Spherical and Biconical Gold Beads. Tile with Image of Phoenix. Architectural Tile with Partial Inscription. Mihrab Prayer Niche. Stand for a Qur'an Manuscript Zain?
Hasan Sulaiman Isfahani. Tile Panel with Wavy-vine Design. Fragments of a Carpet with Lattice and Blossom Pattern. Base for a Water Pipe Huqqa with Irises. Islamic patterns. Metropolitan Museum of Art. Dado panel, first half of 15th century; Mamluk, Egypt. Polychrome marble mosaic. The patterns represent god. It is interesting the math that goes into making these patterns, it is not evenly balanced or correct although it appears to tesselate.
This creates the illusion of a static pattern. Because the pattern is not perfectly balanced each artist is allowed to make up his or her solutions to the pattern. The imperfections in the math allow the viewer to be taken on a journey when viewing the wall. 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.
With the Mongol invasion of western Asia in the thirteenth century and the establishment of a Mongol court in Iran in the thirteenth and fourteenth centuries, numerous Chinese motifs and patterns were adopted, though sometimes in markedly revised form. This period saw many transformations in the decorative language of Islamic art that would endure for centuries. You are commenting using your Facebook account.
Notify me of new comments via email. Notify me of new posts via email. Website Powered by WordPress. Like this: Like Loading This is amazing. Interesting post — I like the Coelho quote, too.
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