The circle — which has no beginning and no end and thus symbolising infinity — was considered to be the perfect geometric form; therefore, in mosques, where a wealth of the geometric patterns can be found, one could contemplate the infinite nature of God simply by looking at the walls or the ceilings. However, the complex patterns found on many objects comprise a number of different shapes and arrangements, allowing them to fit into more than one category.
Geometric patterns along with calligraphy, and vegetal patterns comprise the non-figural decoration in Islamic art. At first, the artisans employed recognisable floral elements within geometric frames, but eventually they developed a new type of ornamentation in which simple vegetal elements such as tendrils and leaves were subject to the rules of geometry rather than to the laws of nature. This type of ornamentation, which came to be known as arabesque meaning from the land of the Arabs , appeared in its geometric form in the middle of the tenth century.
Vegetal forms were assimilated into geometric frameworks, whereby stems and leaves were given geometric shapes and geometric frameworks sprouted stems and leaves. The arabesque style is characterised by its rhythmic waves, often implying an infinite design with no beginning or end. One of the contributing factors to the infinite pattern of the arabesque is the growth of leaves, flowers or other motifs from one another rather than from a single stem.
The artists may have been deliberately ambiguous, allowing for the personal interpretation of the art. You are commenting using your WordPress.
Geometric patterns, other Islamic art specialists have suggested, served important symbolic functions. Indeed the eight-pointed star, formed by two overlapping squares, is the basis of many patterns seen across Morocco executed in every possible material—from the tiled graves at the Saadian Tombs in Marrakech to the carved-plaster arches in the throne room of the Royal Palace in Rabat to the brass door knockers found in hardware stores everywhere in North Africa.
Still more complicated stars are seen, including rare examples featuring an astounding 96 points. Given the complexity of these starry patterns, some scholars have attempted to link them to mathematics that originated in Arab culture, especially its pioneering exploration of algebra and trigonometry. Department of Islamic Art.
Santa Monica, Calif. Visiting The Met? Fragment of a Cover with Geometric and Interlace Decoration. Tile from a Mihrab. Folio from a Qur'an Manuscript Muhammad al-Zanjani. High-Tin Bronze Bowl. Basin with Figural Imagery.
Hexagonal Tile Ensemble with Sphinx. Pair of Minbar Doors. Panel with Geometric Pattern and Benedictory Inscriptions. Textile Fragment. Tile from a Squinch. Wall Panel with Geometric Interlace. The pattern above after Paul Marchant is based on elements of medieval designs typically found in Cairo. Notice the pattern of underlying polygons: hexagons, triangles, squares, dodecagons. The underling tiling pattern is usually hidden beneath the final design, as if behind a veil, but the viewer is always given an intimation of the hidden order and this is part of what gives the designs their meditative power.
With a compass and ruler an Iranian master craftsman demonstrates a method for setting out a pattern which employs fold radial symmetry. Note the construction of the decagram pointed star. The four examples above show how to derive a range of classic motifs from the decagram there are several more.
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