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Journal articles on the topic 'Islamic Geometric Pattern'

Author: Grafiati

Published: 5 June 2025

Last updated: 15 July 2025

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Gaber, Tammy. "Islamic Geometric Design." American Journal of Islam and Society 32, no. 1 (2015): 126–30. http://dx.doi.org/10.35632/ajis.v32i1.963.

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The subject of Islamic geometric design has been described in numerous ways:Keith Critchlow’s Islamic Patterns and Syed Jan Abbas and Amer ShakerSalman’s Symmetries of Islamic Geometrical Patterns, both highly esotericinterpretations; Owen Jones’ Grammar of Ornament, Emile Prisse d’Avennes’L’Art arabe d’apres les monuments du Kaire, and Jules Bourgoin’s ArabicGeometrical Pattern and Design, all descriptions of drawing collections; andeven as a theme for countless “coffee table” books resplendent with glossyphotographs of exotic patterns and colors.Is it fair to evaluate this book without tending to imagine the previouscategories of this study? Years ago I led a course on this topic and desperatelytried to juggle the beautiful, historic, and hands-on practical manifestationsof the sacred through drawing particular geometric patterns over and over again. For this course I needed to select chapters, or portions of the abovementionedtexts in addition to the comprehensive works of K. A. Creswellin Early Muslim Architecture, Doris Behrens-Abou Seif’s Mamluks of Cairoand Minarets of Cairo, as well as other architectural studies, and interpretand reconstruct the designs in order to teach them. It was a research projectof sorts where the outcome was not textual but pedagogical.While reading this text by Eric Broug, I felt that he had gone through asimilar but far more prolonged process. His book stands alone for severalreasons: the author (1) weaves knowledge of the historical, recognition ofthe beautiful, and reconstruction of the practical regarding patterns. The succinctexplanatory text, incredible detailed photography in situ, and clear stepby-step diagrams converge to elucidate this rich material; (2) outlines theinfluence of other artistic traditions and the development of a clear type of“Islamic geometry” that is easily recognizable; and (3) concentrates on thedesign approach of craftspeople, which was separate and concurrent with thescientific study of geometry. This difference is important: craftspeople appliedgeometric patterns to various surfaces and were concerned with aestheticcompositions; whereas scientists contemplated the complex patternsin terms of mathematical geometries ...

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Harnomo, Fajar Ikhwan, Andiyan Andiyan, Tita Cardiah Sumarni, et al. "Algorithm Modeling in Islamic Geometric Pattern Reconfiguration: Case Study of Cheng Ho Mosque's Islamic Ornament." Journal of Islamic Architecture 8, no. 3 (2025): 691–99. https://doi.org/10.18860/jia.v8i3.23937.

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The focus of this study is the issue of reorganizing the preexisting Islamic Geometric Patterns found at the Cheng Ho Mosque via the use of computer modeling techniques. The need for computer modeling research for rearranging geometric patterns at the Cheng Ho Mosque may be attributed to many factors. The objective is to use digitization to streamline the ornamental design process. The study methodology used included the analysis of geometric forms, which were then processed and patterned using Parametric Islamic Geometric Patterns with the assistance of Grasshopper software. This study employs the Islamic octagonal archetype, similar to Chinese geometric ornamentation, using circular geometry with a radius input, as discussed in the preceding article. The inclusion of the division shape serves as a necessary limitation to facilitate the cutting of the recurring patterns. The findings indicate that the algorithmic technique is constructed using a collection of parameter inputs organized into four primary components: octagonal basis geometry, repetition procedure, partition or boundary-shaped surface, and material dimension simulation. However, it also demonstrates varying parameter inputs, posing challenges in organizing them accurately to generate the octagonal form. Visual scripts may effectively depict Islamic geometry in open systems that exhibit parametric adaptability to the fundamental principles of division. During the design processing phase, it is possible to exert control over the pattern proportions in some instances.

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Lee, Jin-Young, Sung-Wook Kim, and You-Chang Jeon. "Study of the Control of Geometric Pattern Using Digital Algorithm (with Focus on Analysis and Application of the Islamic Star Pattern)." Advances in Materials Science and Engineering 2015 (2015): 1–14. http://dx.doi.org/10.1155/2015/950232.

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This paper presents a study to analyze and modify the Islamic star pattern using digital algorithm, introducing a method to efficiently modify and control classical geometric patterns through experiments and applications of computer algorithms. This will help to overcome the gap between the closeness of classical geometric patterns and the influx of design by digital technology and to lay out a foundation for efficiency and flexibility in developing future designs and material fabrication by promoting better understanding of the various methods for controlling geometric patterns.

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Аззаарі, Алі. "ГЕОМЕТРИЧНИЙ ОРНАМЕНТ В ІСЛАМСЬКОМУ МИСТЕЦТВІ: ТРАДИЦІЇ, ОСОБЛИВОСТІ, СКЛАДОВІ". Art and Design, № 4 (15 лютого 2021): 51–59. http://dx.doi.org/10.30857/2617-0272.2020.4.3.

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Purpose of the article аnalyze the features of Islamic geometric ornament as a historical and at the same time modern artistic phenomenon, its formation, development, traditional structural elements. Methodology. General scientific research methods, chronological and historical ‒ comparative, figurative-stylistic, semantic, and theoretical-art history analysis are applied. Results. The features of the historical development of geometric ornament in the countries of Islam, its national, historical, mental, figurative, artistic features are analyzed. Recognized in the world as a unique work of art, Islamic geometric ornament is known for its compositional construction which consists of simple elements (circle, square, triangle). Then by connecting and repeating the shapes according to a certain grid pattern, a complex pattern (hexagon, octagon, star pattern) is created. The richness of the artistic culture of Islam is embodied in the range of its variants. It was found that the geometric ornament, which is the main decorative element on numerous objects, embodies a deep spiritual content. Geometric Islamic ornament embodies thousands of years of creative practice that has become traditional in the Arab East. At the same time, in the modern world, Muslim ornamental traditions remain relevant and reveal opportunities for introducing the acquired artistic experience of the Arab countries into new creative practices, including graphic design. Scientific novelty consists in determining the place and significance of Islamic geometric ornament in modern cultural and historical processes, taking into account its traditional aesthetic, substantial, structural and compositional content. Practical significance. The proposed research expands the understanding of the possibilities of using the traditions of Islamic ornament in modern creative practices. The results can be used in design practice.

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Esfanjary, Eisa. "The longevity of Persian urban form: Maibud from late antiquity to the fifteenth century." Urban Morphology 19, no. 1 (2014): 57–71. http://dx.doi.org/10.51347/jum.v19i1.4024.

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Urban morphology has developed mainly in Europe, where a wealth of historical maps, plans and other records exist. Such documents are comparatively rare in most Iranian cities. But the history of these cities over thousands of years is embodied in their urban development. This paper explores the morphological development of the medium-sized Persian city of Maibud, giving particular attention to its street pattern. The types of street patterns are the twisting alley, the orthogonal pattern and the geometric system. Each is linked to a phase of history, and together they connect late antiquity to the early modern city. The overlapping of the first two of these types of patterns is where the Jami) mosque was erected and the early Islamic hub developed. This suggests a zone of transition between the pre-Islamic and Islamic periods. These street patterns are fundamental to the process of early Islamic development of the region.

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Hatice, Busra Sahin, and Seden Tapan Broutin Menekse. "Reconstruction of Five-Fold Patterns with the Concept of Key Length." Education Quarterly Reviews 5, no. 3 (2022): 534–49. https://doi.org/10.31014/aior.1993.05.03.565.

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Art, architecture, music and literature, which are thought to be far from mathematics, contain complex mathematics. The fact that Anatolian lands hosted many civilizations throughout history provided cultural richness including the relationship between mathematics and art and created Anatolian culture. Geometric patterns are frequently encountered in artistic and architectural works in Anatolian culture. Geometric patterns existing in Anatolian culture vary according to their fold. In this research, five-fold patterns have been explained mathematically by introducing the ‘Key Length’ concept. We developed a system that reconstructs an existing Islamic Geometric Pattern in the context of the girih mode that we presented verbally and visually in eleven steps. In addition, we introduced to the literature the concept of ‘Key Length’ which is used in the drawing process.

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Mahmoud, Heba-Talla Hamdy. "Geometric Patterns in Egyptian Architecture & Interior Design." Academic Research Community publication 1, no. 1 (2017): 11. http://dx.doi.org/10.21625/archive.v1i1.140.

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This study will examine the role of geometric patterns in selected examples of Egyptian architecture, interior architecture and art. Ancient Egyptian, Coptic, and Islamic periods are the selected historical ages from Egyptian heritage due to the abundance of different works and styles with geometric pattern characteristics during their periods. In addition to the historical periods, the study will demonstrate some selected models from Egyptian contemporary architecture and arts. These models include architectural projects, traditional craft products and artistic works with geometrical characteristics. The study aims, through the extracted information, to increase the awareness about the effective role of geometric patterns as an architectural and artistic capability and to clarify the degree of freedom, flexibility and functionality as an inherent feature through demonstrating the different practices, styles and materials.

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Lim, Teik-Cheng. "A perfect 2D auxetic sliding mechanism based on an Islamic geometric pattern." Engineering Research Express 3, no. 1 (2021): 015025. http://dx.doi.org/10.1088/2631-8695/abe7bf.

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Ito, Hiroshi. "Information hiding in geometric patterns and its application to fabric authentication." Impact 2019, no. 10 (2019): 96–98. http://dx.doi.org/10.21820/23987073.2019.10.96.

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Geometric patterns have been used since ancient times as a means of decoration in art and architecture, with distinctive styles demonstrated in Islamic and Japanese cultures. They are now also being used as communication media, allowing information embedded in the pattern to be imparted in applications such as barcodes. By combining simple graphical tiles into geometric patterns, Professor Hiroshi Ito, from Nihon University in Japan, believes that the interesting structure of such patterns may make them less obstructive when printed onto materials, therefore making them easier to use in broader applications. Ito's focus lies in information binding to geometric patterns that encompass results for patterns known as dragon curves as well as Penrose tiling. This builds on his previous work using serpentine patterns, which involves manipulating two cells to create repetitive patterns reminiscent of the undulation of a snake. In this latest study, Ito and his colleagues consider the use of these patterns combined with a filter for use in applications such as document authentication.

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Hajebi, Bita, and Pooya Hajebi. "Intelligent Restoration of Historical Parametric Geometric Patterns by Zernike Moments and Neural Networks." Journal on Computing and Cultural Heritage 14, no. 4 (2021): 1–27. http://dx.doi.org/10.1145/3459607.

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Historical Islamic ornaments include a fantastic treasury of geometric and mathematical algorithms. Inevitably, restoration of these ornaments in periodic patterns consisting of repeated elements has been faced following and substituting the other available similar ingredients instead of vanished parts. Still, the prediction of parametric, quasi, or non-periodic patterns, where components are not identical, needs to be carried out in a more challenging process than the periodic ones due to shape, scale, or angle of rotation alteration. Intelligent restoration could facilitate the forecasting of damaged parts in such geometric patterns that an algorithm has changed their geometric characteristics. In some architectural heritage, geometric patterns include a parametric algorithm like parametric patterns in the ceiling of Sheikh Lotfollahmosque in Isfahan, Iran, and the dominant structure of Persian domes Karbandi. In this article, the aim is to propose a new method for the smart restoration of the parametric geometric patterns in which, by having access to the image of the existing patterns, the vanished parts could be reconstructed spontaneously. Our approach is based on image processing by detecting boundaries of deterioration, finding every individual element, and extracting features of detected individual patterns via Zernike moments. The order of individual patterns starts from the farthest pattern to detected deterioration. Then by creating a time series, the Back-propagation neural network would be trained by extracted features, and the vanished patterns’ features could be predicted and reconstructed. Eventually, the reconstructed and real patterns are compared to determine differences between them by mean-squared error and to evaluate the performance of our method. To validate the process, a parametric geometric pattern is designed by the assumption that some parts are disappeared. The proposed method’s results, in this case, hold an efficient performance with the accuracy of 92.99%. Furthermore, Sheikh Lotfollah’s patterns and Naseredin Mirza mansion’s patterns as two real cases are tested by the proposed method, representing reliable and suitable performance results.

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Khalid, Zainab, Zaynab Radi Abaas, and Amal Fadhil. "Achieving urban sustainability by revitalizing the performance of Islamic geometric pattern on residential façades." Periodicals of Engineering and Natural Sciences (PEN) 9, no. 4 (2021): 729. http://dx.doi.org/10.21533/pen.v9i4.2393.

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Wong, Leong Yee, and Chen-Cheng Chen. "Research of Digital Generative Islamic Tessellation Patterning Structure System." Journal of Advanced Research in Applied Mechanics 131, no. 1 (2024): 197–211. https://doi.org/10.37934/aram.131.1.197211.

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According to Gottfried Semper, who coined the term ‘Architextile’ to describe the use of textiles and other malleable materials in architectural design, textiles were the first materials used to construct human dwellings. In Islamic architecture and building design, tessellation patterning is thought to represent the early days of textile and lightweight structures, reflecting the nomadic lifestyle of early Islamic society. Bedouins made portable structures covered with woven textiles for temporary dwellings, showcasing the early use of architextile. Tessellation patterning and Islamic architecture have a significant relationship in terms of identity representation. Establishing the decorative shell (tessellation) creates a virtual atmosphere that transcends 'Physical Reality,' where structural elements like columns and beams lie beneath decorative facades. Over time, Islamic architecture's decorative shell has often remained purely ornamental, lacking structural significance. This study explores human settlement and building design by examining the tectonic characteristics of Islamic patterns. The research aims to bridge the gap between the decorative and practical aspects of Islamic architecture by studying geometric tessellation grid systems and their parametric alterations. The goal is to transform two-dimensional tessellation patterns into three-dimensional articulated structures. By manipulating pattern lines, the subdivided surface can be articulated into a structural system, forming a lattice structure. Additionally, human settlement and cultural heritage are preserved through the study of these architectural patterns. This showcases how historical building designs reflect and maintain cultural identity. Understanding the interplay between tessellation patterns and Islamic architecture enhances our appreciation of the cultural heritage embedded within human settlements.

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Mahmudova, Sabohat Abdusattorovna. "THE ROLE AND IMPORTANCE OF GEOMETRIC PATTERNS IN THE ARCHITECTURE OF HISTORICAL MONUMENTS." EURASIAN JOURNAL OF ACADEMIC RESEARCH 2, no. 4 (2022): 499–503. https://doi.org/10.5281/zenodo.6517094.

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Of particular importance in this article is the fact that geometric patterns from the unique examples of our architecture are carefully taught to future generations and young professionals in terms of the artistic structure of the school of woodcarving, pottery and other carvings. In the further development of the Samarkand school of wood carving, our youth has the fineness of carvings, the complexity of the pattern, the vegetative entrance; and the use of floral girth patterns and the need to carefully study the coloring of the carved surface.

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Maksoud, Aref, Emad Mushtaha, Zaid Al-Sadoon, Hala Sahall, and Ahmed Toutou. "Design of Islamic Parametric Elevation for Interior, Enclosed Corridors to Optimize Daylighting and Solar Radiation Exposure in a Desert Climate: A Case Study of the University of Sharjah, UAE." Buildings 12, no. 2 (2022): 161. http://dx.doi.org/10.3390/buildings12020161.

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This study used innovative computational design tools to improve a corridor’s visual and environmental conditions, such as solar radiation exposure and optimal daylighting, at the University of Sharjah’s (UoS) campus in the United Arab Emirates. The research methodology used computational design software to develop two sets of codes. The first set was dedicated to conducting environmental study simulations that assessed the corridor’s performance and classified site-dependent parameters such as sun path analysis and wind rose diagrams, and pattern-dependent parameters such as solar radiation analysis and shadow study diagrams. The second code set generated Islamic geometric patterns, following the design scheme of the University. Varying typologies were produced using the two parameters to change the pattern’s porous size, shape, and gradient.

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Behnamian, Sara, Saman Behnamian, Fatemeh Fogh, Firooz Pashaei, and Malihe Mahin Saran. "NOVELTY ARCHITECTURE AND MATHEMATICS IN AN IRANIAN MOSQUE." Journal of Islamic Architecture 6, no. 1 (2020): 7–12. http://dx.doi.org/10.18860/jia.v6i1.5508.

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Islamic architecture, particularly mosques architecture, has mainly been the focus of many architectural exhibitions in Muslim-majority countries. Recently, it has been influenced by novelty architecture and has been evolved into elaborate structures. Quds mosque in Tehran, Iran, is a picturesque architecture feat of a modern outlook that came under a lot of criticism for abandoning the traditional symbols of Islamic architecture. This study observes the Quds mosque from a mathematical standpoint using fractals as the method. Fractals are geometric constructions that exhibit similar or identical characteristics by order of magnitude. Rescaling a prominent architectural pattern is also a noticeable subject that considers Quds mosque from this point of view. This study shows that the Quds mosque used fractal principles; self-similarity and congruency. Those are applied in the roof form by using a triangle form on each side.

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Suryandari, Putri. "The Architecture of a Mosque Without a Dome as a Trace of the Development of Muslim Intellectuals." JURNAL INDO-ISLAMIKA 11, no. 2 (2021): 215–40. http://dx.doi.org/10.15408/jii.v11i2.21497.

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The architectural style of the mosque without the dome is becoming a phenomenon in the development of Islamic architecture this decade. The dome, which has been a symbol of Islam for hundreds of years, seems to no longer be the main target of mosque design, both in the world and in Indonesia. Seen by the increasing number of architects who build mosques without domes. What underlies this change? What is the change in thinking or intellectual power of the Muslim community, underlying this change? This study uses descriptive analysis method, namely the analysis process is carried out based on theoretical studies with literature studies, journals, magazines, and observations in the field. The result is, the pattern of Muslim intellectual thought in the Islamic reform era resulted in the Islamization of science, namely, adapting Islamic thought to modern knowledge. This era of Islamic reform, left an imprint on the architectural design of the mosque in accordance with the principles of architectural science and the purification of the philosophy of the mosque of the era of Rasulullah SAW, namely honest, simple, geometric, with little ornamentation and without a dome, and adapted to the local culture.

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Tavakkoli, Behrouz, and Raana Cinmarasl. "Geometry of the form and designs of Ilkhani tombs' tower of Azerbaijan (Case study: Qarabagh Bardaeh tomb' tower)." Historia Y MEMORIA, no. 20 (December 5, 2019): 251–72. http://dx.doi.org/10.19053/20275137.n20.2020.10295.

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The seventh and eighth centuries of the Hijri calender were the era when Azerbaijan's architecture flourished. During this period, a special style of funerary architecture was developed in the form of a tower-shaped tomb, the scope of its effects extending from Azerbaijan and reaching Khorasan and Turkestan in the east, and Asia Minor and Mamluk Egypt. Considering the centrality of Azerbaijan during the period of the Ilkhanite of this region, the architectural styles flourished in this temporal and spatial period, which later became known as Azeri-style architecture. Parallel to other religious monuments, the tower-shaped tombs found a privileged position in Islamic architecture. Its best examples are the mausoleum tower of Bardaeh in Qarabagh, Sheikh Safi, and Sheikh Heydar, Soltanieh, Ghaffarieh and Qara Baghlar. The purpose of the present study is to recognize the architectural and decorative structure, and to analyze the geometric patterns used in the Azerbaijan tombs, with emphasis on the Qarabagh Bardaeh tomb tower, as a persistent pattern. In order to achieve these goals, the tombs were studied with an interpretive and qualitative strategy, through historical and library studies and field analysis. The designs and decorations were documented, recognized and analyzed.

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Mutaz, Tamara, Zainab Khalid, and Hassan Haider Abdulrazazaq Kamoona. "The revival of the historic Islamic geometric pattern on the gate of The Al-Sharabeya School in Wasit City using the Grasshopper program." Periodicals of Engineering and Natural Sciences (PEN) 9, no. 2 (2021): 389. http://dx.doi.org/10.21533/pen.v9i2.1817.

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Özdural, Alpay. "Omar Khayyam, Mathematicians, and "Conversazioni" with Artisans." Journal of the Society of Architectural Historians 54, no. 1 (1995): 54–71. http://dx.doi.org/10.2307/991025.

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The main purpose of this article is to substantiate the proposition that mathematicians and architect-artisans had collaborated through special meetings, called conversazioni in the text, for the application of geometry to architecture in the Islamic world. A meeting reportedly attended by Omar Khayyam furnishes convincing evidence for this proposition. The study expands on the untitled treatise written by Omar Khayyam as a response to a question raised at this meeting. The treatise is about a problem that concerns an ornamental pattern, the story of which can be traced in two other works on geometry: Abu 'l-Wafa' al-Buzajani's book, What the Artisan Requires of Geometric Constructions, and an anonymous Persian treatise on ornamental geometry, On Interlocking Similar or Corresponding Figures. While these three works are analyzed in the article, the wider implications of the collaboration between mathematicians and artisans concerning the field of architecture are discussed.

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Heldiansyah, J. C., Naimatul Aufa, Prima Widia Wastuty, and Mohammad Ibnu Saud. "Calligraphy Ornaments as Islamic Identity in the Bubungan Tinggi and the Gajah Baliku House, Teluk Selong, South Borneo, Indonesia." Journal of Islamic Architecture 8, no. 3 (2025): 795–805. https://doi.org/10.18860/jia.v8i3.26272.

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Islamic values are applied in architecture by avoiding motifs of living creatures, yet use floral motifs and Arabic calligraphy instead. Each ornament has a specific shape and meaning. While floral ornaments in traditional Banjar architecture are well-researched, studies on Arabic calligraphy are limited due to their complexity. This research aims to reveal the forms and meanings of Arabic calligraphy in traditional Banjar architecture, especially in the Bubungan Tinggi and Gajah Baliku houses. This understanding can help preserve and pass on the art of Arabic calligraphy and its values to future generations. The research employs an interpretive qualitative analysis method. Each letter, word, sentence, and geometric pattern that makes up calligraphy is identified to understand the form of calligraphy. Visual reconstruction was performed by simplifying the calligraphy to obtain certain sentences to match with their equivalents in the Quran and Hadith. The research found that the forms of Arabic calligraphy used included Quranic verses, monotheistic statements, prayers, names of the Prophet's companions, and protective prayers. The meanings conveyed statements of Allah's oneness, belief in Prophet Muhammad, and requests for protection from Allah. All Arabic calligraphy is placed on the tawing halat, indicating the homeowner's identity and social status, thus showcasing the Islamic identity of the architecture.

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Zamani, Erfan, and Theodoros Dounas. "A generative design case study for UAV-based assembly and fabrication: parametric analysis and synthesis of Iranian-Islamic Muqarnas." Open House International 46, no. 3 (2021): 476–93. http://dx.doi.org/10.1108/ohi-03-2021-0060.

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PurposeThis study proposes a DfMA (Design for Manufacture and Assembly) based on unmanned aerial vehicle (UAV) and uses Iranian-Islamic Muqarnas as the main case study due to their geometric modularity. In Islamic architecture, different geographic regions are known to have used various design and construction methods of “Muqarnas”, a type of decorated dome.Design/methodology/approachThe paper presents a study on parametric analysis of the Iranian-Islamic Muqarnas and analyses its components, geometric relations and construction methods that should be considered when constructing one. This study aims to use the Muqarnas analysis as a driver to generate a DfMA basis on the UAVs and parametric fabrication. In Islamic architecture, different geographic regions use various design and construction methods of Muqarnas. There are four main parameters of the Muqarnas that define their classification; first, their three-dimensional shape, that provides volume. Second, the size of their modules is variable. Third, their own specific generative process-algorithm, and finally, the two-dimensional pattern plan that is used as a basis in the design. Thus, the authors present a global analytical study that drives a generative system to construct Muqarnas, through a careful balance of the four parameters.FindingsThis study thus presents a global analytical study that drives a generative system to construct Muqarnas, through a careful balance of four specifications. The paper reports the result of using a parametric tool, Grasshopper and parametric plugins, for creating a generative system of several types of Muqarnas. This synthetic translation aims at expanding our understanding of parametric analysis and synthesis of traditional architecture, advancing our understanding towards using parametric synthesis, with the scope to fabricate and assemble modules towards UAV-based fabrication of Muqarnas. To do so, the authors are taking advantage of their inherent repetition and recursion.Originality/valueIn the first step, this paper reviews studies on traditional Muqarnas (both Iranian and non-Iranian) and relevant parametric approaches. In the second step, the study aims to create a general generative system for Muqarnas. The creation of a generative system for Muqarnas is driven towards the creation of three-dimensional fabrication of their components so that these are assembled automatically using a swarm of UAVs. This particular drive imposes specific constraints in the parametric system, as the assembly of the final components, the authors posit, can only take place in a pick and place fashion.

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Ibrahim, Agus Malik, and Rahma Wahdiniwaty. "Illumination of Hanjuang Flower Patterns in Mushaf Qur'an Sundawi." Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 2 (December 1, 2021): 585–92. http://dx.doi.org/10.34010/icobest.v2i.323.

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This research is motivated by the illumination of the Hanjuang floral motif in the Sundawi Qur'anic manuscript. Meanwhile, in general, manuscripts that are often circulated in good print from middle eastern Indonesia use illumination with a geometric Islamic pattern. The purpose of this study is to explain the Sundawi Qur'an as a whole related to the formulation of the Hanjuang floral motif illumination concept, an explanation of the Hanjuang floral motif illumination, and the relevance of the Hanjuang floral motif illumination to the Sundawi Qur'anic Mushaf. This study uses a qualitative method with an aesthetic approach that systematically describes the things that are the focus of the research. The data collection technique used in this research is library research and field research using the interview method with informants. The results of this study found that the formulation of the concept of illumination of the Hanjuang floral motif with the Sundawi Qur'anic Mushaf is one of the characteristics of West Java plants or flora and also as a means of introducing West Javanese ornaments in Sundawi Qur'anic manuscripts, this illumination will have an impact on the synergy between the decorative motifs and the writings on the Sundawi Qur'anic manuscripts verse and the Hanjuang motifs affect the reader's enthusiasm to continue reading the Qur'an

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Ibrahim, Agus Malik, and Yully Ambarsih Ekawardhani. "Visual Study Of Hanjuang Motif Illumination In The Qur'an Mushaf Sundawi." ARTic 5, no. 1 (2022): 433–42. http://dx.doi.org/10.34010/artic.v5i1.8604.

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This research is motivated by the illumination of the Hanjuang motif on the Sundawi Mushaf Al-Qur'an. Meanwhile, in general, manuscripts that are often circulated in fine print from middle eastern Indonesia use illumination with Islamic geometric patterns. The purpose of this study is to explain the Sundawi Mushaf Al-Qur'an in its entirety related to the formulation of the concept of visualization of Hanjuang motif illumination, explanation of Hanjuang motif illumination, and its influence on Sufism. This study uses descriptive qualitative methods with visual creation approaches and Sufism that systematically describe the things that are the focus of the research. The data collection technique used in this research is library research and field research in the form of document analysis and personal communication with designers, humanists and Sufism experts. The results of this study found that the visualization of Hanjuang motif illumination with Al-Qur'an Mushaf Sundawi is part of plants that exist in West Java and also as a means of introducing West Javanese ornaments in the Sundawi Qur'an. This visual illumination will have an impact on the synergy between the Al-Qur'an Mushaf Sundawi, the Hanjuang motif as part of culture and Sufism. The results of this study refer to the analysis of objects that are concrete or tangible and abstract or conceptual objects that do not refer to objects but the meaning possessed by the illumination object. Keywords: Illumination, Mushaf, Pattern, Hanjuang, Sufism

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Abdullahi, Yahya, and Mohamed Rashid Bin Embi. "Evolution of Islamic geometric patterns." Frontiers of Architectural Research 2, no. 2 (2013): 243–51. http://dx.doi.org/10.1016/j.foar.2013.03.002.

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Sobh, Hesham, and Heba Allah Samy. "ISLAMIC GEOMETRIC PATTERNS AS TIMELESS ARCHITECTURE." Journal of Al-Azhar University Engineering Sector 13, no. 48 (2018): 1074–88. http://dx.doi.org/10.21608/auej.2018.18946.

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CROWE, DONALD W. "Islamic Geometric Patterns by Eric Broug." Museum Anthropology 32, no. 2 (2009): 180. http://dx.doi.org/10.1111/j.1548-1379.2009.01067.x.

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Moradzadeh, Sam, and Ahad Nejad Ebrahimi. "Islamic Geometric Patterns in Higher Dimensions." Nexus Network Journal 22, no. 3 (2020): 777–98. http://dx.doi.org/10.1007/s00004-020-00486-0.

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عبد الحسين, عماد, та فرح محي. "الانساق الثقافية في نتاجات الخزافات الرائدات العراقيات". Journal of Kufa Studies Center 1, № 76(B) (2025): 903–39. https://doi.org/10.36322/jksc.176(b).19654.

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The research titled (Cultural Systems in the Productions of Pioneering Iraqi Female Potters), which contained four chapters, dealt with the research. The first chapter focused on the methodological framework of the research and the research problem, which ended with a question about the systemic vision of the Iraqi academic female potters and the reflection of that vision in their artistic productions. The first chapter contained: The goal of the research is: (to know the systemic vision of Iraqi academic potters and its reflections in their artistic productions). The limits of the research were: The objective limit: cultural patterns in the products of pioneering Iraqi female potters - Time limit: the works of pioneering Iraqi female potters from (2003-2023( - Spatial limit: Iraq The second chapter (theoretical framework) consisted of three sections. The first section dealt with (formats and their frameworks in plastic art), the second section (philosophical trends in feminist plastic arts), and the third section (Iraqi feminist plastic art( The third chapter (research procedures), which included the research community consisting of (30) artistic works, its sample, the research methodology, the research tool, and the analysis of samples amounting to (3) ceramic works by pioneering Iraqi female potters. Chapter Four (Results and Conclusions) included the research results, conclusions, recommendations and proposals. The researcher reached a number of results, including: The cultural patterns in the contemporary ceramic work of the pioneering female ceramic artists in Iraq relied on their knowledge of analyzing cultural references and their reflection in their products. The cultural pattern of the pioneering potters was influenced by all modern artistic trends, and their relational connection with the apparent form of the ceramic work on the one hand, and with the abstract geometric aspect on the other hand. The researcher reached a number of conclusions, including: The pioneering potter intends to show her personal emotional energies towards those she meets in her daily and societal life through artistic ceramic achievements. The pioneering potters’ use of the Islamic and ancient heritage, through color painting or the use of Arabic calligraphy.

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Bonner, Jay. "Doing the Jitterbug with Islamic geometric patterns." Journal of Mathematics and the Arts 12, no. 2-3 (2018): 128–43. http://dx.doi.org/10.1080/17513472.2018.1466431.

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SCHETNIKOV, ANDREY. "ISLAMIC GEOMETRIC PATTERNS, ITS HISTORY AND DESIGN METHODOLOGY." ΣΧΟΛΗ Ancient Philosophy and the Classical Tradition XVIII, no. 1 (2024): 427–68. http://dx.doi.org/10.25205/1995-4328-2024-18-1-427-468.

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This article deals with the art of geometric ornaments, widely spread in the whole Islamic world. This art appeared at the beginning of the 11th century in Khorasan and Transoxania, rapidly developed in the next two centuries until the Mongol invasion, transferred from here to Damascus, Cairo and further to the Maghreb countries, and then flourished again in the Timurid Empire, when multi-color solutions were added to complicated geometry of star polygons. We consider various principles for constructing these patterns, with special attention to so called “polygonal technique”.

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Dabbour, Loai M. "Geometric proportions: The underlying structure of design process for Islamic geometric patterns." Frontiers of Architectural Research 1, no. 4 (2012): 380–91. http://dx.doi.org/10.1016/j.foar.2012.08.005.

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Frisky, Hendra, and Muhammad Sani Roychansyah. "Perbandingan Tipologi Islamic Geometric Patterns Universitas Berideologi Islam di Yogyakarta." Jurnal Lingkungan Binaan Indonesia 6, no. 3 (2017): 170–77. http://dx.doi.org/10.32315/jlbi.6.3.170.

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Islamic Geometric Patterns merupakan salah satu seni dengan tingkat kompleksitas tinggi dan tidak bisa dilepas-kan dari bidang ilmu arsitektur. Metode yang digunakan dalam perencanaan Islamic Geometric Patterns yaitu ruler/compass method, basic grid method, dan numerical method. Unsur pertamanya berupa lingkaran dan garis, membentuk dasar berupa four-fold, five-fold, dan six-fold. Lalu berkembang menjadi lebih kompleks berupa six-point, eight-point, dan ten-point. Kawasan yang menjadi objek merupakan universitas-universitas di Yogyakarta yang memiliki basis ideologi Islam, yaitu: Universitas Islam Indonesia, UIN Sunan Kalijaga, dan Universitas Mu-hammadiyah Yogyakarta. Adapun tujuan dari penelitian ini adalah untuk mengidentifikasi tipologi dan riwayat pemaknaan Islamic Geometric Patterns. Hasil penelitian ini diharapkan mampu memberikan informasi pemak-naan yang sebenarnya, karena Islamic Geometric Patterns sekarang mulai cenderung bergeser menjadi simbol Islam.

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Alani, Mostafa W. "Algorithmic investigation of the actual and virtual design space of historic hexagonal-based Islamic patterns." International Journal of Architectural Computing 16, no. 1 (2018): 34–57. http://dx.doi.org/10.1177/1478077118763237.

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This research challenges the long-standing paradigm that considers compositional analysis to be the key to researching historical Islamic geometric patterns. Adopting a mathematical description shows that the historical focus on existing forms has left the relevant structural similarities between historical Islamic geometric patterns understudied. The research focused on the hexagonal-based Islamic geometric patterns and found that historical designs correlate to each other beyond just the formal dimension and that deep, morphological connections exist in the structures of historical singularities. Using historical evidence, this article identifies these connections and presents a categorization system that groups designs together based on their “morphogenetic” characteristics.

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Shchetnikov, Andrei. "Geometric patterns of the Konya Sultanate." Schole Ancient philosophy and the classical tradition 19, no. 1 (2025): 551–95. https://doi.org/10.25205/1995-4328-2025-19-1-551-595.

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Very few monuments have survived from the first two (11th–12th) centuries of the art of Islamic geometric ornamentation. The reason for this is the relative fragility of the used materials, and invasions and wars with their destruction. Compared to the previous era, the numerous surviving stone buildings of the 13th century in the Konya Sultanate provide a wealth of material for the study and classification of geometric ornamental patterns, dating back to previous centuries and invented by geometers and architects of that time.

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Dinçer, Sevde Gülizar, and Mehmet Oğuz Duru. "Reevaluating Muqarnas: A Parametric Generative Exploration." Yüzüncü Yıl Üniversitesi Fen Bilimleri Enstitüsü Dergisi 30, no. 1 (2025): 258–72. https://doi.org/10.53433/yyufbed.1518020.

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Muqarnas, an essential feature in Islamic architecture, seamlessly combines ornamental and structural roles, adorning elements such as portals, domes, and mihrabs. The diverse design configurations of muqarnas are based on a geometric framework that guides the construction process, typically initiated by creating projection plans. Within the scope of this study, the examination of muqarnas projection plans revealed tessellations formed by strategically arranged square and rhombus units inspired by Islamic geometric patterns and early muqarnas prototypes. Analyzing the geometric structure of these tessellations facilitated a systematic approach. The study implemented each step by employing the Grasshopper plug-in in the Rhinoceros program, culminating in generating muqarnas models. This transformative process converted tessellations into tangible three-dimensional geometric units, ready for integration into muqarnas designs. This study deepened the understanding of muqarnas construction and demonstrated the integration between traditional Islamic geometric patterns and contemporary computational design tools. By blending the timeless elegance of Islamic geometric principles with cutting-edge digital methods, this research contributes to the preservation and innovation of cultural heritage, offering new insights into the future of Islamic architectural design. The parametric models represented the geometric transformations intrinsic to muqarnas, reflecting the fusion of tradition and innovation in Islamic architectural design.

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Moradzadeh, Sam, and Ahad Nejad Ebrahimi. "The point-joined techniques in Islamic geometric patterns in Iran." Symmetry: Culture and Science 31, no. 2 (2020): 199–221. http://dx.doi.org/10.26830/symmetry_2020_2_199.

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Muhammad, Rebin, Mona Hajghassem, and Mais Alraee. "Geometry, Art, and Technology: Islamic Geometric Patterns in the Classroom." Journal of Humanistic Mathematics 15, no. 1 (2025): 317–33. https://doi.org/10.5642/jhummath.ndfw1546.

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Nazer, Zeynab, and Péter Rabb. "Measuring Symbolic Sophistication in Geometric Ornament: The Symmetry Complexity Index (SCI) and its Art Historical Validation in Islamic Geometric Patterns." Journal of Civil Engineering and Urbanism 15, no. 1 (2025): 9–23. https://doi.org/10.54203/jceu.2025.2.

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This study introduces the Symmetry Complexity Index (SCI), a computational metric to quantify the symbolic sophistication of Islamic geometric patterns (IGPs). Grounded in group theory, the SCI assesses symmetry complexity through weighted operations, hypothesizing that higher scores reflect greater symbolic depth. We analyzed 41 IGPs from key Islamic dynasties (Umayyad to Mughal, 660–1737 CE) and validated the SCI through expert consultation (n = 5, r = 0.87, p < 0.001). The results revealed a clear evolutionary trend, with SCI scores rising from basic 6-point patterns (SCI = 40–50) in the Abbasid era to complex 16-point patterns (SCI = 70–85) during the Mamluk period, alongside notable regional variations, such as Mughal simplicity and Mamluk intricacy. The findings of this study highlight the SCI’s effectiveness in capturing historical developments in symbolic sophistication. This study recommends the broader application of the SCI for analyzing geometric ornamentation and exploring the relationship between decorative complexity and urban identity in Islamic architecture.

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Wan Md Zain, Wan Soliana, Marzuki Ibrahim, Salwa Ayob, Noor Hafiza Ghazali, and Rushana Sulaiman. "Symbolic Geometry In Sulaiman Esa Paintings Through The Principles Of Islamic Art." International Journal of Art and Design 8, no. 2 (2024): 117–29. http://dx.doi.org/10.24191/ijad.v8i2.873.

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This paper explains geometric motifs through Islamic aesthetic point of view in the painting Garden of Mystery VI (1992) by Sulaiman Esa. Islamic art prescribes the whole way of life and all the activities that humans carry out in syumul (complete togetherness), including in the study of art. Islamic art is one of the advances in the civilization of the Islamic world and geometry is among the three motifs of Islamic art that are highly praised by the world community apart from calligraphy and Arabes. Islam has established those religious aspects play an important role in determining the basis and foundation to produce an element in the arts. It can be identified in geometric motifs through shape, meaning and symbolism that tend to have the concept of ‘Shari'a’. The main purpose of the study was to identify the types of geometric motifs and patterns in the painting artwork Garden of Mystery VI (1992). Explore the relationship between formalistic aspects of Islamic art and aesthetics through the production of Sulaiman Esa's paintings. This study also aims to see the aesthetic value of Islam which involves the pronunciation of symmetry in the context of mathematical culture. The written and visual data collection methodology in this study uses a qualitative approach that involves the design of case studies based on fieldwork empirical data obtained. Methods of observation, documentation and visual recording were used for the collection of research information. The findings of the study show that geometric motifs are decorations in Islamic art that comply with Islamic law and have their own privileges. An understanding of the form, purpose, philosophy, concept and purpose of geometric design application should be applied in Islamic painting artwork to form Islamic images and identities. Once again guide Islamic painters to internalise, understand and try to stimulate painters to dignify the true motives of Islam.

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Baidabekov, A. K., and E. A. Kemelbekova. "Geometric patterns in the mausoleum of Khoja Akhmet Yasawi." BULLETIN of the L.N. Gumilyov Eurasian National University. Technical Science and Technology Series 147, no. 2 (2024): 77–86. http://dx.doi.org/10.32523/2616-7263-2024-147-2-77-86.

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The article considered the use of geometric patterns as one of the special features of Islamic art. Considerable intellectual input from Islamic mathematicians, astronomers, and scientists was required to create this unique new style. The heyday of architecture in the Middle Ages was the teaching of balance and harmony. Therefore, geometric statics becomes a part of the doctrine of geometric harmony. From this, the unity of the architectural-spatial format of the structure and the method of coordinating its structure can be seen. Since then, the geometric methods as the basis of architecture became the leading idea system of architecture, which had great importance in the formation and development of medieval Eastern architecture. The works of the architects of the medieval East, artists who worked with patterns and geometric patterns, formed as a generalization of the experience formulated in connection with the new classification of mathematical sciences, had a decisive influence on the direction of the worldview of many generations. At the same time, the scope of use of geometrical patterns has expanded, as theory bases have arisen from the experience itself, from the experience of construction and art production. It also covered geometric theory and practical problems such as the spatial structure of the building, the balance of architectural structures, stability and strength of the structure as a whole, geometric expression. Maintaining the balance of such geometric patterns and architectural structures, the medieval Khoja Akhmat Yasawi mausoleum was built. This building was the propaganda and spread of Islam, ideological and political character of Amir Temir's state. The mausoleum of Khoja Akhmat Yasawi is distinguished by its scale and grandeur of design, but the volume-spatial interpretation of the complex is simple. At the same time, the issue of studying the geometric patterns on the facades of Khoja Ahmet Yasawi mausoleum based on this theory and other geometric laws is considered.

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Ajlouni, Rima. "Islamic geometric patterns: their historical development and traditional methods of construction." Journal of Mathematics and the Arts 14, no. 4 (2019): 370–75. http://dx.doi.org/10.1080/17513472.2019.1696118.

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Sheikhi Nashalji, Mehdi, and Fatemeh Mehdizadeh Saradj. "A Recognition Technique for the Generative Tessellations of Geometric Patterns in Islamic Architectural Ornaments; Case Study: Southern Iwan of the Grand Mosque of Varamin." Buildings 14, no. 9 (2024): 2723. http://dx.doi.org/10.3390/buildings14092723.

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The ornamentation of historical buildings in Iran often features geometric patterns, which hold cultural and architectural significance. These patterns, rooted in Islamic tradition, are widely used in contemporary Middle Eastern architecture. By employing regular polygons, intricate designs emerge, forming interconnected tessellations and repeating modules. This paper focuses on uncovering hidden tessellations and geometric patterns within the southern Iwan of the Grand Mosque of Varamin. Through photography and field measurements, 82.4 and 36 tessellations were identified. Using the Revit 2024 program, a novel method was introduced to model these patterns. By manipulating repeating units, designers can create diverse geometric latticework, preserving Islamic architectural heritage. Furthermore, these patterns offer practical applications beyond ornamentation. They can serve as architectural elements in urban environments, such as fences or enclosures, enhancing privacy in residential spaces and contributing to urban aesthetics. This approach facilitates the integration of historical patterns into contemporary architectural designs, enriching both cultural identity and urban landscapes and is a step toward smart cities.

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Ibrahim, Iman, Karima Al Shomely, and Fatma Eltarabishi. "Sustainability Implications of Utilizing Islamic Geometric Patterns in Contemporary Designs, a Systematic Analysis." Buildings 13, no. 10 (2023): 2434. http://dx.doi.org/10.3390/buildings13102434.

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Recently, scholars have embraced sustainability as a crucial concept deeply ingrained in architectural designs, particularly Islamic geometric patterns (IGP). These patterns hold significance in reflecting Islamic history, identity, and culture. This systematic review explores how scholars have integrated IGPs into modern design, considering the sustainability aspect. The Preferred Reporting Items for Systematic Reviews (PRISMA) reporting checklist was used due to its organized structure as a guide to conduct this review (2012–2022). Data was collected through recognized databases (i.e., Scopus and ProQuest) that house a wide array of journals and publications. Selected journals were categorized based on sustainability pillars—environmental, economic, social, and cultural. In addition, case studies from the region are discussed, as studies didn’t explicitly explore the connection between sustainability and the use of Islamic geometric patterns in modern design. Findings indicate that papers predominantly discuss the positive effects on environmental and economic sustainability through IGP implementation. Conversely, social sustainability received comparatively less attention from scholars. Case studies showed that most building designs in the Middle East use IGP to conserve Islamic history and identity, especially in the United Arab Emirates (UAE). This review sheds light on the potential of geometric patterns as a vehicle for sustainable design and contributes to the broader discourse on sustainable architecture.

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ZAHRI, Mostafa. "Mathematical Modeling of a Class of Symmetrical Islamic Design." Symmetry 11, no. 4 (2019): 517. http://dx.doi.org/10.3390/sym11040517.

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In this paper, we present a new model for simulating an interesting class of Islamic design. Based on periodic sequences on the one-dimensional manifolds, and from emerging numbers, we construct closed graphs with edges on the unit circle. These graphs build very nice shapes and lead to a symmetrical class of geometric patterns of so-called Islamic design. Moreover, we mathematically characterize and analyze some convergence properties of the used up-down sequences. Finally, four planar type of patterns are simulated.

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Bell, Clare V. "Learning Geometric Concepts through Ceramic Tile Design." Mathematics Teaching in the Middle School 9, no. 3 (2003): 134–40. http://dx.doi.org/10.5951/mtms.9.3.0134.

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Symmetry and geometric patterns are commonly used in the creation of designs that symbolize and contribute to the definition of culture. Native American weaving and pottery designs, Mexican tiles, and Islamic religious art are forms of cultural representation that rely heavily on a repetition of geometric figures and symmetry. These items are used as examples of geometric art for the lessons in this article (see fig. 1).

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Lim, Teik-Cheng. "An Auxetic System Based on Interconnected Y-Elements Inspired by Islamic Geometric Patterns." Symmetry 13, no. 5 (2021): 865. http://dx.doi.org/10.3390/sym13050865.

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A 2D mechanical metamaterial exhibiting perfectly auxetic behavior, i.e., Poisson’s ratio of −1, is proposed in this paper drawing upon inspiration from an Islamic star formed by circumferential arrangement of eight squares, such as the one found at the exterior of the Ghiyathiyya Madrasa in Khargird, Iran (built 1438–1444 AD). Each unit of the metamaterial consists of eight pairs of pin-jointed Y-shaped rigid elements, whereby every pair of Y-elements is elastically restrained by a spiral spring. Upon intermediate stretching, each metamaterial unit resembles the north dome of Jameh Mosque, Iran (built 1087–1088 AD), until the attainment of the fully opened configuration, which resembles a structure in Agra, India, near the Taj Mahal. Both infinitesimal and finite deformation models of the effective Young’s modulus for the metamaterial structure were established using strain energy approach in terms of the spiral spring stiffness and geometrical parameters, with assumptions to preserve the eight-fold symmetricity of every metamaterial unit. Results indicate that the prescription of strain raises the effective Young’s modulus in an exponential manner until full extension is attained. This metamaterial is useful for applications where the overall shape of the structure must be conserved in spite of uniaxial application of load, and where deformation is permitted under limited range, which is quickly arrested as the deformation progresses.

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Abas, S. J., and A. Salman. "Geometric and Group-theoretic Methods for Computer Graphic Studies of Islamic Symmetric Patterns." Computer Graphics Forum 11, no. 1 (1992): 43–53. http://dx.doi.org/10.1111/1467-8659.1110043.

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Turan, Yasemin. "Architectural element of the Anatolian Seljuk period – muqarnas and the symmetry story of muqarnas." Symmetry: Culture and Science 36, no. 2 (2025): 159–74. https://doi.org/10.26830/symmetry_2025_2_159.

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Geometric patterns derived from intricate artistic and mathematical computations are hallmarks of traditional Turkish architecture, prominently seen in the three-dimensional ornamental designs known as muqarnas. Found in Anatolian Seljuk structures such as crown doors and mihrabs, muqarnas are created from prismatic and triangular geometric forms, utilizing symmetry and mathematical principles to enhance both aesthetic and structural functionality. This study examines the muqarnas of the Sahip Ata Mosque in Konya, Turkey, exploring their symmetry-based geometric patterns and their creation using parametric design models in Grasshopper. By analyzing the fundamental unit patterns and their symmetrical structures, this research highlights the intersection of Islamic art, geometry, and architecture, contributing to a deeper understanding of muqarnas' mathematical and artistic complexity.

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Ding, Nianliang. "On the Influence of Islamic Culture on Chinese Porcelain in the Ming Dynasty." Frontiers in Humanities and Social Sciences 4, no. 12 (2024): 64–67. https://doi.org/10.54691/kx7he335.

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The Ming Dynasty saw Chinese porcelain profoundly influenced by Islamic culture, particularly in motifs, forms and colors. Imperial kilns at Jingdezhen incorporated Islamic-inspired designs, such as geometric patterns and Persian or Arabic inscriptions, to cater to both domestic and Islamic needs, reflecting the vigorous Sino-Islamic cultural exchange in this period. Folk kilns, initially focused on practicality of wares, adopted Islamic styles gradually as trade flourished. This cross-cultural exchange enriched Chinese ceramics, blending traditions and fostering innovation that underscored the enduring impact of Islamic aesthetics on Ming porcelain.

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