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|f The research summarizes several important schools that played a key role in the emergence and development of Islamic art:\n\nFirst - The Arab School: \nImages of Islamic manuscripts belonging to the Arab School have major general features that are unique to other Islamic schools of Tasweer (image-making) that have emerged in Islamic times. One of the most important features in our view is that the images of the Arab school manuscripts are part of the Matn (text) that is intended for explanation and clarification and is not a field nor a show of artistic talent for painters.\n\nSecondly - Egypt and Syria: \nThe attention to the art of photography in Syria and Egypt dates back to the early centuries of migration. Arab historical sources tell us how much attention and care was paid to painters for decorating manuscripts with colorful images in various branches of humanities. But perhaps the nature of the material from which these manuscripts were made was prepared to expose them to loss and damage, so we received material traces of image-making in these two regions dating back to the pre-Ayyubid era, i.e. before the century (6H)\n\nThird — Yemen\n Fortunately, a copy of the Muqamat al-Hariri was discovered in the Western Library at the Grand Mosque in Sana'a. The copy was started by Ahmed bin Daghash, and his son Mohammed continued working on it. The date of the completion of copying and finishing was 1121H (1709AD).\n\nFourth - Morocco and Andalusia: \nThe Arab School of Tasweer (image-making) flourished and did not stay as we saw previously at the borders of Iraq, rather extended its technical methods and general characteristics to Syria and Egypt. It also extended to North Africa to the Maghreb Al Arabi (West Arab) and it crossed the Strait of Gibraltar to Andalusia, where scrolls were drawn up with colorful images from Al-Maghreb. Andalusia supported the references in historical sources stating that the Caliph al-Hakam sent missions to the east to buy manuscripts and established a complex of for the art of ‘writing’ where he gathered calligraphers, painters and gilders, so that they could copy manuscripts, beautify them with pictures and gild them with gold leaf designs.\n\nFifth — The Arab School in Iran: \nDespite what is known about Iran and its fame in the art of image-making before the advent of Islam, we did not receive any manuscripts with images that carries with it the date when it was copied, this is prior to (697 AH -1297 AD) as recorded in the copy of the written manuscript of the book ‘Manafi’ al Hayawan’ by Ibn Yakhtishao. And it's probably more likely that there were a lot of manuscripts with colorful images drawn according to the Arab School of Islamic Image-making and they had dates when they were copied, and all of them date back to before the manuscript of the book ‘Manafi’ al Hayawan’\n\nSixth — The Ottoman Turkish School:\nThe Ottoman Turkish Photography School is particularly important amongst the Islamic schools of image-making because of the length of time it was active starting from the 9th century AH/15th Century AD to the end of the 13th Century AH/19th century AD , In addition to the large number of manuscripts, the different topics of which vary between literary and educational manuscripts, In addition to tens of albums which have various photos.\n\nSeventh- The Mughal Indian School: \nThe Mughal Indian School is one of the most distinguished art schools in Islamic arts in general and image-making in particular. This school has grown and flourished thanks to the sponsorship and encouragement of its principals. Therefore, it should be noted that the history and development of this school in a clearer sense is closely linked to the reigns of these emperors. Each of these covenants has its own characteristics.\n\nThe subject of the research shows the evolution of artistic works from one school to another, despite the difference in lands, but the Islamic character brings these schools together, which has highlighted the progress and development of artistic works. Thus, the main theme of Islamic photography can be extrapolated in terms of structuralism or objectivity of the image-making. This is why it is important to monitor the basic aim of unifying the Islamic visual discourse, taking into account what is different due to other factors that shape and affect the image anywhere, and this important impact in determining the path of image-making (Tasweer) throughout history and finding the foundation for Islamic image-making so that Tasweer (image-making) as a concept has Islamic credibility.\n\nEach of these schools has some of the technical centers that are branched or affiliated to them that represent the evolution of the style of each stage...\n\nTheoretical (methodological) framework:\nIntroduction:\n\nIslamic Tasweer (image-making) is one of the important branches of Islamic antiquities in general and Islamic arts in particular. Islamic Tasweer (image-making) gives us very valuable insight into the social, economic and cultural life during Islamic times in those vast countries of the Mashreq (East) and the Maghreb (west). Many of the pictorial images and scenes that appear in the frescoes or in Islamic manuscripts are a record of the Arab and Islamic environment and its daily life and historical events.\n\nIslamic photography has passed through multiple stages and each stage has its factors affecting it, its conditions and its environments, It can be confined to four main schools, which are divided into secondary schools at time and place. It is difficult to establish precise dates for each stage, since the beginning and end of the stage are often mixed and intertwined, namely the Arab, Persian, Mughali and Turkish School of Tasweer (image-making).\n\nIslamic art did not seek to embody material beauty, rather it tried to highlight spiritual beauty derived from the teachings of the Quran. The Holy Quran was the center and inspiration for Islamic art. This does not mean that the Quran represents a work of art, rather it means something else, The Qurans’ beauty was not only through its consistent rhythm or proportionality according to its paragraphs or unity between its parts, but also through it being interconnected and being the basis of truth. Similarly, the Islamic element derived its beauty not only in the real sense of its form, but through its search for the truth. In Islamic art, many attempts have been made to reach this reality, and Islamic artists have chosen many artistic methods, which can be classified into two types, namely, representative and non-representative Islamic art. It can be said that representative Islamic art is a worldly and non-religious art and It was carried out on applied works of art and has not been used as a basis in mosques so that worshippers are distracted from their prayers, and this type of art can be divided into two basic parts, , the original natural model and this was implemented in manuscripts as Illustration through drawing is essential in the books of medicine, science and astronomy. The second type is the traditional model and this was executed on textiles, pottery, wall inscriptions and metals... \n\nAs for non-representative Islamic art which spread widely, it is misunderstood that this type is a decorative art and its purpose is to decorate as a result of the prohibition of representative art in religious places. It was not understood until recently that it depended on the fundamentals and variables that were constantly born and in a renewed movement that was more associated with philosophy, culture and the surrounding environment. The artist here seeks to reach the absolute and infinite through this art.\n\nThe problem of research: \nThe emergence of Islam has had a clear effect in determining the paths of many values while approving some of them and leaving others in accordance with Islamic rules, in other words, it resulted in the creation of an Islamic value system that controls the social, political and Islamic pathways...
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|f It is the value that gives an Islamic character to all of those pathways and arts is one of tthem, but the overall ideas that Islam refers to were not an obstacle.\n\nIn view of the environmental, political and social changes that are characteristic of solid art, except in terms of foundations and rules, we find that the general features of art vary according to the geography of the place, as well as the historical influences of different civilizations. This makes Islamic art an art based on different influences. Rather, the Islamic religion had no significant influence on it except in terms of its presence in an Islamic place. Its subject is related to Islamic thought, and this is what disordered the Islamic art. However, there are similar characteristics and differences in the features of Islamic Tasweer (image-making) throughout history through schools and artistic trends that need to be tabulated which reveal what they are and its features and know how similar they are in terms of mechanisms, concerns and objectives that enable the reader to know the historical hierarchy of the image in the Islamic image-making.\n\nResearch Objectives: To show the historical path of Islamic Tasweer (image-making), the similarity and difference between its artistic features. \nResearch Limits: Islamic Tasweer (image-making) from its inception, through technical stages, in the lands in which it appeared.\nThis abstract translated by Dar AlMandumah Inc 2018.
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