Download - Islamic Decorations

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Introduction

Before going deep in symbolism and content of Islamic Decorations lets take a look

at the types of decorations that can be found in Islamic Art and Architecture:

Calligraphy

Calligraphy is the most highly regarded and

most fundamental element of Islamic art. It

is significant that the Qur’an, the book of

God's revelations to the Prophet

Muhammad, was transmitted in Arabic, and

that inherent within the Arabic script is the

potential for developing a variety of

ornamental forms. While most works of art

had legible inscriptions, not all Muslims

would have been able to read them. One

should always keep in mind, however, that

calligraphy is principally a means to

transmit a text, albeit in a decorative form.

Folio from the "Blue Qur'an, Tunisia, probably Qairawan.

In some cases, calligraphy is the dominant element in the decoration. In these examples, the

artist exploits the inherent possibilities of the Arabic script to create writing as ornament. An

entire word can give the impression of random brush strokes, or a single letter can develop

into a decorative knot.

Panel of four calligraphic tiles, 14th–early 15th century; Marinid, Morocco

Abstract

In this report we will discuss the decorations in Islamic architecture, from the types that

could be found in Islamic architecture, such as calligraphy and geometry, we will give

many examples for each type and defining the principles of these Islamic decorations.

We will focus on the geometry type of decorations, and take about the symbols we found

behind it, also the symbols behind some principles that we can clearly see in any type of

Islamic decorations.

Finally we are going to see if these decorations truly have symbolic meanings, and if these

shapes can have a spiritual meanings, and if they are religious or anti-religious.

Short brief

In other cases,

highly esteemed

calligraphic

works on paper

are themselves

ornamented and

enhanced by

their decorative

frames or

backgrounds.

Folio from a Qur'an manuscript,

13th–14th century, Spain.

Calligraphy can also become part of an

overall ornamental program, clearly

separated from the rest of the

decoration.

Helmet, late 15th century; Ak Koyunlu/Shivran,

Iranian.

In some examples, calligraphy can be combined

with vegetal scrolls on the same surface though

often on different levels, creating an interplay of

decorative elements.

Islamic tile piece.

Vegetal Patterns

Moreover, Islamic art is iconoclastic,

especially in the mosque and other

religious spaces - the art that contains

the human figure is rarely used.

Vegetal patterns employed alone or in

combination with the other major types of

ornament—calligraphy, geometric pattern,

and figural representation—adorn a vast number

of buildings, manuscripts, objects, and textiles,

produced throughout the Islamic world. Unlike

calligraphy, whose increasingly popular use as

ornament in the early Islamic Arab lands

represented a new development, vegetal patterns

and the motifs they incorporate were drawn from

existing traditions of Byzantine culture in the

eastern Mediterranean and Sasanian Iran.

Tile panel with wavy-vine design, Ottoman period (ca. 1299–

1923), 16th–17th century, Syria, probably Damascus.

The early centuries of the Islamic era saw

the initial adoption of semi naturalistic

pre-Islamic motifs and patterns, followed

by widespread and highly diverse

experimentation adapting these forms to

suit the aesthetic interests and tastes of

the new Muslim patrons.

It was not until the medieval period

(tenth–twelfth centuries) that a highly

abstract and fully developed Islamic

style emerged, featuring that most

original and ubiquitous pattern often

known as "arabesque."

Tile, Ottoman period (ca. 1299–1923), early 15th century,

Turkey, Bursa.

Islamic arabesque and calligraphy Persian architecture,

Isfahan.

Figural Representations

With the spread of Islam outward from the

Arabian Peninsula in the seventh century, the

figurative artistic traditions of the newly

conquered lands profoundly influenced the

development of Islamic art. The Islamic

resistance to the representation of living

beings ultimately stems from the belief that

the creation of living forms is unique to God,

and it is for this reason that the role of images

and image makers has been controversial. As

ornament, however, figures were largely

devoid of any larger significance and perhaps

therefore posed less challenge.

Mushattá Palace and is located in Amman, Jordan.

As with other forms of Islamic ornamentation,

artists freely adapted and stylized basic human

and animal forms, giving rise to a great

variety of figural-based designs. Figural

motifs are found on the surface decoration of

objects or architecture, as part of the woven or

applied patterns of textiles, and, most rarely,

in sculptural form.

Velvet fragment, 16th century; Safavid, Iran.

In some cases, decorative images are

closely related to the narrative painting

tradition, where text illustrations

provided sources for ornamental themes

and motifs. As for manuscript illustration,

miniature paintings were integral parts of

these works of art as visual aids to

the text, therefore no restrictions were

imposed.

A further category of fantastic figures,

from which ornamental patterns were

generated, also existed. Some fantastic

motifs, such as harpies (female-headed

birds) and griffins (winged felines), were

drawn from pre-Islamic mythological

sources, whereas others were created

through the visual manipulation of figural

forms by artists.

Two Lovers, 1630; Safavid, Isfahan, Iran.

Harpies Molded horse and

rider with cheetah Incense burner

Geometric Patterns

While geometric ornamentation may have reached a

pinnacle in the Islamic world, the sources for both the

shapes and the intricate patterns already existed in late

antiquity among the Greeks, Romans, and Sasanians in

Iran. Islamic artists appropriated key elements from the

classical tradition, then complicated and elaborated

upon them in order to invent a new form of decoration

that stressed the importance of unity and order. The

significant intellectual contributions of Islamic

mathematicians, astronomers, and scientists were

essential to the creation of this unique new style.

Consisting of, or generated from, such simple shapes as

the circle and the square, geometric patterns were

combined, duplicated, interlaced, and arranged in

intricate combinations, thus becoming one of the most

distinguishing features of Islamic art

In its repetition and complexity,

it offers the possibility of infinite

growth and can accommodate

the incorporation of other types

of ornamentation as well. In

terms of their abstractness,

repetitive motifs, and symmetry,

geometric patterns have much in

common with the so-called

arabesque style seen in many

vegetal designs. Calligraphic

ornamentation also appears in

conjunction with geometric

patterns.

The main element of this design consists of four squares in an

overlapping rotation. These are derived from a circle (a) taken

through the center of the repeat. A slightly larger circle of the

dimension shown at (b) gives rise to the key values of (c) and (d),

which are then applied to the radial and square elements, to points

(e) and (f); at the middle of the repeat (g) and at the periphery (h).

This design is completed with the following resolutions, a (45

Angle) cross at (i),(45 Angle) diamond segments based on value (d)

at (i) and a (6o Angle) diamond at (k). Writing box, late 16th–early 17th century,

India, Gujarat or Sindh.

Dado panel, first half of 15th century;

Mamluk, Egypt.

Now we know that Four types of ornamentation can be found in Islamic art and

architecture, calligraphy, vegetal patterns, figural representations and Geometric

Patterns.

Geometry is one the most important elements of Islamic art and architecture, lets zoom

in to “Geometry in Islamic architecture” to know more about it.

Geometry

The basic instruments for constructing geometric

designs were a compass and ruler. The circle became the

foundation for Islamic pattern, in part a consequence of

refinements made to the compass by Arabic astronomers

and cartographers. The circle is often an organizing

element underlying vegetal designs; it plays an

important role in calligraphy, which the Arabs defined

as “the geometry of the line”; and it structures all the

complex Islamic patterns using geometric shapes. These

patterns have three basic characteristics:

1. They are made up of a small number of

repeated geometric elements. The simple

forms of the circle, square, and straight

line are the basis of the patterns. These

elements are combined, duplicated,

interlaced, and arranged in intricate

combinations. Most patterns are typically

based on one of two types of grid—one

composed of equilateral triangles, the

other of squares. A third type of grid,

composed of hexagons, is a variation on

the triangular schema. The mathematical

term for these grids is “regular

tessellation” (deriving from Latin tesserae,

i.e., pieces of mosaic), in which one

regular polygon is repeated to tile the

plane.

2. They are two-dimensional. Islamic designs often have

a background and foreground pattern. The placement of

pattern upon pattern serves to flatten the space, and

there is no attempt to create depth.

Vegetal patterns are may be set against a contrasting

background in which the plantlike forms interlace,

weaving over and under in a way that emphasizes the

foreground decoration.

In other instances, the background is replaced by a

contrast between light and shade. Sometimes it is

impossible to distinguish between foreground and

background.

Some geometric designs are created by fitting all the

polygonal shapes together like the pieces of a puzzle,

leaving no gaps and, therefore, requiring no spatial

interplay between foreground and background.

The mathematical term for this type of construction is

“tessellation.” The conception of space in Islamic art is

completely different from Western models, which

usually adopt a linear perspective and divide the picture

space into foreground, middle ground, and background.

Artists of the Islamic world were largely uninterested in

linear perspective. Of the various styles of Islamic art, it

was in Persian painting that a type of three-dimensional

space was used in which figures could interact, but this

space presented multiple viewpoints and simultaneously

featured bird’s-eye and worm’s-eye views.

Tile with an image of a phoenix,

Ilkhanid period (1206–1353) late

13th century, Iran, probably Takht–i

Sulaiman.

Molded tile panel, 13th–14th

century; Ilkhanid period, Iran,

Nishapur.

Linear Perspective Drawing, Persian

Carpet.

3.They are not designed to fit within a frame. Geometric

ornamentation in Islamic art suggests a remarkable

degree of freedom. The complex arrangements and

combinations of elements are infinitely expandable; the

frame surrounding a pattern appears to be arbitrary and

the basic arrangement sometimes provides a unit from

which the rest of the design can be both predicted and

projected.

Basis of Geometry

The basic methods by which 3, 4, 5,

6, 8 and 10 point patterns can be

constructed using only a straight

edge and compass. Constructions of

7 and 9 point patterns can be

approximated.

From the geometrical constructions

mentioned above generally, patterns

with a greater complexity can be

constructed. Patterns with 12, 14,

15, 16, 18 and 20 are readily

established.

Three Point Geometry

Three point geometry can be

constructed from six point

geometry. Discussed in six

point geometry.

Four Point Geometry

-It is constructed by raising a perpendicular from

the centre point of a horizontal line to the point

where it cuts a circle described from that point,

and joining the four points of intersection.

-Further sub-divisions into eight point geometry

can be constructed by sub-dividing the sides of

the square.

Five Point Geometry

Six point geometry is by far the easiest geometry

to construct, requiring only a simple form of

compass to create the basis for accurate three-,

six- and twelve-pointed forms.

In this ,seven-circle from the six-point geometry

construction and shown how the basic pattern

lines evolve. The first illustration shows, in first

figure, the basic circle rose with, in second

figure, the addition of lines joining the

intersections of the surrounding circles with the

basic circle to create a regular hexagon.

-Four point geometry is one of the easiest

geometries to set out.

-It is often used in counterpoint with circular

geometries.

Iranian glazed ceramic tile work, from the

ceiling of the Tomb of Hafez in Shiraz, Iran.

Province of Fars.

Six Point Geometry

Six point geometry is by far the easiest geometry

to construct, requiring only a simple form of

compass to create the basis for accurate three-,

six- and twelve-pointed forms.

In this ,seven-circle from the six-point geometry

construction and shown how the basic pattern

lines evolve.

The first illustration shows, in first figure, the

basic circle rose with, in second figure, the

addition of lines joining the intersections of the

surrounding circles with the basic circle to create

a regular hexagon.

By joining different points different patterns

are found as shown above :

Dividing of a single circle, the more

common basis for a pattern is a

simple grid, here the development of

the circle suited to six-point

geometrical patterning. Even in this

the eye finds it difficult to rest, but is

continually moving around the

circles. The addition of straight lines

just develops and guides this

movement.

A slightly different development of

diagram and is repeated here to show

how a relatively simple pattern based

on six-pointed geometry might be

developed. The basic grid shown in

the six-point, has been turned 30°

counter-clockwise and a number of

straight construction lines selected on

which the pattern has been produced.

Concepts from Islamic Geometries – Contemporary case I

Approach:

-Islamic geometric squares creates 8 pointed

stars (unity within unity)

-8 semicircles were superimposed in the inner

angles of the interlocked squares to create

more space.

-Twin towers are symmetrically aligned.

-were built to ease traffic congestion.

The Petronas Towers, also known as the Petronas

Twin Towers (Malay: Menara Petronas, or Menara

Berkembar Petronas), are twin

skyscrapers in Kuala Lumpur, Malaysia.

According to the Council on Tall Buildings and

Urban Habitat (CTBUH)'s official definition and

ranking, they were the tallest buildings in the

world from 1998 to 2004 and remain the tallest

twin towers in the world. The buildings are a

landmark of Kuala Lumpur, along with

nearby Kuala Lumpur Tower.

Rub Al Hizb

Inspired by Islamic

Architecture Geometry

Petronas Towers / Cesar Pelli

Concepts from Islamic Geometries – Contemporary case II Inspired by Islamic

Architecture Geometry

Set on a prominent site in the central part of

Paris a short distance from the Church of

Notre Dame, the Arab Institute is one of the

Grand's Projects encouraged by the French

President during the 1980s. It is an urban

scheme of great character. It was won in

competition and houses a Franco-Arabian

'World' Institute representing 19 countries.

Its purpose is to foster knowledge of Arab

world culture by the exchange of

information on the arts, sciences and

modern technologies. It incorporates some

well lit exhibition areas, a museum, library,

a 300-seat hall and a restaurant, as well as

offices and car parking. Internally a superb

feature is the glass and steel stairs and lift

enclosure, which can be seen from most

parts of the building.

The system incorporates several hundred light sensitive diaphragms that regulate the amount

of light that is allowed to enter the building. During the various phases of the lens, a shifting

geometric pattern is formed and showcased as both light and void. Squares, circles, and

octagonal shapes are produced in a fluid motion as light is modulated in parallel. Interior

spaces are dramatically modified, along with the exterior appearance.

Institut du Monde Arabe / Jean Nouvel

Problem

After we studied the types of decorations in Islamic Architecture, and we saw the elegance in

its patterns, the geometries and their proportions and relationships, we wanted to know the

inner meanings behind all this elegance, and what makes the decorations Islamic or not.

Does an inscription on a Sheraton Hotel make it Islamic?

In a sense it would because the presence of calligraphy is an immediate reference. By this

reasoning, an Arab-owned bank in London would be Islamic. But when Grabar says that "one

of the most striking 'un-Islamicities' of contemporary architecture is its failure to make

aesthetically appealing utilization of calligraphy," he leans toward a dangerous generalization.

Admittedly, calligraphy does not play the same role in the modern as in the historic Islamic

building. But do we really want to write the names of Allah alongside Coca-Cola signs on the

balconies of stadiums?

In Turkey we use the Latin alphabet.

Should we decorate our facades with Arabic script?

Until now, no body of research has sought to elucidate the correspondence between

architectural form and its inner meaning.

An evaluation of the form of the most sacred of Muslim buildings, the mosque, reveals little

correspondence between Muslims prayer ritual and the mosque form. No satisfactory answer

has yet been offered to the question of what confers symbolic meaning upon a form. Is it

formal quality or function?

Decoration as symbol The four basic shapes, or

"repeat units," from which the

more complicated patterns are

constructed are:

-Circles and interlaced circles.

-Squares or four-sided

polygons.

-The star pattern, ultimately

derived from squares and

triangles inscribed in a circle.

-Multisided polygons.

(November 3, 1929 – January 8, 2011)

was a French-born art historian and

archeologist, who spent most of his career

in the United States, as a leading figure in

the field of Islamic art and architecture.

Oleg Grabar

when Grabar says "symbol," he actually means

something more on the order of a sign. There is indeed a

characteristic Islamic approach to decoration but every

culture within Islamic world follows its own style.

How are decorations seen to be symbolic and

spiritual ?

It’s clear that Islamic decorations have a impressive

relationships and they follow many principles of design,

but also Islamic decorations have a deep symbolic

meanings behind them.

We can clarify the symbolism in the Islamic decorations

by these examples:

For example complex geometric designs create the

impression of unending repetition, and this also helps a

person get an idea of the infinite nature of Allah.

Because circles have no end they are

infinite and so they remind Muslims

that Allah is infinite.

The Circle and it is centre at which

all Islamic patterns begin. It

emphasizes one god.

The circle is a

universal symbol wit-

h extensive meaning.

It represents the

notions of totality,

wholeness, original

perfection, the Self,

the infinite, eternity,

timelessness, all

cyclic movement,

God ('God is

a circle whose centre

is everywhere and

whose circumference

is nowhere' ) -

Hermes Trismegistus.

The Square is the

symbol of physical

experience and the

physical world or

materiality.

There are some believes that Octagon

symbolizes heaven, according to the

Quran and some ancient beliefs.

The octagon is widely used in Islamic

architecture, you can find it in masses

of the building, elements, patterns

and landscapes.

Examples of the

Octagonal shape in

Islamic architecture:

Damascus, Great Mosque,

706, court with treasury.

Jerusalem, Dome of the Rock,

completed 691, plan.

Samarra, Qubba al-Sulaybiya,

862, plan.

Detail of an art work, Madrid.

The Star

symbolizes

the spread

of Islam

The Star symbolizes the spread of Islam:

The star was chosen as the most popular motif for Islamic

decorations because its regular geometric shape symbolized equal

radiation in all directions from a central point. All regular stars are

created with a division of a circle into equal parts. The center of the

star is the center of the circle which represents one god and the

center of Islam which is Mecca; toward which all Muslims face in

prayer. The rays of the star reach out in all directions which

represent the spread of Islam throughout all the world.

In Islamic architecture

the star shape can be

found in plans also:

Gunbad-i Qabud, Iran, 1197

Also colors have symbolic meanings in Islamic Architecture:

Green color has a special place in Islam. It is used in the decoration of mosques,

the bindings of Qur'ans, the silken covers for the graves of Sufi saints, and in the flags of

various Muslim countries.

Green was the color used by Muhammad’s tribe on their flags.

According to Muslims the color green symbolizes nature and life.

In the Qur'an (Surah 76:21), it is said that the inhabitants of paradise will wear green

garments of fine silk.

76سورة الرحمن اية (. وعبقري حسان خضر على رفرف متكئين )

Set of forty-eight tiles displaying vases and cypress trees amid

flowers.

Samarkand Complex Flower Ornament

Conclusions

Islamic architecture have many types of decorations as we mentioned in the introduction of

this report, we noticed that Islamic decoration is one of the most important features of

Islamic architecture, It follows the principles of design, such as the rhythm and reparation.

It’s important to mention that Islamic architecture

used geometry in very unique ways, in its elements,

building forms and decorations, we noticed that the

symbols in Islamic decorations have a strong

connection specially with geometry.

There are many suggestions that geometry in Islamic

decoration have symbolic meanings behind it as we

mentioned some of them in the report before.

Even though we read many of these suggestions that agrees with the symbolic

meanings of Islamic decorations, we agree with those meanings in general but in the

same time shapes should not have a religious significance. It should not become an

idol.

We are even inclined to admit that any decoration symbolism in Islamic architecture

is essentially anti-religious.

In our opinion…

Goals

Our goals in this report is seeking Islamic symbolism in decoration into the small details,

and Defining the Islamic approach to decoration and study its principles.

Temporary cases was mentioned in the report showed how nowadays architects are inspired

by Islamic patterns and decorations.

Also we worked on clarifying the symbolism in Islamic decorations, we defined all the types

of decorations in Islamic architecture.

We want to show the huge variety of

Islamic architecture, and its uniqueness

among all types of architecture and all

eras of its use of geometry.

There are many pictures in the report

showing that Islamic art is merged in

Islamic architecture and perform as one,

there is a perfect unity between them.

Symbolism in Islamic architecture is

relative, as we want to show that Islamic

decorations have symbols but they are

not religious and they should not be an

idol.

s

References

[1] Architecture as Symbol and Self-Identity

[2] Islamic Art and Architecture 650-1250

[3] Islamic Art and Architecture

[4] Geometry of Islamic Architecture (digital article)

[5] Islamic Art and Geometrical Design

[6] Four Components of Islamic Ornamentation (digital article)

[7] Rituals in Islamic Architecture (digital article)

[8] http://patterninislamicart.com/drawings-diagrams-analyses

[9] http://www.metmuseum.org/

[10] https://www.wikipedia.org https://www.com

Books

Internet


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