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Middle stage patterns on geometric borders around a Mihrab in the Alâeddin Mosque, Konya, Turkey. 1220 onwards. The next development, marking the middle stage of Islamic geometric pattern usage, was of 6- and 8-point stars, which appear in 879 at the Ibn Tulun Mosque, Cairo, and then became widespread. [25]
Early examples of Islamic geometric patterns made of straight strap lines can be seen in the architecture of the surviving gateway of the Ribat-i Malik caravanserai, Uzbekistan, built in 1078. [4] The wild application of girih on architectures should credit to the close relationship between Islamic architecture, geometry, and craft.
Example of geometric pattern in the Bou Inania Madrasa of Fez. This example employs a fivefold geometric system with 10-pointed stars, while also adding visual diversity through colour. In western Islamic art, under the Nasrid and Marinid dynasties, a great variety of geometric patterns were created for architectural decoration.
Another example of geometric or square Kufic script, showing four instances of the name Muhammad (in black) and four times Ali (in white); often used as a tilework pattern in Islamic architecture Arabic text of the Shahada in square Kufic script, shown as buildings topped with minarets
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.
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 ...
Andrew Petersen, a scholar of Islamic art and archeology, states that ablaq (alternating courses of white limestone and black basalt) is "a characteristic of the monumental masonry of Damascus." [8] Ablaq stonework on the Alaeddin Mosque in Konya (13th century)
To create a sharp pattern, weavers usually end each pattern element at a particular thread, winding the coloured weft threads back around the same warps, leaving a narrow gap or slit. These are prized by collectors for the crispness of their decoration. The motifs on kilims woven in this way are constrained to be somewhat angular and geometric. [2]
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