سر الزخرفة الإسلامية

سر الزخرفة الإسلامية pdf

Author:

Bisher Faris

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Arabic

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61

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Drawing

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2677797 MB

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Bishr Fares is a Lebanese writer, playwright and poet, and a researcher in Islamic heritage. He was born in Lebanon in 1907 AD, and his birth name was Edward; It is the name that required him until he obtained his doctorate from the Sorbonne University in Paris in 1932 AD, and it was said that “Ahmed Zaki Pasha” was the one who called him “Bisher”. He immigrated to Egypt at the beginning of his life, and there he received his primary and secondary education, then he went to France to continue his higher education, where he obtained a doctorate degree with a thesis entitled “The Presentation of the Arabs of the Pre-Islamic era”, then he visited Germany to learn about its arts and sciences. After his return to Egypt, he assumed the secretariat of the Egyptian Scientific Academy and taught at Cairo University. He was well off, and this helped him to dedicate himself to research and writing. He published several research papers in Arabic and French; Including: “Visibility”, “Christian Swans and Islamic Features”, “The Secret of Islamic Decoration”, and others. He also authored two plays: “The Road’s Crossroads” and “Front of the Unseen,” and one short story collection, “Misunderstanding,” in addition to a book entitled “Mabahith Arabiya.” His literature was influenced by poetry and prose by the French Symbolists School. His texts are steeped in symbolism, in which reason and feeling struggle, and verbal manipulation abounds, while maintaining the integrity and smoothness of the language. Which made him a pioneer of symbolism in Arabic literature. As for the other factor that affected his style, it is his Sufi and his interest in Arabic lines and ancient Islamic images, which inherited his book as an engineering and distinctive abstraction, and a special linguistic ability that made it easy for him. He died in Egypt in 1963 AD, at the age of fifty-six years.

Book Description

سر الزخرفة الإسلامية pdf by Bisher Faris

كونُها تَرجعُ تاريخيًّا إلى عصورِ الحضارةِ الإسلاميَّةِ ليسَ وحْدَهُ ما يُميِّزُ تلكَ الزخارفَ ويفسِّرُ الاصطلاحَ على تسميتِها باسمِ «الزخارفِ الإسلاميَّةِ» دونَ غيرِهِ منَ الأسماء، فالزخرفةُ — شأنُهَا شأنُ الفنونِ والآدابِ التي ازدهرَتْ آنَذاك — جاءَتْ وليدةَ بيئةٍ ذاتِ سماتٍ خاصَّة، ولمبدعِيها من فنانينَ ومعماريِّينَ خلفياتٌ ثقافيَّةٌ ومرجعياتٌ عقائديَّةٌ يصوغُ مجموعُها — إذا ما قُرِنَ بالبُعدَينِ المكانيِّ والزمنيِّ — تلكَ المعادلةَ التي يَكشفُ حلُّها عن «سرِّ الزخرفةِ الإسلامية». وفي هذا الكتابِ يُسلِّطُ «بشر فارس» الضوءَ على مَواطنِ العبقريةِ الزخرفيةِ العربيةِ وبواعثِها، مدلِّلًا بالصورِ والآثارِ على أنَّ تحريمَ بعضِ المذاهبِ الإسلاميَّةِ لتَمثيلِ ذواتِ الأرواحِ، رسمًا أو نحتًا أو تصويرًا، لم يَحُدَّ منَ الطاقةِ الإبداعيَّةِ التي آتَتْ أطيبَ الثمار، وبدَتْ بها المَباني والأدواتُ والمنسوجاتُ والحُلِيُّ خلَّابةً ناطقةً بآياتِ الجمال.

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