Abstract
Abstract
The study defines the research problem as a reconsideration or
reformulation of a scientific approach to study of the dimensions of rhythm
in Islamic Architecture, depending on rhythmic polyphonic and harmonic
relations in Islamic architecture, as well as on rhythmic in Arabic poetry
and music. To fulfill such as objective a scale for rhythmic dimension is being
laid down. The hypothesis postulates that the aesthetic taste constituting the
dimensions of rhythm in Islamic architecture is itself the force behind Arabic
poetry and music.
So that the characteristics of rhythm in Arabic poetry and music are
defined and clarified going back to their roots as they were founded by Al-
Khalil Bin Ahmad, Al-Farabi, Ekhwan Al-Safa and Al-Armani. A graphic
model for musical and poetic rhythm is devised so as to project the distinctive
features descriptive of the Islamic character and how they may apply to
Islamic architecture in eclectic samples. Periods, beats and paces between
music and poetry on the hand and their architectural counterparts on the
others are being rigorously compared. The results project similarity and
continuity of the expressive aspects in Islamic architecture and Arabic music
and poetry for both reflect the slow, monotonous and infinite nature of the
Muslim mind. The groupings, spaces and modulation in both arts are almost
identical. In both arts the shape and the rhythm are but reflections and an
embodiment of the same cultural tempo and spirit… infinite, colorless and
monotonous.
