Shamsa

In Islamic art, a shamsa (Persian: شمسه shamseh, Arabic: شمسة shums, Ottoman Turkish: شمسه [Turkish: Şemse]) is an intricately decorated rosette or medallion which is used in many contexts, including manuscripts, carpets, ornamental metalwork and architectural decoration such as the underside of domes.^[1] It can take a number of overall shapes, from circles to stars.^[1] The name means "little sun", as a diminutive of shams, the Arabic word meaning "sun",^[2] and the work is often stylised as a sunburst. It is characterized by the recurrent motifs present in Islamic art, such as the use of geometrical floral or vegetal forms in a repetitive design known as an arabesque. The arabesque is often used to symbolize the transcendent, indivisible and infinite nature of God,^[3] and as with other patterns and forms of Islamic art, the shamsa also has a religious significance, such as symbolizing the unity of God.^[4]

Shamsa is also a female first name in Arabic, Urdu, and Somali, for example of Shamsa Al Maktoum, Shamsa bint Suhail Al Mazrouei, Shamsa Ali and Shamsa Araweelo.

In Persian manuscripts, the first page traditionally consisted of an oval rosette or medallion, above and below which there would sometimes be ornamented cartouches and palmettes. The shamsa took a number of symmetric forms, such as an eight or twelve pointed star, with arabesque or floral motifs. The central panel contained an inscription, which might be the owner of the manuscript, the author, the title of the work, or sometimes a dedication. Small shamsas also occurred in the margins of the text, a number in the centre indicating the passing of five or ten verses.^[1]

The shamsa is a meticulously designed painting representing many months of work by the calligrapher, who was a specifically trained master of such illuminations. Although many similar rosettes had been produced in

This carved ivory plaque bears the signature of an otherwise unknown craftsman, Muhammad Talib Gilani. The plaque most likely comes from the cenotaph of Shah Isma'il I, which is believed to have been commissioned for his tomb in the Ardabil Shrine by his widow, Tajlu Khanum, or by his son, Shah Tahmasp. The opulent inlaid wood decoration of the cenotaph includes ivory, ebony, and strips of bone or ivory tinted in a variety of colors.[6]

• Islamic calligraphy
• Mandala
• Arabesque
• Rub el Hizb
• Star of Lakshmi
• Star of Ishtar
• Surya Majapahit
• Octagram