Beautifully rendered from book illustrations, pottery, metalwork, carvings, and other sources, these 280 black-and-white designs include geometrics, florals, and animal and human figures in circular, hexagonal, rectangular, and other shapes.

Here are 141 designs and motifs in authentic full color from classic 19th-century work by noted French historian — a visual vocabulary of Islamic decorative art.

Nearly 200 examples exhibit the wide range of Islamic art, including hexagon and octagon designs, combinations of stars and rosettes, and many variations on other geometric patterns. Twenty-eight examples from traditional sources in Cairo and Damascus include sanctuary doors, openwork windows, and inlaid marble pavements and ceilings.

This book celebrates the thriving world of Islamic arts and crafts, as well as presenting the rich cultural, philosophical and historical heritage that contemporary artists and craftspeople still draw on today. Based on decades of research and expertise, and written by tutors at The Prince's School of Traditional Arts, one of the world's leading schools for the study of the traditional crafts of the East and West, it provides unparalleled access to a glorious range of methods, materials and skills. The book is organized into three chapters. The first explores the fundamental principles of Islamic arts and crafts: geometry, islimi and calligraphy. The second introduces widely used materials and tools, including pigments, gesso panels, gilding equipment, brushes, pens and paper. The third provides fully illustrated step-by-step guides to the crafting of artefacts and artworks, including Kufic calligraphy, plaster carving, Mughal and Persian miniature painting, parquetry, ceramics, mosaic and glassblowing. The history and significance of the techniques and materials used are explained, accompanied by numerous illustrations of masterworks found throughout the Islamic world. This comprehensive and accessible volume, packed with over 1,000 images, connects cultural history with modern practice. It is a vital reference and practical resource for craftspeople, artists and students from all backgrounds who seek to engage with the Islamic world. With over 1000 illustrations in colour

The main focus of this unique book is an in-depth examination of the polygonal technique; the primary method used by master artists of the past in creating Islamic geometric patterns. The author details the design methodology responsible for this all-but-lost art form and presents evidence for its use from the historical record, both of which are vital contributions to the understanding of this ornamental tradition. Additionally, the author examines the historical development of Islamic geometric patterns, the significance of geometric design within the broader context of Islamic ornament as a whole, the formative role that geometry plays throughout the Islamic ornamental arts (including calligraphy, the floral idiom, dome decoration, geometric patterns, and more), and the underexamined question of pattern classification. Featuring over 600 beautiful color images, Islamic Geometric Patterns: Their Historical Development and Traditional Methods of Con struction is a valuable addition to the literature of Islamic art, architecture and geometric patterns. This book is ideal for students and scholars of geometry, the history of mathematics, and the history of Islamic art, architecture, and culture. In addition, artists, designers, craftspeople, and architects will all find this book an exceptionally informative and useful asset in their fields. Jay Bonner is an architectural ornamentalist and unaffiliated scholar of Islamic geometric design. He received his MDes from the Royal College of Art in London (1983). He has contributed ornamental designs for many international architectural projects, including the expansion of both the al-Masjid al-Haram (Grand Mosque) in Mecca, and the al-Masjid an Nawabi (Prophet’s Mosque) in Medina, as well the Tomb of Sheikh Hujwiri in Lahore, and the Ismaili Centre in London – to name but a few. He is committed to the revitalization of Islamic geometric design through the teaching of traditional methodological practices. To this end, in addition to publishing, Jay Bonner has lectured and taught design seminars at many universities and conferences in North America, Europe, North Africa and Asia.

Plant and animal motifs, chain patterns, geometrical and symbolic motifs, architectural forms, stylized suns and moons, rosettes and borders, calligraphic lettering and Turkish adaptations of rococo — all derived from authentic sources — are among the many types of design illustrated in clear, easily reproducible images. 264 black-and-white illustrations:

Featuring new patterns with detailed explanatory texts, this revised edition is an inspirational guide for craftspeople and artists alike. The marvels of Islamic patterns—the most recognizable visual expression of Islamic art and architecture—are not just a beautiful accident. The ancient practitioners of this craft used traditional methods of measurement to create dazzling geometric compositions, often based on the repetition of a single pattern. The results are magnificent in their beauty and awe-inspiring in their execution. Now, with the aid of this book, everyone can learn how to master this ancient art and create their own intricate patterns or re-create classic examples. All that is needed is a pencil, a ruler, a compass, and a steady hand. Technical tips demonstrate the geometric basics such as how to create designs from one of the foundational “family” shapes: a square, hexagon, or pentagon. This is followed by step-by-step instructions for reproducing some of the best examples of geometric patterns. Islamic Geometric Patterns contains twenty-three geometric patterns and brief histories of some of the most famous and beautiful Islamic art and architecture from around the world. This revised edition features seven new patterns from locations including: Ak Medrese in Nigde, Turkey; Chellah necropolis in Rabat, Morocco; Shah Jahan Mosque in Thatta, Pakistan; the Tomb of I’timad-ud-Daulah in Agra, India; the Alcazar in Seville, Spain; Zaouia Moulay Idriss II in Fes, Morocco; and Darwish Pasha Mosque in Damascus, Syria.

Combines wide-ranging research with the author's artistic skills to reveal the techniques used to create the patterns adorning buildings in the Islamic world

The sleek, exciting geometric motifs seen everywhere in today's decorative arts reflect the continuing Art Deco revival. Textiles, wallpaper, upholstery, and graphics abound with the dynamic, distinctive patterns associated with this influential and popular style. Now artists, designers, and craftspeople can have a treasury of original Art deco compositions at their fingertips — ready for use in any graphic project. This volume includes over 500 crisp black-and-white spot illustrations and motifs combining stylized birds, insects, and floral elements with circles, squares, ovals, triangles, and other abstract forms. Best of all, they're copyright-free . . . no prior permission or fee is required for use. Remarkably inventive and versatile, William Rowe's masterful Art Deco renderings are perfect for highlighting advertisements, greeting cards, menus, catalogs and invitations, or for adding graphic vitality to fabric designs, stationery, bookplates, and a host of other arts and crafts undertakings. You'll find Art Deco Spot Illustrations and Motifs ideal for your needs whether your project calls for an entire illustration or just a single motif. Designers, illustrators, and craft enthusiasts will want to keep this time-saving, money-saving collection on hand as an inexhaustible source of inspiration with fresh Art Deco flavor.

Divine oneness as the principle of beauty is perhaps quintessentially Islamic artistic expression and experience and what it celebrates. Why has Islamic art evolved as it has, what forms does it take, what is the logic underlying it? What message is the Muslim artist attempting to convey, what emotion is he seeking to evoke? This work views Islamic art as a subject of archeological study and treats its evolution as part of the historical study of art in the broader sense. At the same time, it paves the way for an epistemological shift from viewing Islamic art as a material concept having to do with beautiful rarities and relics that have grown out of Islamic cultural and artistic creativity, to a theoretical concept associated with a vision, a principle, a theory and a method. This theo-retical concept provides the intellectual and cultural foundation for a critical philosophical science of Islamic artistic beauty to which we might refer as ‘the science of Islamic art,’ or ‘the Islamic aesthetic’ that evaluates visual artistic creations in terms of both beauty and practical usefulness. In the process the study also explores orientalist misconceptions, challenging some of the premises with which it has approached Islamic art, with judgement rooted in a cultural framework alien to the spiritual perspective of Islam.