of ancient
nations, such as Byzantine and Sassanian art and local
arts. Plant and geometric motifs were widely used in
Islamic art, while human and animal figures were used
sparingly. Muqarnas, in addition, were used as a
decorative element in most Islamic architecture. The
decorations that have come down to us from Islamic
archaeological buildings can be divided into six main
types: human and animal figures, geometric motifs,
plant motifs, arabesque, muqarnas, and inscriptions.
The (plant) and (geometric) elements are essential
components in the construction of Islamic art.
Accordingly, three types of decorations cooperate at
times, and each one is unique at other times they are:
1- Plant motifs:
These are motifs formed from plant
leaves and flowers. They emerged in various styles,
including pairings, individual motifs, interlacing, and
juxtapositions. A decorative unit may consist of a group
of intertwined, interlocking, and symmetrical plant
elements repeated regularly. The use of these motifs
has spread in various fields, such as wall decoration and
various artefacts. (1)
2- Geometric motifs:
These are geometric lines in
wonderful artistic forms, such as various polygons,
overlapping circles, and star-shaped shapes. Muslim
artists were able to extract a variety of geometric shapes
from the circle. The circle played a major role in this
unlimited production of shapes, including the hexagon,
octagon, decagon, triangle, square, and pentagon. By
intertwining these shapes, filling some spaces while
leaving others empty, we obtain a diverse and large
number of motifs, which are evidence of an advanced
knowledge of practical engineering. These motifs
adorned buildings and wooden and copper artefacts
and were incorporated into the manufacture of doors
and the decoration of ceilings. (2)
3- Human and animal motifs are derived from folk tales
or the surrounding environment. This type of art is
considered a modern development in Islamic
decoration, as the Islamic religion forbade depiction.
The artist sought to depict manifestations of the
invisible, moving away from visual imitation. He drew
strips featuring the shapes of birds, animals, and sensual
scenes, along with mythical movements, such as birds
with human faces. These motifs were widely drawn in
Persia, India, Egypt, and the Levant. (3) These motifs
relied on living creatures, such as humans. Most of the
animals depicted were birds (such as the nightingale,
duck, pigeon, eagle, and falcon) and animals such as the
horse, gazelle, lion, camel, fox, dog, and rabbit. Some
depictions also depict imaginary animals, such as the
phoenix and dragon. (4)
To draw birds in decorations, we must focus on five
main parts: the div, the head, the wing, the shape of
the feathers, and the feet. The shape of a bird's div
resembles an egg. After drawing the div, the neck and
head are added. Birds differ in the shape of their heads
and necks. Figures (1) and (2) illustrate the difference
between domesticated birds and birds of prey. Next, we
draw the wings. Although bird wings are almost
identical, the shape of the feathers and the way they are
drawn and decorated differ from one bird to another.
Figure (3). Next, we draw the bird's feet and claws. Most
birds have (3) claws in the front and one in the back,
while others have feet with two claws in the front and
two in the back. (6)
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Figure (1) domestic bird
Figure (2) Bird of Prey
Figure (3) Bird wings in different states
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Employing Islamic motifs in various fields
Ornamentation is the language of Islamic art, and
decorative art represents a fertile source for Muslim
artists. Islamic art emphasizes abstraction, which
imparts a spiritual quality to artworks that incorporate
decorative designs composed of diverse elements. ([i])
The Greeks were among the first civilizations to enjoy
diverse arts, including the art of Greek vessel
decoration. Due to the Greeks' influence on the arts of
the ancient East, this art blended with local Greek arts,
reflected in the decorative techniques and drawings
applied to the surfaces of pottery and metal vessels.
([ii])
The remains of the ancient Egyptians are rich in
decorations, and these decorative elements coexisted
with the Sumerians and Assyrians. Many decorative
elements migrated from one civilization to another.
One of the most popular decorations is the lotus
flower, which has been a staple element in many
places and across multiple eras and has been used in
Pharaonic buildings and tools. This flower also
appeared in the early Islamic era in the Dome of the
Rock in Jerusalem mosaic decorations. Thus, Islamic
decorations evolved with the development of
civilizations. Many decorations found on Mamluk
buildings and their metal and glass artefacts from the
fourteenth century included decorations originating in
China, passing through Iran and Iraq. ([iii])
Thus, the transmission of decorative elements
continued. Then, the development of pottery vessels
began, in which Islamic decorations flourished, which
had a unique and special character and were among
the most important household items. ([iv]) They began
innovating techniques, shapes, and decorations,
elevating them to the highest level of beauty and
innovation in using Islamic decorations. Then,
development began to reach the Maghreb, which used
decoration in buildings and various architectural arts.
Due to the development of stone carving and covering
walls with wood and plaster, these techniques enabled
creativity in a rich decorative world between
architecture and decoration. Then, their use became
widespread in mosques and buildings with diverse
colours and elements. These developments extended
from mosque buildings to the decoration of prayer
rugs. Muslim artists excelled in drawing inspiration
from natural elements (plant motifs) in various fields
and diverse uses, including the decoration of vessels
and artefacts and from decoration to design. Design is
considered the offspring of decoration, as it includes
artistic additions drawn or engraved on a product,
from
glassware
to
newspapers,
magazines,
wristwatches,e and some industrial products.
Developments continued until decorations entered the
world of fashion and style. ([v])
Second Topic:
Drawing on Clothing and Fashion
The history of human covering dates back to Adam and
Eve, when they used fig leaves to cover their bodies.
Cavemen then turned to hunting animals to use fur to
make clothing. The earliest beginnings were from broad
tree leaves, followed by animal skins. The textile
industry did not appear until the first civilizations in
history emerged, namely the Mesopotamian and Nile
Valley civilizations. The fashion industry was influenced
by and borrowed from each other and gradually
developed. ([vi])
There is no doubt that women throughout the ages have
been more concerned about protecting their children
from the cold and have relied on animal skins. They are
also the first to embrace elegance in their clothing. One
of the reasons women adorn themselves is their innate
tendency toward adornment, the use of jewellery, and
the appearance befitting their feminine character. We
can judge people's outward appearance through the
artefacts that have reached us. ([vii])
When exploring the direction of decorative design and
fashion, consideration must be given to satisfying public
taste through designs inspired by Islamic arts
characterized by refined artistic taste. Decorative design
is considered a process of improving the outward
appearance of a garment. It is related to decoration to
make the garment more attractive and impressive.
Design Design is an organized effort for a purposeful
plan and specific functions, aiming to bring together all
the elements that serve the ultimate goal into a
comprehensive, integrated whole. ([viii])
There is no doubt that fashion directly affects a person's
psychological state, as it creates a psychological sense
of happiness through the beauty reflected in the shape
and color of the fashion. Aesthetic values are achieved
as a result of the creative methods that facilitate the
emergence of a specific form in a work of art through
shaping the subject and its integration in the artist's
imagination, along with the types of materials used and
the methods of handling them. Thus, beauty is achieved,
and beauty is a quality that gives the individual a
distinctive personality. ([i]) Beauty can only be achieved
through a complete work, and this can be achieved
through the design elements (point, line, shape, color,
space and volume, surface effect and texture) used by
the artist-designer. They are also called the elements of
formation because of their flexible ability to take any
flexible form, as well as their ability to merge, combine
and unite with each other to form a complete form for
the artwork. ([ii]) The artist's good understanding of
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these
elements’
aids in the planning process and
makes the work easier. It also helps him evaluate and
develop his design. The foundations of design are the
comprehensive vocabulary applied to the design
surface to achieve various artistic values. Design is a set
of standards that govern the artwork and connect its
components. Studying these artistic foundations of
design is one of the most important roles in the design
process, as understanding them contributes to
developing the designer's skills and abilities, both
mentally and physically. This enables the designer to
connect the practical theories they study with their
own sensory elements, focusing on skills based on the
designer's experience and experimentation. The
definition of foundations represents the aesthetic
standard the designer seeks to achieve, reflecting
aesthetic and functional purposes in their artwork.
([iii]) The foundations and elements of design rely
primarily on balance, rhythm, movement, and the focal
point, which are essential elements that must be
considered when designing a particular object. ([iv])
Unity and harmony: This represents the complete
image of the artwork at first glance. Some describe it
as the process of arranging elements in a harmonious
manner, meaning the compatibility between design
elements. ([v])
Balance:
Balance is considered a formative value that
plays a fundamental role in constructing any artwork.
Balance in artworks is achieved as a result of the artist's
organization of the elements of form. The concept of
balance is not merely the balancing of an object or
shape in space, but rather the balancing of all parts or
units within the composition's space. ([vi])
Movement and rhythm: One of the most important
factors that emphasize the artistic values. Rhythm in
fine art is defined as "the refined, repetitive
organization of movement, i.e., it relies on repetition
and a single form. This may be an organization
between sizes or colors, or the arrangement of their
degrees, or the organization of directions between the
elements of the artwork." ([vii]) Movement, on the
other hand, generates a sense of rhythm. Movement
in design is implicit through the repetition of the same
moving subject in different positions to indicate that it
is moving. ([viii])
Focus point:
This is the first point of interest to the
viewer in the design, and it should be the most
attractive in the design. ([ix])
Painting on fabric and clothing
Painting on fabric is a beautiful way to decorate and
embellish fabrics. It is a beautiful art that differs from
printing and is a manual skill in which the artist relies
on a brush to apply color to the surface of the fabric.
([x])
What is beautiful about this technique is that it evokes
pleasure and fun in drawing, whether decorating a shirt,
bag, or dress. The decorative units and beautiful shapes
used in painting on fabric and women's clothing play a
prominent role in giving the fabric its visual qualities, as
they add a kind of aesthetic and expressive diversity to
the design elements. The colors employed by the artist
also played a fundamental role in highlighting the
aesthetics of the decorative and geometric units,
achieving a kind of symbolic, aesthetic, and functional
dimensions. ([xi])
The direct drawing technique is the method by which
artwork is executed. It includes arranging the stages of
constructing the artwork according to the nature of the
work. It serves as one of the main approaches to the
design process to identify the appropriate style. It is a
method that relies on the ability to use paintbrushes,
various colored pencils, inks, or foam pastes to draw on
fabric. Direct drawing is unique in that it cannot be
duplicated in all its details. Each drawing is different
from the others, which makes it unique in its
authenticity. It relies on the emotional state of the artist
when creating their artwork, but it can be duplicated in
the case of direct drawing printing using a mechanical
method. ([xii])
Painting on fabric is one of the hand-printing techniques
known and practiced by humans in textile decoration.
Traces of textiles decorated in this style have been
found dating back to approximately 3000 BC. Direct
painting is considered a traditional printing method that
relies entirely on performance techniques and a variety
of tools and materials. It can be said to be the oldest
printing method in textile decoration. It relies on the
artist's thought and method of performance throughout
the design and execution stages. ([xiii])
"Current fashion is based on embroidery and oriental
designs, so every woman who loves oriental taste can
highlight authenticity and cultural affiliation." ([xiv])
Textile making and decoration are also considered
applied arts of great importance, as they are linked to
the life and history of each individual. Decorations can
be applied to fabrics using embroidery, and colorful
decorations can be created on fabric using printing,
photography, dyeing, and thread coordination. ([xv])
Direct drawing is one of the oldest methods of textile
decoration throughout the ages. However, when many
other hand-printing methods emerged, it led to the
demise of direct drawing. This does not mean that it was
completely abandoned, but rather that it was used as a
complementary technique to other hand-printing
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methods. This technique has a distinct artistic flair and
a unique style. Combining freehand drawing with any
other technique enriches the artwork and produces
new, diverse, and distinctive results. It is difficult to
repeat the same work again, as it is spontaneous and
linked to the artist's inner emotions, unlike works
based on mechanical methods. Artists have not limited
their expression to traditional performance methods,
but have developed new methods for themselves to
enable them.
The fabric must be prepared first to prevent shrinkage
after the painting process is completed.
A barrier is placed to prevent paint from seeping
through, and then the design is drawn.
The drawing is colored carefully.
Artwork is an important field in art education. It is a
field of artistic expression using various materials. It
relies on utilizing available materials to reshape and
combine them with other materials, utilizing various
experiences, information, and skills to suit the
individual's personality. Artwork is also closely linked
to all areas of art practice, including weaving,
embroidery, knitting, and the use of beads. This
produces a harmonious and integrated artwork in
terms of artistic elements and foundations, giving the
artwork an attractive and authentic appeal that
reflects the individuality of its creator, crystallizes their
aesthetic experience, and enhances the creator's sense
of individuality and individuality. ([i])
Previous Studies and Their Discussion:
The researchers reviewed a number of previous
studies, selecting those directly relevant to the current
study. The following is a presentation of this study:
Study (Zalat, Al-Abd, and Basila - 2013) *
The study aimed to: uncover the aesthetics of both
Egyptian folklore and Asir folklore, representing the
heritage and culture of southern Saudi Arabia;
compare the decorative styles of both Egyptian
folklore and Asir folklore; and then prepare decorative
designs derived from Egyptian and Asir folk motifs to
enrich the decorative design of women's outerwear
(the abaya and the tok). The theoretical framework
included two sections: the first on aspects of popular
life and its various symbols, and the second on the
types of traditional clothing decorations in the Asir
region.
The researchers used a combination of descriptive and
experimental approaches. The researchers combined
Egyptian and Asir elements into a single design,
resulting in a research sample of (15) designs. They
used a questionnaire as a research tool and concluded
that Egyptian and Saudi folk art is rich in diverse folk
motifs, which enriches fashion design with diversity and
innovation. The research also revealed differences in
the application methods for fashion design in terms of
technique, materials, and form, reflecting the diversity
of Egyptian and Saudi folk art.
The current study is similar to the study above only in
terms of research methodology, but differs in its
objective, theoretical framework, sample size, and
research tool.
Theoretical Framework Indicators:
1-
One of the characteristics of miniatures is their small
size. Consequently, the effect of looking at them varies.
The smaller they are, the more private they are, such
that they can only be seen when brought up close.
2-
Islamic decoration relies on the principle of employing
plant and animal decorative elements to construct
artistic worlds with abstract aesthetic dimensions.
3-
The textile industry and decoration are considered to
be applied arts of great importance, as they are linked
to the lives of every individual due to their connection
to their history and civilization.
4-
The artist has combined the cultural and civilizational
heritage of the art of decoration in women's clothing,
blending them with his own genius and imagination,
creating something new and distinctive.
5-
Decorative design is considered a process of
improving the outer appearance of a garment to make
it more attractive and impressive. It aims to bring
together all the artistic elements that serve the ultimate
goal into a comprehensive, integrated whole.
6-
The field of art is one of the most important areas in
art education. It is also a field of artistic expression using
various materials, relying on the exploitation of
available materials to reshape them, utilizing various
experiences, information, and skills.
7-
Women's outerwear, and the abaya (in particular), is
one of the most important pieces of clothing for women
and one of the most effective means of expressing the
customs and traditions of Arab society.
8-
The artist uses the elements and foundations of
design to create any work of art that conveys aesthetic
values.
Chapter Three: Procedural Framework
Research Community:
The researchers selected a number of Islamic
miniatures, specifically the bird motif (models from the
drawings of the Iranian artist Farshchian* and the artist
Ismail Zadeh**), and some images from the internet.
They utilized these images to apply their artistic works
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and employ them in innovative designs on Islamic
abayas, totaling (5) works, as a research community.
Research Sample:
The researchers used the research community as a
sample for their research, analyzing the entire research
community.
RESEARCH METHODOLOGY:
In the current study, the researchers relied on the
descriptive and analytical approach and applied
practical applications to the research procedures in
accordance with the research objective.
Research Tool:
The researchers used the indicators of the theoretical
framework as criteria for analyzing the works to arrive
at the research results. Practical Applications (Personal
Experience):
Painting on fabric is a fine art that requires its
practitioner to have sound artistic taste, great attention,
and precision, which benefits the practitioner in all
aspects. To achieve the goal and arrive at the research
results, the researchers conducted a personal
experiment, benefiting from the use of miniatures to
decorate Islamic abayas, transforming them into
contemporary pieces that keep up with fashion and
have a unique character.
In the practical applications of employing miniatures to
decorate Islamic cloaks, the researchers used:
1.
A set of natural and industrial materials to conduct
the self-experiment.
2.
Practical applications using (materials, technical
methods, work description, and technical analysis).
The following explains the steps they followed to obtain
the five proposed designs inspired by Islamic miniature
motifs (the bird motif as an exampl
Sample Analysis
Design 1
Type of work: Islamic abaya with a phoenix design.
Materials used: Black corsage fabric, glue, fabric
paints, acrylic paints, fabric markers.
The researchers were inspired to decorate the abaya
by a part of the artist Farshchian's drawing shown in
Figure (4). They then designed the abaya with a
preliminary sketch and employed various
techniques to showcase the aesthetics of this design,
as in Figure (5). They then used glue with a little
water on the
piece of fabric to be painted. After the glue had
completely dried, they began to sketch the miniature
as a preliminary form on the Islamic abaya to
highlight the work accurately and appropriately and
implement the decorations on it. After completing
this stage, the researchers used fabric colors and
some acrylic colors to color the design and worked
on matching the colors with the fabric to highlight
the beauty of the design of the work. This led to
showing the balance in this work in addition to the
balance of the design. The balance in the design
relied on the contrast achieved through the
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distribution of design elements. The center of gravity
is in the middle of the design, represented by the
image of a bird, in which a harmonious color gradient
was used to highlight the bird. There is also a
frequency of units at the top of the abaya above the
chest area, which achieved rhythm in the design
Fabric Markers
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This design is based on a drawing of a large bird
inspired by miniatures from the Internet, as shown
in Figure (6). The researchers made a preliminary
plan for the design of the cloak, as shown in Figure
(7). Glue and water were used on the fabric in the
areas to be drawn, and then they waited until it was
completely dry. Then they prepared the appropriate
colors for the drawing after studying the miniature
and its colors well and in a way that suits the design.
Then came the coloring stage and implementing the
work
Fabric paints, acrylic paints, and some drawing pens
were used on the fabric to beautifully highlight some
of the details. The kinetic aspect of the design was
achieved through the distribution of color in a way
that gave it a dynamic sense of movement with color
contrast. Blue, purple, green, and yellow were used
in the bird drawing, in addition to the large size of the
bird that dominated most of the abaya's directions.
This means that the center of gravity was now in all
directions of the bird, which occupied most of the
abaya's fabric, a noticeable change from previous
designs and works. A collection of miniatures and
beads were also used for the drawing to make it
appear more innovative and modern.
Design (3)
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Type of work: Islamic abaya
Balance was achieved in this work, as the units were
distributed in a regular manner that suited the
movement of the birds. Movement in the design was
achieved by moving the eye from one direction to
another, and by using specific, repetitive units,
namely the drawing of a bird's feather, repeatedly.
This was achieved by dividing the space and filling it
with drawing. Specific colors were used to connect
the design elements together. The sense of balance in
this work was supported by organizing the
relationships and sizes of the elements with each
other in an equal and regular manner.
Design (4)
Type of work: Islamic cloak
Materials used: Fabric (Japanese georgette)
Black glue - Fabric colors - Acrylic colors -
Fabric drawing pens.
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The researchers adopted the image shown in Figure
(10) for use in the design, where they made the initial
sketch of the design, as shown in Figure (11). They
adopted the idea of using half of the cloak as a
complete design and designing the work with a
drawing.
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Different types of birds in different sizes, while
maintaining the color cohesion, were distributed in a
harmonious manner as if it were an artistic painting
that is pleasing to the eye and the viewer, in addition
to the harmony between the birds in form and
content as well. This is what gave it a contemporary
design that demonstrates the beauty of miniatures
and the beauty of design, whose units were used in a
very contemporary and attractive way. At first, the
researchers mixed water with a little glue on the
surface of the fabric and waited until it dried. Then,
they planned the step of outlining the cloak,
preparing the colors, and then coloring it. The design
appears to use sharp lines (inside the bird) at times
and soft lines at other times, which helps break the
monotony and boredom on the one hand and suggest
movement on the other. They used colors to give the
design a kind of coherence and an attempt to echo
the role of rhythmic harmony of the formative units
with effective participation in shaping the overall
div of the design. This gave the design a kind of
balance.
Design (5)
Type of work: Islamic abaya
Materials used: Black fabric (Japanese tetron)
Glue - fabric colors - acrylic colors - drawing pens
on the fabric.
The researchers relied on the artist Ismail Zadeh's
painting to select some birds from it and use them in
the abaya design. The bird models are shown in
Figure (12). The researcher then made a preliminary
sketch of the design, as shown in Figure (13). The
design concept focused on a single striped bird with
contrasting colors, distributed on both sides of the
top of the abaya in the chest area, in a medium size.
Small circles were drawn vertically from the top of
the abaya to the bottom, and a kind of fragment was
inserted between these circles in a harmonious
manner, giving a distinctive and attractive aspect to
the overall design. These circles were also used
repeatedly on the sleeves, and separate units of the
bird motif were used in a gradual manner at the end
of the upper sleeve, from top to bottom, with color
contrasts each time. The fragments were distributed
among the units in a harmonious and thoughtful
manner. Water and glue were then applied to the
surface of the fabric, waiting for it to dry. Then, the
design was planned, the colors were prepared, and
then the coloring was done. The kinetic aspect of the
design was achieved through the distribution of
color in a way that gave it a dynamic sense of
movement, with color contrasts. Solid yellow was
used, along with orange, obtained by mixing red and
yellow together. Blue and yellow were also mixed to
create green and its shades.
Design (5)
Type of work: Islamic abaya
Materials used: Black fabric (Japanese tetron)
Glue - fabric colors - acrylic colors - drawing pens
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on the fabric.
The researchers relied on the artist Ismail Zadeh's
painting to select some birds from it and use them in
the abaya design. The bird models are shown in
Figure (12). The researcher then made a preliminary
sketch of the design, as shown in Figure (13). The
design concept focused on a single striped bird with
contrasting colors, distributed on both sides of the
top of the abaya in the chest area, in a medium size.
Small circles were drawn vertically from the top of
the abaya to the bottom, and a kind of fragment was
inserted between these circles in a harmonious
manner, giving a distinctive and attractive aspect to
the overall shape. These circles were also used
repeatedly on the sleeves, and separate units of the
bird motif were used in a gradual manner at the end
of the upper sleeve, from top to bottom, with color
contrasts each time. The fragments were distributed
among the units in a harmonious and thoughtful
manner. Water and glue were then applied to the
surface of the fabric, waiting for it to dry. Then, the
design was planned, the colors were prepared, and
then the coloring step was completed. The kinetic
aspect of the design was achieved through the
distribution of color in a way that gave it a dynamic
sense of movement, with color contrasts. Solid
yellow was used, along with orange, obtained by
mixing red and yellow together. Blue and yellow
were also mixed to create green and its shades.
Chapter Four
RESULTS:
1.
Through the theoretical and practical study
conducted by the researchers, they reached the
following conclusions:
Innovative designs inspired by miniatures
implemented new and contemporary ideas.
2. The compositional structure of the artwork in
Islamic abayas relied on the specificity of the
formulation and treatment specific to the type of
material used.
3. Symmetrical balance was achieved in most works,
as in designs (2), (3), and (5).
4. The decoration of Islamic abayas varied in terms
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of technique, material, and form due to the diversity
of miniature elements. This created aesthetic
dimensions in the overall composition of Islamic
abayas, as in designs (2), (3), and (5).
5. The dominance was based on the single bird or the
larger bird, as in designs (1), (2), (3), and (5).
6. Mass played an important role in the aesthetic
composition of the abayas, as in all designs.
7- Combining drawing with other techniques
contributed to contemporary designs that relied on
the aesthetics of the shapes and ideas implemented.
8- Color and shape contrast play a fundamental role
in the design of Islamic abayas, adding an aesthetic
aspect to the artwork.
CONCLUSIONS:
1- The art of miniatures is rich in animal motifs,
which enrich the decoration of Islamic abayas.
2- With its artistic and aesthetic values, the
miniature still requires further studies and research
to understand its form and content more
scientifically and systematically to highlight its
importance and visual and formative value.
3- Color harmony contributes to presenting the
design work in a manner that achieves the artist's
aesthetic goals.
4- Deconstructing the elements of the artwork and
constructing them correctly contributes to achieving
the artist's design goals.
Recommendations:
The researchers make several recommendations, the
most important of which are:
1- The art of miniatures has its language, vocabulary,
style, and artistic and aesthetic elements. Therefore,
attention must be paid to this type of art. Through
specialized study in its field and publications in this
field, including numerous miniatures, it is
recommended that these works constitute a visual
cultural phenomenon.
2- Providing art college libraries with numerous
references on Islamic miniatures and decorations
found worldwide so that researchers can study and
analyze them aesthetically and visually and benefit
from them in all artistic fields.
Proposals:
In continuation of the current research, the
researchers propose the following:
1- Employing miniatures to decorate women's head
coverings (animal decoration as a model).
2- Employing folk heritage to decorate bags and
shoes as an experimental approach to enrich the
handicrafts material.
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