Girih are lines(strapwork) that decorate the tiles.
Stylized plant decorations were sometimes co-ordinated with Girih.
Girih are lines(strapwork) which decorate the tiles.
Girih patterns can be created in woodwork in two different ways.
The Anonymous Compendium contains square repeat units for many Girih patterns.
In the 14th century, Girih became a minor element in the decorative arts;
In the same period, artisans compiled Girih pattern books such as the Topkapı Scroll.
Girih patterns have been used to decorate varied
materials including stone screens, as at Fatehpur Sikri;
After the Safavid period, the use of Girih continued in the Seljuk and Ilkhanid periods.
Girih patterns can be created in a variety of ways,
including the traditional compass and straightedge;
The 15th century Topkapı Scroll explicitly shows Girih patterns together with the tilings used to create them.
Girih decoration is believed to have been inspired by Syrian Roman knotwork
patterns from the 2nd century AD.
However, the decagon has two possible Girih patterns one of which has only fivefold
rather than tenfold rotational symmetry.
The Girih style of ornamentation is thought to have been inspired
by 2nd century AD Syrian Roman knotwork patterns.
The Topkapı Scroll, from the late 15th century, documents the use of Girih tiles to create Girih patterns.
And the use of a set of Girih tiles with lines drawn on them: the lines form the pattern.
It is known that the Girih designs before the Girih tiles were made
with only a line and a compass.
The term“Girih” was used in Turkish for polygonal strap patterns in architecture as early as the late 15th century.
The earliest proof of the first use of the entrance tiles for Girih designs belongs to about 1200 years.[one].
In most cases, only the Girih(and other minor decorations like flowers)
are visible rather than the boundaries of the tiles themselves.
Most tiles have a unique pattern of Girih inside the tile that are continuous and follow the symmetry of the tile.
The Girih are piece-wise straight lines that cross
the boundaries of the tiles at the center of an edge at 54°(3π/10) to the edge.
While curvilinear precedents of Girih were seen in the 10th century,
fully developed Girih patterns were not seen before the 11th century in Iran.
The drawings in this pattern book show the Girih lines superimposed on the tiles used to generate the pattern,
making the construction fully evident.
It became a dominant design element in the 11th and 12th centuries,
as in the carved stucco panels with interlaced Girih of the Kharraqan towers(1067) near Qazvin, Iran.
Drawings such as shown on this scroll would have served as pattern-books for
the artisans who fabricated the tiles, and the shapes of the Girih tiles dictated how they could be
combined into large patterns.
In 2007, Professor Peter Lu of Harvard University and Professor Paul Steinhardt of Princeton University
published a paper in the journal Science suggesting that Girih tilings possessed properties consistent with self-similar
fractal quasicrystalline tilings such as the Penrose tilings, predating them by five centuries.
In 2007, Peter J. Lu of Harvard University and Professor Paul J. Steinhardt of Princeton University
published a paper in the journal Science suggesting that Girih tilings possessed properties consistent with self-similar
fractal quasicrystalline tilings such as Penrose tilings(presentation 1974, predecessor works starting in about 1964) predating them by five centuries.