Geometric patterns occur in a variety of forms in Islamic art and architecture. The complexity and variety of patterns used evolved from simple stars and lozenges in the ninth century, through a variety of 6- to 13-point patterns by the 13th century, and finally to include also 14- and 16-point stars in the sixteenth century. These may constitute the entire decoration, may form a framework for floral or calligraphic embellishments, or may retreat into the background around other motifs. The geometric designs in Islamic art are often built on combinations of repeated squares and circles, which may be overlapped and interlaced, as can arabesques (with which they are often combined), to form intricate and complex patterns, including a wide variety of tessellations. Organizations such as the British Association for Modern Mosaic and The Society of American Mosaic Artists exist to promote mosaic art.Islamic geometric patterns are one of the major forms of Islamic ornament, which tends to avoid using figurative images, as it is forbidden to create a representation of an important Islamic figure according to many holy scriptures. The field is full of new approaches, techniques and ideas. Now-a-days the concept of mosaics treads on a fine line that diffuses between art and handicraft simply because mosaics can be used to decorate a space as well as functionalities like flooring and ceiling. Fine examples of this movement can be seen by works of the famed Antoni Gaudi and Josep Maria Jujol. The Art Nouveau movement of the 20 thcentury saw a pursued interest in mosaic patterns where new techniques were introduced, one of which is the use of purpose made and waste tiles to cover large surfaces of buildings. The Byzantine style surfaced once again and can be seen in landmark monuments around the world like the Westminster Cathedral in London and the Sacre-Coeur in Paris. Mosaic wall art saw a revival throughout the 19 thcentury after experiencing a decline through the middle ages. The most prominent Islamic mosaic art can be seen at the Great Mosque of Cordoba and the Alhambra Palace in Spain. Glass, stone, and ceramic tiles were used to create those patterns. Islamic mosaic art did not focus on figurative representations as the Byzantine art did instead it focused on geometric and mathematical patterns. Application of Smalti was very meticulous Byzantines made sure to install their tiles at correct angles in order to allow light reflection and refraction. Smalti gave an entirely new texture and feel to the mosaic patterns created they were cut from thick sheets of colored glass and backed by a reflective silver or gold leaf. The use of, Smalti, glass tesserae sourced from northern Italy, proved to be popular in the Byzantine period. This expansion highly influenced the mosaic art we know today.Įastern influences became visible in mosaic patterns and mosaic designs. With the rise of the Roman Empire, mosaic patterns depicted gods, intrinsic geometric designs, and domestic settings. Tesserae allowed them to mirror paintings using the aforementioned patterns. Greeks began manufacturing pieces known as ‘tesserae’ in order to add more detail and color to their mosaic patterns. Greeks began creating art using pebbles through the depiction of geometric patterns and detailed scenes of people and animals. Mosaic art in Greece took a more structured shape. They were colorful and did not follow a defined form.Īfter being used for decorative purposes, mosaics appeared through – unstructured - pebbled pavements. Mosaic patterns first surfaced through the use of terracotta cones being applied point first onto structures as a means of decoration.
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