Figuras y composición en el Lazo de Ocho hispanomusulman

Abstract

In this paper the author presents a hypothesis concerning the way in which the Moorish interlaced design known as the "lazo de ocho" was made up, within the limitations of our knowledge of the historical context in which it took place.
He defines the proportional canon and how it was obtained both geometrically and arithmetically, and offers a detailed description ofthe different figures which constituted the basis ofthe system, of a typology which relied on the presence or absence of "wheels" and the different models of the established proportional canon. He then studies the complex themes which arise from the groupings ofthe figures. The last section ofthe paper is devoted to an analysis of the composition ofthe plinths in the "Salen ofComares" ofthe Alhambra (Granada) as an example ofthe way in which the metodology proposed might be applied.