Islamic Geometry: A Reflection of His Perfect Order
“…(Such is) the artistry of Allah, Who disposes of all things in perfect order…” (al-Naml 27:88).
When we look at nature, we find a reflection of Allah’s perfect order — in the balance of the astronomical world, in the shapes of flora and fauna, in geological structure, in a cell’s shape.
Islamic history author Spahic Omer writes,
The Prophet (pbuh) has said that Allah is beautiful and He loves beauty. It is for this reason that the whole of Allah’s creation has been designed and created according to the highest heavenly standard of splendor and order impossible to be ever emulated by anyone.
According to Ibn al-’Arabi, who epitomized the Sufi speculative ontological thought, the divine beauty through which God is named “Beautiful”, and by which He described Himself as loving beauty, is in all things. There is nothing in existence but beauty, for God created the cosmos only in His image, that is, in the image of His infinite beauty. Hence all cosmos with all its objects and events is beautiful. (full article)
We see this depth of meaning transferred to the Muslim designed art and architecture. Take a look at the Dome of the Rock in Jerusalem, Palestine. The structure of the building was built on an octagonal base and has a circular dome. This was intentionally done so because it was the strongest architecturally, but it also reflects the Quran’s message that “eight angels will bear the throne on the Day of Judgment.”
ISLAMIC ANICONISM
The concept of Islamic aniconism — or the prohibition of making representations of human figures — stems from the belief that “creation of living forms is God’s prerogative.”
For this reason, Muslim artisans and craftsmen developed this recognizable aesthetic of repeated geomtric shapes — called zellij by artisans in North Africa — which mixed elements from math and art. The significant contributions of Muslim mathmeticians and astronomers were essential to the creation of this unique style. During the time of Ibn Sina, it was even classified as “mathematical sciences.”
Taj-Al-Mulk North Dome (with 5-fold motif), Jameh mosque, Isfahan, built1088 (photo: R. Henry), alongside detail showing the path of Venus from James Ferguson’s, Astronomy Explained Upon Sir Isaac Newton’s Principles, 1799 ed., plate III, opp. p. 67.
These patterns can be seen in earlier mosques like the Great Mosque of Damascus, The Alhambra, Hassan II Masjid in Casablanca, Shah Masjid in Isfahan, Iran, and more.
Shiraz — Aramgah-e Hafez. Tomb of Hafez, tombstone placed by Karim Khan 1773.
“The depiction of these mosaics allude to Paradise, which is described by both the Quran and Hadith as containing palaces and gardens of fruit and palms, is a good expression of the Caliph’s intentions. The concentration of these mosaics on the main entrance of the sanctuary indicates that the worshipper is entering a garden or a palace of Paradise.” (Umayyad Mosque)
ZELLIJ
As mentioned, Zellij is a Moorish artform of tilework that incorporates Moroccan patterns of squares, triangles, stars, diamonds, polygons and more, that form orderly and precise mosaics. These mosaics can produce a hypnotic effect that creates an atmosphere for meditation and spiritual reflection.
The presence of beauty in these spaces is used to seek sakinah — deep peace inspired by the awareness of the presence of God — a common characteristic of many historical mosques.
A brief history of Zellij:
The Moroccan tile first made an appearance way back in the 10th century and was thought to be inspired by Roman and Byzantine mosaics that were popular in that period. The colors were less vibrant and there wasn’t much of a choice, if you were in the market for white and brown you would have been in luck.
The 11th century heralded the establishment of geometric patterns, such as star polygons. The art of Zellij became very popular in the Azulejo period (Hispanic-Moresque period) in regions of Maghreb (Northwest Africa) and Al-Andalus (or Spain as we now call it).
The hands of time ticked by and brought with them developments to the craft of Zellij. The Nasrid Dynasty and Merinid Dynasty embraced the art, enhancing it with the addition of the green, blue and yellow Moroccan tile during the 14th century.
Many have called geometry the “sacred or religious science.” Plato wrote in The Republic in around 375 BC, “geometry is the knowledge of existence.”
Here is my attempt at a zellij pattern from a mosque in Iran. I had to dig out my protractor for this one!
Try it yourself by watching a tutorial here.
I end with this quote that sums up the power and impact of art in Islam:
“Love always attaches itself to beauty of one kind or another. When mosques and places of learning are beautiful, we are drawn to them. When speech is beautiful, we are drawn to it. Beauty inspires love, and love moves our souls.”
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Sources:
https://www.alartemag.be/en/en-art/the-crucial-role-of-geometry-in-islamic-art/
https://www.metmuseum.org/toah/hd/geom/hd_geom.htm
https://aboutislam.net/science/faith-science/sacred-geometry-islamic-architecture/
https://artofislamicpattern.com/resources/educational-posters/
