Question
Explain the architecture of Islamic world during the 10th century.
Solution
1. By the tenth century, an Islamic world had emerged which was easily recognisable by travellers. Religious buildings were the greatest external symbols of this world.
Mosques, shrines and tombs from Spain to Central Asia showed the same basic design -arches, domes, minarets and open courtyards -and expressed the spiritual and practical needs of Muslims.
In the first Islamic century, the mosque acquired a distinct architectural form (roof supported by pillars) which transcended regional variations.
The mosque had an open courtyard (sahn) where a fountain or pond was placed, leading to a vaulted hall which could accommodate long lines of worshippers and the prayer leader (imam).
Two special features were located inside the hall: a niche (mihrab) in the wall indicating the direction of Mecca (qibla), and a pulpit (minbar, pronounced mimbar) from where sermons were delivered during noon prayers on Friday. Attached to the building was the minaret, a tower used to call the faithful to prayer at the appointed times and to symbolise the presence of the new faith.
Time was marked in cities and villages by the five daily prayers and weekly sermons.
2. The same pattern of construction - of buildings built around a central courtyard (iwan) - appeared not only in mosques and mausoleums but also in caravanserais, hospitals and palaces.
The Umayyads built ‘desert palaces’ in oases, such as Khirbat al-Mafjar in Palestine and Qusayr Amra in Jordan, which served as luxurious residences and retreats for hunting and pleasure.
The palaces, modelled on Roman and Sasanian architecture, were lavishly decorated with sculptures, mosaics and paintings of people. The Abbasids built a new imperial city in Samarra amidst gardens and running waters which is mentioned in the stories and legends revolving round Harun al-Rashid.
The great palaces of the Abbasid caliphs in Baghdad or the Fatimids in Cairo have disappeared, leaving only traces in literary texts. The rejection of representing living beings in the religious art of Islam promoted two art forms: calligraphy (khattati or the art of beautiful writing) and arabesque (geometric and vegetal designs).
Small and big inscriptions, usually of religious quotations, were used to decorate architecture. Calligraphic art has been best preserved in manuscripts of the Quran dating from the eight and ninth centuries. Literary works, such as the Kitab al-Aghani (Book of Songs), Kalila wa Dimna, and Maqamat of Hariri, were illustrated with miniature paintings. In addition, a wide variety of illumination techniques were introduced to enhance the beauty of a book.
Plant and floral designs, based on the idea of the garden, were used in buildings and book illustrations.
Mosques, shrines and tombs from Spain to Central Asia showed the same basic design -arches, domes, minarets and open courtyards -and expressed the spiritual and practical needs of Muslims.
In the first Islamic century, the mosque acquired a distinct architectural form (roof supported by pillars) which transcended regional variations.
The mosque had an open courtyard (sahn) where a fountain or pond was placed, leading to a vaulted hall which could accommodate long lines of worshippers and the prayer leader (imam).
Two special features were located inside the hall: a niche (mihrab) in the wall indicating the direction of Mecca (qibla), and a pulpit (minbar, pronounced mimbar) from where sermons were delivered during noon prayers on Friday. Attached to the building was the minaret, a tower used to call the faithful to prayer at the appointed times and to symbolise the presence of the new faith.
Time was marked in cities and villages by the five daily prayers and weekly sermons.
2. The same pattern of construction - of buildings built around a central courtyard (iwan) - appeared not only in mosques and mausoleums but also in caravanserais, hospitals and palaces.
The Umayyads built ‘desert palaces’ in oases, such as Khirbat al-Mafjar in Palestine and Qusayr Amra in Jordan, which served as luxurious residences and retreats for hunting and pleasure.
The palaces, modelled on Roman and Sasanian architecture, were lavishly decorated with sculptures, mosaics and paintings of people. The Abbasids built a new imperial city in Samarra amidst gardens and running waters which is mentioned in the stories and legends revolving round Harun al-Rashid.
The great palaces of the Abbasid caliphs in Baghdad or the Fatimids in Cairo have disappeared, leaving only traces in literary texts. The rejection of representing living beings in the religious art of Islam promoted two art forms: calligraphy (khattati or the art of beautiful writing) and arabesque (geometric and vegetal designs).
Small and big inscriptions, usually of religious quotations, were used to decorate architecture. Calligraphic art has been best preserved in manuscripts of the Quran dating from the eight and ninth centuries. Literary works, such as the Kitab al-Aghani (Book of Songs), Kalila wa Dimna, and Maqamat of Hariri, were illustrated with miniature paintings. In addition, a wide variety of illumination techniques were introduced to enhance the beauty of a book.
Plant and floral designs, based on the idea of the garden, were used in buildings and book illustrations.
