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Islamic design
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Arabic / Islamic design
Arabic / Islamic geometry 01
Arabic / Islamic geometry 02
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Arabic / Islamic geometry 04

menu for notes relating to this section on Islamic design

The beginnings of these studies

This part of the site began with the intent that it would look at the
geometry behind the traditional carved plaster naqsh work that is so
much a feature of the traditional architecture of the Qatar peninsula.
Other notes I made some time ago seem to have taken precedence
and much time and effort has been expended in setting those down
rather than continuing with the original intent. This page is intended
to encourage me towards working again in this area, and starts with
a note made some time ago specifically relating to the setting out of
naqsh panels in Qatar.

The domestic architecture of the peninsula was simple due both to the lack of disposable income as we
beliefs of those coming to live there. Decoration, where it existed, was originally simply scratched into
geometrical in nature. With time a more intricate form of carved plaster naqsh was developed and that
focus of this page.

My intention is to begin by looking at the simpler patterns, which really means the older ones which da
middle parts of the last century. The more complex patterns now see in the naqsh patterns used on ne
buildings are generally more complex in their designs.

There is more information set out on one of the Gulf architecture pages looking at naqsh work in Qata
aware tht there may be duplication, or conflict…

The point of this is to suggest that although geometrical patterns formed the basis for all the naqsh wo
was no great concern to make this work entirely accurate. Most of the examples shown here will illustr
be that although the simple tools available to them would allow interesting and accurate designs to be
there was a lack of understanding of simple geometry, little concern, a wish to have the design imperfe
some other reason – or a combination, of course – which impelled artisans to create works with signifi
accuracy of layout or execution. This page intends to look at these issues.

But before moving on to the designing of naqsh carved plaster work

in Qatar, here, by way of a design and material contrast, is an
example of a pre-cast concrete panel used as part of a long frieze
on a mid-1960s residential building in Westminster, London.
Designed by the English artist William Mitchell, its use of relief to
create an abstract design illustrates something of the power of this
simple medium. The designs are evidently hand-carved and have
not been established on regular orthogonal geometry – other than
the setting out of the four vertical panels – this character enlivening
the design much as did the older traditional Qatari naqsh carving. Coincidentally, Mitchell worked on a
in Qatar in the 1970s and 1980s.

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Trial and error

Mention has been made in a number of places about trial and error
in the setting out of Islamic patterns. In Qatar, the geometric
patterns used to create naqsh panels did not use particularly
accurate geometry, and this created many panels with considerable
visual energy which would not have been the result had the
geometry been set out accurately. An example of this practice is
shown here and illustrates a character of execution which modern
artisans feel unable to replicate, needing to make their patterns
accurate both by training and inclination.
While many divisions are relatively easy to establish, some are impossible to construct accurately and
iterative testing to produce an accurate – or relatively accurate – division. Take, for instance, the diffic
into nineteen parts.

The easiest way to create an unusual number of divisions would be

to set out an easy geometry and then make incremental guesses for
the number required. If the divisions are constructed on a circle,
then stepping around it with a pair of dividers will eventually find an
approximation of the required number. Here, for instance, in order
to divide a circle into nineteen parts, a circle has first been divided
into six by stepping round the circumference of the circle with
dividers set at the same diameter as the circle. Within one of the
areas coloured blue it is evident that it must be divided into a little
more than three parts in order to create nineteen divisions. So, setting dividers at a little less than a th
between the first sub-divisions, a process of iteration with amendments to the setting of the dividers w
produced the necessary dimension for a relatively accurate approximation of the distance required to d
nineteen parts.

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A simple lozenge or slot pattern

Here is a relatively common pattern found in Islamic designs, often
in the form of a background. It has similarities with patterns found
in Qatari naqsh. Based on a lozenge shape that repeats infinitely in
two directions, it is constrained only, as in this case, by a relatively
arbitrary selection of frame. It can be seen as a linear pattern or,
here coloured, as a slightly more interesting pattern.

Yet the
pattern is
based on,
or
derived
from, a
square.
Here I have shown three adjacent squares at a different scale in order to make the construction a little
have also drawn the contained circle as this form is argued to create the base planar surface for the de

In order to construct the lozenges, first take a square, here tinted

blue, and draw diagonals from its corners. Through its centre, a
horizontal and vertical line are taken to its perimeter, subdividing
the square into four smaller squares. These squares are further
divided by diagonals. Next, lines are taken from the corners to the
central points of each of the sides of the square, creating the square
illustrated in the centre. Each of the small squares is then
subdivided horizontally and vertically into three by joining and extending lines through the intersection
creating the square at the right of the diagram.

The first part of this illustration shows, rather than the square, the
circle on which the lozenge has been established. The second part
shows how the lozenge has been created from the diagonal
construction lines. Obviously the lozenge might be arranged either
horizontally or vertically. In the third part of the illustration I have
added four stars that bound the lozenge, though these stars would
be parts of the surrounding lozenges in an extension of the pattern.

This first
diagram
illustrates
the
extended
pattern
showing
how the lozenges fit together, alternating their direction through 90°
on an orthogonal grid or matrix. As happens with many geometric
patterns formed of two shapes, the eye tends to see one or the
other shape, rather than the overall two-dimensional patterning.
Here the eye moves between seeing the lozenges and stars.

The next two diagrams use the same geometric construction as the
lozenges above, but the pattern is orthogonal. I have included the two patterns as they are one of the
naqsh work, usually as background or within a complete pattern. The two patterns are essentially the
being the points at which the corners of the rectangles are selected.

This
lowest
sketch,
based on
the exact
geometry
of the
study
above,
illustrates something of the character of a naqsh panel with an
attempt to give a three-dimensional effect with a drop shadow. A
simple effect such as this would have been relatively easy to carry
out on either wet or dry naqsh. The pattern is found on the other
side of the Gulf where the workers are likely to have originated and
is a relatively common pattern in traditional buildings in Qatar.

At first glance these two photographs appear to illustrate an

application of the pattern, but will not have required any use of the
circle to lay it out. You can see that the pattern has the addition of a
small square to create more of an even balance between solid and void, the recessed carvings having
The photograph from which these two details were taken was made in an old majlis at Wakra in the lat
the upper photograph you can see a typical naqsh panel with the pattern taking up the whole of the pa
lower photograph you can see how the setting out lines were scratched on the dry or drying plaster in
for carving out.

There are two points to note in the above photograph. The first is
that the setting out lines are made along the centre of the area to
be left untouched, when you might have anticipated that the
craftsman would mark out the edges of the pattern, leaving much of
the setting out lines hidden. The second is that the carving is
relatively deep and has straight sides. On external work it was not
necessary to have such deep carving in order for the sun or light to
make its effect apparent.

This note began with a suggestion that the argument shapes might or might not be based on circles, w
gone through this brief exercise in order to illustrate how a shape is formed by following lines of a pre-
note on decagonal and quasi-crystalline tiling above showed that artisans used a number of standardis
produce geometrical patterns. While only a compass and straight edge are necessary to produce many
designers, it is apparent that they would have used a simplistic system rather than construct all patter
experience is in seeing artisans using primitive compasses, wooden set squares and chalk. The ancient
used knotted ropes to form right angles; knots set at three, four and five units apart along a rope wou
be readily formed, this being the basis of the simplest Pythagorean right angled triangle.
I have illustrated the construction of a square above, but there are a number of other ways of construc
which might be more suited to the production of a lozenge.

Here, to the right, is an alternative way of constructing a square upon a given line. All the necessary c
there but I have added the adjacent squares, circles and diagonals in order to show the relationship w

The lower illustration has been added as a reminder of the relationship between the lozenge patterns a
The illustration clearly shows the importance of the square in establishing the pattern of the lozenges.
different relationship between the four lozenges in the corners of the squares and the four on the perip

So, the argument about the generator of patterns being square or circle may be semantic, but it is app
at least compasses, are necessary in order to generate patterns found in Islamic geometric designs. N
a rational progression for artisans to use formers constructed to a variety of angles and lengths with w
patterns.

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A simple circular pattern

This pattern is also of a relatively common form of naqsh found in
Qatar. The construction is simple in that the design is established on
the basis of an orthogonal grid of circles set one radius apart, the
pattern being four circles wide by two circles high, creating a grid of
eight by four rosettes. Because of this duality it has a rather static
appearance, one that would be improved were there to be an odd
number of circles in the columns and, particularly, the rows. You
may notice that the pattern has almost an art nouveauappearance.

This first
diagram
illustrates
in simple
red lines
the basic
geometry
of the
pattern
above. A
grid of
equally
spaced

horizontal and vertical lines is first established, either by using

compasses and straight edge or, more likely, a right angled set square and dividers. In fact, when com
with regard to the laying out of naqsh work, it should be understood that the work is usually effected w
dividers and, nowadays, a pencil. Then, with their radius set to the distance between the lines, a series
with their centres on each junction of the horizontal and vertical lines.

If there is an unusual character to this simple pattern shown above, it is that the circles are not set ou
on their outer edges. Generally when patterns are set out, the pattern lines will straddle the setting ou
geometric coherence which usually makes the pattern easier to work out and avoid eccentric shapes o
the case of this pattern, setting out to the edge of the circles establishes a greater distance between th
the effect of producing an overall pattern which is more even in its weight of solids to voids. The first o
illustrates what the pattern might look like when straddling the setting out lines, the lower sketch illust
the setting out lines.

This last sketch shows a more detailed view of the two alternative groups of four rosettes, illustrating
visual difference between them with a single rosette emphasised to illustrate better the subtle variatio
rosettes on the right are more clearly defined by having their pattern lines touching the setting out line
probable reason for the original design decision. When the design is
carved out and shadows fall across the pattern, the distinction is
enhanced.

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Two wall panels

These
next two
examples
of naqsh
probably
date back
to the

developments associated with fishing and pearling of the 1930s.

They were photographed in Wakra in 1975 and 1982 respectively, a
considerable time after the conurbation was abandoned. Both are
examples of panels carved, probably, on the ground, and then
placed into recesses in the wall. As such they would have
represented good practice of the time, a better quality than would
have been found in much of the peninsula as Wakra had a
significant and coherent quality to its buildings from that time. Yet
these panels are simple, a part of their beauty is, like many of
them, the inaccuracy of their execution. Notice that both of the panels have been carved deeply, and t
examples is symmetrical, even though there can be no good reason for this to be so.

Unlike the simple circular pattern looked at above, this pattern has been set out with its lines centred o
The sketches below relate to the manner in which it was design and constructed.

The first sketch illustrates the simple geometry upon which the
design was to be constructed. The establishing of horizontal and
vertical alignments has not been shown as it is likely that this would
not have been used on the original setting out, the work most likely
being set out by eye. The pattern has been established on a grid of
7½ by 2 circles.

If the
pattern
had been
executed
as might
have
been

anticipated, then it would have looked similar to the illustration shown here. It is evident that it would
symmetrical about both its axes and the pattern would have been seen to be correct in its execution. H
difficult to guess at, this was not the case.

This sketch illustrates how the simple geometrical pattern shown

above was amended at its right end. Here it is evident that the basic
geometry was capable of being amended and a sensible resolution
of that end carried out. However, the two circles have been placed in
illogical positions suggesting that the panel was determined to be a
specific width where it would have been more sensible to reduce its
width to facilitate a more rational geometrical arrangement to be
made.

Here it is possible to see how poorly the right end of the panel was completed. The lines for the two se
established on the right, but the area between them and the rest of the panel have been filled in a hap
decisions made in the top right corner being dissimilar from those in the bottom right corner.
The
second
panel,
repeated
here, is a
slightly
more

sophisticated design than the first panel in that it has a central pattern contained within a surrounding
the two panels above you will see that the way in which it has been laid out establishes a considerable
compared with the first example which is more static in appearance.

This has
been

accomplished, perhaps accidentally. The four circles which are the main elements of the central design
rectangular frame. Lines drawn at 45° from the corners of the frame – shown on the left hand side of t
the central point of the outer two circles of the pattern. The six circles of equal radius which are constr
of the outer two pattern circles are set out from the intersection of the 45° line and those circles. This
internal petals created to 15° from the vertical. Each alternate circle is mirrored so that, when the inte
are added, a waving line is created across the centre of the pattern, as can be seen in the photograph

The next elements of the pattern to be set out are the small semi-circles running round the inside of th
the second circle from the left in the diagram above. In order to do this, the pattern circles are divided
twelve and, with centres on every alternative junction along the pattern circle – as seen on the right h
of six small circles are drawn. This introduces a geometric illogicality in that the semi-circles overlap. H
of this type of work allows a degree of inaccuracy, the result may not show this, as can be seen in the

Here is a simplified sketch of the central pattern of the panel. It is

illustrated as an accurate drawing in order to show how the pattern
might have been envisaged. Even at this scale it is possible to see
that the semi-circles are not quite accurate, though the lively
character given to the piece by the reflection of the circles about a
vertical axis is evident.

While the
central
pattern
and its
elements
look,
more or
less, accurately set out, this is more than can be said for the surrounding border. Apparently composed
alternatively mirrored about an axis parallel with the semi-circles’ base, there are, respectively 11½ an
and 4 and 3½ left and right – although this may not be too accurate a representation due to the inacc
Whatever the number here, they bear no obvious relationship with the four circles in the centre of the
from the adjoining sketch, not all the semi-circles have been mirrored, and that quarter circles and ver
added, apparently at random. What is clear is that the artisan who made the panel seems to have run
setting out the surround – or that he made a number of decisions without thinking of their rationale w
geometry of the panel. The semi-circles have been marked out with a pair of compasses, but the lines
might have been anticipated.

The setting out of the semi-circles may seem a little irrational as the
system is different from that of the circles in the central pattern. It
was probably based on the corners of the centres of the grid lines
describing the semi-circles being in line with each other, as shown
on the left, whereas the main circles of the pattern have these central lines being coincident, as shown
The problem with this kind of surrounding pattern is in creating a logical corner, not only one which ca
sensibly but, perhaps, also one which relates to the central pattern. This panel, obviously has not reso

Combining the central pattern and its border, here is an illustration

of the actual panel, admittedly with a number of small variations,
but giving a relatively accurate representation of the original. Note
that although there are a number of variations from a simple
arrangement of semi-circles, perhaps the oddest decision was to
have had two similar semi-circles adjacent to each other on the
bottom right of the panel.

These
last two
sketches
can be

compared with the sketch above as well as the original photograph of the panel. They illustrate how th
been carried out had it adhered to a more coherent geometry. The most obvious difference is in the re
to solid. This is a reflection of the smaller number of semi-circles in the first illustration – 9 by 3 – and
semi-circles in the second illustration – 17 by 5 – which are needed if the semi-circles are to align with
circles in the central pattern.

It would be possible to use even numbers of semi-circles, but this would result in the need to have diff
of the corners. Of these two patterns, the lower one is the one which more closely resembles a Qatari

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The design of the spiral

One of the more important features of Qatari carving was the use of
the spiral in the design of naqsh panels. This has been dealt with
elsewhere and this note is, more or less, a copy of a note on
another page. There are two characteristics which appear to attach
to the use of the spiral. Firstly, there is the visual motion brought
about by use of the spinning motif and, secondly, the sense of
direction relating to the use of a spiral spinning in an anti-clockwise
manner. Note in this example that the main spiral is set anti-
clockwise whereas the supporting two spiral sections have been
established clockwise on the left and anti-clockwise on the right – the direction from which the panel w

As mentioned above, these examples are looked at elsewhere, but

here the intention is to concentrate more on the geometric design of
spirals. Looking at the old examples such as that at the head of this
section, it is apparent that a great deal of latitude was taken in
setting them out accurately. Here, however, is a more modern
interpretation, carved in the 1970s and based on fifteen-point
geometry. I am not able to say how it was worked out. Five- and
six-point geometries are easy to construct, but fifteen and thirty
require the use of Neusis to trisect angles, so I have to assume this
example was carried out by trial and error or by using a modern
protractor to establish the angles of 24° or 12° required to set this
central spiral out accurately.

This
sketch
illustrates
how the
spiral
would
have
been set
out. The
central circle is divided into six by the usual method of describing a series of circles of the same diame
and with their centres on its perimeter. The distances between these intersections would then have eac
parts either, as suggested, by protractor or by trial and error, the latter a relatively easy method bearin
degree of accuracy practised in setting out naqsh panels using a pair of simple dividers.

This suggestion is strengthened by this example of a new naqsh

panel, recreated in another building in the 1980s. Here there is a
similar spinning motif but, in the case, there are seventeen
elements in the design. While it is possible to produce a seventeen-
sided geometry, it is extremely unlikely that this would have been
the case here. Much more likely is it to have been, again, the result
of trial and error setting out.

Mention was made in the first paragraph of this note of the direction
in which the spiral has been set. Note that both these motifs spin
anti-clockwise. I have written elsewhere about the way in which the way in which we read writing influ
we view other aspects of the visual world. In this case it seems to make sense that the Arab craftsmen
advancing from right to left.

You will
see

immediately the relationship which the first carved naqsh panel, shown above and to the right, here, h
illustrated here, both of them incorporating eighteen blades. This design suggests either that spirals w
carved panels, or that they were part of the design vocabulary of a single person or group whose work
carving these panels. Compared with that panel, this is missing the rectangular element at its base bu
Both have the counter-clockwise whirling motif constructed of eighteen blades though the surrounding
different and, along the bottom edge, further away from the centre of the circle in this example, creati
below the centre circle. Note, incidentally, the small differences in setting out the two panels to the lef

However, this decorative naqsh panel has been divided into

seventeen blades, most likely a result of the design being executed
quickly and with no real concern for the underlying geometry. This
suggestion seems to be supported by the triangular motif which
runs around the outside of the spiral and of which there are twenty-
two triangles. Note also that the lower left semi-circular spiral
moves in the same direction as that on the right, in contrast with
the two similar naqsh panels above where this is reversed.

There are
eighteen
blades on
the
circles
above,
which
require
the
positioning of thirty-six points along the circumference in order to set them out. While it is very easy t
geometry and not difficult to construct nine point geometry, it is likely that these whirls would also hav
basis of six-point geometry and then established by trial and error to accord with this degree of accura
out that the centres for the curved blades are set half way between the centre of the circle and its circ
by the blue semi-circle in this sketch.

Generally, spiral designs were created as individual patterns, elements in arrangements suited to a ran
Occasionally they appeared as single spirals supported by two semi-spirals as shown a little way above
panels were designed to incorporate a pair of spirals, here seen revolving in the same direction with ea
eighteen blades, the panel being photographed in one of the many ruined buildings at Wakra in 1972.
ideally suited to a rectangular panel, the internal proportions,
obviously, being in the proportion of 2:1, though the addition of the
external running pattern will amend this slightly.

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Eccentric designs
Many of
the
pages
here
make
reference
to the
eccentric
setting
out of carved naqsh panels or work executed directly into walls. The reasons for this character of work
lack of concern, an ignorance of geometric method, the necessity for speedy execution, little experienc
factors. But whatever the reason is, the results tend to have a significant degree of visual energy in th
accurate patterns. This is a natural consequence of the eccentricities of setting out, as is illustrated in
example which somebody has partly coloured, bringing out an extremely irregular shape from what m
a regular pattern.

The intent of the designer appears to be that the pattern should consist of a number of semi-circles, m
the left, the first semi-circle on the curve touches the first on the lower straight line. On the right, the
not touch. Hence the irregular resultant shape.

One of the problems of setting out associated with this type of

pattern relates to the decision on where to establish the surrounding
geometry. In this case the semi-circle is the outside line containing
the panel. This means that the lines parallel to it and within it, meet
at their internal angles at less than right angles. It follows that the
semi-circles established on the curve can not be full semi-circles.

On inspection of the scratched setting out marks on the naqsh, it

appears that the pattern would have been relatively easy to set out.
Why it should lack simple symmetry might be difficult for many to
understand without thoughtful analysis. However, the point to make is that although the pattern looks
set out. In fact, it is impossible to establish logically for simple geometrical reasons.

Here an attempt has been made to suggest how the circles should
have been distributed. The circles superimposed are all of the same
size while those on the panel seem all to be different. In particular it
is the setting out and sizing of the quadrant of the circle in the
bottom right hand corner which has pushed the other circles to the
left, resulting in the eccentricity picked out by somebody using a
dark blue paint.

Although it is not a mistake as such, it is notable that the circular

line on which the top three small circles are centred does not create
the same relationship with the edge of the panel as does the horizontal line on which the bottom four c
black lines show where the associated circles should be centred in order to create a more logical patte
draw the upper left and right circles away from the central circle and nearer to the corner circles.

This illustration shows how the setting out of the small circles would
have been impossible. The circles have been expanded so that they
touch each other. On the left and right there are two groups of three
contiguous circles and, along the bottom of the illustration there are
four contiguous circles. The central circle has, by simple geometry,
to fit exactly between the upper left and right circles. Moving it up
automatically introduces space between it and those two circles.
Shrinking the circles will introduce space between all of them, but
those spaces will be of different sizes. Discovering this when laying
out the circles may be the reason for some of the eccentricity of the pattern.
Situated in one of the ground floor rooms of Sheikh Abdullah’s
original development at feriq al-Salata was this carved naqsh panel.
The photograph was taken in 1972 and has been distorted slightly in
an effort to correct its perspective and make it more geometrically
accurate, though this is still not perfect. Its interest to me lies in the
apparent simplicity of its design. At first glance this appears to be a
semi-circle having a square grid laid within it and small circles
centred on each alternative crossing of the grid. But this is not so;
the panel is truly eccentric.

First there is the location of the gridded element of the design which
only occupies a part of the semi-circle. In common with many
similar designs the main element of the design does not fill the
whole of the design; part of the base is taken up with a reflected
running design meaning that the main design is not contained within
an accurate semi-circle. This creates an issue with the number of
squares and their shape. There are fourteen squares spaced
horizontally with seven squares vertically. This would suggest that
the springing of the semi-circle should be the base line of the grid.
But it is not.

As mentioned previously, this is not uncommon in semi-circular designs. But to add to the geometric p
equally spaced along its length – note that there is a small space left on the left edge of the design as
the latter may be arguable due to the flattening of the design in that area, there seems to be no justif
the left.

The other eccentricity is the one which creates a great deal of

liveliness in the overall design. The circles which are located at the
junction of each alternate crossing of the square grid have been
used to create for irregular running lines, one symmetrical group,
five individual circles and a number of elements of the circle
attached to the outer semi-circle. Here they are, illustrated in
different coloured lines. There is no rationale to the design, just
what appears to be a naïve or whimsical approach to connecting the
circles. Yet the effect catches the eye and lets you appreciate the
pattern perhaps more than if it was a rational array of circles.

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The development of spiral designs

It is interesting to look at the way in which craftsmen have been
able to break down the scale of the work they carry out while
maintaining a reasonable degree of innovation within this very
limited design area. The example to the right is an example of the
new decorative treatments now being carried out over important
gateways. Generally they are much larger in overall size than those
made in the past. This is not entirely in their favour as treating large
areas of wall with small scale geometric patterns results in the
confusion of designs. Note the degree of symmetry about the
vertical axis on the above example – and also note that the spiral in the centre has thirteen blades.

The photograph above illustrates one of the problems associated with large areas of naqsh carvings. It
methods by which the problem can be reduced, that is by the use of planes of carving with substantial
them. This introduces improvements in scale and proportion and, where carried out sensibly, can cons
overall work. Here is a small example of this type of solution. Essentially there are four levels employe
frame within which the work is carried out, the two decorated planes, and a single step between them
articulating the work and enlivening the wall and its carvings. The strong sunlight helps in defining the
both when viewing from a distance where the openings can be seen clearly, and also close to the work
is the focus of interest. Note that, despite this being a new carving, it is not entirely accurately set out
spinning device is based on fifteen-point geometry.

This example employs the central spinning motif, commonly seen in Qatar, and in this case being base
geometry. It is not possible to state authoritatively how it was worked out, but my suggested construc
and six-
point

geometries – and, therefore, ten and twelve-point geometries – are

easy to construct, but fifteen and thirty require the use of Neusis to
trisect angles, so I assume this example was carried out by trial and
error.

Compare
the
fifteen-
blade
spiral
above
with the
thirteen-
blade
spiral illustrated at the top of this section. An enlargement of a part of the photograph is shown here. T
there are three on the façade of the entrance, may be thought to have been the result of error in setti
the whole of the entrance gate façade can be found on one of the pages looking at Gulf architecture w
if it were to have been an error in setting out, the error was made three times, suggesting a different

The proposal that these spirals were constructed by trial and error
is, perhaps, strengthened by this example of a new naqsh panel,
recreated in another building. Here there is a similar spinning motif
but, in the case, there are seventeen elements in the design. While
it is possible to produce a seventeen-sided geometry, it is extremely
unlikely that this would have been the case here. Much more likely
is it to have been, again, the result of trial and error setting out.
There is one other incidental point to make. Note that both these
motifs spin anti-clockwise. I have written elsewhere about the way
in which the way in which we read writing influences the way in which we view other aspects of the vis
seems to make sense that the Arab craftsmen would see this as advancing from right to left.

You will see immediately the relationship which this carved naqsh
panel has with that in the panel on one of the Gulf architecture
pages. Compared with that panel, this is missing the rectangular
element at its base but is otherwise the same. Both have the
counter-clockwise whirling motif constructed of eighteen blades
though the surrounding running pattern is different and, along the
bottom edge, further away from the centre of the circle in this
example, creating a different fill pattern below the centre circle.

There are
eighteen
blades on
the
circles,
which
require
the

positioning of thirty-six points along the circumference in order to set them out. While it is very easy t
geometry and not difficult to construct nine point geometry, it is likely that these whirls would also hav
basis of six-point geometry and then established by trial and error to accord with this degree of accura
out that the centres for the curved blades are set half way between the centre of the circle and its circ
by the blue semicircle in this sketch.
One of the common features of all these spiral carvings is the hole in their centres. This may be a feat
point of a pair of dividers used to set out the spirals. Generally their is an annular feature surrounding
which the recessed carvings can make a sensible junction. Were they to come together in the centre th
creating the ridges at their common junction.

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Running patterns
Many of the traditional buildings in the peninsula have naqsh panels,
as described on this and other pages. Their setting is usually within
shaped panels such as those outlined below. But there are a number
of other elements to be found in the decoration of walls, the most
common of which are the running patterns, one of which is
illustrated here, photographed in the early 1970s in the
development created by Sheikh Abdullah bin Jassim in feriq al-
Salata, the pattern running across the bottom of the double bank of
naqsh panels, separating them from the window openings below,
out of the photograph.

The pattern is around 200mm deep and runs all round the room
providing, in visual terms, not only a strong demarcation between
the windows below and the decorative panels above, but also a base
for the panels. Interestingly a band of chevrons has been added
below the main pattern, providing a visual base for the circle and
square pattern, though this introduces a setting out problem of its
own which has not been satisfactorily resolved. Note that in the
photograph of the top of the wall above, a smaller running pattern
completes the design above the naqsh panels. That pattern appears
to be a standard design detail found in many traditional buildings.

The setting out of this running pattern is interesting due to its being
illogically organised. It seems evident that the running chevron
design should have connected to the semicircular elements above it
– the length of the diagonal being equal to the diameter of the circle
and the side of the square – but this has not been effected. In order
for it to work correctly there would have to be an equal distance
between the vertical lines and the semicircle, and this would have to
be equal to the radius of the circle. The chevrons would be right
angled triangles.

You can
see from
the

photograph above that an attempt has been made to connect the circles and chevrons where possible,
been relatively simple to set out correctly or logically – whether as illustrated above or in the upper of
sketches where four chevrons are connected to four vertical lines defining three spaces. Bear in mind t
sketched out prior to carving taking place.

Why neither of these should be the case is difficult to deduce. While it may suggest a lack of care, indi
understanding, there is also the possibility that it a deliberate attempt to assure a lack of perfection in
Perhaps, more logically, the circles and squares were set out first and then the artisan made the chevr
setting out, connecting where he was able to.

An alternative, and easier, way of setting out the pattern would have been as illustrated in the lower of
grids, and which is also that shown on the right of the notional example above.

Based on a geometric structure similar to that shown just above, this naqsh panel, photographed on a
1971, has a more sensuous line developed over its underlying geometrical grid. Although the base for
and regular, the pattern appears to be relatively free and has a
character different from many of the other naqsh panels in that
building.

The fact
that the
design
exhibits

considerable eccentricity in its execution only adds to its lively form. This detail of a part of the naqsh
artisan creating the panel used dividers with different diameters in creating the semi-circles that estab
and had no difficulty in allowing the linear element to be broken at its crossings with the horizontal gri

Here is a relatively accurate representation of the naqsh panel

above illustrating the geometric basis on which the carved panel
was created. Interestingly the panel is based on laying out a grid
which has twelve squares horizontally, and six squares vertically.
Looking at the original panel in detail it is evident that the horizontal
and vertical distances were measured off with a pair of dividers, but
that when it came to creating the circles based on the gridded
intersections, different diameters of circles were scratched into the
surface of the panel, creating a mis-alignment of the semi-circular
elements.

This detail of the setting out pattern shows more clearly the simple
nesting of the circles that underly the continuous lines. The width of
the lineal component appears to be arbitrary and would have been
decided by the artisan carving the panel. Given the need to work
relatively quickly it is not surprising that there is no geometrical
rationale behind the width of the line, despite this decision having a
significant effect on the character of the panel.

This
effect is
crudely

illustrated here in an attempt to give an indication of the strength of the pattern’s lines against the dar
shadowed area of what would be the naqsh panel.

You should also note that there is a considerable ambiguity between the orthogonal horizontal and ver
the sinuous circle-based lines of the pattern, creating another degree of tension in the design.

The next two photographs were taken in one of the buildings in Wakra that had been abandoned many
photographs being taken in 1972, though one of the patterns was photographed in a room still being u

The first example is interesting because it uses a type of pattern that is relatively uncommon, but one
seen in large panels of naqsh. The difference is that this running design incorporated lozenge shapes w
varying density along the band compared with the type of pattern in the second example which distrib
elements evenly along the band.

The first running pattern was used both horizontally and vertically as trims within the room in which it
see, the pattern has been created on the basis of a simply established square grid. Straight lines have
vertically and at 45° to create the basic grid upon which the pattern has been developed. It is an extre
establish and produces an attractive running pattern.
The
square
grid can
be seen
here
roughly
superimposed on the original carved pattern. There is a certain lack
of fit due to the manner in which the pattern was carved in situ, but
it can be clearly seen how the carving is related to the grid. Below it
is a sketch of the theoretical pattern based on that grid.

While the above running pattern has a rectangular basis to it, this is
mainly constructed from interlocking circles, a form of geometry
which seems to be the preferred method when establishing the
underlying grids for the naqsh panels which are a feature of the
traditional architecture of the peninsula. While the running pattern is
used mainly horizontally, its connection with vertical running
patterns tends to be unconsidered, as can be glimpsed on the top
right of this photograph where a vertical element meets the
horizontal band.

This

traditional running pattern has been created by drawing a series of interlocking circles set one radius a
and vertical directions, here shown superimposed in white. Diagonal lines at 45° have been added, sup
indicating how the small crosses in the centre of the alternate circles might have been accurately locat
anticipated in hand-carved patterns carried out in-situ, there is a slight difference between the accurat
lines and the completed pattern.

The lower sketch gives an indication of how the theoretical pattern might have looked had the geomet
more accurately followed.

One point of note is that the three small triangles developed at the
bottom of the photograph of the running design are larger than the
corresponding triangles at the top, suggesting an arbitrary decision
on the relationship between the the outside of the circles and the
edge trim. Oddly enough, the creation of the larger triangles at the
bottom, compared with those at the top, gives a classical balance to
the pattern. Compare this sketch with that above.

Much of
the work
on these
pages is
of

decorative naqsh plasterwork carried out prior to the 1950s, and

found inside buildings that had been abandoned and were falling
apart. Sadly, due to this and random vandalism, it is evident that a
large number of examples of naqsh decoration have been lost and,
with it, something of the history of the peninsuila.

One of the characteristics of that type of work was the freedom with
which the artisans carried out both their setting out and their
carving. By contrast, the next three photographs were all taken of
the same wall of decorative naqsh plasterwork being carried out
within a building being restored in Rayyan in August, 1976. It is notable that both the setting out and
– and that the material is not juss but a weak cement based mix.

The first two photographs are of horizontal bands running round much of the space, the third is of a ve
been rotated 90° for ease of comparison and is one of a number of design elements linking the two ho
forming frames for panels of naqsh work.

Compared with older examples of naqsh, these bands have been set out relatively accurately within ea
was no attempt made to integrate their geometry with the vertical design elements they meet, as can
photographs. Note also that the panels show both pencil and divider marks left by the artisans in creat

As with the older designs, it appears that the setting out of the
circles of the designs relates the described circle to the horizontal
edges of the carved elements of the design, allowing the width of
the carved circle to emerge from the solid edge band, thus avoiding
the fine carving problems there would be if the outer edge of the
circle met the edge of the band at a tangent – as illustrated on the right of this sketch. A contributing
there appears to be no rule governing the width of the bands.

A
common
problem
with
setting
out the

underlying geometry for patterns revolves around the issue of how

the centres of circles are related to bounding lines. This is discussed
briefly above but it appears, from watching work being carried out
on site, that the decisions are made on an ad hocbasis, and that
there is no governing rule being passed on between artisans. But
this is not the only problem.

These three sketches illustrate how the patterns shown above are
likely to have been constructed. The studies follow the setting out
lines that can be seen drawn on the faces of the panels, both those
in pencil and those scribed with a pair of dividers. The setting out of the patterns has to take account n
of the pattern which will remain on the face of the panel, but also the manner in which the carving is c
cut into the body of the panel at an angle, and this sometimes necessitates decisions being taken whic
but which become necessary in order to manufacture the cuts logically. In the case of the lowest of the
semicircles have ended up some distance apart and have a different character from the other two runn
presumably caused by the need to define the diamond-shaped elements between the semicircles.

Investigating the geometry of the older, extant examples of

traditional naqsh patterns is an interesting activity. What becomes
apparent is that there is a considerable lack of accuracy in both the
setting out of the underlying geometries as well as considerable
latitude in carving of the designs. This example is a more recent
example of traditional carving and was carried out in the 1980s.
However it still has eccentricities in it which illustrate how the work
may have been approached.

At its
simplest,
it
appears
that each
row of
the
pattern
has been
laid out independently of the patterns adjacent to it. In order to illustrate this, circles have been super
on the centres of the circles of the central pattern and the semicircles of the two rows above and below
used to show how the diagonal pattern may have been established at the bottom of the running design
that there is no vertical relationship between any of the circles as they are of slightly different sizes. It
why this may be so. While this may indicate a lack of concern, there is also the odd eccentricity such a
the setting out of the second circle from the right of the middle row which is twisted anticlockwise.

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Other decorative applications

The walls of traditional buildings were not the only location for
carved plaster. There is an illustration, on one of the urban design
pages, of a midkhan or incense burner. Here is a photograph of it
together with another with a slightly different character of design
applied to it. This pair date from the 1970s and I have no
recollection of seeing earlier examples. It is likely that they were
made for decorative purposes within domestic settings, reminders of
the past rather than as functioning incense burners. The midkhan
needs to be relatively robust in order to take the burning incense
and these decorative items are easily chipped. Perhaps even more important, it needs to be relatively
carried round from guest to guest in order for them to be able to waft the incense smoke into their clo

They appear to have been made from a massed plaster casting and then carved. Here, each midkhan
three component parts, base, waist and body, with these elements treated with a separate pattern.

The designs on the left have been created with intersecting circles, this being true for all three panels.
has been created with rows of overlapping semi-circles and the waist is similarly formed, though from
However, the base is slightly different with the conceptual circle system here broken down and buttres
arbitrary lines linking from the corners of the panel.

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Containing geometry
There is more written about these shapes on one of the pages
looking at Gulf architecture. Here the purpose is to set out
something of the range of geometric shapes which enlivened the
trabeated column and beam construction of domestic structures, or
which contained decorative or functional elements of the room. The
most common elements for which these shapes created a frame
were carved naqsh plaster panels and, for the latter, the watad.
These panels relieve the orthogonal features of the trabeated
construction, softening the lines and creating additional interest.
There were few materials available to those building the houses, so the use of juss as a finishing mate
opportunities for inventive design. These decorative frames were one of the motifs which developed, a
on the outside and insides of traditional structures.

more to be written…

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Painted decorative patterns

It was not my original intention to write anything about the painted
patterns found in old Qatari buildings. Generally they are few and
far between, but a recent look at two old photographs taken of the
ceilings in the restored complex established by Sheikh Abdullah bin
Jassim at feriq al-Salata suggested a brief note. The ceiling of the
ground floor in the central building, painted in the early 1970s and
illustrated here, shows its overall design.

These next three illustrations have been created by enlarging parts

of the above photograph of the three central ceiling rosettes and
distorting them in order to create, more or less, accurate representations of their geometry. As the foc
fades with distance, the three illustrations diminish in quality. Despite this it can be seen that there are
both with the geometry as well as the pattern and colouring.
The rosettes are ordered on the page as seen in the above
photograph from left to right and, as can be seen, are each different
from the other two. While this is similar in concept to some naqsh
work there is often, in plasterwork, the mirroring of patterns across
a room. It might have been anticipated that all three rosettes should
be the same, or at least the two outer ones.

The five paints used are red, blue, green, gold or ochre, and white,
but one of the diamonds in the central rosette appears to have been
deliberately painted brown and, in the first rosette there is what
appears to be a pale beige used on two triangles, a diamond and a
semi-circle. I assume the brown and beige colours were mixed from
the other paints, and that the paints were commercial rather than
made from natural materials.

There
are,

essentially, three concentric geometric bands used to create the rosette – the band of semi-circles sitti
circle; the band of diamonds and triangles sitting between the red and blue circles; and the star within

There is no coordinating geometry between the three rings, nor can there be, of course. In the order t
the page, the three rosettes deploy their concentric patterns, from the outside, in the ratios of 19:17:1
19:17:10. Neither 17 or 19 are easy divisions to construct nor, for that matter, is 11. Given the naïve d
it is unlikely to be significant, but the number 19 has a certain astronomical importance. However, give
the setting out of the rosettes, it should be assumed that the divisions were made by eye rather than w
geometry. Bearing in mind the importance of the building and the quality of the naqsh work, this seem
have made.

The next point relates to the irregularity of the patterning. On all

three rosettes, the external semi-circles have additions made to
them, interrupting the regular alternate colours and supplying the
odd, nineteenth semi-circle. The additional semi-circle does not
appear in the same location on any of the rosettes nor is it the same
colour.

There is a similar irregularity with the colours of the acute angled

triangles in the inner ring of shapes, with the exception of the first
rosette where all these triangles are blue.

As for the central star, the first rosette alternates five blue and five
red points to create a, more or less, regular ten-pointed star; the
second star has five blue, five red and a gold point creating an
eleven-pointed star; as does the third with four blue, and three each
red and gold.

This really is a curious ceiling in terms of the setting out within its
rosettes. The character of its eccentricities suggests that the work
was carried out by the same artisan and that the work was
established by eye and, perhaps, the irregular numbers of triangles and semi-circles was deliberate. If
to the belief that man-made works should not be perfect.

Contrasting with the painted designs on the wooden ceiling illustrated above, the corners of the ceiling
plaster with naqsh work rosettes but, unusual to this naqsh, it is painted. Again, these two images hav
the same photograph as begins this note.

The first
of this
pair of
corner
details
from the
above

photograph shows that the basic geometries used for the rosettes are seven, six and four, while for the
rosettes are based on eight.

It is significant that the relationship of the geometries to the orthogonal form of the room and ceiling i
as well as it is to each other – this being in contradistinction to the setting out of the painted patterns
While there is a degree of geometric cohesion to the naqsh patterns, their individual painting reflects s
eccentricity shown on the painted patterns on the wooden ceiling suggesting that it was the same artis
colour to both the wood and plaster naqsh, but a different one who created the naqsh plaster work.

more to be written…

Arabic / Islamic geometry 03   |   

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Islamic architecture

Page 4

The beginnings of these studies

Trial and error
A simple lozenge or slot pattern
A simple circular pattern
Two wall panels
The design of the spiral
Eccentric designs
The development of spiral designs
Running patterns
Other decorative applications
Containing geometry
Painted decorative patterns

Page 1

A background to two-dimensional design – geometry and pattern

Craftsmen and their work
A study of an old panel
The construction of a fan pattern
A study of some twelve-point panels
A study of two ten-point panels
The setting out of a five-point pattern
Pattern selection
Lines and width
Developing a sketch for a cursive pattern
And now for something completely different…
Carpets and rugs
Representative design
Other material
Sacred geometry and geomancy
· Sacred geometry
· Geomancy
Decorative types
A Western geometry
The Winchester Palace rose window
Geometric design
Axehead designs
A toroidal design
A pattern based on squares
The development of a rosette pattern
Reducing squares in the proportion of 3:1
A pattern based on two octagons
A pattern based on nine-point geometry
A pattern based on ten-point geometry
Exploration of a pattern based on ten-point geometry
The development of a tricurve geometrical pattern
Alternative design guidelines developed on a twelve point circle
Variations on a twelve point geometrical pattern
A twelve point geometrical pattern
A twelve point spiral pattern
A twelve and nine point geometrical pattern
A twelve and fifteen point geometrical pattern
A more complex pattern and its sub-grid
A basic construction for sixteen-point patterns
An eighteen and twelve point geometrical pattern
A twelve, six and seven point geometrical pattern

Page 2

The beginnings of these design studies

Geometric basis of patterns
The muqarnas– three-dimensional design
A little more on the use of mirrors
A basis for variety
The beginnings of Arabic mathematics
Arabic geometry
Tools used in the design and layout of patterns
Basis of geometry – constructible patterns
· Three point geometry
· Four point geometry
· √2 geometry
· √3 geometry
· √5 geometry
· Triangle and octagon approximations
· Five point geometry
· A pattern developed from a golden triangle
· Pentagons and some of their characteristics
· A development of five point geometry – the Cairo pentagon
· Six point geometry
· A different six point geometry
· A development of six point geometry
· A basic grid for six-point designs
· Development of a six-sided design
· Vesica piscis
· Dividing a line into three equal parts
· Seven point geometry
· An example of seven- or fourteen-point geometry
· Eight point geometry
· Development of eight point geometry
· A more complex eight point geometry
· Nine point geometry
· Ten point geometry
· A development of ten point geometry
· Eleven point geometry
· Twelve point geometry
· Thirteen point geometry
· The Topkai scroll
· Fifteen point geometry
· Seventeen point geometry
· Eighteen point geometry
· Nineteen point geometry
· Twenty point geometry
· Forty-eight point geometry
The angle of view
Using Neusis to trisect an angle
Trisection of a limited range of obtuse angles
Trisecting a line
Trisecting the side of a hexagon
The Golden mean or section
Fibonacci series
Other systems of proportion
Relationship of Arabic calligraphy to geometry
Design and ‘e’
Application of traditional patterns
Platonic solids
Seventeen different patterns
· Four basic pattern types of symmetry
· Determining a pattern type
An eighteenth geometry
Decagonal and quasi-crystalline tiling
Long-range order of quasi-periodic patterns
Tessellations
Artisans and geometry
The appearance of the circle
A simple pattern
Numbers in Islam
· Four
· Seven
· Eight
· Nineteen
Trisecting a line
Colour

Page 3

Other studies
Cosmatesque design
Celtic geometry
Roman influences
An Italian Fibonacci-based design
Maritime influences
Design variation
Pattern variations on a hexagonal shape
Origin of design?
Unity
The treatment of surfaces
Reading surfaces
Symbolism in design
Relationship between art and mathematics
Geometry in plants
· Two, four and eight point
· Five point
· Six point
 · Seven point
· Three and nine point
· Four and nine point
· Ten point
· Eleven point
· Thirteen point
· Fourteen point geometry
· Fifteen point geometry
· Other divisioning
Perfection
Shape and balance
Harmony
Symmetry
Intellectual basis of design

Islamic design
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