Conclusion to chapter three

The pieces produces through out this research have lead me to a few realizations:

1. Creating jewellery and art as a means of spiritual mediation is a fulfilling process.
2. Learning new techniques while trying to apply my own designs can be challenging but also rewarding. I struggle to step out of my comfort zone. 
3. I have focused on jewellery and supporting art pieces equally.
4. While focusing on conveying the concept and meaning of the piece to the viewer, I also like to have my pieces look beautiful and aesthetically pleasing. It is easy to get lost in the beautifying of a piece and forgetting about the concept.  

Conclusion to chapter two

Of the artists that were researched in this chapter, the following stood out most to me: Nikolle Radi, Anahi Mandaca, Amir Hossein Delbari, Sevan Bıçakçı and the designer of the Al Jazeera logo. The reasons that they stood out to me was due to their unique interpretation of references and the technical aspects that they apply in their work. These factors resonate strongly with my research objective, and their influence in my research will be discussed in detail in the following chapter.

Conclusion to chapter one

Figure 1.17 - Tatiana Chis, E., (2017) Medersa Ben Youssef. Example of arabesque, Arabic calligraphy and geometry.

Having looked at the different types of Islamic art in this chapter, I have realized that there are some common decorative aspects which I have identified as arabesque, Arabic calligraphy, and geometry, examples of which can be seen in figure 1.17.

• Arabesque is described as the geometrical art of interlocking polygons and circular shapes to create a pattern that, in most cases, seem to have no distinct beginning or end. These patterns are generally symmetrically repetitive in some way.
• Arabic calligraphy is described as the art of writing Arabic script beautifully. It also falls into the category of arabesque because of it's flowy and intertwining nature.
• Geometry in Islamic art is described as the repetition of shapes in 4, 5 or 6 fold symmetry, to create intricate patterns that include a variety of tessellation. A great example is seen in Zillij (Moroccan tiles) or in the bottom half of figure 1.17.

Contrary to my initial beliefs, these three forms of art are more than just forms of decoration, they exist as a form of spiritual mediation. They are a means of communicating praise to Allah (God) (Papadopoulo, A., 1979:24).

Of the many topics mentioned in this chapter, I have chosen a few to focus on. The topics are architecture, calligraphy, ceramics, and geometry.