moresque mohammed naji platre sculpte скачать в хорошем качестве

moresque mohammed naji platre sculpte

The Naji family has had seven generations of artists and craftsmen. Drawing on this extensive experience, we work with our clients to find a concept and design that fits their means, needs, and specifications. ii.Auto CAD design and drafting: iii. Architectural 3D rendering :. iv. Execution documents : Inscriptions on buildings are generally written in an angular, sober, and monumental script. However, the ranges of variation between the cursive styles vary from century to century, and from region to region. Geometric Designs :Abstract geometric forms are found throughout Muslim architecture, in a stunning variety of combinations. Like calligraphy, geometric patterns are also governed by mathematics and closely related to the study of geometry. Different from the geometric designs in the rest of the Islamic world, Moroccan-Andalusian designs use straight lines. This straight line is thought to be an influence of pre-Islamic architecture, constructed by the Berber (Amazigh) populations before Islamic culture arrived in North Africa. The designs can either be simple compositions or stunningly complex. They convey a sense of spirituality without attaching a specific meaning. The geometrical star shape is the soul of this style. The most popular designs of the star shape have 8, 10, 12, 16, 24, 32, 48, 70, and 96, points. Furthermore, the addition of primary and secondary shapes enrich the basic design, increasing its complexity. Single, double, and triple thin or thick lines are usually used to diversify these designs as well. This form allows craftsmen to demonstrate their skill and subtlety of workmanship. Floral Designs :The floral arabesque design originated with Islamic artists who spent their time observing nature. Using it as inspiration, they attempted to reproduce it in their art. Often they are used in intricate, interlaced designs. iv. Muqarnas :Before the Prophet Muhammad received revelation, he spent a lot of time in the Cave of Hira, near Makkah, contemplating and reflecting on life. Like many caves, this one had stalactites hanging from the roof of the cave. In an attempt to recreate this space, architects began using muqarnas (stalactites or honeycomb vaults) in the ceilings and corners of religious spaces. Muqarnas are one of the essential elements of classical Islamic architecture. The first use of muqarnas can be traced to Iraq in 1085. They are three-dimensional structures made using concave elements and are assembled according to complex geometric rules. In Moroccan-Andalusian design, they are used in either carved wood or plaster. Although they are used across the Muslim world, those in Andalusia reached unrivaled sophistication. They are used to decorate corbel arches, capitals, archways, cornices, and even walls, as simple eye-level friezes. Arabesque/Moresque is a one-source provider for Moroccan-Andalusian Zellij. From the production of our tiles to the cutting and assembling of the Zellij, everything is done in our workshops in Fez. Additionally, we offer two lines of decorative wood (carved and painted), as well as a variety of exceptional brass products. We are committed to creating authentic carved plaster, using traditional carving methods. i. Zellij :Zellij, or mosaic tile, has a long history in Morocco and, specifically, in the cities of Fez and Meknes. Zellij first appeared in Morocco during the 10th century. However, during the Merinid Dynasty in the 13th-15th centuries, the use of Zellij became more widespread. Because of the labor and cost associated with Zellij, only the rich could afford to decorate their homes with it and it was a mark of wealth and sophistication. Zellij was also widely used in mosques and palaces. In its most popular forms, Zellij can be found in fountains, on ceilings, floors, and columns. ii. Carved Plaster (Gypsum) :Unlike our other methods of decoration, carved plaster is done on-site. However, if time and cost are major factors, the plaster can be carved in our workshops in Morocco and then sent, pre-assembled, to be installed. To begin, a slow setting plaster is first applied in layers, several centimeters thick, directly on the surface that is to be decorated. Then, a Tarrah (plaster layer master) carefully smooths it. Once the plaster is smooth, a Khatat (drawing master) draws the symmetry and measuring points. Sometimes, if the design is especially difficult, a Maallem (master craftsman) will do it. Finally, a Nakash (carver) uses a stencil to produce the motif. Before the plaster gets too hard, the Nakash uses an iron tool to chisel the plaster at specific depths. When the plaster hardens, water is applied to make it easier to carve. The whole process requires patience, skill, and experience.