Preface and Acknowledgements

More than with any other cultural heritage, the work of Muslim artists over the centuries reveals the visual beauty that is inherent to geometry. Drawing inspiration from geometry led to an abundance of aesthetic innovations within the tradition of Islamic geometric design that were inexorably associated with methodological practices. Of particular importance was the discovery that geometric patterns could be extracted from underlying polygonal tessellations, herein referred to as the polygonal technique. Over time, and in the hands of skilled and dedicated practitioners, this design methodology engendered the extraordinary breadth of diversity that characterizes this artistic tradition. As architectural ornament, Quranic illumination, and its more limited use within the applied arts, geometric designs were enthusiastically embraced by succeeding Muslim cultures, and along with calligraphy and the floral idiom, became an integral aspect of Islamic aesthetics. As such, its role within Islamic art as a whole is paramount. Yet scholarship of this vast subject remains underrepresented in two key areas: historical development and design methodology. Related to this relative lack of attention is the surprising absence of a comprehensive approach to categorizing the range of patterns within this tradition. Additionally, while the exceptional achievements of past geometric artists serve as a source of inspiration for many contemporary artists, designers, craftspeople, and architects, the loss of methodological knowledge associated with this artistic tradition has substantially thwarted those with an interest in incorporating such designs into their work. In consideration of these gaps this book has several intentions: to provide a greater understanding of the developmental history of this remarkable artistic tradition; to emphasize a more nuanced attribution of the geometric and design diversity that is a hallmark of this distinctive form of art; and to provide a detailed elucidation of the methodological practices that are responsible for the diversity, beauty, and longevity of this artistic discipline. What is more, it is my hope that the focus upon design methodology, including the use of computer algorithms, will empower those with a sincere and dedicated interest in applying the creative processes of the past to their own original works. The combined focus upon historical development and design methodology within this work requires an approach to the subject of Islamic geometric patterns that is both chronological and analytical. As such, there is an inevitable repetition of information concerning geometric characteristics and the dates and location of specific examples when bridging between these two approaches. This is necessary to clarify historical, geometric, and methodological context throughout the book, and I request the reader’s patience and indulgence when encountering such repetition. As a practical consideration, all dates accord with the Gregorian calendar rather than either the Islamic or Persian calendars. In organizing the terminology employed throughout this work I have erred on the side of clarity and simplicity and have generally tried to avoid being overly technical. Wherever applicable, unless there is a compelling reason to do otherwise, I have adopted prior terminology. The glossary provides brief definitions of many of the terms used throughout this work, including those that are of foreign origin (Arabic, Persian, Urdu, Turkish, or Spanish), those that are technical and associated with the science of tiling and geometry, and those that pertain specifically to design methodology. In this latter category, much of the nomenclature is of my own invention. This is due to the fact that many