Islamic decorations, which tend to avoid the use of figurative images, often use the geometric patterns that have developed over the centuries.
Geometric designs in Islamic art are often built on a combination of recurrent and circular squares, which may be overlapping and interlaced, as can arabesque (by which they are often combined), to form intricate and complex patterns, including various tesselations. It may be an overall decoration, may form a framework for flower or calligraphy, or may retreat into the background around other motifs. The complexity and variety of patterns used evolved from the simple stars and the nineteenth century, through the 6 to 13 point patterns of the 13th century, and finally incorporated the 14 and 16-point stars of the sixteenth century..
The geometric patterns occur in various forms in Islamic art and architecture including the kilim rugs, Persian gray and Moroccan zellige tapestries, decorative muqarnas decorations, jali screens piercing stone, ceramics, leather, stained glass, wood and metal.
Interest in Islamic geometric patterns is increasing in the West, both among artisans and artists including MC Escher in the twentieth century, and among mathematicians and physicists including Peter J. Lu and Paul Steinhardt who controversially claimed in 2007 that tilings in Darb-e The Temple Imam in Isfahan can produce quasi-periodic patterns such as Penrose tilings.
Video Islamic geometric patterns
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Islamic Decorations
Most Islamic art avoids figurative images to avoid becoming objects of worship. The geometric pattern of Islam comes from the simpler designs used in earlier cultures: Greek, Roman, and Sasanian. They are one of three forms of Islamic decoration, others are arabesque based on the shape of curved and branched plants, and Islamic calligraphy; they are often used together. The geometric and arabesque designs are the interlacing forms of Islam.
Destination
Authors like Keith Critchlow argue that Islamic patterns are created to redirect viewers to an understanding of the underlying reality, not just decoration, since authors who are only interested in patterns sometimes imply. David Wade states that "The vast majority of Islamic art, whether in architecture, ceramics, textiles or books, is the art of decoration - which means transformation." Wade argues that the goal is to change shapes, turning the mosque "into light and pattern", while "the pages decorated in the Qur'an can become windows in the infinite direction." To this, Doris Behrens-Abouseif states in his book Beauty in Arabic Culture that the "main difference" between the medieval philosophical thought of Europe and the Islamic world is precisely the concept of good and beautiful. separated in Arab culture. He argues that beauty, whether in poetry or in the visual arts, is enjoyed "for its own sake, without a commitment to religious or moral criteria".
Maps Islamic geometric patterns
Formation pattern
Many Islamic designs are built on square and circle, usually repeated, overlapping and interlocked to form intricate and complicated patterns. The recurrent motif is an 8-pointed star, often seen in Islamic tilework; it is made of two boxes, one rotated 45 degrees against the other. The fourth basic shape is a polygon, including pentagon and octagon. All of these can be combined and reworked to form intricate patterns with various symmetries including reflection and rotation. Such patterns can be seen as mathematical tesselations, which can extend indefinitely and thus indicate infinity. They are built on a grid that only requires a ruler and compass to draw. Artist and educator Roman Verostko argues that such constructions are in an effective algorithm, making the Islamic geometric pattern of modern pioneers of algorithmic art.
The circle symbolizes unity and diversity in nature, and many Islamic patterns are taken beginning with a circle. For example, the decor of a 15th century mosque in Yazd, Persia is based on a circle, divided into six by six circles drawn around it, all touching at its center and each touching the center of its two neighbors to form a regular hexagon. On this basis built a six-pointed star surrounded by six smaller irregular hexagons to form a tessellating star pattern. This forms the basic design outlined in the white walls of the mosque. The design, however, is coated with compacted intersecting in blue around other colored tiles, forming a complicated pattern that partially conceals the original and underlying design. Similar designs form the logo of Muhammad Ali Research Center.
One of the early Western students of Islamic patterns, Ernest Hanbury Hankin, defined "geometrical arabesque" as a pattern formed "with the help of a construction line consisting of a touching polygon." He observed that many different combinations of polygons can be used as long as the residual space between the polygons is quite symmetrical. For example, the octagon box in the contact has a box (from the same side as the octagon) as the remaining space. Each octagonal is the basis for an 8-point star, as seen in Akbar's tomb, Sikandra (1605-1613). Hankin considers "the skill of Arab artists in finding the right combination of polygons.. almost astounding." He further notes that if a star occurs in a corner, exactly a quarter of it must be indicated; if along the edge, exactly half.
Topkap? The scroll, created in the Eastern Iranian dynasty at the end of the 15th century or early 16th century, contains 114 patterns including colored designs for tilings and chunks of quarterly or semidome muqarnas.
The mathematical properties of decorative tiles and plastering patterns of the Alhambra palace in Granada, Spain have been studied extensively. Some authors claim with dubious reason to find most or all of the 17 groups of wallpapers there. Moroccan geometrically from 14 to the 19th century uses only 5 groups of wallpapers, especially p4mm and c2mm, with p6mm and sometimes p2mm and p4gm rare; It is said that the construction method "Hasba" (size), which starts with n -fold rosette, can produce 17 groups.
Evolution
Initial stage
The earliest forms of geometry in Islamic art are sometimes isolated geometric shapes such as 8-pointed stars and lozenges containing boxes. This date is from 836 at the Great Mosque of Kairouan, Tunisia, and has since spread throughout the Islamic world.
The middle stage
The subsequent developments, marking the middle stage of the use of Islamic geometric patterns, were the 6 and 8-point stars, which appeared in 879 at Ibn Tulun Mosque, Cairo, and then expanded.
A wider variety of patterns were used from the 11th century. The abstractions of 6- and 8-point forms appear in the Kharaqan Tower in Qazvin, Persia in 1067, and Al-Juyushi Mosque, Egypt in 1085, again extending from there, although a sparse 6-point pattern in Turkey.
In 1086, 7 and 10-point girih patterns (with heptagons, 5- and 6-pointed stars, irregular triangles and hexagon) appear in Jameh Isfahan Mosque. The girih 10-point becomes widespread in the Islamic world, except in Spain's Al-Andalus. Soon after, nine, 11, and 13-point girih patterns were used in the Barsian Mosque, also in Persia, in 1098; This, like the 7-point geometry pattern, is rarely used outside of Persia and central Asia.
Finally, marking the end of the intermediate stage, the gleaming rosette patterns of 8- and 12 points appeared at the Al-ed eddin Mosque in Konya, Turkey in 1220, and at the Abbasid palace in Baghdad in 1230, then became widespread throughout the World Islam.
End stage
The beginning of the final stage is characterized by the use of a 16-point simple pattern in the Hasan Sadaqah mausoleum in Cairo in 1321, and at the Alhambra in Spain in 1338-1390. These patterns are rarely found outside these two areas. More complicated 16-point geometric patterns were found in the Sultan Hasan complex in Cairo in 1363, but seldom elsewhere. Finally, a 14-point pattern emerged at the Jama Masjid in Fatehpur Sikri in India in 1571-1596, but in some other places.
Artforms
Some art in different parts of the Islamic world uses geometric patterns. These include ceramics, ligament ties, jali screens through stones, kilim rugs, leather, metal, muqarnas domes, shakaba stained glass, wood, and zigging tiles.
Ceramics
Ceramics have a circular motif, either radially or tangentially. Bowls or plates can be decorated inside or outside with radial lines; This may be partly figurative, representing a stylish leaf or petals, while a circle band can run around a bowl or jar. This type of pattern is used in Islamic ceramics from the Ayyubi period, the 13th century. Radial symmetrical flowers with, say, six petals lend themselves to an increasingly stylish geometric design that can combine geometric simplicity with acceptable naturalistic motifs, brightly colored glazes, and radial compositions ideally suited to a circular pot. Potters often choose patterns that fit the shapes they make. So an unfragrant groundwater flask from Aleppo in the form of a vertical circle (with the handle and neck above) is adorned with a ring printed braided around an Arabic inscription with a small flower 8-petals in the middle.
Girih tilings and woodwork
Girih is a complex interlacing pattern formed from five standard forms. This style is used in Persian Islamic architecture and also in decorative wood. Girih designs are traditionally made in various media including brick pieces, stucco, and mosaic tilework mosaics. In wood, especially in the Safavid period, it can be applied either as a lattice frame, left plain or inset with panels such as colored glass; or as a mosaic panel used to decorate walls and ceilings, whether sacred or secular. In architecture, the girih formed a surface of decorative facial ropes from the fifteenth to the twentieth century. Most of the designs are based on a partially hidden geometric lattice that provides a regular point arrangement; this is made into a pattern using rotation symmetry 2-, 3-, 4-, and 6-fold that can fill the plane. The visible patterns superimposed on the grid are also geometric, with stars 6-8, 10 and 12-pointed and a variety of convex polygons, joined by ropes that usually seem to weave above and below each other. The visible pattern does not match the underlying tile.
Jali
Jali is a stone screen pierced with repetitive patterns on a regular basis. They are characteristic of Indo-Islamic architecture, for example in Mughal dynasty buildings in Fatehpur Sikri and Taj Mahal. Geometric designs incorporate polygons such as octagons and pentagons with other forms such as 5- and 8-pointed stars. This pattern emphasizes symmetry and suggests infinity with repetition. Jali serves as a window or room divider, providing privacy but allowing air and light. Jali forms a prominent element of Indian architecture. The use of perforated walls has declined with modern building standards and the need for security. Modern and simplified jali walls, for example made with clay or cement that have been previously formed, have been popularized by architect Laurie Baker. Pierced windows with a girih style are sometimes found elsewhere in the Islamic world, such as in the window of Ibn Tulun Mosque in Cairo.
Kilim
Kilim is an Islamic flat carpet (without piles), whether for household use or prayer rugs. This pattern is made by turning the feed yarn back on the warp thread when the color limit is reached. This technique leaves a gap or vertical slit, so the kilims are sometimes called slit-woven textiles. Kilims are often decorated with geometric patterns with 2- or 4-fold mirrors or rotational symmetry. Because weave using vertical and horizontal yarn, the curve is difficult to make, and the patterns are well formed with straight edges. Kilim patterns are often characteristic of a particular area. Motif Kilim is often symbolic as well as decorative. For example, the wolf's mouth or wolf-foot motif (Turkish: Kurt A? Zi, Kurt? Zi) expresses the wishes of the tribal weavers to protect their herds of wolves.
Skin
Islamic skin is often knitted in a pattern similar to that already described. The cover of the leather book, beginning with the Quran in which figurative artwork is expelled, is adorned with a combination of kufik manuscripts, medals and geometric patterns, usually limited by geometric braids.
Metalwork
Metal artifacts share the same geometric design used in other forms of Islamic art. However, in the view of Hamilton Gibb, the emphasis is different: geometric patterns tend to be used for borders, and if they are in the main decorative area they are most often used in combination with other motifs such as flower design, arabesque, animal motif, or calligraphy script. Geometric designs in Islamic metal can form boxes decorated with other motifs, or they can form background patterns.
Even where metal objects such as bowls and plates do not seem to have geometric decorations, still designs, such as arabesque, are often arranged in octagonal compartments or arranged in concentric bands around the object. Both designs are closed (which are not repeated) and the open or recurring patterns are used. Patterns such as interlaced six-pointed stars are very popular since the 12th century. Eva Baer notes that while this design is essentially simple, it is elaborated by metal workers into intricately interlaced patterns with arabesque, sometimes held around further Islamic patterns, such as the hexagonal pattern of six overlapping circles.
Muqarnas
Muqarnas is an intricately carved ceiling for semi-domes, often used in mosques. They are usually made of plaster (and thus have no structural function), but can also be of wood, brick, and stone. They are characteristic of Medieval Islamic architecture from Spain and Morocco in the west to Persia in the east. Architecturally they form several levels of squinches, further diminishing as they increase. They are often elaborately decorated.
Stained glass
Stained glass patterned geometric used in various settings in Islamic architecture. It was found in the surviving summer residence of Shaki Khan Palace, Azerbaijan, built in 1797. Patterns in the "shabaka" window include 6-8, and 12-point stars. These wood-framed decorative windows are a hallmark of palace architecture. Shabaka is still built in the traditional way in Sheki in the 21st century. The tradition of stained glass set in wooden frames (not tin like in Europe) survives in workshops in Iran and also Azerbaijan. Glass windows arranged in stucco are arranged in a vein-like pattern found in Turkey and in Arab lands; A late example, without a traditional balance of design elements, was made in Tunisia for the International Colonial Exposition in Amsterdam in 1883. The old city of Sana'a in Yemen has stained glass windows in its tall buildings.
Zellige
Zellige is a shiny terracotta tile set into plaster, forming a colorful mosaic pattern including ordinary and semiregular tessellations. This tradition is typical of Morocco, but it is also found in Spanish Moors. Zellige is used to decorate mosques, public buildings, and rich private homes.
Illustration
In Western culture
Occasionally in Western societies that mistakes in repetitive patterns of Islam as in carpets are deliberately introduced as a show of humility by artists who believe only God can produce perfection, but this theory is rejected.
Major Western collections store objects with very varied material with Islamic geometric patterns. The Victoria and Albert Museum in London holds at least 283 such items, from materials including wallpaper, carved wood, ornamental wood, tin or glass tin, brass, stucco, glass, woven silk, ivory and pen or pencil drawing. The Metropolitan Museum of Art in New York has among other relevant possessions of 124 centuries (1000-1400 A.D.) objects with Islamic geometric patterns, including a pair of Egyptian pulpit doors (pulpit) nearly 2 m. high in rosewood and mulberry decorated with ivory and ebony; and the entire mihrab (place of prayer) of Isfahan, decorated with polychrome mosaics, and weighing over 2,000 kg.
The decor and work of Islam had a significant influence on Western art when Venetian merchants brought goods of various types back to Italy from the 14th century onwards.
The Dutch artist M. C. Escher was inspired by the intricate decorative design of Alhambra to study the math of tessellation, changing his style and influencing the rest of his artistic career. In his own words it is "the richest source of inspiration I've ever tapped."
Cultural organizations such as the Mathematical Sciences Research Institute and the Institute for Advanced Study hold events on geometric patterns and aspects related to Islamic art. In 2013 the Istanbul Design Center and the Ensar Foundation run what they claim to be the first symposium of Islamic Art and Geometric Patterns in Istanbul. The panel included experts on the geometric patterns of Islam Carol Bier, Jay Bonner, Eric Broug, Hacali Necefo? Lu and Reza Sarhangi. In the UK, The Prince's School of Traditional Arts runs courses in Islamic art including geometry, calligraphy, and arabesque (form of vegetation), tile making, and plaster engraving.
Computer-assisted computer graphics and manufacturing make it possible to design and produce Islamic geometric patterns effectively and economically. Craig S. Kaplan explains and illustrates in his Ph.D. thesis how the pattern of Islamic stars can be generated algorithmically.
Two physicists Peter J. Lu and Paul Steinhardt drew controversy in 2007 by claiming that the girih design as used in the Imam Darb-e's temple in Isfahan was able to create a quasi-periodic quility similar to that discovered by Roger Penrose in 1973. They show that rather than the traditional ruler and compass construction, it is possible to make a sleek design using a set of five "girih tiles", all equidistant polygons, the latter adorned with lines (for ropes).
In 2016, Ahmad Rafsanjani explains the use of Islamic geometric patterns from grave towers in Iran to create additional materials from perforated rubber sheets. It is stable in either a contractual or expansion state, and can switch between the two, which may be useful for surgical stents or for spacecraft components. When a conventional material is stretched along one axis, it contracts with another axis (at right angles to stretch). But the additional ingredients expand from the right angle to the pull. The internal structure that permits this unusual behavior is inspired by two of the 70 Islamic patterns recorded by Rafsanjani in the tomb tower.
Note
References
External links
- Unlimited Museum: Geometric Decoration
- The Victoria and Albert Museum: Teacher Resources: Mathematics and Islamic Art & amp; design
Source of the article : Wikipedia
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