Islamic Geometric Patterns
Below are some Islamic geometric patterns that I came across in my research. These aren't based on flowers however I love how graphical they all are. The bold lines and geometric patterns can be found in many forms today ranging from fashion on the high street to products.
The Evolution of Style in Islamic art
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‘One would enquire in vain for the masters who brought this system to its flowering or those who later opened up new ways for its development. This art is totally anonymous and it would contradict the artist’s noblest charge, which was the liberation of the spirit from the transitoriness of worldly ties.’
From ‘The Arabesque’ by Ernst Kuhnel
Consistency and variety
Islamic art has a recognisable aesthetic signature that somehow manages to express itself across an entire range of productions. The ‘language’ of this art, once established, was readily assimilated by each of the different nations and ethnicities that were brought within the Islamic sphere. Assimilated and built upon, because every region, at every period, produced its own versions of this super-national style.
This extraordinary consistency of styles and artistic preferences in the Islamic world clearly derive from a deeper, social consistency. All Muslims hold to the same basic system of belief, all are familiar with the customary religious observations, and all – despite national and ethnic differences and rivalries – felt themselves to be Muslim first and foremost. This strong sense of identity and continuity tended towards a high degree of social, and artistic, conservatism. As a result, many forms and artistic concepts remained unchanged over the centuries - on the other hand, Islamic art has constantly demonstrated its capacity for the creative reinterpretation of accepted forms.
Much of the art of Islam, whether in architecture, ceramics, textiles or books, is the art of decoration – which is to say, of transformation. The aim, however, is never merely to ornament, but rather to transfigure. Essentially, this is a reflection of the Islamic preoccupation with the transitory nature of being. Substantial structures and objects are made to appear less substantial, materials are de-materialised. The vast edifices of mosques are transformed into lightness and pattern; the decorated pages of a Qur’an can become windows onto the infinite. Perhaps most importantly, the Word, expressed in endless calligraphic variations, always conveys the impression that it is more enduring than the objects on which it is inscribed.
Symmetry and geometry
Another familiar characteristic of this art, which must also express something fundamental to the Islamic spirit, is its predilection for orderly, symmetrical arrangements in general and for purely geometrical decorative forms in particular. The influence of both religious and philosophical ideas on this aspect of Islamic art were examined earlier, but the abstract, ideational nature of symmetry and geometry clearly fit with the Islamic taste for idealistic otherworldliness.
From a purely doctrinal viewpoint, geometrical designs, being free of any symbolic meaning (which is the case in Islamic art), could convey a general aura of spirituality without offending religious sensibilities. In addition, the purity and orderliness of patterns and symmetries could evoke a sense of transcendent beauty which, at best, would free and stimulate the intellect (rather than trap it in the illusions of mere representation).
There is a certain disregard for scale in Islamic art that derives from this perception. Similar kinds of patterning, for instance, might be found on a huge tile panel or on a bijou ornament. This is because decorative effects, in an Islamic context, are never mere embellishments, but always refer to other, idealised states of being. In this view, scale is almost irrelevant. For similar reasons Islamic ornemanistes usually opted for a-centric arrangements in patterning, avoiding obvious focal points – a preference that resonates with the Islamic perception of the Absolute as an influence that is not ‘centred’ in a divine manifestation (as in Christianity), but whose presence is an even and pervasive force throughout the Creation. A further analogy can be drawn between the patiently created repeats of the ‘infinite’ pattern (in all its varieties), and the familiar and unvarying customs of Moslem religious observances. In an Islamic context repetition is not tedious; on the contrary, it connects to the world of the spirit.
Whether in a religious setting or not, the work of Muslim artist/craftsmen always manages to convey a certain integrity, even nobility. In fact the distinction between art and craft-work is largely irrelevant in the Islamic world, but even when their works demonstrated surpassing skill and inspiration, the practitioners tended to remain anonymous. This is not surprising; in a culture whose ideal was submission to the will of Allah, it was quite natural to submit creative individuality to a perceived higher notion of beauty.
Geometric patterns have always had a particular appeal to Muslim designers and craftsmen. They convey a certain aura of spirituality, or at least otherworldliness, without relating to any specific doctrine. In an Islamic context they are also quite free of any symbolic meaning. Above all they provide craftsmen with the opportunity to demonstrate his skill and subtlety of workmanship, and often to dazzle and intrigue with its sheer complexity
http://patterninislamicart.com/background-notes/the-evolution-of-style/
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