Even though this pattern was inspired by the Abbasid Samarra style in stucco decoration, the use of geometry in the Abbasid artistic tradition was a little different from what we see here in the Tulunid period. In Samarra stucco, circular and square grids were used as frames for the abstracted palmettes and vegetal motifs. In this pattern, however, the geometric grid itself becomes an independent part of the design rather than a mere frame attached to the vegetal elements. 

The new understanding of polygons as patterns instead of mere design guides resulted in the intensification of Islamic strapwork—the geometric interlace began to acquire a life of its own. Looking closely at the displayed pattern, one can see how the hexagonal strapwork seems to come forward while the filler vegetal motifs recede. This creates a subtle competition between the vegetal and geometric ornament for the overall visual appearance. With each glance, the vegetal and geometric elements take turns, one appearing to dominate the other .

By treating polygons as patterns, artists of Tulunid Cairo were able to create visual layers within the same design without having to use completely novel forms. Due to this intellectual shift in design, geometric ornament paired with floral and vegetal motifs became heavily utilised in later periods, which eventually led to the crystallisation of the arabesque. In fact, this particular pattern on display became quite popular in different regions of the world from Spain to India, and appears on various media from wooden doors to stone screens.