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Islamic Geometric Art

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Isabella Guida

on 6 May 2011

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Transcript of Islamic Geometric Art

Islamic Geometric Art References
Norman, Jane. "Islamic Art and Geometric Design." Metropolitan Museum of Art. Metropolitan Museum of Art, n.d. Web. 5 May 2011. . Alejandre, Suzanne. "Designs with Circles." A Math Forum. Drexel University, 1994. Web. 5 May 2011. . Abas, S. Jan. "ISLAMIC GEOMETRICAL PATTERNS FOR THE TEACHING OF MATHEMATICS OF SYMMETRY."
Symmetry in Ethnomathematics 12.1/2 (2001): 53-65. Web. 5 May 2011. . Critchlow, Keith. Islamic Patterns. New York: Schocken Books, 1976. Print. Necipoglu, Gulru. The Topaki Scroll - Geometry in Islamic Architecture. Santa Moncia: The Getty Center for the History of Arts and the Humanities, 1995. Print. Isabella Guida
MATH 130 Calligraphy Geometric
Vegetal Figural In Islamic geometric art, there are 4 shapes or 'repeated units' from which more complicated patterns emerge. cirlces & interlaced circles
squares & other 4 sided polygons Star pattern, derived from squares and triangles inscribed in a circle Multisided polygons Islamic geometric patterns have three basic characteristics:

1) Islamic patterns are made up of a small number of repeated geometric elements, which are mainly the circle, square, and straight lines. These shapes are duplicated and interlaced into intricate combinations. Most patterns are based on grids that are composed of equilateral triangles, squares, and hexagons. This is also known as tessellation. 2) They are two-dimensional. The designs often have a background and foreground. Some designs are created by fitting all the polygonal shapes together, leaving no gaps in between. The concept of space in Islamic art is very different from western art, where there is usually a linear perspective. Artists of the Islamic world were not interested in linear perspective. 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. The circle and its center are the point at which all Islamic patterns begin. As more circles are added, larger polygons are created. The equilateral triangle, the hexagon, and the square can tessellate and grow without leaving any gaps. An artistic consequence of these characteristics is that there is no natural point of focus for the eye. As one looks at an expanse of pattern the eye ‘flows’ continuously to follow the lines, seeing a variety of intricate structures and relationships. In three dimensions, such as interior and exterior surfaces of domes, the unit cell is skillfully scaled and deformed to fit the surface. Abas, Syed Jan, and Amer Shaker Salman. Symmetries of Islamic Geometric Patters. Singapore: World Scientific Publishing Co., 1995. Print. Field, Robert. Geometric Patterns from Islamic Art & Architecture. Norfolk: Tarquin Publications, 2000. Print. "The mind that applies itself to geometry is not likely to fall into error"
-Ibn Khuldun
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