The Dutch graphic artist, Maurits Cornelis Escehr (1898-1972) was both fascinated and inspired by the Islamic patterns he saw during a visit to the Alhambra palace in Spain in 1922. For the Islamic artists, beauty and truth come together in geometric designs to express the perfection of God. The fact that these tessellating designs are found to be so pleasing to the eye is evocative of the order and balance of the universe, expressed through the laws of geometry. Faithful Muslims attending Mosque can contemplate the oneness of God simply by looking at the designs on the walls or the ceiling. Tawhid, the ultimate unity of all things, emanating from the Oneness of God, is depicted in the patterns which tessellate into infinity. They invite the observer to contemplate the nature of the relationship between beauty and geometry: Why do we find satisfaction in mathematical rhythms? Can they offer us an insight into the eternal? Do they demonstrate a connectivity between nature and the spiritual?įor Muslim intellectuals, this relationship between beauty and geometry is an expression of the fundamental truths of Tawhid and Mizan, without committing Shirk (idolatry – the unforgivable sin). They are beautiful in their simplicity, creating shapes and patterns that simultaneously satisfy and intrigue the eye of the observer. Islamic art comprises geometric prints and tessellations which connect to form infinitely repetitive designs.

The exhibition ‘Escher Meets Islamic Art’ examines for the first time ever the way in which Escher was inspired by Islamic art. The Tropenmuseum in Amsterdam has been taking a fresh look at the world-famous Dutch graphic artist M.C.

Mc escher lizard tessellation