The exposure to the Word in the Mushaf with the ayet being separated by a depiction of a shamsa, a little sun, with the Real Sun being the Light of the Absolute, the combination of the Word and the Light, rooted these sun-sunburst centred designs within Islam.
📌 3 Key Takeaways
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Objective & Hypothesis:This article attempts to provide some explanation for the variety of sun - ‘stars’, shamsa in shabaka geometric designs by looking at some of the Koranic references and metaphysical works concerning Light and light, Sun and sun, Reality and phenomena.
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Key Findings & Data:These designs became increasingly employed from the XI th c. onwards over a wide variety of surfaces and media, and can be understood as representing the Lights-Suns of the Veil of Light(s) that separates the ‘Face’ of the Almighty from all else.
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Conclusion & Impact:The exposure to the Word in the Mushaf with the ayet being separated by a depiction of a shamsa, a little sun, with the Real Sun being the Light of the Absolute, the combination of the Word and the Light, rooted these sun-sunburst centred designs within Islam.
🔬Design:Araştırma Makalesi
📍Scope:Comprehensive Sample
⚙️Variables:Veil of Light · Sun-Sunbursts-Şemse-Shamsa-Rosettes · Geometric Pattern
Özet
This article attempts to provide some explanation for the variety of sun - ‘stars’, shamsa in shabaka geometric designs by looking at some of the Koranic references and metaphysical works concerning Light and light, Sun and sun, Reality and phenomena. These designs became increasingly employed from the XI th c. onwards over a wide variety of surfaces and media, and can be understood as representing the Lights-Suns of the Veil of Light(s) that separates the ‘Face’ of the Almighty from all else. The exposure to the Word in the Mushaf with the ayet being separated by a depiction of a shamsa, a little sun, with the Real Sun being the Light of the Absolute, the combination of the Word and the Light, rooted these sun-sunburst centred designs within Islam.
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