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[7] [8] In Islamic culture, the patterns are believed to be the bridge to the spiritual realm, the instrument to purify the mind and the soul. [9] David Wade [b] states that "Much of the art of Islam, whether in architecture, ceramics, textiles or books, is the art of decoration – which is to say, of transformation."
Girih tiles are a set of five tiles that were used in the creation of Islamic geometric patterns using strapwork for decoration of buildings in Islamic architecture. They have been used since about the year 1200 and their arrangements found significant improvement starting with the Darb-i Imam shrine in Isfahan in Iran built in 1453.
The number 4 is a very important number in Islam with many significations: Eid-al-Adha lasts for four days from the 10th to the 14th of Dhul Hijja; there were four Caliphs; there were four Archangels; there are four months in which war is not permitted in Islam; when a woman's husband dies she is to wait for four months and ten days; the Rub el ...
Islamic calligraphy has also displayed figurative themes. Examples of this are anthropomorphic and zoomorphic calligrams. [40] Islamic calligraphy forms evolved, especially in the Ottoman period, to fulfill a function similar to figurative art. [41] When on paper, Islamic calligraphy is often seen with elaborate frames of Ottoman illumination. [41]
It is an archetypal form of Islamic architecture, integral to the vernacular of Islamic buildings, [2] [3] and typically featured in domes and vaults, as well as iwans, entrance portals, or other niches. [3] It is sometimes referred to as "honeycomb vaulting" [4] or "stalactite vaulting". [1] The muqarnas structure originated from the squinch ...
An Islamic flag is the flag representing an Islamic caliphate, religious order, state, civil society, military force or other entity associated with Islam. Islamic flags have a distinct history due to the Islamic prescription on aniconism , making particular colours, inscriptions or symbols such as crescent-and-star popular choices.
A page of Bustan by the Persian poet Saadi Shirazi telling the story of the lote tree Wild Ziziphus spina-christi tree in Behbahan, Iran. The Sidrat al-Muntaha (Arabic: سِدْرَة ٱلْمُنْتَهَىٰ, romanized: Sidrat al-Muntahā, lit.