Another element of calligraphy that makes Islamic architecture unique is the stone calligraphic bands found on many buildings. These bands contain inscriptions that are frequently found linear or circular in design and display the Word of God. In “Cairo at the Mosque of al-Aqmar the calligraphic bands give meaning to the building be declaring its function” (“Islamic Architecture,” par. 95). All these forms of calligraphy found on Islamic architecture are unique in that they bring focus to certain parts of the structure and have distinctive characteristics that are not found or replicated anywhere else in the world.

Inscriptions were one of the first forms of calligraphy found on ancient Islamic architecture. The inscriptions are very artistic looking and different styles of lettering are found in different materials. Most of the time the text in the inscriptions are offset by the continuous use of a different color. This tactic is also used in many other types of architecture, but Islam is the only type that uses the offsetting of texts by color and also by extruding it. The scripts can vary from a flowing cursive style to angular and straight lettering called the “kufi”.

The concept of light penetration is also exercised in Islamic architecture to dissolve boundaries in the internal part of the building. A great example of the play of light in Islamic architecture to make it matchless to any other is the Fatehpur Sikri in India. This building displays the cunning uses of a screen that filters light and consequently shows no boundaries of lighted and non-light surfaces in the opposing room. This screen also dissolves the light penetrating through the screen thus accenting the room. These are few of the many ways that Islamic architecture is set apart from the rest. The brilliant use of light within an Islamic building reflects the pure and utter uniqueness only possessed by such architecture.

A different form of decoration focused in the interior of Islamic architecture is the ‘play of light’. The ‘play of light’ mainly pertains to the decoration of the interior, but in atypical cases it can be applied to the exterior of the structure. Reflection and penetration are the two most ordinary uses of light exercised in the internal part of the building. The way that Islamic architecture uses these bring out the uniqueness found in most of their structural design.

Islamic decoration covers buildings like a mantle; its purpose is to conceal the structure rather than to reveal it. The elements of decoration are mostly limited to geometry, calligraphy, play of light, and foliation, but their manipulation results in a rich and extravagant effect. The many diverse materials are used to embellish the buildings and create this effect. Certain principles such as: repetition, symmetry, and rescaling of patterns, also help to set Islamic architecture apart from others. Combined, all of these elements express a unique and different appearance to all of Islamic architecture.

Islam transformed geometry into an art form. The usage of geometry throughout Islamic architecture opened windows of opportunity for applying the principles of repetition, symmetry, and change of scale. When these usages of geometry are practices they create a perplexing variety of effects. To achieve these effects diverse textures are applied to the building in attempt to unify the geometric principles. This concept is best expressed by the Bu-‘Inaniyya Madrasa in Fez, Morocco. The chiseled wood

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