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Girih patterns can be created in a variety of ways, including the traditional straightedge and compass construction; the construction of a grid of polygons; and the use of a set of girih tiles with lines drawn on them: the lines form the pattern. Patterns may be elaborated by the use of two levels of design, as at the 1453 Darb-e Imam shrine.
The geometric designs in Islamic art are often built on combinations of repeated squares and circles, which may be overlapped and interlaced, as can arabesques, with which they are often combined, to form intricate and complex patterns, including a wide variety of tessellations. These may constitute the entire decoration, may form a framework ...
Repeating geometric patterns worked well with traditional printing, since they could be printed from metal type like letters if the type was placed together; as the designs have no specific connection to the meaning of a text, the type can be reused in many different editions of different works.
In 2013 the Istanbul Center of Design and the Ensar Foundation ran what they claimed was the first ever symposium of Islamic Arts and Geometric Patterns, in Istanbul. The panel included the experts on Islamic geometric pattern Carol Bier, [g] Jay Bonner, [h] [66] Eric Broug, [i] Hacali Necefoğlu [j] and Reza Sarhangi.
The similarity with certain decorative patterns used in North Africa and the Middle East has been noted; [56] [57] the physicists Peter J. Lu and Paul Steinhardt have presented evidence that a Penrose tiling underlies examples of medieval Islamic geometric patterns, such as the girih (strapwork) tilings at the Darb-e Imam shrine in Isfahan. [58]
The first is "simple open crochet" (crochet simple ajour), a mesh of chain-stitch arches. The second (illustrated here) starts in a semi-open form ( demi jour ), where chain-stitch arches alternate with equally long segments of slip-stitch crochet, and closes with a star made with "double-crochet stitches" ( dubbelde hekelsteek : double-crochet ...
According to Stephen Skinner, the study of sacred geometry has its roots in the study of nature, and the mathematical principles at work therein. [5] Many forms observed in nature can be related to geometry; for example, the chambered nautilus grows at a constant rate and so its shell forms a logarithmic spiral to accommodate that growth without changing shape.
These patterns can be found as far back as prehistoric times, and are considered to be the most primitive patterns. Tools made in the Neolithic period and Bronze Age have repeated stripes, circles and concentric circles as designs. These patterns are thought to represent the sun, rays of sunlight, and rain. Other geometric patterns include:
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