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Представление мусульман о мире как о едином целом, созданном богом, имело большое значение для развития эстетических идей в средние века. Под влиянием такого единства сформировались характерные черты мусульманского искусства: * Имперсональность: отсутствие образа личности * Бессюжетность * Абстрактность: отвлеченность художественного образа * Начертательность: геометрическая организованность художественного пространства * Функциональность: целесообразность художественного действия
1) Коран запрещает изображать людей, животных и других живых существ. Как утверждают имамы, пророком Мухаммедом был наложен запрет на изображение людей и животных для того, чтобы не было возможности возродить идолопоклонство.

Однако запрет на изображение животных и людей, как показывает история, имел силу только в определенные временные периоды и не во всех странах. Во времена расцвета иранской миниатюры тексты восточных поэтов изобилуют изображениями жанровых сценок из жизни повелителей, вельмож и красивейших женщин.

2) Любая точка в орнаменте может быть рассмотрена как самостоятельный сегмент и центр композиции. Каждый элемент самостоятелен, автономен, обладает собственной ценностью, уравновешен с другими элементами композиции. Таким образом, стремящийся в бесконечность орнамент говорит о бесконечности самого мира.

3) Узор, состоящий как из растительных, так и из геометрических фрагментов, сплошным ковром покрывает предметы искусства. Создается впечатление, что исламские художники "боятся" пустого пространства. Понятия пустоты в исамском искусстве не существует так же, как его не существует в исламском миропонимании, согласно которому каждая вещь и каждое действие занимает свое место в структурной сетке мироздания и имеют свою причину и назначение. В понимании исламского художника заполнение пустоты есть необхожимое действие, осуществляющее его стремление к совершенствованию на пути к истине. Орнамент есть идеальная форма исполнения этого действия.

Структура узора в любом произведении декоративного исламского искусства обычно очень проста, но повторение элементов создает впечатление неограниченной фантазии и необычайной роскоши.
Эта особенность исламского орнаментального искусства получила название “арабески”. Этот термин включает в себя какгеометрический, так и растительный или эпиграфический орнамент. Либо орнамент смешанных форм.
Геометрический орнамент
Геометрические орнаменты принято называть гирих. Геометрические композиции приобрели ведущее значение в исламском искусстве (план ссада, книжний переплет, оформление фасада, ковер, ювелирное украшение). В основе создания геометрического узора лежат простейшие фигуры: круг, квадрат и треугольник. Однако рисовальщик должен разбираться в геометри и владеть искусством черчния (Аль-Фараби подчеркива в “Науке искусных приемов”). Геометричесий орнамент наиболее в чистом виде представляет воплощение религиозной идеи закономерного развития сложного из простого.
Круг- это абсолют, знак небес, символ сферы
Овал-символ жизни
Треугольники/Квадраты- основывается на значении числа “4”. Ибн Араби считал, что “4” это корень всех чисел. Придается космографическое значение (4стихии, в планировке зданий 4 входа)
Квадрат- сакральное значение (Кааба), точка пересечения осей квадрата символизирует центр земли и вселенной.
Шести лучевая звезда- символ могущества и мудрости

Замечео, что геометрический орнамент получил наибольшее развитие и распространение в сиро-палестинском регионе, а также в Египте(эпоха мамлюков) и в Мароко.

Растительный орнамент
Растительный узор- ислими.
Растительный орнамент, в противовес геометрическому, более свободен (растительные формы всегда более произвольны, чем математически построенные геометрические). В нем прослеживается центр композиции, боковые связки, симметричные расхождения в разные стороны.

Арабские орнаменты- отражение глубокого мифологического представления об окружающем мире, о его добрых и злых началах.В декоративном убранстве предметов многие исследователи находят отзвуки древнеиранских верований. Изображения, относящиеся к языческой культуре, встречаются как на отдельных предметах прикладного характера, так и в монументальном искусстве. Мифологические представления древних арабских племен различались: одно и то же божество в разных регионах могло приобрести разное имя, выполнять разные функции и обладать разным обликом.
В древнем Иране художники использовали образы грифонов и львов, изображения орла, собаки и прочих живых существ. Арабы украшали предметы изображениями фантастических деревьев, водных источников и колодцев, камней, символизирующих духов и местных богов.
Грифоны представляли собой существо, в котором удивительным образом сочетались голова, крылья и когти орла с телом льва. Это животное символизировало власть над воздухом и землей , а также обладало демонической сущностью. Наравне с грифоном арабами почитался образ льва. Это был символ божественной власти и мощи: солнца и огня. Со львом арабы отождествляют уничтожение зла в исламе.
Изображение птицы считалось благоприятным знаком. В древние времена орлы отождествлялись с такими чертами характера, как отвага, вдохновение, победа, власть, величие, господство.
Образ птицы симурга означал вещую птицу. Считалось, что эта птица посланница небесных божеств.
Противоречивым отношением пользовались изображения собаки. С одной стороны собака воспринималась как существо, взгляд которого отгоняет злых духов; с другой стороны, позднее по исламским поверьям собака- это нечистое животное.
Нередко в орнаментальную композицию помещались и аллегорические изображения знаков зодиака, семи планет и луны. Именно образ луны (в виде полумесяца), соединенный со звездой является сомволом ислама, означая как господство и могущество аллаха, так развитие и процветание арабских народов.

Эпиграфический орнамент
Сильное развитое на Ближнем Востоке каллиграфического искусство привело к естественной трансформации арабской вязи в подобие орнамента. В орнаментальную композицию художники свободно вплетали целые фразы из арабских текстов. Как правило, содержание подобных надписей было следующим: владельцу высказывалось пожелание счастья, благословение его дома и домочадцев. В мечетях надписи воспроизводили суры из Корана.

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Free Essay

Biomedical Devices

...Question 4: If you were member of ABD's management team, what countries would you recommend targeting first? As a manager, you would need to justify your recommendation. A good approach is to investigate key characteristics of specific countries via globalEDGE or similar Web sites. Answer: First of all, to produce advanced biomedical devices lucratively requires high technology, biomedical engineering services at enough level, to be independent about work in process and raw materials, sufficient control-reporting, coordination and r&d activities very well. Advanced medical devices are produced by finite number companies. Accordingly products of these production is difficult and costly. Countries which have not these features must obtain the products via import. At first, we should assign the countries which have not capacity and technology to produce these products. We should focus on underdeveloped or the developing countries due to the features such as low levels of productivity, technology, capacity, insufficient information education and materials about sector. ABD's management team can export advenced biomedical devices to Azerbajian, Nakhichevan, Iraq, Algeria, Egypt, Saudi Arabia etc. And it may use Turkey as the place of manufacturing because of Turkey is in the region which is near these countries and has many advantages about technology, sufficient capacity as regards these countries. ABD can use the opportunity of location of Turkey for manufacturing, in this way it...

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