Data Module 061 — Mathematical Intelligence
The Geometry
of Zellige
Every zellige panel is a solved equation. The artisan works with compass and straightedge — the same tools Euclid used — to construct patterns governed by 17 possible symmetry groups. Mathematics made visible. Infinity made from clay.
001 — Five Star Families
The Stars
Every star is born from the circle. The number of points determines the fold symmetry, the surrounding fill shapes, and the wallpaper group of the final pattern.
Six-Pointed Star
نجمة سداسية
6-fold symmetry
Bou Inania Madrasa (Fes), Saadian Tombs (Marrakech)
Two overlapping equilateral triangles inscribed in a circle
The simplest star in zellige. Formed by overlapping two equilateral triangles — the same geometry as the Star of David, but predating that association in Islamic art. Based on the hexagonal grid, which is one of three regular tessellations. Each star generates six surrounding hexagons. Common in early Moroccan tilework.
Eight-Pointed Star
نجمة ثمانية
4-fold symmetry
Everywhere. Hassan II Mosque, Alhambra, Ben Youssef Madrasa
Two squares, one rotated 45° relative to the other, inscribed in a circle
Two interlocking squares create the octagram — the khatam or "seal." Produces 4-fold rotational symmetry. The gaps between stars form crosses and smaller squares. The 8-pointed star is the single most common motif in Moroccan zellige, found on virtually every significant building.
Ten-Pointed Star
نجمة عشرية
5-fold symmetry
Darj wa ktaf motifs, advanced Marinid compositions
Two regular pentagons, one rotated 36° relative to the other, inscribed in a circle
Introduces 5-fold symmetry — which cannot tile the plane periodically. This is the gateway to quasi-periodic patterns. In 2007, physicists discovered that 15th-century Iranian girih tiles formed Penrose-like non-repeating patterns with 5-fold rotational symmetry — 500 years before Roger Penrose described them in 1973. Ten-pointed stars are less common in Moroccan zellige than in Persian tilework.
Twelve-Pointed Star
نجمة اثنا عشرية
6-fold symmetry
Al-Attarine Madrasa (Fes), Bahia Palace (Marrakech)
Three squares at 30° intervals, or four equilateral triangles at 30° intervals
The most complex star in Moroccan zellige. Based on the 12-fold division of the circle — the same geometry governing clock faces and the zodiac. Produces intricate surrounding polygons: hexagons, squares, and triangles interlock in patterns of remarkable density. The key generative motif for some of the most elaborate Marinid-era compositions.
Sixteen-Pointed Star
نجمة ستة عشرية
4-fold symmetry
Saadian Tombs (Marrakech), select royal commissions
Four squares at 22.5° intervals inscribed in a circle
The apex of complexity in zellige. 16-point stars emerged in the 16th century, at the height of Saadian power. The surrounding fill shapes become so small and numerous that a single panel can contain hundreds of hand-cut pieces. These are the showpieces — commissioned by sultans, executed over months. Extremely rare.
The circle symbolizes unity. Division creates diversity. Tessellation restores unity at a higher order.
002 — Compass & Straightedge
How a Pattern is Born
Six steps. Two tools. Every zellige pattern ever made follows this sequence.
The Circle
Everything begins with a circle drawn by compass. The circle represents unity — tawhid — the indivisibility of God. All subsequent geometry is derived from this single form.
The Division
The circle is divided into equal parts using compass and straightedge only. Division into 4 or 8 parts: place compass at cardinal points, draw arcs. Division into 6: compass radius equals the circle's radius — six arcs around the circumference. Division into 5 (pentagon) requires the golden ratio.
The Grid
Connecting the division points creates a polygon grid — the underlying skeleton. For 4-fold: square grid. For 6-fold: hexagonal/triangular grid. This grid is invisible in the final work but determines everything.
The Star
Stars are formed by extending lines from grid intersections at consistent angles. The angle of intersection determines the "tightness" of the star. Wider angles create fatter, more rounded stars. Narrow angles create sharper, more pointed ones.
The Fill
The spaces between stars become the secondary shapes: hexagons, pentagons, bowties, kite shapes, irregular polygons. In zellige, each of these shapes is a separate hand-cut tile. A master (maalem) must know every fill shape for a given star pattern.
The Tessellation
The completed unit is repeated across the surface using the translational symmetry of the underlying lattice. In zellige, tiles are assembled face-down on the floor, then mortar is poured over the back. The artisan works blind — feeling the geometry.
003 — The Four Transformations
Symmetry
Every pattern in the plane is governed by exactly four types of symmetry operations. These are the only moves that preserve distance and shape.
Translation
Shifting the entire pattern in a direction without rotating or flipping it. The pattern repeats identically. Every zellige tessellation has translational symmetry — this is what makes it a tessellation.
Any repeating tile grid
Rotation
Turning the pattern around a fixed point by a specific angle. In zellige, only rotations of 60°, 90°, 120°, and 180° are possible — the crystallographic restriction. This is why you see 6-fold, 4-fold, 3-fold, and 2-fold symmetries, but never 5-fold or 7-fold in periodic tilings.
8-pointed star: 90° rotation
Reflection
Flipping the pattern across a mirror line. Many zellige patterns have multiple reflection axes — an 8-pointed star has 8 mirror lines. The interplay of reflection and rotation creates the visual richness.
Any star pattern has mirror lines through each point
Glide Reflection
A reflection combined with a translation along the mirror line. Subtler than pure reflection. Creates patterns that seem to "flow" in a direction while maintaining bilateral symmetry.
Interlacing ribbon motifs in the Alhambra
004 — The 17 Wallpaper Groups
Every Possible Symmetry
In 1891, Russian crystallographer Evgraf Fedorov proved there are exactly 17 distinct ways to tile a plane with repeating patterns. Not 16, not 18. Seventeen. Every zellige panel, every wallpaper, every honeycomb belongs to one of these groups.
The Alhambra in Granada contains at least 13 of the 17 — some researchers claim all 17. Moroccan zellige deploys at least 16.
| Notation | Orbifold | Rotation | Description | Zellige |
|---|---|---|---|---|
| p1 | o | 1-fold | Translation only. No rotation, reflection, or glide reflection. The simplest possible pattern. | ✓ |
| p2 | 2222 | 2-fold | 180° rotations only. No reflections. Four distinct rotation centers per unit cell. | ✓ |
| pm | ** | 1-fold | Parallel mirror lines only. No rotations. | ✓ |
| pg | xx | 1-fold | Parallel glide reflections only. No rotations, no pure reflections. | ✓ |
| cm | *x | 1-fold | Mirror lines plus glide reflections between them. Centred cell. | ✓ |
| pmm | *2222 | 2-fold | Two perpendicular mirror lines with 180° rotations at intersections. | ✓ |
| pmg | 22* | 2-fold | Mirror lines in one direction, glide reflections in the perpendicular, plus 180° rotations. | ✓ |
| pgg | 22x | 2-fold | Two perpendicular glide reflections plus 180° rotations. No pure reflections. | ✓ |
| cmm | 2*22 | 2-fold | Mirror lines in two directions with 180° rotation centers. Centred cell. | ✓ |
| p4 | 442 | 4-fold | 90° rotations. Square lattice. No reflections. The geometry behind the 8-pointed star. | ✓ |
| p4m | *442 | 4-fold | 90° rotations with mirror lines. Common in Moroccan zellige. | ✓ |
| p4g | 4*2 | 4-fold | 90° rotations with glide reflections but no mirrors through rotation centers. | ✓ |
| p3m1 | *333 | 3-fold | 120° rotations with mirror lines through all rotation centers. | ✓ |
| p31m | 3*3 | 3-fold | 120° rotations with mirrors, but not all centers on mirror lines. | ✓ |
| p6 | 632 | 6-fold | 60° rotations. Hexagonal lattice. No reflections. The geometry of the 6-pointed star. | ✓ |
| p6m | *632 | 6-fold | 60° rotations with mirror lines. Maximum symmetry. The geometry behind 12-pointed stars. | ✓ |
005 — The Palette
Color as Language
Blue
Sky and water. Derived from cobalt oxide. Symbolizes infinity and the divine.
Green
Paradise. The color of Islam. Derived from copper oxide. Found in mosques, madrasas, zawiyas.
White
Purity. The ground color. Made from tin oxide glaze over terracotta. The negative space that defines the pattern.
Black
Outline and definition. Manganese oxide. Used for borders and to separate color fields. The calligraphy of the tile.
Yellow
Sun and gold. Iron oxide or antimony. Common in Moroccan zellige, less so in eastern Islamic tilework. Warmth.
Brown
Earth. The natural terracotta showing through. Found in early Moroccan zellige (10th–12th century) before the full palette developed.
In 2007, physicists discovered that 15th-century Islamic artisans had created Penrose tilings — non-periodic patterns with five-fold symmetry — 500 years before Western mathematics described them.
Harvard & Princeton, published in Science (2007)
006 — Key Numbers
The Mathematics
10th C
Zellige origins in Morocco
White and brown tones, imitating Roman mosaics
1891
Fedorov proves 17 groups
Russian crystallographer classifies all possible planar symmetries
2007
Penrose tiling discovered in 15th C Islamic art
Harvard & Princeton physicists find quasi-crystals in girih tiles
p4m
Most common zellige group
90° rotations + mirror lines. The 8-pointed star symmetry.
0
Living figures depicted
Islamic art avoids figural representation. Geometry fills the void.
1
Tool: the compass
Every pattern can be constructed with compass and straightedge alone
Sources
Wikipedia — Zellij: origins 10th century, tessellation methods, Marinid/Saadian golden ages, M.C. Escher influence
Wikipedia — Islamic Geometric Patterns: 8-pointed star, compass construction, Roman Verostko on algorithmic art
Wikipedia — Wallpaper Group: 17 crystallographic groups, Fedorov 1891, Hermann-Mauguin notation, orbifold notation
Art of Islamic Pattern: compass-and-straightedge method, decagram construction, girih patterns, three-fold hierarchy
MIT PRIMES — Wallpaper Groups (Ganapathy): mathematical proofs, Alhambra examples, crystallographic restriction
ResearchGate — Islamic Patterns and Symmetry Groups: Alhambra analysis, Müller thesis (1944), 13 vs 17 debate
ResearchGate — Symmetry Groups in Moroccan and Turkish Ornamental Art (Aboufadil et al.): crystallographic analysis of zellige
Why Tile — Islamic Tile History: Penrose tilings in 15th C girih, Harvard/Princeton 2007 discovery, quasi-crystals
Wolfram MathWorld — Wallpaper Groups: Hermann-Mauguin symbols, orbifold notation, Coxeter references
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Sources: Architectural documentation