Broug Ateliers for Islamic Art & Architecture-History

History

The history of Islamic geometry is interwoven with the history and traditions of the regions in which it flourished. There is a rich variety of distinctive and different styles of geometrical design, depending on what period and what part of the world is being observed.

This variety of Islamic geometrical designs can be best categorized according to, what we can call, the counting petals technique. A traditional geometrical star design features a star or some other central shape, surrounded by petals. Counting the number of petals surrounding a central shape will give information on how the design was made. It will tell us how a traditional Islamic craftsman started out with his design. When looking at a geometrical design it is good to remember that the craftsman who made it centuries ago did not calculate angles or make measurements, His tools were a compass and a ruler.

Every design starts with a circle. The first design-choice would be how many circles of the same size the craftsman would place around this circle. Choosing six circles around a central circle means that a design can result in e.g. a 6-, 12-, or 18- petaled design. Choosing four circles around a central circle means that a design can result in a e.g. a 4-, 8-, 12- or 16-petaled design.

Below are some examples of different designs, all with a different number of petals around a central shape.

6 petals

8 petals

10 petals

12 petals

Two dynasties in Islamic history that are particularly renowned for their skill and innovation in geometrical design: The Mamluks and the Rum Seljuks.

The Mamluks ruled from Cairo, Egypt between 1205-1517. A lot of their architecture still exists in Cairo, they are also renowned for their skill in Qur'an illumination.

A detail of the wood inlay minbar panel in the khanqah-madrasa of sultan al-Ghuri in Cairo. This innovative and rare design combines two 7-pointed stars. A watercolour version of the complete minbar panel design can be seen here.	The famous dome of the funerary complex of sultan Qaytbay in Cairo is commonly considered to be the greatest achievement of the geometric dome building tradition of the Mamluks.	A detail from a double metal door of the mosque of sultan Barquq. It combines 12- and 18-petaled star designs.

Two characteristic Mamluk plaster panels on the facade of the wikala of Qaytbay. The geometric panels show a detail from a larger design. It encourages the observer to visualize what the design would look like in its entirety.	Another plaster panel from the same wikala of Qaytbay. In the top right-hand corner and bottom left-hand corner are 90° sections of 10-petaled stars(two-and-a-half petals are visible, therefore a complete star[360°] would have ten petals).	A detail from the Qur'an of sultan Baybars al-Gashankir, made buy the famous illuminator Ibn Mubadir. It is unusual because it only uses curved lines in its geometrical design

The Rum Seljuks ruled, for the better part of their reign from Konya, Anatolia, from 1018-1307. They were the descendants of the Great Seljuks from Central Asia and Persia.

A stone 12-petaled star design set in an alcove of the Cifte Minare in Sivas.	A 10-petaled star design in glazed ceramic tiles set into a window recess of the Muradiya mosque in Bursa.	A 12-petaled metal star design set into a canopy of the turbe of Murat II in Bursa. two watercolour versions of this design can be seen in the gallery here and here.
An intricate 10-petaled star design in a door of the turbe of Cem Sultan in Bursa	If we were to compare the stylistic and artistic tastes of both these dynasties, we could say in general that the Mamluks were very interested in the detail of geometrical design, often preferring to show only a small part of a design and so engaging, and challenging, the observer to complete the bigger design in his mind. The Rum Seljuks were particularly interested in the effect that an overall geometrical adornment of a structure could have on its appearance. Additionally, the Rum Seljuks would, in almost all instances, use a geometrical style that used interlacing and continuous bands. Look at the four examples of Rum Seljuk geometry here; choosing a random line in any one of these designs and following it as far as is possible, the line will never meet itself or make a shape on its own. Any shapes that are created, are done so in conjunction with other lines. If we look at the metal star design of the canopy of the turbe of Murat II, we can see the central shape being surrounded by four square-shapes. These squares only appear because of lines crossing each other. Contrast this with the Mamluk design of minbar panel of Al-Ghuri. It consists of two intersecting 7-pointed stars. Each star is created by seven kite-shaped shapes interlocking like links in a chain. Each kite-shape is made by one line, not by intersecting intersecting. This was a design style that the Mamluk craftsmen enjoyed developing and experimenting with. It can also be seen in two plaster panels on the wikala of Qaytbay. By looking closely at these two dynasties' stylistic preferences, it becomes easier to see what they shared and what made them distinct from each other. It also shows that Islamic geometric design differs in time and place.

By focusing on only two dynasties out of the dozens that appear in the history of Islamic art and architecture, this introduction can only be very limited. I will endeavour to showcase some other dynasties as time goes on.