Geometric Patterns from Islamic Art and Architecture Free Download

Total Page:16

File Type:pdf, Size:1020Kb

Geometric Patterns from Islamic Art and Architecture Free Download GEOMETRIC PATTERNS FROM ISLAMIC ART AND ARCHITECTURE FREE DOWNLOAD Robert Field | 64 pages | 01 Jul 1999 | Tarquin Publications | 9781899618224 | English | St Albans, United Kingdom Geometric Patterns in Islamic Art Islamic Geometric Patterns. University of California Press. Interest in Islamic geometric patterns is increasing in the West, both among craftsmen and artists including M. Archived from the original PDF on 8 December Arabic architecture Berber architecture Iranian architecture Islamic architecture Moroccan architecture Mughal architecture Ottoman architecture Yemeni architecture. Imam Ali Mosque, Najaf, Iraq. Retrieved 12 April The style is used in Persian Islamic architecture and also in decorative woodwork. SUNY Press. Wikimedia Commons. As a matter of fact, geometric ornamentation in Islamic art suggests a remarkable amount of freedom; in its repetition and complexity, it offers the possibility of infinite growth and can accommodate the incorporation of other types of ornamentation as well. For example, a grid of octagons in contact has squares of the same side as the octagons as the residual spaces. Explore Sue Powell's photos on Flickr. Calligraphic ornamentation also appears in conjunction with geometric Geometric Patterns from Islamic Art and Architecture. Kaleidoscopic extravagances that resemble interlocking stars enliven every corner of the three-story riad the couple calls Dar Maktoub House of Destinyfrom wall fountains with tilework known as zellige to vaulted and coffered cedar ceilings. Cornell University. Bibcode : Sci Markus Wiener. During my time there, in Marrakech, I developed a deep fondness for a number of aspects of the culture—the couscous, the call-to-prayer wail of the muezzins, and especially the intricate geometric patterns one sees everywhere in the architecture and decorative arts. But auxetic materials expand at right angles to the pull. Art of Islamic Pattern. The pattern is made by winding the weft threads back over the warp threads when a colour boundary is reached. 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. Metalwork in Medieval Islamic Art. Retrieved 16 March Geometric Patterns from Islamic Art and Architecture Hilya Ottoman illumination. Given the complexity of these starry patterns, some scholars have attempted to link them to mathematics Geometric Patterns from Islamic Art and Architecture originated in Arab culture, especially its pioneering exploration of algebra and trigonometry. Lu and Paul Steinhardt who controversially claimed in that tilings at the Darb-e Imam shrine in Isfahan could generate quasi-periodic patterns like Penrose tilings. Fragment of a Cover with Geometric and Interlace Decoration. University of Waterloo PhD thesis. These are stable in either a contracted or an expanded state, and can switch between the two, which might be useful for surgical stents or for spacecraft components. Azerbaijan International. In today's post we'll be looking at some delightful and breathtaking mosque ceilings, these ceilings have ornate patterns and designs which would have taken many years to create. Arabian Peninsula, — A. Retrieved 4 December Eric Broug. Analysis of octagonal patterns in Mughal architecture by Ernest Hanbury Hankin This technique leaves a gap or vertical slit, so kilims are sometimes called slit-woven textiles. The World of M. Patterns in the "shabaka" windows include 6- 8- and point stars. The Hindu. Materials Qadad Tadelakt. The significant intellectual contributions of Islamic mathematicians, astronomersand scientists were essential to the creation of this unique new style. Droste effect Mathematical beauty Patterns in nature Sacred geometry. Iran, A. South Asia and the Himalayan Region, A. The future of art in a digital age: from Hellenistic to Hebraic consciousness. Egypt and North Africa, A. These wood-framed decorative windows are distinctive features of the palace's architecture. Abstract 6- and 8-point shapes appear in the Tower of Kharaqan at QazvinPersia inand the Al-Juyushi Mosque, Egypt inagain becoming widespread from there, though 6-point patterns are rare in Turkey. Bowls or plates can be decorated inside or out with radial stripes; these may be partly figurative, representing stylised leaves or flower Geometric Patterns from Islamic Art and Architecture, while circular bands can run around a bowl or jug. .
Recommended publications
  • Muhammad Speaking of the Messiah: Jesus in the Hadīth Tradition
    MUHAMMAD SPEAKING OF THE MESSIAH: JESUS IN THE HADĪTH TRADITION A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Fatih Harpci (May 2013) Examining Committee Members: Prof. Khalid Y. Blankinship, Advisory Chair, Department of Religion Prof. Vasiliki Limberis, Department of Religion Prof. Terry Rey, Department of Religion Prof. Zameer Hasan, External Member, TU Department of Physics © Copyright 2013 by Fatih Harpci All Rights Reserved ii ABSTRACT Much has been written about Qur’ānic references to Jesus (‘Īsā in Arabic), yet no work has been done on the structure or formal analysis of the numerous references to ‘Īsā in the Hadīth, that is, the collection of writings that report the sayings and actions of the Prophet Muhammad. In effect, non-Muslims and Muslim scholars neglect the full range of Prophet Muhammad’s statements about Jesus that are in the Hadīth. The dissertation’s main thesis is that an examination of the Hadīths’ reports of Muhammad’s words about and attitudes toward ‘Īsā will lead to fuller understandings about Jesus-‘Īsā among Muslims and propose to non-Muslims new insights into Christian tradition about Jesus. In the latter process, non-Muslims will be encouraged to re-examine past hostile views concerning Muhammad and his words about Jesus. A minor thesis is that Western readers in particular, whether or not they are Christians, will be aided to understand Islamic beliefs about ‘Īsā, prophethood, and eschatology more fully. In the course of the dissertation, Hadīth studies will be enhanced by a full presentation of Muhammad’s words about and attitudes toward Jesus-‘Īsā.
    [Show full text]
  • ANGELS in ISLAM a Commentary with Selected Translations of Jalāl
    ANGELS IN ISLAM A Commentary with Selected Translations of Jalāl al-Dīn al-Suyūṭī’s Al-Ḥabā’ik fī akhbār al- malā’ik (The Arrangement of the Traditions about Angels) S. R. Burge Doctor of Philosophy The University of Edinburgh 2009 A loose-leaf from a MS of al-Qazwīnī’s, cAjā’ib fī makhlūqāt (British Library) Source: Du Ry, Carel J., Art of Islam (New York: Abrams, 1971), p. 188 0.1 Abstract This thesis presents a commentary with selected translations of Jalāl al-Dīn cAbd al- Raḥmān al-Suyūṭī’s Al-Ḥabā’ik fī akhbār al-malā’ik (The Arrangement of the Traditions about Angels). The work is a collection of around 750 ḥadīth about angels, followed by a postscript (khātima) that discusses theological questions regarding their status in Islam. The first section of this thesis looks at the state of the study of angels in Islam, which has tended to focus on specific issues or narratives. However, there has been little study of the angels in Islamic tradition outside studies of angels in the Qur’an and eschatological literature. This thesis hopes to present some of this more general material about angels. The following two sections of the thesis present an analysis of the whole work. The first of these two sections looks at the origin of Muslim beliefs about angels, focusing on angelic nomenclature and angelic iconography. The second attempts to understand the message of al-Suyūṭī’s collection and the work’s purpose, through a consideration of the roles of angels in everyday life and ritual.
    [Show full text]
  • Notes on the Formation of Hilya Design Calligraphy-Illumination Interaction and Numeral Symbolism
    Kafkas Üniversitesi Sosyal Bilimler Enstitüsü Dergisi Kafkas University Journal of the Institute of Social Sciences Sonbahar Autumn 2019, Ek Sayı Additional Number 2, 155-176 DOI:10.9775/kausbed.2019.024 Gönderim Tarihi: 15.08.2019 Kabul Tarihi: 02.09.2019 NOTES ON THE FORMATION OF HILYA DESIGN: CALLIGRAPHY-ILLUMINATION INTERACTION AND NUMERAL SYMBOLISM Hilye Tasarımının Oluşumuna İlişkin Notlar: Hat-Tezhip Etkileşimi ve Sayı Sembolizmi Gülnihal KÜPELİ Dr. Öğr. Üyesi, Marmara Üniversitesi Güzel Sanatlar Fakültesi, [email protected] ORCID ID: 0000-0002-2055-0427 Çalışmanın Türü: Araştırma Abstract: In Ottoman tradition of thought the Prophet Muhammad represents the complete human being (al-insan al-kamil), who has reached the highest psychological, physical and spiritual stage of being. In this case the main purpose of the hilya as a work of calligraphy and illumination is to aesthetically evoke the physical appearance and moral character of the Prophet Muhammad. Moreover, the complex symbolism of the hilya as an expression of prophetic glory also reflects the cosmological thought of the Ottoman community. The subject of this article is to examine the classical hilya design attributed to the famous Ottoman calligrapher Hâfiz Osman in the context of calligraphy-illumination interaction and number symbolism. Examining classical examples of Turkish-Islamic arts of the book, we will try to observe that the conventional hilya design passed through various stages during the process of its formation. In this case the theoretical roots of Hâfiz Osman’s hilya form and the probability of his inspiration by the aesthetic designs of the previous periods will be examined through the decorative manuscripts in religious and non- religious topics.
    [Show full text]
  • The Offensive Depictions of Prophet Muhammad (SAW) in Western
    Volume 4, Issue I Journal of Islamic Thought and Civilization Spring 2014 The Offensive Depictions of Prophet Muhammad ( SAW ) in Western Media and its Consequences Aijaz Ahmad Khan PhD Scholar Mewar University, Rajasthan, India Abstract The controversies and provocations generated by the West and its media over depictions of Prophet Muhammad (SAW) are not only related to recent caricatures or cartoons but are also about the display of historical artwork. Recently, many Western organisations, newspapers, magazines, social networks and even websites organised seminars and events like the cartoon "Everybody Draw Mohammed Day!" to hurt and provoke the Muslim world. Muslims believe that visual depictions of all the Prophets should be prohibited and are particularly averse to visual representations of Prophet Muhammad (SAW). The key concern is that the use of images can encourage idolatry. Islam does not allow the depictions of Prophet Muhammad (SAW); to do so goes against the faith of the Muslims and hurts their emotions. This article will focus on providing an analysis of the distorted images, fabricated views, and overgeneralizations which typically characterize Western representation of the Prophet (SAW) of Islam with reference to some particular incidents, chiefly the Charlie Hebdo controversy, Danish newspaper, controversial movie Innocence of Muslims, animated films and social networks. This analysis comprises of works by both Western and Muslim thinkers; it also includes biased and moderate/ fair views depicted in the Western media. Keywords: Portraits of Prophets ( AS ), Drawings, Calligraphy, Media, Image Building Introduction The negative representation of Muslims and Prophet Mohammed ( SAW ) in Western media is not a recent fabrication.
    [Show full text]
  • Naqshbandi Sufi, Persian Poet
    ABD AL-RAHMAN JAMI: “NAQSHBANDI SUFI, PERSIAN POET A Dissertation Presented in Partial Fulfillment of the Requirement for The Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Farah Fatima Golparvaran Shadchehr, M.A. The Ohio State University 2008 Approved by Professor Stephen Dale, Advisor Professor Dick Davis Professor Joseph Zeidan ____________________ Advisor Graduate Program in History Copyright by Farah Shadchehr 2008 ABSTRACT The era of the Timurids, the dynasty that ruled Transoxiana, Iran, and Afghanistan from 1370 to 1506 had a profound cultural and artistic impact on the history of Central Asia, the Ottoman Empire, and Mughal India in the early modern era. While Timurid fine art such as miniature painting has been extensively studied, the literary production of the era has not been fully explored. Abd al-Rahman Jami (817/1414- 898/1492), the most renowned poet of the Timurids, is among those Timurid poets who have not been methodically studied in Iran and the West. Although, Jami was recognized by his contemporaries as a major authority in several disciplines, such as science, philosophy, astronomy, music, art, and most important of all poetry, he has yet not been entirely acknowledged in the post Timurid era. This dissertation highlights the significant contribution of Jami, the great poet and Sufi thinker of the fifteenth century, who is regarded as the last great classical poet of Persian literature. It discusses his influence on Persian literature, his central role in the Naqshbandi Order, and his input in clarifying Ibn Arabi's thought. Jami spent most of his life in Herat, the main center for artistic ability and aptitude in the fifteenth century; the city where Jami grew up, studied, flourished and produced a variety of prose and poetry.
    [Show full text]
  • Muhammad at the Museum: Or, Why the Prophet Is Not Present
    religions Article Muhammad at the Museum: Or, Why the Prophet Is Not Present Klas Grinell Department of Literature, History of Ideas, and Religion, University of Gothenburg, SE405 30 Göteborg, Sweden; [email protected] Received: 30 October 2019; Accepted: 5 December 2019; Published: 10 December 2019 Abstract: This article analyses museum responses to the contemporary tensions and violence in response to images of Muhammad, from The Satanic Verses to Charlie Hebdo. How does this socio-political frame effect the Metropolitan Museum of Art in NY, the V&A and British Museum in London, and the Louvre in Paris? Different genres of museums and histories of collections in part explain differences in approaches to representations of Muhammad. The theological groundings for a possible ban on prophetic depictions is charted, as well as the widespread Islamic practices of making visual representations of the Prophet. It is argued that museological framings of the religiosity of Muslims become skewed when the veneration of the Prophet is not represented. Keywords: museums; Islam; Muhammad; Islamicate cultural heritage; images; exhibitions; Islamic art; collection management 1. Introduction One seldom comes across the Prophet Muhammad in museum exhibitions of Islamicate heritage. The aim of this article is to analyze the framings of this absence, and to discuss how it affects the representations of Islam given in museums. Critical frame analysis will be used to analyze empirical material consisting of the displays in museums with major exhibits of Islamicate material culture in the US, Germany, France, the UK, Turkey and Iran in 2015–2018. The contemporary socio-political frame will be uncovered from media coverage of conflicts around non-Muslim representations of Muhammad from the Rushdie affair to the present.1 To understand different possible Islamic framings of representations of the Prophet, Islamic theological and devotional traditions will be consulted.
    [Show full text]
  • Power and Protection Islamic Art and the Supernatural
    Teachers’ notes Power and Protection Islamic Art and the Supernatural 20 October 2016 - 15 January 2017 The desire to see into the future and to draw on Finial in the Shape of the ‘Hand of Fatima’ Possibly Hyderabad (India), late 18th–early 19th century hidden forces for protection and guidance are Gold on a lac core, rubies, emeralds, diamonds, and pearls universal human impulses. In the Islamic world, these Nasser D. Khalili Collection, London (JLY1923) inclinations could be seen as clashing with Islam’s © Nour Foundation. Courtesy of the Khalili Family Trust central message - total surrender to the will of God. Yet history reveals that Muslim societies have held a broad spectrum of attitudes towards engaging with the supernatural, ranging from casual acceptance to utter condemnation. This exhibition explores the ways in which Muslims of all backgrounds have engaged This is a charging exhibition but FREE for with forces beyond nature and above human control. Stretching from Morocco to China and from the 12th booked UK school groups and for under 12s. century to the present, the books, tools, vessels, To book a group visit please contact the garments and jewellery on display open a window Education Department: onto divinatory and talismanic arts both as intellectual [email protected] disciplines and sources of artistic inspiration. By reflecting daily worries and hopes, these objects t: 01865 278015 reveal how the human quest for protection and good luck often overlapped with the belief in God’s all- powerfulness. Exploring the exhibition Astrology Astrology is known in Arabic as ’the science of the judgement of the stars’ (‘ilm ahkam al-nujum) and is closely related to astronomy.
    [Show full text]
  • Islam & Applied Ethics
    10 WHAT IS ISLAMIC ART? AND WHAT MAKES ART ISLAMIC? ABDULLAH AL-JUDAI’ JONAS OTTERBECK COMPILED AND EDITED BY: DR FETHI B JOMAA AHMED ISLAM & APPLIED ETHICS ISLAM What is islamic art? and What makes art islamic? What is islamic art? and What makes art islamic? Abdullah al-Judai’ Jonas Otterbeck Compiled and Edited by: Dr Fethi B Jomaa Ahmed islam and aPPlied ETHICS First English Edition (2017) Hamad bin Khalifa University Press P O Box 5825 Doha, Qatar books.hbkupress.com Copyright ©Research Center for Islamic Legislation and Ethics, 2017 This book is distributed under the terms of the Creative Commons Attribution-NonCommercial 4.0 (CC BY-NC 4.0), which permits any noncommercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. The online version of this book can be found at: www.qscience.com ISBN (PB): 9789927119255 ISBN (PDF): 9789972119576 Printed and bound in Doha, Qatar by Al Jazeera Printing Press Co. L.L.C ISLAM & APPLIED ETHICS Compiled and Edited by: Dr Fethi B Jomaa Ahmed 1. Civil State with Islamic Characteristics Abdul Majeed Al-Najjar Islam, Civil Society and the State John l. Esposito 2. Ethical Limits on Freedom of Expression with Special Reference to Islam Mohammad Hashim Kamali Freedom and its Limitations: Ensuring Dignity, Avoiding Authoritarianism Ebrahim Rasool 3. Ethics and Finance: An Islamic Perspective in the Light of the Purposes of the Islamic Sharia Mohammad Fadel 4. The Higher Objectives of Islamic Finance Ali M. Al-Qaradaghi and Abdelazeem Abozaid 5. Knowledge and Values Integrated for the Structure of Educational Curricula Khaled Al-Samadi and Khalid Hanafy 6.
    [Show full text]
  • 1 'Abu Hurayra' a Narrator of Hadith Revisited
    1 ‘Ab u Hurayra’ a Narrator of Had ith Revisited: An Examination into the Dichotomous Representations of an Important Figure in Had ith with special reference to Classical Islamic modes of criticism Submitted by Usman Ghani to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Arab & Islamic Studies In July 2011 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 2 Acknowledgments I would like to begin by thanking Allah the Most Gracious the Most Merciful for his incalculable bounties, without which I would be in a state of loss. I thank him for giving me the ability and opportunity to continue my studies. Secondly, I would like to thank my parents for their continuous support and prayers to whom this piece of work is a testimony of their constant love, support and belief. I strongly believe that it is through their prayers and continuous love and support I was able to achieve and fulfil my ambitions. I would also like to thank my supervisor Professor Ian Netton for all his supervision and kindness who has been like a fatherly figure for me throughout my course of study. My thanks also go my second supervisor Professor Sajjad Rizvi and Mentor Dr.
    [Show full text]
  • Emerald Hills of the Heart
    EMERALD HILLS OF THE HEART Key Concepts in the Practice of Sufism 1 EMERALD HILLS OF THE HEART Key Concepts in the Practice of Sufism 1 M. Fethullah Gülen Translated by Ali Ünal New Jersey Copyright © 2011 by Tughra Books Copyright © 2011 by Işık Yayınları Originally published in Turkish as Kalbin Zümrüt Tepeleri 1 1994 Revised edition 2004, 2011 First edition in English published 1998 Reprinted 1999 14 13 12 11 5 6 7 8 All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system without permission in writing from the Publisher. Published by Tughra Books 345 Clifton Ave., Clifton, NJ, 07011, USA www.tughrabooks.com For other titles by Gülen http://fgulen.org Library of Congress Cataloging-in-Publication Data for the first edition: Gulen, M. Fethullah (Muhammed Fethullah), [Kalbin zümrüt tepelerinde. English] Key concepts in the practice of Sufism / M. Fethullah Gulen. [Virginia] : Fountain, 2000. Includes index. ISBN 1-932099-23-9 1. Sufism - - Doctrines. I. Title. BP189.3 .G8413 2000 297.4 - - dc21 00-008011 ISBN (paperback): 1-932099-23-9 ISBN (hardcover): 1-932099-24-7 Printed by Çaðlayan A.Þ. Izmir, Turkey Table of Contents About the Author ........................................................................vii Sufism and Its Origin ................................................................xiii Tawba, Awba, Inaba (Repentance, Penitence, Contrition) .......... 1 Muhasaba
    [Show full text]
  • Intellectuals in the Modern Islamic World
    INTELLECTUALS IN THE MODERN ISLAMIC WORLD This book reconsiders the typology and history of intellectuals in the Islamic world in the modern and contemporary periods from the late nineteenth century to the present day. Intellectuals in the Modern Islamic World distinguishes itself from other major studies on modern thought in Islam by examining this topic beyond the context of the Arabic world. The first section of this book concentrates on a journal, al-Manar, published between 1898 and 1935, and read by a wide range of audiences throughout the Islamic world, which inspired the imagination and arguments of local intellectuals in the first half of the twentieth century. The second part concentrates on the formation, transmission, and transformation of learning and authority, from the Middle East to Central and South Asia, through the twentieth century. Providing a rich variety of case studies, by international authors of the most varied disciplinary scope, Intellectuals in the Modern Islamic World meets the highest academic requirements in a spirit of comparative vision and openness to the dynamism of contemporary societies of the Islamic world. As such, this book is essential reading for those with research interests in Islam and intellectual thought. Stéphane A. Dudoignon is a research fellow at the National Center for Scientific Research (Paris). Komatsu Hisao is a professor at the Graduate School of Humanities and Sociology, The University of Tokyo. Kosugi Yasushi is a professor at the Graduate School of Asian and African Area Studies, Kyoto University. NEW HORIZONS IN ISLAMIC STUDIES Series editor: Professor Sato Tsugitaka The series New Horizons in Islamic Studies presents the fruitful results of Islamic Area Studies Project conducted in Japan during the years 1997–2001.
    [Show full text]
  • Israel Oriental Studies Xvii
    Offprint from ISRAEL ORIENTAL STUDIES XVII DHIMMIS AND OTIlERS: JEWS AND CHRISTIANS AND TIlE WORLD OF CLASSICAL ISLAM . EDITED BY URI RUBIN DAVID J. WASSERSTEIN EISENBRAUNS Winona Lake, Indiana 1997 APES, PIGS, AND THE ISLAMIC IDENTITY URI RUBIN That Jews and Christians were once transformed into apes and pigs by way of punishment, is a well-known Islamic idea. It is based on the Quran and is elaborated in Islamic literature.' The aim of the present article is to illuminate a less explored aspect of the theme, namely, transformation into apes and pigs as a punishment meted out to Muslims.? In what follows the process of the adaptation of this Jewish-Christian type of punishment to Muslims will be traced, and its role within the Islamic context will be elucidated. It will become clear that the punishment was not applied to Muslim sinners at random, but rather to sinners whose deeds had a Jewish or a Christian connotation. It will be demonstrated that the traditions adapting the punitive transformation to Muslims were designed to confront Jewish and Christian elements which penetrated Islamic society and were considered a threat to the genuine Islamic identity. ESCHATOLOGICAL MASIj As a punishment inflicted on Jews and Christians, transformation into apes and pigs is an event of the historical past. With the adaptation of the theme to Muslims, it has been changed from historical to eschatological; the traditions imposing this punishment on Muslims are all cast as apocalypses anticipating future disasters for sinful Muslims, including transformation. As an eschatological event, the transformation has become associated with the idea of mash - the usual Arabic term for metamorphosis.
    [Show full text]