1 Excerpt from a paper entitled "Re-approaching Islamic Visual Tradition Through The Language of Physics - Geometry and the Grammar of Harmony
“Geometry is a mathematical expression and
description of the physical space. One way to describe space is through
geometry. It’s a mathematical tool.” (Prof. Dato’ Mazlan Othman, phone
interview, 12 December 2017)
7.1 Symmetry
One of
the central themes of quantum physics is geometry, especially the symmetry
principles.
“Many of the symmetry principles of quantum
mechanics are about the features of fundamental particles.”(Stewart: 2017, p55)
Recent
developments in physics reveals what many physicists argue as the law of
nature, called supersymmetry.
“Every known fundamental particle is thought
to posses a supersymmetric partner, known as sparticle.”(Ibid, p 55)
In
particle physics (a branch of quantum physics), symmetry takes a central
position, especially if one interprets the universe as obeying a given symmetry
and that the laws of physics are the same for everything in it with respect to
the symmetry (Whyntie & Pugh: 2013, p141). One example of such symmetry can
be observed in what is referred to as ‘the Eightfold Way’, used by Gell-Mann in
1962 to predict the existence of a strange Omega particle.
Figure
1. The Eightfold Way
(Whyntie and Pugh: 2013, p108)
Figure 2.
Top view of a part of Taj Mahal, Agra (1631-1648)
The design of built-environment in Islamic visual
tradition emphasizes on symmetry, echoing similar symmetry of the sub-atomic
scale to the galactic scale.
(Image from al-Faruqi: 1992, p 457)
Symmetry is also embedded
within the conservation laws of nature, as explicated through special and
general relativity, quantum mechanics, electro-magnetism and gravity.
“It
was Albert Einstein, above all others, who realizes the importance of symmetry
in the law of physics. Earlier mathematicians had discovered a link between
symmetry and ‘conservation laws’, which tell us that certain physical
quantities such as energy or momentum can either be created nor destroyed.
Einstein however, went further and made symmetry the foundation of all deep
laws of nature.” (Stewart: 2017, p55)
This ‘foundation of all
deep laws of nature’ is also visualized through the language of Islamic visual
tradition. The visualization can be identified from the use of symmetry
principle in various patterns. One example is the art of weaving, used in the
making of a wall for a traditional Malay house.
Figure 3.
The wall of Rumah Tok Cu made of weaved bertam, by Abang Mustaffa Kamal bin Mat
Awang (2018)
One key feature in the pattern of the wall is
symmetry. Similar feature is further replicated on the floor as the sunlight
penetrates the small holes in the wall. The wall and eventually the house, echo
the
‘foundation of all deep laws of nature’. They also emulate the symmetry feature
of fundamental particles. The echoing of such laws of nature can be read as a
form of visual zikir or invocation in
Islamic context. The wall, the floor, the house, the objects in the house and the
surrounding natural habitat, invite the human occupants to harmonize and be in
synchrony with the deep laws of nature. Symmetry in this regards, provide a
pathway for a deeper and closer connection with nature and most importantly,
God..
“Einstein had a particularly deep
understanding of nature’s underlying simplicities….,he founded his view of
physics on a symmetry principle. The symmetry transformation of space-time must
leave the laws of nature unchanged.”(Stewart: 2017, p196)
Figure 4.
Research notes and drawings by Hasnul J Saidon (2019)
These notes and drawings explore the correlation
between Islamic visual tradition with the language of physics. In this case,
the notes and drawings explore the notion of symmetry from the perspectives of
both tradition and physics. One of the key findings is that the symmetry
principle commonly found in many forms of Islamic visual tradition may not
anymore be interpreted as a mere decoration for aesthetic purpose, but a
visualization of the symmetry transformation of space-time within the
laws of nature. This
initial exploration can be further pursued in future research, especially in
regards to symmetry in the thematic structure of the Quran.
The terms ‘Fundamental
Spacetime Geometry’ or ‘Quantum Geometry’ in quantum physics are indicative of
how geometry, harmony and order are central in our understanding of both micro
and macro domains of the phenomenal world.
Harmony and order, as
visualized by the geometrical and arabesque language of Islamic visual tradition,
are also parts of a larger ‘shared insight’ known as the ‘sacred geometry’ or
‘the grammar of harmony’ that can be observed in Nature as well as many forms
of traditional visualizations around the world. It is a quantum language that
visualizes the “models of the universe, both its outer aspect and its inner
one” (TPW, Juniper & Skelly: 2010, p118).
“This
is all pretty remarkable evidence that there is a mysterious unity about the
patterns found throughout the whole of creation. From the smallest of molecules
to the biggest of the planetary ‘particles’ revolving around the Sun,
everything depends for its stability upon an incredibly simple, very elegant
geometric patterning – the grammar of harmony” (Ibid, p118).
Figure 5. Unity of
Geometry – Root Power
by Jonathan Quintin Art
in The Resonance Project facebook site
at
The
unity of geometry, especially its underlying mathematical algorithm, can be
traced in many spiritual traditions around the world, including in the
geometrical and arabesque language of Islamic visual tradition. It cuts across
many boundaries : geographical, historical, disciplines of knowledge and many
more.
In Islamic context, the geometrical language is not
merely a response to the Quranic objection to representation of living
creatures as popularly claimed by many writers, but more importantly is a
reflection of a deeper understanding of the underlying fabric of the universe –
the fundamental quantum space-time geometry. It is a ‘shared insight’
originally acquired from the Greeks by Muslims during the high ebb of Islamic
Civilization between 8th. to 13th. century.
Penrose’s tiling bears some
resemblance to the geometrical and arabesque language
of Islamic visual tradition,
including for example the geometrical patterns at the Darb-e Imam shrine in
Isfahan, Iran. Here we may find
another example of how a contemporary physicist-mathematician speaks in a
similar visual language with artisans of the past from the vast regions of
Islamic visual tradition.
Figure 7. Geometrical patterns at the Darb-e Imam shrine
located
in Isfahan, Iran. The first structures were built by Jalal al-Din Safarshah in
1453.
7.2 Fibonacci
The
grammar of harmony is embodied by Fibonacci
sequence, proportion, curve and spiralling vortex that can be observed in both
microscopic and macroscopic domains of the phenomenal world. The sequence starts with 1, 1, 2 to 3 to 5 to 8
to 13 to 21 and so on with each number a product of adding the preceding two.
Dividing any of these numbers by one that precedes it yields 1.618, also known
as phi or the ‘Golden Ratio’ in the field of mathematics (1:1.618). Fibonacci
sequence, proportion, curve and spiralling vortex can also be observed in the
geometrical and arabesque language of Islamic visual tradition, including in
the traditional Malay carvings.
Figure
8. Fibonacci sequence, proportion and curve
(i)
(ii)
(iii)
Figure 9.
The grammar of harmony in the Malay traditional visualization
(i)
A composite of two curved lines with an image of
the head of a traditional Malay dagger known as hulu keris. A keris is
traditionally-used as a part of silat or
a form of Malay traditional martial art, during a one-to-one combat and a
cultural ritual or performance. The two curved lines trace the movements of two
points in space during one solat
(Islamic prayer) movement by a single human subject. The movements were traced
and captured by motion-capture cameras. One point was placed on the forehead of
the subject while another point was placed on the tip of the subject’s middle
finger. The resulting curved lines were then separated from their original positions
and composited with the curvature of the keris
head. They fit nicely, implying the close correlation between a body
movement (in this case, a movement during a prayer) with the design of a keris. There is an underlying
geometrical language that coheres or resonates harmoniously between the two,
despite the seemingly distinct body movement in comparison to the organic
design of the keris. As a traditional
object, keris is also used during a
traditional healing ceremony.
(ii)
A Fibonacci curve is composited on top of image
(i), again it fits nicely. It shows that the human body movement and the hulu keris speak with similar grammar of
harmony that can also be traced across both the micro and macro domains of
phenomenal world.
(iii)
This image shows a composite of a Fibonacci curve
with a sample of Malay traditional carving motif. Again, they fit nicely.
The
presence of Fibonacci sequence, proportion, curve and spiral in many forms of
Islamic visual tradition further affirms the harmonious relation between such
tradition with nature. In such tradition, nature is not only understood and
interpreted from a material or physical point of view, but more importantly,
from an abstract or conceptual perspective that experience nature as a quantum
event. Nature in this case is experienced as an inner awareness in which the
observer or witness is a part of, in contrast to just an external physical
phenomena separated from the observer. The boundary between the observer and
the observed is dissolved into the awareness of the presence of God.
“In reference to Malay traditional art, mimicry
factor is a common phenomena since it is a part of the natural environment
itself. A firm understanding of the natural environment allows traditional
artists to produce art that is fine and resonates with nature itself. Such
refinement of living experience is manifested through visual utterances, built
environment and literature that flow with the rhythm of nature.” (Mohamed Najib
Ahmad Dawa: 2003, p23. Translated by the author)
Figure
10. The grammar of harmony in the rattan weaving product by Abang Muhammad bin
Mat Awang (2018)
One can clearly discern multiple Fibonacci curves
in the pattern. This weaving product epitomizes ‘a firm understanding of the
natural environment’ that allows traditional artist such as Abang Muhammad ‘to
produce art that is fine and resonates with nature itself’. In this case, the
manifestation comes in a form of a table top featuring a pattern that flows ‘with
the rhythm of nature’.
It is interesting
to note that both Abang Mustaffa’s and Abang Muhammad’s living habitat in
Kampung Teluk Mas, Selama, Perak, is surrounded by ‘the rhythm of nature’.
Their houses are located at the end of the village’s road, by a hill slope just
few meters away from a clean river stream, with a hill and a rainforest as its
neighbours. Even though they didn’t know
anything about ‘Fibonacci’, they are living and breathing the Fibonacci sequence, proportion, curve,
spiral as well as the rhythm of the universe in their natural living habitat
(Site visit and interview with them, 19 July 2018). Such form of tacit
knowledge is prevalent amongst the traditional art practitioners, especially
those who live and work close to nature. In their case, geometry and the
grammar of harmony can be argued as ‘flowing in their blood.’
Abdul
Muthalib Musa,
Figure 11. "Centrifugal 10 degree" (2005),
120cm x
120cm x 8cm, lasercut mild steel with clear 2K coat.
Aliya
& Farouk Khan Collection.
In this
work, one can discern a spiralling Fibonacci curve formed by a sequence of
circular
shapes.
Geometry
can also be found in the surrounding environment, including in daily phenomena.
All physical phenomena can be seen as a series of movement between points. All
the points and movements can be further converted into mathematical formulas.
One example is in the working process of Abdul Muthalib Musa.
“My working process does not begin with any mathematical
formula or a vision of specific form. Maybe there is a formula, but not
mathematical formula. The formula comes from daily phenomena, events and
objects from my surrounding, including man-made and nature. The phenomena can
be anything, from small scale to big scale like the earth rotating in certain
degrees of slant and in elliptical orbit, planetary movement, the structure of
a black hole and so on. Of course there are geometry and mathematical
formula in my works, but I let the computer to calculate the geometrical
structure and provide the mathematical formula. I can focus on the intuitive
process of testing out, exploring and experiencing possibilities. Therefore,
geometry can be taken as the end result of my working process, not the
beginning or preliminary process. But after deploying this system of working
for many years, I have to say that now I can see geometry in my surrounding,
especially in human and nature.” (Abdul Muthalib Musa, interview,28 December
2017)
(i)
A
composite of two palms with the two curved motion-captured lines traced from a solat movement called ruku’.
(ii)
A
composite of the two curved motion-captured lines from a solat movement with a cross-section image of a nine month pregnant
body,
(iii)
A
composite of a Fibonacci curve with spiralling vortex, traced and
motion-captured lines from a silat (traditional
form of Malay martial art) movement and a cross-section image of a nine month
pregnant body. The motion-captured lines from silat movements are sourced from Zaidi Azraai: 2016
(iv)
This is a motion-captured line created by tracing the
movement of a point at the tip of a finger during a movement in solat (Islamic prayer) called takbiratulihram. Seen from the right
view, the movement creates a curve that resembles a Fibonacci curve.
Figure
12. The grammar of harmony on a human palm, solat
and silat movement, and in the
profile of a 9 months old pregnant women
Figure
13. The grammar of harmony (Fibonacci) in a ‘mengadap rebab’ movement
The hand movement during a ‘mengadap rebab’ segment in a MakYong
performance contains a Fibonacci curve, if traced by using motion capture
technology and perceived from a certain angle. The movement corresponds to a
lyric of a song that accompanies the performance. The lyric contains a phrase ‘sawa mengorak lingkaran’ (a phyton snake
moving spirally’). The small micro gesture embodies the whole essence of
tradition, especially in relation to mimicry of nature, as explicated by Dr.
Najib Ahmad Dawa. (Norfarizah Mohd Bakhir: 2019, p186).
Figure
14. The grammar of harmony (also known as the ‘golden key’ or ‘golden
proportion’) in human body
By Jonathan Quintin Art at
"Geometry for me, is
human figure. Geometry is a form. Form is built by bits, digits and numbers.
Neurons and cells create form. The best reference for geometry and grammar of
harmony is human figure, as visualized by Leonardo Da Vinci. In a figure, there
is zikir (or invocation), for example
in the movement of sujud or
prostrating. It means without ego or the need to brag. Instead, just humbling
oneself because all creations submit to God, not boasting high in pride. This
is the concept of humility that has to be experienced through zikir. Geometry, grammar of harmony and
human figure for me, are zikir.” (Nasir
Baharuddin, interview,15 Oktober 2017.
Translated by the author)
(i)
This is a motion-captured line created by tracing the
movement of a point at the tip of a finger during a movement in solat (Islamic prayer) called takbiratulihram. Seen from the front
view, the line can be read as forming the Arabic letters Lam & Aliff in an
upside-down position. Lam Aliff forms the utterance ‘La’, which means ‘No’. The
utterance La is an essential part of the Islamic syahadah. Syahadah is the proclaimation that ‘there is No god but
Allah’, the foundational essence of Islamic faith. The utterance La or No is
also a form of ‘penafian’ or denial.
Denial here refers to the act of detaching oneself from any identification with
the illusion of forms. Such detachment is an important pre-requisite before one
embarks on the spiritual journey of solat.
Solat itself is a form of total
submission to God which requires a total detachment from any kind of worldy
affairs. Geometry, grammar of harmony and human figure as well as solat movement are zikir as explicated by Nasir in the quotation above. Zikir is an utterance or verbal
invocation meant to instil remembrance of God and to experience the presence of
God within.
(ii)
Here, the letter Lam
Aliff in an upside-down position, can be geometrically seen as a triangular
shape. Lam Aliff in an upside-down position can also be read in relation to the
side or profile structure of a roof in a Malay traditional house. It also relates
to the concept of ‘penafian’ or
‘denial’ in Islam. Essentially, (i) and (ii) above reveal a direct correlation
between the movement of solat and the
structure of a house within the context of a living habitat. In regards to
tradition, this habitat relates to the Malay-Islamic traditional cosmology. It
harmonizes the relationship between humans and humans, humans and nature as
well as the whole universe, and humans with God. (Visual sourced from Yahya:
1995)
(iii)
Again, the letters Lam
Aliff can be seen here in the motion-captured data. In this case, the lines
were motion-captured and traced during an opening sequence of a silat movement. Silat is a traditional form of Malay martial art. Lam Aliff,
according to Dato Haji Hashim, a sufi tacher and practitioner, can be related
Lam Jalallah, in reference to the secret of human’s creation. For him, Lam
Jalallah exists within a person who knows oneself and has a connection with the
energy of the universe.(Zaidi Azraai: 2016, p309-314)
Figure 15. Lam Aliff in solat
and silat
7.3
Unity in Diversity
The inter-connection between
the grammar of harmony in geometry as visualized through built environment with
the concept of Unity in Diversity is summarized eloquently by the following
remark from HRH The Prince of Wales:
“Five times a day the entire world of Islam turns to face Mecca where, in
the centre of the central mosque, stands the immovable cube of stone, the Kaabah.
The emphasis of this act is unity. It is the single testimony upon which Islam
rests: that there is no god but God, who is the God of all, or Allah. In committing
to this single testimony, all Muslims are unified and this unity of all things
is expressed very visually in Islamic architecture. The intention is to make it
perceptible at all levels of the built environment. On every wall of every
room, in every building and in while cities, the aim was to create a sense of
wholeness, the unity that rests in the heart of every man and woman” (TPW,
Juniper & Skelly: 2010, p123).
Since the grammar of harmony can be
observed in both micro and macro-domains of life, geometry is epistemologically
trans-disciplinary. In this context, trans-disciplinarity is not the result of
ideological framework (post-modernism for example), but is the very essence of
knowledge and wisdom themselves.
“…geometry has been studied because it has been held to be the most
exquisite, perfect, paradigmatic truth available to us outside divine
revelation. Studying geometry reveals, in some way, the deepest true essence of
the physical world” - Piers Bursill-Hall “Why Do We Study Geometry” (Yau &
Nadis: 2010, p17).
Figure 16. Space-time geometry and cell division
“The
pattern of cell division in biology matches the fundamental structure of the
fabric of the space in which it is dividing. It had better, or else we probably
wouldn't be able to coordinate the estimated 100-200 TRILLION chemical
reactions that happen per SECOND on a cellular level inside the human body!
When we are 64 cells old, all of our cells are identical and our physical existence
matches the geometry of a 3D Flower of Life / 64 tetrahedrons. It is not until
after 64 cells that the cells start to bifurcate and differentiate into
different types of cells, dividing until we become approximately 100 trillion
cells, each made of approximately100 trillion atoms working in perfect
synchrony.”
Figure
17. The ‘golden key’ extended into infinite fractals
By Jonathan Quintin Art at
7.4
Cymatics, radiant and the geometry of sound
The grammar of harmony can be observed through cymatics,
which is a study and visualization of sound wave phenomena. The word ‘cymatics’ derives from the Greek
‘kyma’ meaning ‘wave’, originally coined by Hans Jenny (1904-1972). In this
study, sound is made visible through vibrated thin coat of liquid or crystal
particles on the surface of a plate, diaphragm or membrane. The type of
mandala-like geometrical sound patterns that emerge on the plate depends on
sound frequencies. Cymatics show that forms are basically cohered frequencies
of waves (qwiffs or quantum wave functions).
Ancient
civilizations and spiritual traditions from various parts of the world have
embedded geometry based on sound frequencies or cohered waves inspired by Nature
into their visual and built environment. Other than visual, sound takes an
important place in many spiritual traditions as a vehicle of higher
consciousness, spiritual rejuvenation and healing. One may also relate the vibrational notion of cymatics with the act of zikir that involves verbal invocations
of short phrases meant to induce ‘God consciousness’. Cymatics frequencies have
an effect on humans, since humans are made of over 70% water. Christina Sarich
for example, proposes the following tabulation to suggest the influence of
sound frequencies towards human body:
285
Hz - signals cells and tissues to heal, rejuvenating the body
396
Hz - liberates guilt and fear to make way for higher vibrating emotions
417
Hz - undo challenging situations
528
Hz - heals DNA, repair cells and awaken consciousness
639
Hz – induces feeling of love for self and other, oneness, balance
741
Hz - cleans cells and heals them, empower
852
Hz - awakens intuition
963 Hz - activates the pineal gland, and aligns the body
to its perfect original state
(Christina
Sarich: 2015)
Visual and built environment in ancient civilizations and
spiritual traditions echo or resonate in harmony with their human occupants,
Nature and the Universe – across both microcosm and macrocosm. Similar to the
repeated modular units, radiant and symmetry design found in Islamic visual
tradition, cymatics can
be taken as a form of quantum visualization that reveal the ‘building blocks of a language based on energy,
frequency and form. Sound is behind the manifestation of form and matter’
(Drago De Silver: 2015).
Figure
18. Cymatics
An example of cymatics by Hans Jenny
Cymatics
feature shapes that mimic divine geometry. Patterns emerge via waves of energy,
displaying the fluctuation of energetic field. Certain sounds frequencies
(patterns) can change the brain waves and be used for healing of the body. In
this regards, Dr. John Beaulieu explains:
“The fundamental principle of Energy
Medicine is that an underlying energy field generates physical, emotional, and
mental behaviours or symptoms. If we change the energy field, the physical,
emotional, and mental behaviours will also change” (Christina Sarich: 2015).
In
compliment, Dr. Robert Friedman posits:
“The deeper I looked, the more deeply I
discovered this incredible and ubiquitous Code to be embedded throughout the
structure and function of the body…it only followed that the more one could
harmonize with this grand principle, the more efficient and effortless life
could be” (Ibid. See also Zen Gardner, at ZenGardner.com
and http://www.bibliotecapleyades.net/ciencia/ciencia_cymatics02.htm).
Figure 19. Cross-section
of DNA molecule
Souced from a video ‘Unity of Geometry –
Root Power’ by Jonathan Quintin Art
in The
Resonance Project facebook site at
Figure 20. DNA
A top view of a DNA showing ten points
on its outer rim which allow
two five-pointed stars to be drawn
within
(TPW, Juniper & Skelly: 2010, p117)
Figure 21. Diatomeas-Haeckel
Selections
from Ernst Haeckel's 1904 “Kunstformen
der Nature” (Art Forms of Nature), showing pennate (left)
and centric (right) frustules of a Diatom. Diatom is a form of unicellular
phytoplankton.
(https://commons.wikimedia.org/wiki/File:Diatomeas-Haeckel.jpg#/media/File:Diatomeas-Haeckel.jpg)
Alexey
Kljatov
Figure 22. Water Crystal
Originally Published on Nov 9, 2014
“To
understand water is to understand the cosmos, the marvel of nature and life
itself”
Figure 23. Radiant pattern made by animal
An
extraordinary sand sculpture with radiant geometric pattern created by a
pufferfish to attract and win a mate.
Figure
24. Geometrical and arabesque language of Islamic visual tradition
((TPW, Juniper & Skelly: 2010, p109)
“It appears that nothing in nature is so small or
seemingly insignificant that it does not merit a pleasing symmetry,…Furthermore,
there are numerous other examples - the endlessly embellished hexagons of the
snowflake, the lovely geometric spiral of the chambered nautilus, the perfect
cubes found in mineral crystals. As for man, himself a remarkably symmetrical creation,..”
(Shafie Mehad: 2002, p1).
7.5 Divine Unity and
Infinite Wisdom
Geometry
as the grammar of harmony and visualization of quantum states, shifts and
returns an observer to her or his fitrah
or true nature, dissolving the localised frequencies called ‘self’ to be
in-synchrony with the non-local symphony of the whole. The folding and
unfolding of space-time geometry across dimensions will always depart from and
return back to a point of unity, of infinite singularity, the Divine Unity, or
in Hagelin’s words, ‘the Single Unified Field of Infinite Wisdom.’
Figure
25. Radiant pattern in Nature
This is an example of the grammar of harmony or
quantum mapping in Nature, in this case, radiant pattern of natural
architecture, specifically leaf of saw palmetto plant. Nature is perceived in traditional
paradigm as a mathematical expression of Divine Unity or in the language of
physics, the Single Unified Field of Infinite Wisdom. Eastern forms of
traditional visualizations mostly employ such patterns to return observers to fitrah (natural instinct, state and
order), to be a part of the Divine Unity. (Image sourced from Buzan: 2001)
Figure
26. Tebar Layar
This is a simplified image of a
'tebar layar' or gable ends of a typical Malay house, inspired by the grammar
of harmony in nature, and designed to direct wind into the house to cool the
roofing space. Many have beautiful carvings and allow light into the house. The
'tumpal' structure or triangular shape relates to the Islamic cosmology, and
can be taken as a form of quantum visualization. The radiant pattern can be
related to 'radiant thinking'.
“…geometric expansions
provide a metaphor for the law of all phenomena. In as much as space, seen as
extension, is created by unfolding through the dimensions – from ‘point’ to
‘line’ then to ‘plane’ and beyond, it can be ‘folded up’ again, leading back to
the point of unity (Critchlow: 1976 , p7 in Niranjan Rajah: 2010, p38).
Mohd
Fadzil Othman
Figure
27. "The
Element of Surprise" (2008)
, 212cm x
243cm, screws and black threads,
Penang
State Gallery Collection.
Fadzil’s
work here is an excellent example of quantum visualization, deploying a complex
and
tedious manual process of joining threads to create interfering, dynamic and
vibrating radiant patterns.
It
emulates the underlying grammar of harmony found across both the micro and
macro domains
of the
phenomenal world.
(i)
(ii)
(iii)
(iv)
(v)
(vi)
Figure 28. Grammar of Harmony, Point of Unity
a. Five-pointed
star in a flower.
b. Dance of
Venus seen from Earth, charted over its eight year cycle creating the
heart-shaped set of five petals.
c. Relative
mean orbits of Mercury and Earth superimposed over each other. The Earth orbit
contains a five-pointed star and the circle of Mercury’s fits exactly over the
inner pentagon of the star.
d. View
under a chandelier and the main dome of Ubuddiah mosque in Kuala Kangsar
e. Centre
section of floor carpet under the main dome of Ubuddiah mosque
f. Haji Mohd
Daniyalai, Asma Al-Husna (2002), Ink
Calligraphy on paper (Collection of Muzium & Galeri Tuanku Fauziah, USM)
(i,ii
and iii sourced from TPW, Juniper and Skelly: 2010, pp 108, 116, 117)
Divine Unity and Infinite Wisdom are visually expressed
through the underlying principles of Islamic visual tradition such as symmetry,
balance, non-linearity, inter-connectivity, modular, repetition and cyclical.
The intricate patterns in Islamic visual tradition share such key principles,
reflecting the undercurrent of divine ‘law and order’ that bind and unite all
natural phenomena.
“Despite the baffling complexity of the events that go on in our
universe, there is an undercurrent of law and order into which all the hubbub
fits.” (Stewart: 2017, p196)
.svg#/media/File:Penrose_Tiling_(Rhombi).svg)){kind=link}
