‫العدد الرابع عشر‬ ‫مجلة العمارة والفنون‬

The role of Sacred Geometry in forming Islamic art

Assist. Prof. Dr. Hayam Mahdy Salama
Assistant Professor - Department of Industrial Education - Faculty Of Education -
Helwan University - Cairo - Egypt
[email protected]
Research Summary:
Originator of the heavens and the earth ‫ ( " بديع السموات واالرض‬Al Baqarah – 117 )
Everything We created is precisely measured. " ‫ (" إنا كل شئ خلقناه بقدر‬Al Qamar – 49 )
If anyone meditates in the verses of the universe and creation he must see the creativity of
God in all Gods creations, as we can find that everything is completely arranged and
consistency and all the universe is ruled by certain laws, as God created everything by
measure and this is the secret of creativity in this great universe.
Scientists researched and studied the geometrical sequences arranging the universe which is
the sacred geometry which arranges and controls all the forms of existence and life starting
from eye cornea, DNA molecules for humans, flowers petals, diamond crystals, tree branches
and animals down to galaxies, solar systems and even the chemical composition of air is
arranged in a certain law. The science of sacred geometry depends on deep understanding for
these universal aspects and geometrical arrangements which consists it including geometrical
forms and mathematical ratios which is used for the design of everything in nature, because of
this all old civilizations used it in religious architecture with a special form aiming the
creation of spiritual energy field connecting man to universe by using the same ratios of
building style, and from here comes the research problem which can be determined in the
following question: What are the sacred geometry aspects in the arts of Islamic architecture
and decoration which acquires it its creative artistic aesthetics? Through the studying of
sacred geometry concept, the forms, and mathematical geometrical arrangements used by
scientists based on aesthetic proportions in nature and applying this in arts of Islamic
architecture and decoration through studying samples of arts of Islamic architecture and
decoration. The research aims to prove that Islamic architecture and decorations didn’t come
accidentally but it is based on geometrical and mathematical concepts depending on sacred
geometry which arranges universal construction. The results of the research refers to the
conclusion that Islamic architecture and decoration are all based on the golden ratio of
mathematical and geometrical basis which gives it atheists which is clear in the visual sense
of comfort through its connection to universal sacred geometry which makes it harmonious
with the surrounding universe.
Key words:
Sacred geometry – Golden ratio - Fibonacci sequence - Islamic art – Islamic architecture .

: ‫ملخص البحث‬
‫ إن المتأمل فى آيات الكون والخلق يرر‬، 94 ‫ " إنا كل شئ خلقناه بقدر " القمر‬، 111 ‫"بديع السموات واالرض " البقرة‬
‫ فكرل شرئ خلقر هللا‬، ‫رور الكرون ت كمارا روانين مفينرش‬ ‫ فكل شئ فى ترتيب وتناسرق تراو وكرل‬، ‫إبداع هللا فى كل ما خلق‬
‫بقدر وهو السر وراء هذا االبرداع الكرونى الفظريو و رد تنراول الفلمراء دراسرش هرذه الاندسرش المنظمرش للكرون وهرى الاندسرش‬
‫المقدسش التى ترتب وتنظو كل أشكال الوجود وال ياة بدايش من رنيش الفين وجزيئات ال مض النوو لالنسران وفرى برتالت‬

DOI: 10.12816/mjaf.2019.25810 13

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‫العدد الرابع عشر‬ ‫مجلة العمارة والفنون‬

‫االزهار وكريستاالت األلماس وفى فروع االشجار والم ار الب ريش وال يوانات و وال للمجررات والمجموارات الشمسريش‬
‫تررى ذرات الاررواء يفتمررد تركيباررا الررى ترتيررب مفررين ويفتمررد الررو الاندسررش المقدسررش الررى فاررو هررذه المظرراهر الكونيررش‬
‫ لرذا‬، ‫والترتيبات الاندسيش المكونش لاا وتشمل نماذج هندسيش ونسب رياضريش م رددة تتسرتخدو لت رميو كرل شرئ فرى ال بيفرش‬
‫خلرق مجرال مرن ال ا رش الرو انيرش تررب‬ ‫استخدمتاا ال ضارات القد يمش جميفاا فى بناء الفمارة الدينيش بشكل خاص بارد‬
‫ ومرن هنرا جراءت مشكللة البحكث والترى يمكرن ت ديردها مرن خرالل‬، ‫االنسان بالكون من خالل تتبع نفس نسب النم البنرائى‬
‫التسررا ل التررالى ه مرراهى مظرراهر الاندسررش المقدسررش فررى فنررون الفمررارة والزخرفررش االسررالميش التررى اكسرربتاا جمالياتاررا الفنيررش‬
‫االبداايش ؟ وذلك من خالل دراسش مفاوو الاندسش المقدسش واالشكال والترتيبات الاندسيش والرياضيش االتى وضرفاا الفلمراء‬
‫ياسررا ا لررى النسررب الجماليررش فررى ال بيفررش لررو ت بيررق ذلررك الررى فنررون الفمررارة والزخرفررش االسررالميش ختبررار ت قررق النسررب‬
‫االسالميش ويهدف البحث لبات أن الفمارة والزخرار‬ ‫الاندسيش المقدسش فياا من خالل نماذج لفنون الفمارة والزخار‬
‫االسالميش لو تكن وليدة ال دفش بشكل افو او زخرفى ب ت وإنما امت الى أسس هندسيش ورياضيش تفتمد الى الاندسش‬
‫المقدسش التى نظمت البناء الكونى وت شر نتائج البحث إلى أن الفنون االسالميش من البنراء المفمرار والتشركيل الزخرفرى‬
‫لالس ح امرت جميفارا الرى أسرس رياضريش وهندسريش ذهبيرش النسرب وهرو مرا من ارا جمالياتارا الظراهرة مرن خرالل الرا رش‬
‫الب ريش لاا والبا نيش من خالل ارتبا اا هندسيا باندسش الكون المقدسش ما يجفل متوا ال ومتناغما مع الكون ول‬
: ‫الللمات المفتاحية‬
‫ الفرن االسرالمى‬-‫ المللر الرذهبى‬- ‫ اللولب الذهبى‬-‫ متتاليش فيبوناتشى‬- ‫ المست يل الذهبى‬- ‫ النسبش الذهبيش‬- ‫الاندسش المقدسش‬
‫ الزخرفش ا سالميش‬- ‫ الفمارة االسالميش‬-

Introduction:
The Islamic art is an expression of Islamic faith thoughts and is a reflection of it. In addition,
as beauty, the eyes by which the Muslim recognizes the around world, and as meditation, the
divine wisdom controlling Muslims, and as science is the Muslims' way to repopulate the
earth and realizing the divine intervention. And this had been reflected on forming Islamic
arts while mediating the universe around him and realizing that there is an accurate geometric
system that had its relations controlled by specific ratios which were the cause of creating this
great and accurate beauty and achieving balance in the universe. And as for art as it is the
tangible expression of the intangible internal ideas, different forms of Islamic art like
architecture and surfaces' decoration came as a direct reflection on these ideas revolving The
God and not the oneself ( so, the name of the artist or its sign are not mentioned in its
artwork). In addition, they were all submitted to the divine ratios that God have created in the
universe to achieve artistic beauty according to what these ratios achieved from nature's
beauty and to follow the approach of Allah, and this is the hypothesis that the research studies
to approve its validity.
Theoretical Framework:
The concept of Sacred Geometry:
Geometry is a science dealing with shapes, sizes, lines and the relations linking them. In
addition, in this science, numbers are interconnected with the shape; that we cannot realize the
geometric and mathematic characteristics of shapes without knowing the numeric values of
them. Moreover, as for the ratios, it is the measure of two object's size. In addition, humans
had realized the importance of the relations between shapes and sizes, which create the ratios,

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‫العدد الرابع عشر‬ ‫مجلة العمارة والفنون‬

and also had realized the main connection of geometry, ratios and numbers with nature and
universe and even with the human body during latent regular patterns; creating the system that
controls the universal system and nature. Everything in the universe has its own specific
pattern which is its secret key, and these patterns have its role in organizing everything in the
physical world .
Sacred geometry is the studies of the science of the accurate organizing patterns underlying
inside all objects of the universe.
Plato began the theory of sacred geometry as he thought that God had created the universe
according to an accurate and secured geometric system. This system is the main planner of the
existance and the basis of all life forms of creation, so that the sacred geometry can be defined
as the divine geometric arrangements of all the creatures which achieves balance and
correspondence in the universe; including geometric samples and specific mathematic ratios
existing inside everything in nature so, it is called geometry, as it studies, exploring and
explaining the way in which the physical universal laws are arranged and explaining the
accurate way achieving nature's harmony and the patterns of energy which create and unite
everything, and it is called Sacred as, it studies and records these laws and the hidden systems
of the creation and it is realized as holy, as The One who created it, is the Creator Allah.
This universal law to which all things have submitted to, controls our view to these objects
and our realization of beauty. The ratio on which it depends on is specific specific normative;
that it expresses the universal expression of the satisfied proportionality which achieves
satisfaction among people and it is the golden ratio which scholars explored in the olden days
realizing its relation with beauty; that everything makes eyes feel comfort and gives a feeling
of a special beauty, and it must contain the golden ratio whether in its dimensions or its
arrangement and harmony and it can be applied on 5 patterns:

Golden Ratio PHI:

It is called PHI as derived from the Greek letter φ and
also it is called a golden sector or sacred
proportionality and the golden ratio is estimated with
1.618033988749894848. Pythagoras and ancient
Greek had proved that this ratio is visually comfort
acting as one of the important standards of beauty in
nature in which the ratio of the youngest to the largest
equals the largest ratio to all ( fig.1) and this is what
makes it golden, as we cannot reach this result in any Figure1 : golden ratio
other division and the two ratios become different
and this is what explains the cause of objects'
harmony carrying the golden ratio and the cause of
eyes' acceptance to it and feeling the beauty by it.
And one of the algebraic features distinguishing the
golden ratio is that when adding the number (1) to it,
we get its double 1 + φ = φ2 and when deducting (1)
from it, we get its root φ - 1 = φ/1.
The golden ratio is measured by a very accurate
Figure 2: golden ratio mean gauge

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specific tool which is called GOLDEN MEAN GAUGE (fig.2) through which the golden
ratio is accurately, easily and quickly explored and measured in many forms of nature; that as
long as its obtuse angle differs, it remains keeping the golden ratio and separating between its
heads.
Fibonacci series:
It is a series of following numbers that every number is the result of adding the two previous
numbers to it (Image), namely:
0.1,2,3,5,8,13,21,34,55. And so the series indefinitely developed. And the features of this
series are created by the Mathieu, Leonardo Fibonacci so it is called by his name and the
boundary distances of the numbers' location in Fibonacci's series are correspondent with the
golden ratio and also the division of two sequent numbers in the series; results a very closed
ratio to the golden one to reach 55/33 = 1.617 getting the nearest number equaling the golden
ratio.
Golden Rectangle:
Ancient Greek knows golden rectangle and Pythagoras
mentioned it during his works. It is a rectangle divided
from inside into squares, whereby the squares' sides
length are serial like the numbers' serial in Fibonacci's
series. Assuming that it begins with 1 unit side length
square and another square with also 1 unit side length is
established next to it and then, the largest square
is established on these squares that its side length equals the Figure3: golden rectangle
side length of the two previous squares ( 2 unit 1+1) and the same process is repeated and a
square is established on the previous ones, its side length equals the side length of the latest
two squares (3 unit 2+1) and then establishing a square that its side length equals the side
length of the latest two squares (5 unit 3+2) and indefinitely so on. Thus; we get the golden
rectangle (fig.3) and on the contrary, in case of deducting the square, we get a smaller
rectangle remaining to be correspondent to the main rectangle and indefinitely so on.

Golden Spiral:
We get this spiral by establishing quadrant at all
the angles of the squares from which the golden
rectangle is formed (fig.4) and it is not a real
mathematic and geometric one as, it is formed
from parts of different and together overlapped
circles but, it resembles the Spiral shape which
is the shape of all forms and development
processes of the shapes of nature as, it develops
and increases with the same golden ratio during
Figure 4: golden spiral
its bending in each square. After each bend, the bending
points on the spiral are 1.618 times the center and after completing a full round from the
center, the ending point dimension equals 1.618 x 8 = 6,854 times the distance between the
last bend and center .

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Golden Triangle:
There is another way to get the golden ratio within establishing a two equal sides square, so
that the head angle can equal 36° and its basis angles equal 72° (fig.5) and in this square, the
ratio between the largest side length to the smallest one (basis) equals the golden ratio. And
the square can be divided into small triangles but with the same ratios by halving one of the
basis angles and we can get the golden spiral by establishing parentheses beginning from one
of the two basis angles to the other angle and then, it directs into the head angle and so on4

Figure 5: golden triangle Figure 6: golden spiral formed by golden

triangle
(fig6.).
The Ratio in Quran:
Ratio is the specific faith and the golden ratio is the perfect predestination giving all objects
and shapes their balance and beauty. In addition, the Deity formed us at many positions in the
Quran that he had created each thing with its specific fate and ratio. In addition, the regular
universe and the balanced presence are not created in vain but they are created according to
one specific system indicating the unity of the creator. God says: "Verily, we have created all
things with measure " Surah Al-Qamar, verse: 49, "He to whom belongs the domination of the
heavens and the earth" Surah Al-Furqan, verse: 2. And this is emphasis that the god created all things
with specific ratio and fate and this is what approved in olden days by elders and recently by scholars.
This accurate universal system, which is arranged according to laws, approves the unity of the creator.

Symbolism of Numbers:
Numbers play an important role in the sacred geometry. It forms the values of golden ratios,
the golden ratio is the numeric value, Fibonacci series is a development and increase of
numeric values and the golden triangle and the golden rectangle are together arranged and
divided within specific numeric values and thus; numbers have important role in creating the
golden ratio and in olden days, it was thought that every number has its own internal value
distinguishing it8 , and reflecting a specific symbolic meaning which increases the importance
of some numbers that may reach the limit of holiness and also it was expressing the origin
pattern of nature.

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Name Features of number The patterns of

Related Expressing
No. Of
Shape
and Its relations number in Islamic
Number Symbol
architecture

It is the shape from

which all numbers are
The formed 111111111×
1 Monad
Theism 111111111=12345678987654
Circle 321

dome aqsa mosque

Balance, calmness and

polarization opposite
electrodes mention its
The source and attract each
2 Dyad
Dualism other in attempting to
be integrated returning
to unit status Eileen
Mckusick
minaret in Islamic
architecture

All is divided into 3

parts (Beginning -
The middle - end) Human
3 Triad
Trinity (Presence - soul-
spirit) Life (Birth -
growth - death)
triangle in Islamic patterns
Things standing on 4
balanced basis -
Cardinal points-
The Seasons of year-
4 Tetrad
Balance States of matter-
Elements of nature All kaaba the most common
of them are four form of square

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A shape carrying
The principles of
Regular renovation and
quintet surviving prayer times
5 Pentad
Highest five Islamic principles
symbol of 5 The seeds of life in
life the fruit are arranged
in astral pattern
Pentagon) the sacred figure
in Islamic patterns)

- It works at the
condition, which
requires strength and
continuation- On of
the regular shapes by
which we can fill the
Contrast full surface area
6 Hexad and without any space-
balance The best use of
materials for the least
amount of weight as
for, in beehives 1.5
ounces of 4 wax carry
pounds of honey
Hexagon in Islamic
patterns
Integrality It is not formed of a
and Fig.13 circle - Nature does
hierarchy not produce-Days of
7 Heptad
for
distinguish
week are 7 -Energy
release 7 -
ing
- Eight is the number
passing within the
seven Heavens so;
Peace and some people consider
8 Octad
Stability it the number of the
paradise. Eight angles
are carrying the
throne of Al-Rahman

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octagon in Islamic patterns

9 -It acts the limits

between The secular
and the Endless. -The
9 Ennead The Truth
sacred trinity At the
Christian Faith

nonagon in Islamic
patterns

Integrality,
completin
-Coordinates all the
g the
numbers below.
journey
10 Decad -Having infinite
and
generative power.
returning
to the
radix
decagon in Islamic
patterns

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sacred geometry in nature

A. The golden ratio:

Achieving
samples Of Description and analysis of the
Image
the golden ratio
ratio
Both eyes, fins And tail are
existed In the golden parts of its
body length, dorsal fins
dimensions are golden parts
Dolphin
(yellow and Green) the thickness
of The tail is corresponded with
the same golden part of the line
from the head to the tail.

The marks, which resembles the

eyes of the butterfly, are created at
Butterflies
the golden parts of the lines
selecting its length and its side.

The eyes, beak, wing and all the

Penguin marks of the body are created at
the golden parts from its length18

All the facial features of tiger are

created at the golden part of lines
Tiger
selecting its facial length and
side18

Even, the division of colors in

birds is not indiscriminate but,
when measuring the rates of
Bird colors
division and colors, we found
them submitted to the golden
ratio.

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This small flower almost albino

of Solenopsis balearica, endemic
to Majorca, it also has a structure
in the form and distribution of its
five petals that seem designed by a
mathematician. A simple outline
uniting the vertices of both lateral
Flowers
major petals gives the first value
AB and another outline uniting the
vertices of both smaller petals
gives to the other value CD. The
simplicity and the beauty of the
design are amazing. The obtained
golden ratio is surprising exact17.
Line (1) presents the length of the
body, line (2) presents the golden
part of line (1) presenting the
distance between head's top and
fingers' heads, line (3) presents the
golden part of line (2) presenting
the distance between the head's
top and the elbow of hands, and so
the middle abdomen or (the
navel). Line (4) presents the
golden part of line (3 ) presenting
Human
the interval distance between the
body
head's top and the chest (at the
upper arm level) Also it presents
the width of shoulders, the length
of the forearm with the palm and
the length of the largest leg bone.
Line (5) presents the golden part
of line (4) presenting the distance
between the top of head and the
base of the skull. In addition, it
presents the width of the
abdomen.

The hand presents a golden ratio

with the forearm that ratio of the
Hand
foreman for the hand also
represents the golden ratio 1.618

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While the division of fingers from

the head of the finger to the wrist
Division of basis, we realize that each part is
Hand's larger than its one with a ratio
fingers equaling to the golden ratio or its
dimensions are corresponded with
Fibonacci 's numbers 2 / 3 / 5 / 8.

We will use the colored numeric

lines. Each line is larger than its
previous one 1.61804 times.
Conversely, the represented part
of the ratio 0.61804 (or presenting
61.8%) of each line equals the
length of its previous one: line (2)
(the blue line) forms a full square
between the pupils and the
external angles of the mouth. The
golden part of lines number (2) the
four blue lines represents the nose,
the head of the nose, inside the
nostrils and the two lengths of the
upper lip. In addition, the blue line (2)
Human represents the interval distance between
Face the upper lip and down the chin and as
well, the length of the ear wise the face.
The yellow line (3) which presents the
golden ratio forms the width of the nose,
the interval distance between eyes and
brows and the interval distance between
the pupils and the head of the nose.
Moreover, as for the green line (4) which
presents the golden ratio of line (3), it
represents the width of the eyes covering
the vertical line near the pupils, which
represents the distance between the lower
eyelid and the eyebrows. In addition, it
forms the distance between the nostrils.
Moreover, as for the purple line (5)
which represents the golden ratio of line
(4), it forms the distance between the
upper lip and down nose. In addition, it
forms many other dimensions in the eyes.

A. Fibonacci sequence:
Fibonacci sequence can be found in various shapes in nature, especially in the
composition of plants' leaves, seeds and petals. It exists in three shapes in nature:
1-Vertical: As in the growth of plants' leaves, they grow upwards climbing up the stem
vertically resembling Fibonacci sequence.
2-Horizontal: As in sunflowers' seeds, they grow horizontally.
3- Conical or circular: As in pines' fruits, they resemble Fibonacci sequence by forming a
spiral path.

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Proof of the
sequence in Analysis and description
Image
nature

The measurements of the

DNA resembles Fibonacci
sequence, the length of 34
Angstrom to the width of 21
DNA Angstrom of a whole
annulations of a whole double
spiral, almost equals the
golden ratio.(reference Mad Al
Gamal P17)

It has 5 Petals which resemble

Fibonacci sequence in growth,
Anemone
every petal is 0.618034 in
Flower
order to rotate in a circle be
best exposed to the sun.

Sunflower seeds are produced

in the center of the flower and
they grow outwards
resembling Fibonacci
sequence, and it is the best
Sun flower example of the escalating
seeds patterns. Sometimes the flower
gets filled with the tips of the
seeds till they get to 144 seeds
or more, when counting these
spirals we found that it equals
to Fibonacci number21.
The tips of the seeds are
arranged in a spiral pattern on
the conical body of the pine,
each cone consist of two pairs
of spirals that grow in two
opposite ways, and we may
pine cone notice that every group of a
spiral path equals two
adjoining numbers in
Fibonacci sequence.( there are
8 sets of clockwise spirals
while there are 13 sets of
counter-clockwise spirals20.)

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Fibonacci sequence can be

found in the pattern of tree
branches. The main trunk
grows and forms a branch, the
Tree branch creates two buds, and
branches the buds grow to form two
branches and the two branches
form more branches and this
pattern repeats from every new
branch20.
The growth of tree leaves is
noticed to resemble Fibonacci
sequence, it grows upwards
trailing on the stem, if we
assumed that the leaf num1 is
the starting point, so to get to
the leaf that is directly above it
Tree leaves
we need to get through 5
revolutions that in each one 8
leaves grow spirally around
the stem. By dividing 8(leaves
number) and 5(revolutions
number) we get =1.6 which it
the golden ratio21.

A. The Golden Rectangle and The Golden Spiral: The golden spiral can be found in every
shape and growth movements in seashells, fruits, seeds arrangements, human's ears, even the
galaxies, and the arrangements of human's DNA, as if this order has been created in creatures
genes to prove the Oneness of the Almighty.

Example of
the Golden
The analysis and description picture
spiral in
nature

It is the greatest example that

resembles the Golden Spiral, the
Seashells spiral growth of shells starts from
inside out according to the Golden
spiral.

Two groups of Spirals are found

inside the flower, one of them
moves clockwise from the center
Sunflowers and the other moves contra-
clockwise, the number of both
tracks is equal to two consecutive
digits in Fibonacci sequence21.

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The leaves of cactus grow from

inside out in Spiral that matches the
golden spiral and the number of
Cactus
leaves in each Spiral and the one
next to it equal two adjoining
numbers in Fibonacci sequence.

The constructive shape of human's

ears resembles Fibonacci sequence.
Humans Ears

The hurricanes resemble Fibonacci

Hurricanes sequence in its growth and
movement21.

Due to the speed of rotation in its

field, it varies with the distance
from the center, so the radial
Galaxies armaments of the galaxies must
become curved while the galaxies
spin, so it is not surprising to find
them subject to the pattern of the
golden snail21.

The sacred geometry in Islamic Architecture:

Qur'an and belief are the main foundations of Islamic thought, because ratio is God's law to
create his creature, engineering is the order that God used in building the universe, Muslim's
belief is to carefully and deeply contemplate God's creatures and verses, so every work by
God should follow this sacred engineering, its effect reflects on every art created, starting
from decorative dishes to architecture. Islamic arts are architecture based at the first place,
because every detail was made by engineering and mathematical laws, because it reflected the
Islamic belief in every sense, and because it followed engineering ratios, as what we are going
to discuss in the upcoming analysis, all these elements gave spiritual, beautiful values and
symbolism that made the Islamic architecture and arts at that sacred status.

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 Analysis of examples of Islamic architecture according to sacred geometry laws:

The next schedule shows some examples of Egyptian architecture, with analysis and
description of its engineering according to the sacred engineering and its various patterns, to
stand as proofs to the existence of the Golden ratio.

The pattern
The Sample In Description and analysis Image
measurement
The ab line represents the
height of the house, and
part a represents the
golden section of the
golden line of line (ab) for
House of the Golden the distance from the
17th century Ratio ground to the roof of the
(unknown) PHI Iwan “large sitting room”
and part b represents the
golden section of line ab
of the upper margin of the
wall containing the
Mashrabiya.
The facade of the mosque
(entrance) is subject to its
measurements of the
golden ratio, where the
part starting from the
ground and up to the neck
of the rotation of the
triangular arch is the
El Morsi Abu largest section of the
The
El Abbas golden rectangle, and the
Golden
Mosque part from neck of the arch
rectangle
(Alexandria) up to the the ending of the
wall represents the
smallest section of it .
Likewise the part starting
from the ground up to the
starting of the arch
represents the smallest
section of the second
golden rectangle .

The smaller golden section

of the rectangle represents
Dome and
the height of the smaller
Minaret of Al The
dome and its larger golden
– Morsi Abu Golden
section represented by the
Al Abbas rectangle
larger dome and the upper
Mosque
part of the minaret.

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The height of the minarets is

consistent with the layout of the
mosque's facade. The height of
the taller minaret with the hight
of the wall of the façade
represents a golden rectangle,
The distance from the ground to
the end of the wall represents
the smaller section and from the
Sultan Hassan The end of the wall to the height of
the minaret (without the
Mosque in Golden crescent) represents the bigger
Cairo rectangle section.likewise,the smaller
minaret with the dome
represents another golden
rectangle where the height of
the wall represents the larger
golden section of the rectangle
and the dome represents the
smaller golden section of the
golden rectangle and the length
of the minaret.
The line (blue / red)
represents the upper
decorated distance of the
Dome and minaret. The red line
Golden
Minaret of represents the golden
Ratio
Khairat Bey section of the line (blue /
16th century red) which is the lower
distance of the minaret and
represents the height of the
dome
The mural decoration is
governed by two golden
rectangles. The largest
golden section represents
the distance between the
ground and the second
window, right and left,
passing through the middle
A wall )islamic of the window in the
architecture in middle of the mural, and
The
cairo- unknown the smaller section
)
Golden
represents the remaining
rectangle
distance .in the other
golden rectangle , the
smaller section represents
the distance from the
ground up to the ending of
the two "left and right"
circles, and the bigger
section represents the
remainig distance up to the
ceiling.

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Where the largest golden

section in the rectangle is
the horizontal distance
from the first column
based of the building until
Al-Nasser the pillar based the next
The
Mohammed decade and the smaller
Golden
Mosque gold section represents the
rectangle
(Cairo) distance between the
columns, and the height of
the rectangle that
corresponds to the height
of the arch.

Where the largest golden section

in the rectangle is the horizontal
distance from the first column
on the base of the building until
Ibn Tulun The
the pillar based the next decade
Mosque Golden
and the smaller gold section
(Cairo) rectangle
represents the distance between
the columns, and the height of
the rectangle that corresponds to
the height of the arch

It is the greatest example that

Minaret of resembles the Golden Spiral in
The
the great Islamic architecture, the spiral
Golden
mosque of growth of stairs starts from
Spiral
samarra inside out according to the
Golden spiral.

The proportion of the prayer

Mihrab “a
niche Matches to the ratio of the
niche in a
golden rectangle, the golden
mosque
The section of the largest distance
directed to
golden from the ground until the
the kiblah”
rectangle beginning of the decade, and the
of Al-
smaller gold section represents
Azhar
the distance from the first
mosque
decade to the end of the top.

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The partition of the prayer niche

wall (mihrab) Matches to the
proportions of the golden
rectangle, the larger golden
section of the rectangle is the
Mosque of The distance from the ground to the
Al-Ashraf golden beginning of the window. The
Barsby rectangle smaller golden one represents
the distance from the first
window to the end of the
window. It also includes within
the lunar top Mihrab (round
window)
The division of the wall is
subject to several golden ratios,
including the golden red
rectangle, which represents the
golden section, which is the
distance from the ground to the
beginning of the window. The
golden section represents the
distance from the beginning of
the window to the ceiling, and
there is another golden rectangle
The
Mosque of subject to the division of the
golden
Qaitbay building itself, From the
rectangle
beginning of the Muqarnasat "
They are from a group of vaulted
niches, hanging or resting on top
of each other in layers or in a
nondescript row and are usually
graded symmetrically.” Until the
first rotation of the building and
the smaller gold section
represents the distance from the
first rotation of the building to
its end.
The division wall is completely
subject for the gold ratio, the
first golden rectangle in blue
(vertical), where the largest
golden section of the rectangle is
the distance from the ground to
the beginning of the arch, above
windows and the end of the
The
Unknown entrance door’s arch. The
golden
interface smaller golden section of the
rectangle
rectangle represents the distance
from the beginning of arches to
the end of the wall., and the
second golden rectangle in red
(horizontal) the larger golden
section of it represents the
distance "from the right" from
beginning of the arches to their

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end "at left" and the smaller

golden part represents the
distance which contains the
door. green(vertical), the largest
golden section represents
distance from the top of the wall
to the base of the columns of the
arches and the smallest golden
part represents the distance from
the base of columns to the
ground.

The wall layout is subject to the

golden ratio. The wall represents
the golden rectangle (vertically).
The golden section represents
the distance from the ceiling to
the beginning of the arch. The
Golden smaller section represents the
rectangle distance from the beginning of
Sultan
, the arch to the ground. The ratio
Hassan
Fibonacc of the wall to the opened area is
Mosque
i 2: 3 Where, the wall is divided
sequence vertically into 5 equal units
occupied by two units on the
right and left of the wall and 3
units in the middle for the
opened area, so that the ratio is
2: 3 which corresponds to the
numbers in a Fibonacci
sequence.

 Analysis of patterns of Islamic ornament according to the laws of sacred geometry :

The pattern In
The Sample Description and analysis Image
measurement
One of the most important
decorations that
characterized the Islamic
art, which strongly reflect
the concept of sacred
architecture, is that
although it is based on
Stellar The rectangle
purely engineering and
Geometric and the gold
compulsory accounts, it is
motifs Spiral
a whale within which
symbolic meanings
reflected the Islamic
thought and vision of the
absolute God that has no
limits and no end, Hence,
the status of sanctity has

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been achieved, We note

that the beginning of the
gold spiral from the center
of the star (which
symbolizes the Creator) in
outward direction and its
growth to include life and
the universe.
The decorative pattern
consists of 10 pentagonal
shapes that wrap around
circles (a) and (b), the ratio
between diagonal and
golden ratio and the
relative relationship
Stellar between the five shapes.
decorations The Golden These circles are
based on the Spiral determined by dividing the
pentagon ribs of the pentacles by
circle (b), then the
decorative pattern extends
to a larger circle c), which
has a radius of twice the
circle (b) and so on
(reference: pattern in
Islamic art)

This ornament pattern is

made up of a central circle
which is the source of all
Stellar
The Golden the other shapes. We note
Geometric
Spiral that the growth and spread
motifs
of the decoration around
the center is consistent
with the golden Spiral.

The golden ratio in the

parts of the decorative
pattern is represented by
the right golden rectangle,
which is the smaller golden
Decorations section of which is half a
of wooden gear (half star) on the right,
Golden and on the left is the
door of the
rectangle distance between the two
mosque
Rifai bucklers which contain the
surrounding geometrical
ornaments " Al-kendas".
The smaller is the buckler (the
star) and the larger gold
section represents half the
buckler and the surrounding.

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Stellar decoration is one of

the most common patterns
of growth and outward
A door of
The Golden spread. We note that its
Al Moayyed
Spiral growth matches with the
Mosque
gold Spiral in order to
prove the validity of the
golden ratio.

The Golden Ratio is

represented by the creation
of the design parts within
the golden rectangles, the
larger golden section
represents the hexagonal
shape, the smaller golden
Part of the section represents the star
Al-Hussein shape which is the middle
Mosque of the design and the
Golden
platform intersection of the two
rectangle
(now in the golden rectangles
Islamic determine exactly the
Museum) horizontal lines of the six-
pointed star. In the upper
strip, Vegetation is also
subject to a golden division
that determines the
beginnings and ends of the
letters horizontally and
vertically.

Conclusion:
1- All forms of life are governed by fixed and specific laws which are regulated and this is
clearly shown by the most precise unit of human being which is DNA, even the galaxies in
the sky are all guided by a unified universe that indicates the unity of the Creator.
2- The Muslim artist was influenced by this sacred geometry and reflected in many works of
art (in addition to his use of other proportions), where he took care of engineering and
proportions in the design of parts which is placed in arrangements according to the
engineering planning accurate in most cases to the golden ratio in particular.

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Recommendations:
1 - Interest in teaching the golden ratio in the Islamic arts (many) in various fields for the
students of art as authentic artistic models to achieve the golden ratio, especially that we have
a huge savings of Islamic arts, which is subject to this ratio.
2 - Taking advantage of the golden ratio in contemporary designs to achieve comfortable
beauty ratios .

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14- Gary Meisner. " Tiling in 5-fold symmetry was thought impossible".goldennumber.net
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