Contribution to the investigation on Islamic pentatonic patterns,
trying to highlight a multiplicity of points of view.
- Firstly, I propose a morphogenesis of the Persian style, and give the
following applications :
- An analysis of two famous traditional patterns
that have yet be studied through different view points. One in
Karatay, Turkey (J. Rigby, [10] P. Cromwell [4]), the other in
Maragha, Iran (E. Makovicky [7,8], P.J.Lu and P.J.Steinhardt[6]).
Where we can see that both are basically the same, coming from the
same step in the proposed morphogenesis.
- The ``X-puzzle'', an application from the first step of our morphogenesis
(there will be a workshop at the conference).
- Then, considerations about the ``prototiles'' (or ``girih tiles'')
point of view.
- Last, a relationship
is given between ``fundamental'' and Persian patterns, through a
process of decoration.
Consequently, definition of a new set of prototiles.
All those concepts can be used by designer to create new patterns.
This contribution belongs to a pattern designer point of view, more
than to a mathematical or historical point of view. As Bridges is
dedicated to a meeting of Art and Maths, but inherit a scientific
format for its publications, please consider this paper as experimental
in the sense that the demonstration is given by images more than by words.