This report is talking about Islamic Decorations Between Symbolism and Content.

2. Introduction
Before going deep in symbolism and content of Islamic Decorations lets take a look
at the types of decorations that can be found in Islamic Art and Architecture:
Calligraphy
Calligraphy is the most highly regarded and
most fundamental element of Islamic art. It
is significant that the Qur’an, the book of
God's revelations to the Prophet
Muhammad, was transmitted in Arabic, and
that inherent within the Arabic script is the
potential for developing a variety of
ornamental forms. While most works of art
had legible inscriptions, not all Muslims
would have been able to read them. One
should always keep in mind, however, that
calligraphy is principally a means to
transmit a text, albeit in a decorative form.
Folio from the "Blue Qur'an, Tunisia, probably Qairawan.
In some cases, calligraphy is the dominant element in the decoration. In these examples, the
artist exploits the inherent possibilities of the Arabic script to create writing as ornament. An
entire word can give the impression of random brush strokes, or a single letter can develop
into a decorative knot.
Panel of four calligraphic tiles, 14th–early 15th century; Marinid, Morocco
Abstract
In this report we will discuss the decorations in Islamic architecture, from the types that
could be found in Islamic architecture, such as calligraphy and geometry, we will give
many examples for each type and defining the principles of these Islamic decorations.
We will focus on the geometry type of decorations, and take about the symbols we found
behind it, also the symbols behind some principles that we can clearly see in any type of
Islamic decorations.
Finally we are going to see if these decorations truly have symbolic meanings, and if these
shapes can have a spiritual meanings, and if they are religious or anti-religious.
Short brief

3. In other cases,
highly esteemed
calligraphic
works on paper
are themselves
ornamented and
enhanced by
their decorative
frames or
backgrounds.
Folio from a Qur'an manuscript,
13th–14th century, Spain.
Calligraphy can also become part of an
overall ornamental program, clearly
separated from the rest of the
decoration.
Helmet, late 15th century; Ak Koyunlu/Shivran,
Iranian.
In some examples, calligraphy can be combined
with vegetal scrolls on the same surface though
often on different levels, creating an interplay of
decorative elements.
Islamic tile piece.
Vegetal Patterns
Moreover, Islamic art is iconoclastic,
especially in the mosque and other
religious spaces - the art that contains
the human figure is rarely used.
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.
Tile panel with wavy-vine design, Ottoman period (ca. 1299–
1923), 16th–17th century, Syria, probably Damascus.

4. The early centuries of the Islamic era saw
the initial adoption of semi naturalistic
pre-Islamic motifs and patterns, followed
by widespread and highly diverse
experimentation adapting these forms to
suit the aesthetic interests and tastes of
the new Muslim patrons.
It was not until the medieval period
(tenth–twelfth centuries) that a highly
abstract and fully developed Islamic
style emerged, featuring that most
original and ubiquitous pattern often
known as "arabesque."
Tile, Ottoman period (ca. 1299–1923), early 15th century,
Turkey, Bursa.
Islamic arabesque and calligraphy Persian architecture,
Isfahan.
Figural Representations
With the spread of Islam outward from the
Arabian Peninsula in the seventh century, the
figurative artistic traditions of the newly
conquered lands profoundly influenced the
development of Islamic art. The Islamic
resistance to the representation of living
beings ultimately stems from the belief that
the creation of living forms is unique to God,
and it is for this reason that the role of images
and image makers has been controversial. As
ornament, however, figures were largely
devoid of any larger significance and perhaps
therefore posed less challenge.
Mushattá Palace and is located in Amman, Jordan.

5. As with other forms of Islamic ornamentation,
artists freely adapted and stylized basic human
and animal forms, giving rise to a great
variety of figural-based designs. Figural
motifs are found on the surface decoration of
objects or architecture, as part of the woven or
applied patterns of textiles, and, most rarely,
in sculptural form.
Velvet fragment, 16th century; Safavid, Iran.
In some cases, decorative images are
closely related to the narrative painting
tradition, where text illustrations
provided sources for ornamental themes
and motifs. As for manuscript illustration,
miniature paintings were integral parts of
these works of art as visual aids to
the text, therefore no restrictions were
imposed.
A further category of fantastic figures,
from which ornamental patterns were
generated, also existed. Some fantastic
motifs, such as harpies (female-headed
birds) and griffins (winged felines), were
drawn from pre-Islamic mythological
sources, whereas others were created
through the visual manipulation of figural
forms by artists.
Two Lovers, 1630; Safavid, Isfahan, Iran.
Harpies
Molded horse and
rider with cheetah
Incense burner

6. Geometric Patterns
While geometric ornamentation may have reached a
pinnacle in the Islamic world, the sources for both the
shapes and the intricate patterns already existed in late
antiquity among the Greeks, Romans, and Sasanians in
Iran. Islamic artists appropriated key elements from the
classical tradition, then complicated and elaborated
upon them in order to invent a new form of decoration
that stressed the importance of unity and order. The
significant intellectual contributions of Islamic
mathematicians, astronomers, and scientists were
essential to the creation of this unique new style.
Consisting of, or generated from, such simple shapes as
the circle and the square, geometric patterns were
combined, duplicated, interlaced, and arranged in
intricate combinations, thus becoming one of the most
distinguishing features of Islamic art
In its repetition and complexity,
it offers the possibility of infinite
growth and can accommodate
the incorporation of other types
of ornamentation as well. In
terms of their abstractness,
repetitive motifs, and symmetry,
geometric patterns have much in
common with the so-called
arabesque style seen in many
vegetal designs. Calligraphic
ornamentation also appears in
conjunction with geometric
patterns.
The main element of this design consists of four squares in an
overlapping rotation. These are derived from a circle (a) taken
through the center of the repeat. A slightly larger circle of the
dimension shown at (b) gives rise to the key values of (c) and (d),
which are then applied to the radial and square elements, to points
(e) and (f); at the middle of the repeat (g) and at the periphery (h).
This design is completed with the following resolutions, a (45
Angle) cross at (i),(45 Angle) diamond segments based on value (d)
at (i) and a (6o Angle) diamond at (k).
Writing box, late 16th–early 17th century,
India, Gujarat or Sindh.
Dado panel, first half of 15th century;
Mamluk, Egypt.

7. Now we know that Four types of ornamentation can be found in Islamic art and
architecture, calligraphy, vegetal patterns, figural representations and Geometric
Patterns.
Geometry is one the most important elements of Islamic art and architecture, lets zoom
in to “Geometry in Islamic architecture” to know more about it.
Geometry
The basic instruments for constructing geometric
designs were a compass and ruler. The circle became the
foundation for Islamic pattern, in part a consequence of
refinements made to the compass by Arabic astronomers
and cartographers. The circle is often an organizing
element underlying vegetal designs; it plays an
important role in calligraphy, which the Arabs defined
as “the geometry of the line”; and it structures all the
complex Islamic patterns using geometric shapes. These
patterns have three basic characteristics:
1. They are made up of a small number of
repeated geometric elements. The simple
forms of the circle, square, and straight
line are the basis of the patterns. These
elements are combined, duplicated,
interlaced, and arranged in intricate
combinations. Most patterns are typically
based on one of two types of grid—one
composed of equilateral triangles, the
other of squares. A third type of grid,
composed of hexagons, is a variation on
the triangular schema. The mathematical
term for these grids is “regular
tessellation” (deriving from Latin tesserae,
i.e., pieces of mosaic), in which one
regular polygon is repeated to tile the
plane.

8. 2. They are two-dimensional. Islamic designs often have
a background and foreground pattern. The placement of
pattern upon pattern serves to flatten the space, and
there is no attempt to create depth.
Vegetal patterns are may be set against a contrasting
background in which the plantlike forms interlace,
weaving over and under in a way that emphasizes the
foreground decoration.
In other instances, the background is replaced by a
contrast between light and shade. Sometimes it is
impossible to distinguish between foreground and
background.
Some geometric designs are created by fitting all the
polygonal shapes together like the pieces of a puzzle,
leaving no gaps and, therefore, requiring no spatial
interplay between foreground and background.
The mathematical term for this type of construction is
“tessellation.” The conception of space in Islamic art is
completely different from Western models, which
usually adopt a linear perspective and divide the picture
space into foreground, middle ground, and background.
Artists of the Islamic world were largely uninterested in
linear perspective. Of the various styles of Islamic art, it
was in Persian painting that a type of three-dimensional
space was used in which figures could interact, but this
space presented multiple viewpoints and simultaneously
featured bird’s-eye and worm’s-eye views.
Tile with an image of a phoenix,
Ilkhanid period (1206–1353) late
13th century, Iran, probably Takht–i
Sulaiman.
Molded tile panel, 13th–14th
century; Ilkhanid period, Iran,
Nishapur.
Linear Perspective Drawing, Persian
Carpet.
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.

9. Basis of Geometry
The basic methods by which 3, 4, 5,
6, 8 and 10 point patterns can be
constructed using only a straight
edge and compass. Constructions of
7 and 9 point patterns can be
approximated.
From the geometrical constructions
mentioned above generally, patterns
with a greater complexity can be
constructed. Patterns with 12, 14,
15, 16, 18 and 20 are readily
established.
Three Point Geometry
Three point geometry can be
constructed from six point
geometry. Discussed in six
point geometry.
Four Point Geometry
-It is constructed by raising a perpendicular from
the centre point of a horizontal line to the point
where it cuts a circle described from that point,
and joining the four points of intersection.
-Further sub-divisions into eight point geometry
can be constructed by sub-dividing the sides of
the square.
Five Point Geometry
Six point geometry is by far the easiest geometry
to construct, requiring only a simple form of
compass to create the basis for accurate three-,
six- and twelve-pointed forms.
In this ,seven-circle from the six-point geometry
construction and shown how the basic pattern
lines evolve. The first illustration shows, in first
figure, the basic circle rose with, in second
figure, the addition of lines joining the
intersections of the surrounding circles with the
basic circle to create a regular hexagon.
-Four point geometry is one of the easiest
geometries to set out.
-It is often used in counterpoint with circular
geometries.
Iranian glazed ceramic tile work, from the
ceiling of the Tomb of Hafez in Shiraz, Iran.
Province of Fars.

10. Six Point Geometry
Six point geometry is by far the easiest geometry
to construct, requiring only a simple form of
compass to create the basis for accurate three-,
six- and twelve-pointed forms.
In this ,seven-circle from the six-point geometry
construction and shown how the basic pattern
lines evolve.
The first illustration shows, in first figure, the
basic circle rose with, in second figure, the
addition of lines joining the intersections of the
surrounding circles with the basic circle to create
a regular hexagon.
By joining different points different patterns
are found as shown above :
Dividing of a single circle, the more
common basis for a pattern is a
simple grid, here the development of
the circle suited to six-point
geometrical patterning. Even in this
the eye finds it difficult to rest, but is
continually moving around the
circles. The addition of straight lines
just develops and guides this
movement.
A slightly different development of
diagram and is repeated here to show
how a relatively simple pattern based
on six-pointed geometry might be
developed. The basic grid shown in
the six-point, has been turned 30°
counter-clockwise and a number of
straight construction lines selected on
which the pattern has been produced.

11. Concepts from Islamic Geometries – Contemporary case I
Approach:
-Islamic geometric squares creates 8 pointed
stars (unity within unity)
-8 semicircles were superimposed in the inner
angles of the interlocked squares to create
more space.
-Twin towers are symmetrically aligned.
-were built to ease traffic congestion.
The Petronas Towers, also known as the Petronas
Twin Towers (Malay: Menara Petronas, or Menara
Berkembar Petronas), are twin
skyscrapers in Kuala Lumpur, Malaysia.
According to the Council on Tall Buildings and
Urban Habitat (CTBUH)'s official definition and
ranking, they were the tallest buildings in the
world from 1998 to 2004 and remain the tallest
twin towers in the world. The buildings are a
landmark of Kuala Lumpur, along with
nearby Kuala Lumpur Tower.
Rub Al Hizb
Inspired by Islamic
Architecture Geometry
Petronas Towers / Cesar Pelli

12. Concepts from Islamic Geometries – Contemporary case II Inspired by Islamic
Architecture Geometry
Set on a prominent site in the central part of
Paris a short distance from the Church of
Notre Dame, the Arab Institute is one of the
Grand's Projects encouraged by the French
President during the 1980s. It is an urban
scheme of great character. It was won in
competition and houses a Franco-Arabian
'World' Institute representing 19 countries.
Its purpose is to foster knowledge of Arab
world culture by the exchange of
information on the arts, sciences and
modern technologies. It incorporates some
well lit exhibition areas, a museum, library,
a 300-seat hall and a restaurant, as well as
offices and car parking. Internally a superb
feature is the glass and steel stairs and lift
enclosure, which can be seen from most
parts of the building.
The system incorporates several hundred light sensitive diaphragms that regulate the amount
of light that is allowed to enter the building. During the various phases of the lens, a shifting
geometric pattern is formed and showcased as both light and void. Squares, circles, and
octagonal shapes are produced in a fluid motion as light is modulated in parallel. Interior
spaces are dramatically modified, along with the exterior appearance.
Institut du Monde Arabe / Jean Nouvel

13. Problem
After we studied the types of decorations in Islamic Architecture, and we saw the elegance in
its patterns, the geometries and their proportions and relationships, we wanted to know the
inner meanings behind all this elegance, and what makes the decorations Islamic or not.
Does an inscription on a Sheraton Hotel make it Islamic?
In a sense it would because the presence of calligraphy is an immediate reference. By this
reasoning, an Arab-owned bank in London would be Islamic. But when Grabar says that "one
of the most striking 'un-Islamicities' of contemporary architecture is its failure to make
aesthetically appealing utilization of calligraphy," he leans toward a dangerous generalization.
Admittedly, calligraphy does not play the same role in the modern as in the historic Islamic
building. But do we really want to write the names of Allah alongside Coca-Cola signs on the
balconies of stadiums?
In Turkey we use the Latin alphabet.
Should we decorate our facades with Arabic script?
Until now, no body of research has sought to elucidate the correspondence between
architectural form and its inner meaning.
An evaluation of the form of the most sacred of Muslim buildings, the mosque, reveals little
correspondence between Muslims prayer ritual and the mosque form. No satisfactory answer
has yet been offered to the question of what confers symbolic meaning upon a form. Is it
formal quality or function?

14. Decoration as symbol The four basic shapes, or
"repeat units," from which the
more complicated patterns are
constructed are:
-Circles and interlaced circles.
-Squares or four-sided
polygons.
-The star pattern, ultimately
derived from squares and
triangles inscribed in a circle.
-Multisided polygons.
(November 3, 1929 – January 8, 2011)
was a French-born art historian and
archeologist, who spent most of his career
in the United States, as a leading figure in
the field of Islamic art and architecture.
Oleg Grabar
when Grabar says "symbol," he actually means
something more on the order of a sign. There is indeed a
characteristic Islamic approach to decoration but every
culture within Islamic world follows its own style.
How are decorations seen to be symbolic and
spiritual ?
It’s clear that Islamic decorations have a impressive
relationships and they follow many principles of design,
but also Islamic decorations have a deep symbolic
meanings behind them.
We can clarify the symbolism in the Islamic decorations
by these examples:
For example complex geometric designs create the
impression of unending repetition, and this also helps a
person get an idea of the infinite nature of Allah.
Because circles have no end they are
infinite and so they remind Muslims
that Allah is infinite.
The Circle and it is centre at which
all Islamic patterns begin. It
emphasizes one god.

15. The circleis a
universal symbol wit-
h extensive meaning.
It represents the
notions of totality,
wholeness, original
perfection, the Self,
the infinite, eternity,
timelessness, all
cyclic movement,
God ('God is
a circle whose centre
is everywhere and
whose circumference
is nowhere' ) -
Hermes Trismegistus.
The Square is the
symbol of physical
experience and the
physical world or
materiality.
There are some believes that Octagon
symbolizes heaven, according to the
Quran and some ancient beliefs.
The octagon is widely used in Islamic
architecture, you can find it in masses
of the building, elements, patterns
and landscapes.
Examples of the
Octagonal shape in
Islamic architecture:
Damascus, Great Mosque,
706, court with treasury.
Jerusalem, Dome of the Rock,
completed 691, plan.
Samarra, Qubba al-Sulaybiya,
862, plan.
Detail of an art work, Madrid.
The Star
symbolizes
the spread
of Islam

16. The Star symbolizes the spread of Islam:
The star was chosen as the most popular motif for Islamic
decorations because its regular geometric shape symbolized equal
radiation in all directions from a central point. All regular stars are
created with a division of a circle into equal parts. The center of the
star is the center of the circle which represents one god and the
center of Islam which is Mecca; toward which all Muslims face in
prayer. The rays of the star reach out in all directions which
represent the spread of Islam throughout all the world.
In Islamic architecture
the star shape can be
found in plans also:
Gunbad-i Qabud, Iran, 1197

17. Also colors have symbolic meanings in Islamic Architecture:
Green color has a special place in Islam. It is used in the decoration of mosques,
the bindings of Qur'ans, the silken covers for the graves of Sufi saints, and in the flags of
various Muslim countries.
Green was the color used by Muhammad’s tribe on their flags.
According to Muslims the color green symbolizes nature and life.
In the Qur'an (Surah 76:21), it is said that the inhabitants of paradise will wear green
garments of fine silk.
(َ‫ين‬ِ‫ئ‬ِ‫ك‬َّ‫ت‬ُ‫م‬ٍ‫ف‬َ‫ر‬ْ‫ف‬َ‫ر‬ ‫ى‬َ‫ل‬َ‫ع‬ٍ‫ر‬ْ‫ض‬ُ‫خ‬ٍ‫ن‬‫ا‬َ‫س‬ِ‫ح‬ ٍّ‫ي‬ِ‫ر‬َ‫ق‬ْ‫ب‬َ‫ع‬َ‫و‬.)‫اية‬ ‫الرحمن‬ ‫سورة‬76
Set of forty-eight tiles displaying vases and cypress trees amid
flowers.
Samarkand Complex Flower Ornament

18. Conclusions
Islamic architecture have many types of decorations as we mentioned in the introduction of
this report, we noticed that Islamic decoration is one of the most important features of
Islamic architecture, It follows the principles of design, such as the rhythm and reparation.
It’s important to mention that Islamic architecture
used geometry in very unique ways, in its elements,
building forms and decorations, we noticed that the
symbols in Islamic decorations have a strong
connection specially with geometry.
There are many suggestions that geometry in Islamic
decoration have symbolic meanings behind it as we
mentioned some of them in the report before.
Even though we read many of these suggestions that agrees with the symbolic
meanings of Islamic decorations, we agree with those meanings in general but in the
same time shapes should not have a religious significance. It should not become an
idol.
We are even inclined to admit that any decoration symbolism in Islamic architecture
is essentially anti-religious.
In our opinion…

19. Goals
Our goals in this report is seeking Islamic symbolism in decoration into the small details,
and Defining the Islamic approach to decoration and study its principles.
Temporary cases was mentioned in the report showed how nowadays architects are inspired
by Islamic patterns and decorations.
Also we worked on clarifying the symbolism in Islamic decorations, we defined all the types
of decorations in Islamic architecture.
We want to show the huge variety of
Islamic architecture, and its uniqueness
among all types of architecture and all
eras of its use of geometry.
There are many pictures in the report
showing that Islamic art is merged in
Islamic architecture and perform as one,
there is a perfect unity between them.
Symbolism in Islamic architecture is
relative, as we want to show that Islamic
decorations have symbols but they are
not religious and they should not be an
idol.
s

20. References
[1] Architecture as Symbol and Self-Identity
[2] Islamic Art and Architecture 650-1250
[3] Islamic Art and Architecture
[4] Geometry of Islamic Architecture (digital article)
[5] Islamic Art and Geometrical Design
[6] Four Components of Islamic Ornamentation (digital article)
[7] Rituals in Islamic Architecture (digital article)
[8] http://patterninislamicart.com/drawings-diagrams-analyses
[9] http://www.metmuseum.org/
[10] https://www.wikipedia.org
https://www.com
Books
Internet