Decoration, Order, Feeling

Islamic architecture and Chinese architecture, European architecture are known as the world’s three major building systems. Because of clear geographic boundaries, Chinese and European buildings show obvious regional features, and islamic architecture on regional distribution are with diversification. Decorative patterns of Islamic architecture are complex and diverse,and tare important characterizations of culture, history, religion, and aesthetics of Islam.Islamic architecture decoration pattern initially appear that "copycat" status, which is lack of self expression of the subjective consciousness. Thanks to the innovation of Islamic artists, the Islamic decoration has a representation of self-aesthetics, which is based on the Islamic aesthetics.We are worried about the use of Islamic architectural patterns in those overly materialistic society. Thus, in this dissertation, the author by studying the decorative patterns of Islamic architecture in Xinjiang Uyghur autonomus region, interpret its historical evolution and cultural values, and analyse its composition rules, with a hope that it may provide a certain guidance in space using of Islamic decorative patterns. In the process of resolving a decorative patterns in Xinjiang, the author has been pondering a question that what is the sense of decoration in the order? Usually answers to this question seems diverse, thus we can’t give it a final definition. The author has tried to use a new analytical approach:an ornament is considered as carrying images of objects and is carried by the image itself at the same time; and combination and ension between the two creat a "decoration" phenomenon. This ways is to break the mindset of separation of the image and the object and provide a new basis for comprehending sense of order in decoration.Specific object of this research is the "mihrab", niches in the West, which is the main representative of decorative elements in islamic architecture, is of multiple reference:its structure styles may be building construction, can also be rendered a painting of materials, or the image of drawing, or both a combination of the three. In other words, as a quasi-architectural forms,"mihrab" occupy a three-dimensional space and play split enclosed space; or it provides an ideal painting surface as artistic media; or as a reproduction of image, it is favored image theme in Islamic traditional culture. Integrated such diverse functions and ambiguities of identity, the "mihrab" offers a wide choice of possibilities for artists.Through the interpretation and analysisthe "mihrab" decorative patterns, the author found that Islamic decorative patterns are distinguished by geometric-shaped layout, following the form composition rules of formal beauty to build the patterns and layout by and the basic motif patterns geometric is abstract and simplified, which embodies calculations regularity and mathematical principles. In this dissertation, the author also tried to use a new vision to parse the sense of order.