Source: “Islamic Arts & Architecture Organization.” 23 Feb 2005 <http://www.islamicart.com>.
Architecture• Expressions of power• Focused on interior space instead
of outside• Forms used repetitively (arches,
columns, courtyards, domes) • Little directional arrangement • Organic design
– Easy to make additions (ie: as families grow)– Maze of structures
Brendon Mostert
The expression of power is an inherent part of architecture in "Palaces, Citadels and Fortifications." Notes Grabar, "Whatever its social or personal function, there hardly exists a major monument of Islamic architecture that does not reflect power in some fashion. According to Grabar, Islamic 'power architecture' begins primarily with military and defensive architecture, continues with certain kinds of urban developments and official palaces, and ends with the more elusive category of symbolic expressions of power.
Shady court-yard of house
in Cairo
“Dome of the Rock”
Brendon Mostert
“Dome of the Rock” in Jerusalem. Considered a masterpiece of world architecture. Like the Taj Mahal in India and the Alhambra in Spain, it is a celebrated example of Muslim art. The Dome of the Rock was built in 680 - 692 AD and thus chronologically the first monument of the Muslim civilization. The structure is lavishly faced in brilliantly colored ceramic tiles and is surmounted by a massive golden dome which has just been completely restored. Tradition says that this is the same rock used in the sacrifice of Abraham. And later tradition says that this same rock was the point from which the Prophet Muhammad ascended to heaven.
Inside of “Dome of the Rock”
Inner dome of “Dome of the Rock”
The Haram (Great Mosque)
Brendon Mostert
“al-Haram al-Makki al-Sharif” in Makkah. For Muslims, this mosque is the holiest spot on Earth. The mihrabs of all mosques are aligned with the Ka'ba so that all Muslims pray in the direction of Mecca. Dimensions of Ka’ba = approx. 12 m X 12 m X 12 m
Great Mosque of Qairawwan
Brendon Mostert
Tunisia's “Great Mosque of Qairawan” (8th century). The ancestor of all mosques built in western Islamic lands, this mosque is known for its simplicity and purity. It has a plain exterior highlighted by a square, massive minaret. Doors cut in a blank stone wall lead to a courtyard. The exterior is without decoration. Interior decoration is limited to the domical area over the mihrab which is ornamented with luster tiles imported from the imperial capital in Iraq.
Great Mosque of al-Mutawakkil “The Spiral”
Brendon Mostert
“Great Mosque of al-Mutawakkil” in Samarra, Iraq (reign 847 - 861). Shown here is the mosque's 165-foot high minaret.
Taj Mahal
Brendon Mostert
“Taj Mahal” in Agra, India. The crowning jewel of Indo-Islamic architecture, the Taj Mahal is one of the world’s most beautiful and beloved structures. The monument was built for Mumtaz Mahal, the favorite wife of Mughal emperor Shah Jahan. Construction of the tomb began in 1632 (1 year after the death of his wife) and employed more than 20,000 laborers for 20 years. Known for its symmetry, the Taj Mahal sits on a raised platform surrounded by four minarets. The outside is constructed with white marble and inscribed with Qur’anic verses. Inside are delicate mosaic works and marble walls adorned with intricate patterns of inlaid precious stones.
The Alhambra
Brendon Mostert
“The Alhambra” in Granada, Spain (1338 to 1390). The sprawling palace-citadel comprised of royal residential quarters is known for its series of courtyards. The Alhambra is one of the crowning achievements of Moorish/Islamic architecture.
Inner court of Alhambra
Courtyard arches & columns of Alhambra
Wall ornamental relief at Alhambra
“Oriental” Rugs• Begun by nomads needing portable
coverings
• Valued as art throughout world
• Value depends on precise, small knots (hand-knotted) & shortness of pile
• Two most famous rug producers
–Turkey = geometric patterns
–Persia = floral patterns
• Common colors = red, yellow, green
Brendon Mostert
Oriental rugs are commonly produced in Turkey, Persia, Afghanistan, Pakistan, and India. Rugs were useful for nomads because not only were they portable floor covers to protect against the hot & cold of the sand, but they doubled as wall hangings, curtains and saddlebags. With time rug production became more advanced and a means of decoration & artistic expression. Because the nomadic carpet-makers were forced to dismantle their looms and move on whenever their security was threatened by natural elements or human foes, their creations may contain irregularities in weave, selvages and design. The art was primarily popularized through Italian merchants (ie – Venice) that controlled Mediterranean trade routes to the east. As a result of Venetians spreading Oriental rugs along their narrow streets, hanging them from windows and using rugs to decorated their gondolas, the Oriental rug became recognized and valued in Europe.
Symbolism of Rugs• Fighting animals = struggle b/t
good & evil
• Cypress Tree = mourning or life after death
• Palm & Coconut = blessings
• Peony = wealth
• Lotus = great lineage
• Cresent = faith
• Fringe = wisdom & immortality
Brendon Mostert
An unexpected universal symbol found in South America, Egypt, India and elsewhere is the geometric swastika that has been a popular border design. In China, the swastika symbolizes peace -- a meaning apparently ignored in 20th-century Europe.Rugs colors were derived from natural dyes. The madder, a common plant that grows wild in Persia, was used for shades of red and pink. When madder root was combined with a mixture of milk and fermented grape juice, they yielded a violet dye. The bright red cochineal insect also provided red dye, as did the kermes insect that lives in the bark of oak trees. Wild saffron provided a reddish-yellow, while cultivated saffron offered a pure yellow. A lighter yellow came from the root of turmeric. A fungus of the mulberry bush provided a green-yellow. The soaking and fermentation of indigo plants from China and India provided blue.
Scholar Yasin Hamid Safadi (1978) writes: “The primacy of the word in Islam is reflected in the virtually universal application of calligraphy. Writing is given pride of place on all kinds of objects--objects of everyday use as well as entire wall surfaces, mosque furniture, the interiors and exteriors of mosques, tombs, and al-Ka'ba, the most famous sanctuary of Islam. But like the icons of most other faiths, script also represents power. Its preeminent use is the writing of the divine message of the Qur'an, of course, which endowed it with extraordinary strength and transcendent significance. From this world's manifold possibilities, Allah had chosen Arabic as the vehicle for his final revelation.”
Calligraphy
• Varying types of calligraphy
Gulzar
Brendon Mostert
Gulzar calligraphy The technique of filling the area within the outlines of relatively large letters with various ornamental devices (floral designs, geometric patterns, hunting scenes, portraits, small script).
Zoomorphic
Brendon Mostert
Zoomorphic calligraphy Words are manipulated and structured into the shape of a human figure, a bird, an animal, or an object.
Tughra
Brendon Mostert
Tughra calligraphy Device that is used as a royal seal. The emblems became quite ornate and were particularly favored by Ottoman officialdom.
Calligraphy
• Varying mediums using calligraphy
Bowl w/ Foliated Calligraphy
Qur'an
Rare illustrated version of the “Life of
the Prophet”
Marble Wall in Afghanistan
Calligraphy
• Varying styles of calligraphy
Kufi (geometric) Script
Brendon Mostert
"There is no God who truly deserves to be worshipped but Allah alone and Mohammed (peace and blessings be upon him) is the messenger of Allah.“ (The profession of faith in Islam)Kufi was the dominant priestly script in early times. The script has specific proportional measurements, along with pronounced angularity and squareness.
Naskh
Brendon Mostert
"Praise be to Allah; the Cherisher and Sustainer of the Worlds;"(From the Holy Qur'an, Surah 1, Al-Fatiha (The Opening))Naskh was one of the earliest scripts to evolve. Naskh style displays a very rhythmic line. Naskh later was reformed into an elegant script worthy of the Qur'an -- and more Qur'ans have been written in Naskh than in all the other scripts together. Since the script is relatively easy to read and write, Naskh appealed particularly to the general population. Currently, Naskh is considered the supreme script for almost all Muslims and Arabs around the world.
Riq'a
Brendon Mostert
"In The Name of Allah, the Most Beneficent, the Most Merciful"(Basmalah)Riq'a became simplified. Riq'a is rounded and densely structured. Today, Riq'a is the preferred script for handwriting throughout the Arab world.
Thuluth
Brendon Mostert
"Allah Has taught man that which he knew not“ (From the Holy Qur'an, Surah: 96, AL-Alaq, Verse: 5)Though rarely used for writing the Holy Qur'an, Thuluth has enjoyed enormous popularity as an ornamental script for calligraphic inscriptions, titles, headings, and colophons. It is still the most important of all the ornamental scripts. The letters are linked and sometimes intersecting, thus often complex. Thuluth is known for its elaborate graphics and remarkable plasticity.
