The present research studies numbers and its uses in the Islamic ornament. The study consists of four chapters; the first is dedicated to the problem of the research, the value of the study, and the aim of the study, and its limit. The problem of the study deals with the uses of numbers in Islamic ornament and how these numbers were used for aesthetic purposes. What are the analytical bases that enable us to read the geometrical compositions ornament numerically? The value of the research is the study forms an analytical and visual study of the numbers in the Islamic ornamentation. Additionally, this study is an aesthetic assessment to the philosophy of the number and its uses in Islamic architecture. The study is limited to the ornamentations of Al-Abbass Holy Shrine during the priod (1980- 2015). The second chapter combines the theoretical part, which studies the numbers in the Holy Quran, the geometrical compositions and their uses in the ornamentations. The third chapter is dedicated to the practical part, which discusses the population of the study, which consists of 25 ornamentation compositions, and the sample of the study consists of 5 samples. It also mentions the the reliability and the validity of the study. The fourth chapter comprises the results, conclusions, and the recommendations and suggestions. the conclusions are:1.The value of number 1 is the origin of all the numbers because number 1 is associated with God. 2.The geometry of the of the ornaments are related to nonrepresentation the shape of the star for example is related to the circle. The origin of the circle is square and the origin of the square is the right angle triangle, which is the origin of all shapes. Search and adopted a set of recommendations and proposals, the list of sources and supplements.Key words: (Islamic ornamentation, number and Achtgalath, Al-Abbass Holy Shrine)
This research explains to us the role of the Islamic religion in the issue of accuracy in speech and work, and how it is closely related to human production in his life, and Islam affirms that his idea is mainly reflected in his production, and how it affects the perception of the meaning of creativity. Therefore, our Islam affirmed the accuracy in every word or work we do to build a society in which people enjoy high quality in ethics and dedication in their work so that the Islamic system depends on humanity to preserve our rights on the other hand the research discusses the deliberate default and how it reflects on our production and how it makes it less good.
The research included (the aesthetics of the sculptural formulations of swords in the Al-Kafeel Museum) four chapters. Al-Kafeel Museum.)
Within the time period: (1240 AH / (1824 and 1825) AD - 1312 AH / (1894 and 1895) AD). The second: the types of Islamic swords. The third chapter included (research procedures), and the analysis of samples from the sample (3) as a model according to the descriptive approach, and the fourth chapter dealt with (results, conclusions, recommendations, and proposals). As well as recommendations, proposals and sources.
وظَّفَ الشاعرُ مجد الدين النُّشَّابي الصورة الاستعارية التي شكلت سمةً جمالية بارزة من سماتِ التشكيل الشعري عنده, وأحد المكونات الأساسية في بنية قصائده الشعرية وهي جوهر الإبداع ومحط التذوق عند المتلقي, إذ يشكل الشاعر صوره الاستعارية المتنوعة متولدة من خياله وعواطفه ومتوافقة مع الموضوع لتصبح الصورة الاستعارية ركنًّا من أركان التشكيل الفني الشعري عند الشاعر .
والتصوير الاستعاري له القدرة بالتشكيل ا
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