Islamic Geometry Quotes

Islamic patterns speak of infinity and the omnipresent center.

The abstract, curvilinear motifs of ancient Islamic decorative art found in mosaics and carpet design appear again and again at all scales of magnification on the boundary of the Mandelbrot set.

They asked for Plato's assistance. He told them: "You hated wisdom and ran away from geometry, therefore God has afflicted you a punishment, for wisdom and philosophical knowledge have a high rank with God." ... The plague was lifted and they ceased to defame the branches of theoretical knowledge.

Arthur C. Clarke thinks that it may be just a coincidence, "but", he writes, "the Mandelbrot set does indeed seem to contain an enormous number of mandalas or religious symbols, which are found in ecclesiastical designs-such as stained glass windows, and particularly in Islamic art. We find many forms like the Paisley pattern echoing the Mandelbrot set centuries before it was discovered!

Islamic art in its many forms is of the greatest import for the understanding of the essence of Islam and a central means of transmitting its message to the contemporary world. When one thinks of Islam, one should go beyond the repetitive scenes on television of wars and battles, which unfortunately abound in today’s world, to behold the peace and harmony of Islamic art seen in the great mosques, traditional urban settings and gardens, and the rhythm and geometry of calligraphy and arabesque designs; read in the poems that sing of the love that permeates all of God’s creation and binds creatures to God; and heard in the strains of melodies that echo what we had experienced in that primordial morn preceding creation and our descent into this lowly world. Today more than ever before, the understanding of Islamic art is an indispensable key for the comprehension of Islam itself. Those who are sensitive to the language of traditional art and the beauty of a paradisal order that emanates from it as well as the intellectual principles conveyed through it can learn much from this art.

In the night light, the golden Thuluth Arabic calligraphy glittered on the Kisweh, its brilliance enhanced by the velvet blackness of the surrounding silk. I was bewitched by its beauty. With the distortions of Wahabi extremism, beautification of any object was considered an offense, resulting in a Kingdom without ornate decorations, other than repetitive geometry which peppered public walls and even highway underpasses. Anything else was considered futile vanity by Wahabis, but at least the Wahabis had not eroded what seemed the final remaining evidence of Islamic craftmanship: unparalleled calligraphy. For the first time in the Kingdom, I appreciated beautiful Saudi craftmanship.

Venus draws a fivefold pattern around Earth every eight years allowing us to draw an amazing diagram. In those eight years there are almost exactly 99 full moons, nine elevens, the number of names or reflections of Allah in Islam. Jupiter draws a beautiful elevenfold pattern around Earth.

We need to raise awareness that the same way every single snowflake is unique in the sense that it has a different geometry, we as human beings are each unique and different in many ways.

AN ANSWER TO OUR QUESTION Places of worship embody the aspirations of their architects, and the communities they represent, to ideal beauty. Their chosen means of expression feature color, geometry, and symmetry. Consider, in particular. the magnificent plate HH. Here the local geometry of the ambient surfaces and the local patterns of their color change as our gaze surveys them. It is a vibrant embodiment of anamorphy and anachromy-the very themes that our unveiling of Nature's deep design finds embodied at Nature's core. Does the world embody beautiful ideas? There is our answer, before our eyes: Yes. Color and geometry, symmetry, anachromy, and anamorphy, as ends in themselves, are only one branch of artistic beauty. Islam's injunction against representational art played an important part in bringing these forms of beauty to the fore, as did the physical constraint of structural stability (we need columns to support the weight of ceilings, and the arches and domes to distribute tension). Depictions of human faces, bodies, emotions, landscapes, historic scenes, and the like, when they are allowed, are far more common subjects for art than those austere beauties. The world does not, in its deep design, embody all forms of beauty, nor the ones that people without special study, or very unusual taste, find most appealing. But the world does, in its deep design, embody some forms of beauty that have been highly prized for their own sake, and have been intuitively associated with the divine.

The refusal to examine Islamic culture and traditions, the sordid dehumanization of Muslims, and the utter disregard for the intellectual traditions and culture of one of the world’s great civilizations are characteristic of those who disdain self-reflection and intellectual inquiry. Confronting this complexity requires work and study rather than a retreat into slogans and cliches. And enlightened, tolerant civilizations have flourished outside the orbit of the United Sates and Europe. The ruins of the ancient Mughal capital, Fatehpur Sikri, lie about 100 miles south of Delhi. The capital was constructed by the emperor Akbar the Great at the end of the sixteenth century. The emperor’s court was filled with philosophers, mystics and religious scholars, including Sunni, Sufi, and Shiite Muslims, Hindu followers of Shiva and Vishnu, as well as atheists, Christians, Jains, Jews , Buddhists and Zoroastrians. They debated ethics and beliefs. He forbade any person to be discriminated against on the basis of belief and declared that everyone was free to follow any religion. This took place as the Inquisition was at its height in Spain and Portugal, and as Giordano Bruno was being burnt at the stake in Rome’s Campo de Fiori. Tolerance, as well as religious and political plurality, is not exclusive to Western culture. The Judeo-Christian tradition was born and came to life in the Middle East. Its intellectual and religious beliefs were cultivated and formed in cities such as Jerusalem, Antioch, Alexandria and Constantinople. Many of the greatest tenets of Western civilization, as is true with Islam and Buddhism, are Eastern in origin. Our respect for the rule of law and freedom of expression, as well as printing, paper, the book, the translation and dissemination of the classical Greek philosophers, algebra, geometry and universities were given to us by the Islamic world. One of the first law codes was invented by the ancient Babylonian ruler Hammurabi, in what is now Iraq. One of the first known legal protections of basic freedoms and equality was promulgated in the third century B.C. by the Buddhist Indian emperor Ashoka. And, unlike, Aristotle, he insisted on equal rights for women and slaves. The division set up by the new atheists between superior Western, rational values and the irrational beliefs of those outside our tradition is not only unhistorical but untrue. The East and the West do not have separate, competing value systems. We do not treat life with greater sanctity than those we belittle and dismiss. Eastern and Western traditions have within them varied ethical systems, some of which are repugnant and some of which are worth emulating. To hold up the highest ideals of our own culture and to deny that these great ideals exist in other cultures, especially Eastern cultures, is made possible only by a staggering historical and cultural illiteracy. The civilization we champion and promote as superior is, in fact, a product of the fusion of traditions and beliefs of the Orient and the Occident. We advance morally and intellectually only when we cross these cultural lines, when we use the lens of other cultures to examine our own. It is then that we see our limitations, that we uncover the folly of or own assumptions and our prejudices. It is then that we achieve empathy, we learn and make wisdom possible.

During these eastern travels Adelard obtained both the Greek and Indo-Islamic books of science, and the knowledge of Arabic which would enable him to translate them. His translation of the Arabic version of Euclid’s Elements introduced western Christendom to the most important book of geometry ever written,

Khwarizmi’s major contribution was to combine Euclid’s theories with Indian mathematics. The sheer clarity of his writing, and the simple way he managed to explain complex ideas, inspired generations of subsequent mathematicians and initiated rapid developments in algebra, geometry and trigonometry across the Islamic world: Indian innovations such as linear and quadratic equations, geometrical solutions, tables of sines, tangents and co-tangents suddenly became accessible to all.