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Girih (Persian: گره, "knot", also written gereh [1]) are decorative Islamic geometric patterns used in architecture and handicraft objects, consisting of angled lines that form an interlaced strapwork pattern. Girih decoration is believed to have been inspired by Syrian Roman knotwork patterns from the second century.
Islamic geometric patterns are derived from simpler designs used in earlier cultures: Greek, Roman, and Sasanian. They are one of three forms of Islamic decoration , the others being the arabesque based on curving and branching plant forms, and Islamic calligraphy ; all three are frequently used together.
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Islamic ornament is the use of decorative forms and patterns in Islamic art and Islamic architecture. Its elements can be broadly divided into the arabesque , using curving plant-based elements, geometric patterns with straight lines or regular curves, and calligraphy , consisting of religious texts with stylized appearance, used both ...
There is no text, but there is a grid pattern and color-coding used to highlight symmetries and distinguish three-dimensional projections. Drawings such as shown on this scroll would have served as pattern-books for the artisans who fabricated the tiles, and the shapes of the girih tiles dictated how they could be combined into large patterns.
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 ...
Religious Islamic art has been typically characterized by the absence of figures and extensive use of calligraphic, geometric and abstract floral patterns. Nevertheless, representations of human and animal forms historically flourished in nearly all Islamic cultures, although, partly because of opposing religious sentiments, living beings in ...
Visual images of Muhammad in the non-Islamic West have always been infrequent. In the Middle Ages they were mostly hostile, and most often appear in illustrations of Dante 's poetry. In the Renaissance and Early Modern period, Muhammad was sometimes depicted, typically in a more neutral or heroic light; the depictions began to encounter ...