Geometric and Colors in Islamic Art Analysis Essay

Geometric and Colors in Islamic art
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Date
Exhibition Title
“Geometric and Colors in Islamic art”
Exhibition Statement
The Qur'an and other cultural traditions in Islam contain a firm instruction against the use of idols and worshiping of images. So, Islamic art took advantage of the key elements of intricate designs, especially with the use of geometric patterns and colors. For more than a thousand years, Islamic art expanded into a vast geographic diversity that is commonly used as decorative elements of Mosques, walls, tiles, doors, and textiles. For instance, the shape of the tiles found in different countries has a distinct preference in polygonal patterns to have 6-points, 8-points, and even 12-points. In Spain, the tiles have more interlacing designs of basic polygons while Iran and Iraq preferably use the 8-pointed stars and crosses in their tile panels. Lastly, the Syrian and Turk tiles have simple polygons shapes and are heavily influenced by the white blue design of Chinese ceramics. The distinct geometric patterns and colors created a unique blend of Islamic art with individual culture and regional differences as a means to express its ideas to the audience.[The Metropolitan Museum of Art, Islamic art and Geometric Design (The Metropolitan Museum of Art: 2004), /-/media/files/learn/for-educators/publications-for-educators/islamic_art_and_geometric_design.pdf.]
Nature of the Exhibition
The exhibition is about the geometric patterns and colors of Islamic art from different countries that incorporated their nation's cultures and regional differences. The focus of the exhibition would be color and geometric patterns to identify the uniqueness of each country's innovation in Islamic design. For instance, the exhibition will show the diversity of Islamic geometric patterns because of their specific stylistic features, including symmetry and proportion, found in different countries such as Spain, Iran/Iraq, and Turkey/Syria. In the color preference, the exhibition will uncover the symbolism in the use of color in the artworks. The Islamic colors have a different meaning that can convert the meanings from the natural material world or even the spiritual world. So, we would seek the concepts of colors used in Islamic art. Although the specific geometric patterns and colors are found in different countries, the exhibition will show each artwork's interconnectedness with Islam.[Mehri, Gholamreza, “The color in Islamic Art,” Research J. Humanities and Social Sciences 7, no. 1 (2016): accessed March 18, 2021, doi: 10.5958/2321-5828.2016.00006.1.]
It is exciting because the viewers can see the complex identity of Islamic art that evolved in each country because of the driving forces of their culture and individuality. The movement of Islamic art across geographic boundaries evolved the use of geometric patterns and colors depending on the country of origin. Additionally, understanding the Islamic geometric patterns and colors shows the different styles that are within the developmental periods. For instance, the cultural norms of one country can change as time passes; therefore, affecting the use of geometric patterns and colors, but at the same time, retaining the intrinsic identity of Islamic art. We could pinpoint the recurring themes of Islamic art that were adopted or changed in each country; thus, showing the wide range of visual expression that represents the country's affection.
I am trying to show the similarities and differences of the specific geometric patterns and colors in Islamic art that are used by different countries within different periods. I will try to explain how did they come with such geometric patterns and colors based on the symbols in their culture. I will use tiles, textiles, and glass to determine the specific differences between Islamic patterns and colors. Although, tiles are highly preferred since each country has consistency in making tile patterns as decorations in Islamic architecture. Additionally, the geometric patterns used in tiles are in different cultures have predominant patterns that are can readily be determined and color motifs that are predominant during different eras of each country.[Mohamed Rashid Embi and Abdullahi, Yahya, “Evolution of Islamic Geometrical Patterns,” Global Journal Al-Thaqafah 2, no. 2 (2012): 29, accessed March 5, 2021, /publication/307672144_Evolution_of_Islamic_Geometrical_Patterns.] [Embi and Abdullahi, “Evolution of Islamic Geometrical Patterns”, 29]
Narrative
Figure 1. Exhibition narrative
In the exhibition narrative, since one of my main themes is about geometric patterns of Islamic art, I chose to place many objects at the points of common geometric shapes. The Islamic art is separated into three regions, (1) Spain, (2) Iran/Iraq, and (3) Turkey/Syria. Note that I separated the Iran and Iraq Islamic arts into two subregions. The grey circles are the placement of the Islamic art objects in each area. When a person will walk along with the gallery, they will observe that the number of objects increases as the number of points of a shape increases (fig. 1). I started with the square shape of Spain, next, the five-pointed start and six-pointed star for the Middles East countries, and lastly, the seven-pointed star for Turkey and Syria.
I divided the whole gallery into three major areas, Spain, Iran/Iraq, and Turkey/Syria. I subdivided Iran and Iraq into two sub-areas because of the multitude of Islamic art that I picked in that location. As observed in the overall layout of the objects (fig. 1), the placement in each object is based on the geometric figures that I observed to be present in their flag. The grey circles (fig 1), represents the object in their actual location in the gallery. For instance, the Ottoman Empire flag contains a white seven-pointed star in the middle. So, I arranged the position of the Islamic art in the Turkey and Syria to be a seven-pointed star, since they were once part of the Ottoman Empire. In Spain, however, I chose to arrange the objects at the points of the square to represent the banner of arms of Spain that has four quadrants. Lastly, in the Iran and Iraq, I observed that most countries use the five-point star in their flags and one six-point star, so, I made two subregions under it.
Geometric and Colors in Islamic Art of Spain: Square
The narrative of the geographic identity of Islamic patterns and colors in different mediums from different countries demonstrates the uniqueness among regional culture and individuality. We can start the narrative with the country of Spain. In Spain, I will only use four objects for the exhibition.
2427605-2181860Figure 2. Fragment of a carpet, wool with Spanish knots in blue, green, yellow, orange, red, and brown on a white ground weave, 15th century, Spain, Alcaraz, 250cm x 63 cm, The David Collection, Copenhagen, Denmark, /en/collections/islamic/dynasties/spain/art/17-2018.
In the first object, I chose a carpet to show the uniqueness of patterns and colors in the country. This carpet from the second half of 15th century Spain shows the distinct Islamic ornamentations with colors of blue, green, yellow, orange, red, and brown. The patterns are mostly dominated by recuring central ornaments of octagonal features (fig. 2). Additionally, the octagonal patterns observed in the carpet has interlacing patterns that frame the central eight petaled flower. The intersection of the frames also contains the same eight petaled flowers that further add complexity to its geometry.[Fragment of a carpet, wool with Spanish knots in blue, green, yellow, orange, red, and brown on a white ground weave, 15th century, Spain, Alcaraz, 250cm x 63 cm, The David Collection, Copenhagen, Denmark, /en/collections/islamic/dynasties/spain/art/17-2018.]
Figure 3. Textile Fragment, 14th century, Spain, 102 cm x 36.3 cm (40 3/6 in. x 14 5/16 in.), The Metropolitan Museum, New York, /art/collection/search/448232.
In the second object, I chose a textile fragment from Spain that shows many interlacing octagonal patterns (fig. 3). Again, this textile shows a similar concept of interlacing patterns that frames an eight-pointed star. The textile fragment has bright red, green, and gold colors throughout.[Textile Fragment, 14th century, Spain, 102 cm x 36.3 cm (40 3/6 in. x 14 5/16 in.), The Metropolitan Museum, New York, /art/collection/search/448232.]
Figure 4. Textile with Musicians, 13th century, Spain, 10.3 cm x 10.8 cm (4 1/16 in. x 4 1/4 in.), Metropolitan Museum of Art, New York, /art/collection/search/448222
In the third object, the main decorative element includes the juxtaposed musicians and the eight-pointed shapes. Its primary colors are gold, red, and green (fig. 4).[Textile with Musicians, 13th century, Spain, 10.3 cm x 10.8 cm (4 1/16 in. x 4 1/4 in.), The Metropolitan Museum of Art, New York, /art/collection/search/448222]
Figure 5. Textile Fragment from the Chasuble of San Valerius, 13th century, Spain, 15. 2 cm x 13.3 cm (6 in. x 5 1/4 in.), Metropolitan Museum of Art, New York, /art/collection/search/450720.
In the fourth object, the textile has repeating eight-pointed shapes with faded colors. This object was directly attributed to the cult of Saint Valerius (fig. 5).[Textile Fragment from the Chasuble of San Valerius, 13th century, Spain, 15. 2 cm x 13.3 cm (6 in. x 5 1/4 in.), The Metropolitan Museum of Art, New York, /art/collection/search/450720.]
Figure 6. Panel of 4 cuenca tiles, 16th century, Spain, 28.9 × 28.9 cm, Metropolitan Museum of Art, New York, /art/collection/search/197345.
In the Spanish tile panel (fig. 6), there are interlacing rays of white lines that point towards a green center with 16 rays at the intersection of the panel. Each tile is decorated with solid colors of green, black, and orange. In the next portion of the narrative, we see the geometric and colors in Islamic Art of Iran and Iraq. In the first tile (fig. 7), the tile panel from Iran is composed of eight-pointed stars and crosses. Each tile has its unique design and color compared to the Spanish tile panel (fig. 6), which has consistent tesselations of color and geometry. The Iranian tile limits its geometry on the shape of the tile.
Geometric and Colors in Islamic Art of Iran and Iraq: 5 pointed Star Area
Figure 7. Panel Composed with Tiles in Shape of Eight-pointed Stars and Crosses, 1260–70, Individual tile: 20.3 cm x 20.3 cm, Mounted panel: 71.1 cm x 101.6cm x 3.8 cm, Metropolitan Museum of Art, New York, /art/collection/search/450438.
Figure 8. Fritware tile, painted in polychrome glazes and gold leaf. Cuerda seca technique, 1440, Iran, 35 cm (diam.), The David Collection, Copenhagen, Denmark, /en/collections/islamic/materials/ceramics/art/27-1967.
The twelve-pointed stars tile from Iran shows one of the regional designs in Khargird, in northeastern Iran that was used to decorate the Ghiyathiyya madrasa (fig. 6). However, the technique used in making the tile called, Cuerda Seca technique, was probably a technique developed in Andalusia or North Africa. Additionally, the tile has distinct colors of blue, white, and gold-painted leaves.[Fritware tile, painted in polychrome glazes and gold leaf. Cuerda seca technique, 1440, Iran, 35 cm (diam.), The David Collection, Copenhagen, Denmark, /en/collections/islamic/materials/ceramics/art/27-1967.] [The David Collection, Fritware tile, painted in polychrome glazes and gold leaf. Cuerda seca technique]
Figure 9. Earthenware tile, carved and unglazed, 13th century, Iraq, 6.2 cm x 18.3 cm, The David Collection, Copenhagen, Denmark, /en/collections/islamic/dynasties/late-abbasids/art/19-1993.
In Earthenware tile, it can be seen that it has eight points with palmette patterns carved within the octagon shape (fig. 7).[Earthenware tile, carved and unglazed, 13th century, Iraq, 6.2 cm x 18.3 cm, The David Collection, Copenhagen, Denmark, /en/collections/islamic/dynasties/late-abbasids/art/19-1993.]
Figure 10. Mihrab (Prayer Niche), A.H. 755/ A.D. 1354–55, Iran, Isfahan, 343.1 cm x 288.7 cm (135 1/16 in. x 113 11/16 in.), Metropolitan Museum of Art, New York, /art/collection/search/449537.
In the Mihrab, Arabic inscriptions can be seen along with the frames of the arch. Multiple tessellating geometric figures cover the object, as well as the distinct mosaic tile work by combining the different shades of blue, gold, and white (fig. 8).[Mihrab (Prayer Niche), A.H. 755/ A.D. 1354–55, Iran, Isfahan, 343.1 cm x 288.7 cm (135 1/16 in. x 113 11/16 in.), Metropolitan Museum of Art, New York, /art/collection/search/449537.]
Figure 11. Fritware panel with 45 tiles, painted in polychrome glazes over an opaque, white glaze, 2nd Half of 17th century, 121.5 x 220 cm, The David Collection, Copenhagen, Denmark, /en/collections/islamic/dynasties/safavids/art/24-1974.
In the Fritware panel, it is separated into 45 tiles where each tile is painted with dark blue, gold, green, and white, which represents a scenic motif (fig. 9).[Fritware panel with 45 tiles, painted in polychrome glazes over an opaque, white glaze, 2nd Half of 17th century, 121.5 x 220 cm, The David Collection, Copenhagen, Denmark, /en/collections/islamic/dynasties/safavids/art/24-1974.]
Figure 12. Two panels of earthenware tiles, painted in polychrome glazes over a white glaze, first half of the 19th centure, Iran, 81.5 cm x 30.5 cm, The David Collection, Copenhagen, Denmark, /en/collections/islamic/dynasties/safavids/art/44-2002.
In the earthenware tiles, it can be seen that a distinctive palette of pink color was added to the mix of dark blue, green, and white, in painting the object (fig. 10).[Two...