Mosque of Selim II
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The Meccan Era in the Light of the Turkish Writings from the Prophet’S Birth Till the Rise of the Mission - I
ISSN 2039-2117 (online) Mediterranean Journal of Vol 9 No 6 ISSN 2039-9340 (print) Social Sciences November 2018 . Research Article © 2018 Noura Ahmed Hamed Al Harthy. This is an open access article licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License (http://creativecommons.org/licenses/by-nc-nd/3.0/). The Meccan Era in the Light of the Turkish Writings from the Prophet’s Birth Till the Rise of the Mission - I Dr. Noura Ahmed Hamed Al Harthy Professor of Islamic History, Vice Dean of Scientific Research, University of Bishe, Kingdom of Saudi Arabia Doi: 10.2478/mjss-2018-0163 Abstract The prophet’s biography had a supreme place in the Turkish writings. In this vein, the present research’s title is “The Meccan Era in the Turkish Writings from the prophet’s birth till the Prophetic Immigration to Medina”. Therefore in this research, a great amount of information about the Meccan era in the Turkish Writings from the prophet’s birth till the Prophetic Immigration to Medina was collected. It also included prophet’s life before and after the mission till the immigration to Abyssinia, the boycott, passing the second Aqaba Pledge, the Prophet's stand towards some contemporary nations and finally, the conclusion and the list of citied works and references. Before the prophet Muhammad Ibn Abd Allah's (PBUH) birth, the Arabian Peninsula lived in full darkness then it was enlightened by Islam. The prophet (PBUH) was not detached from the universal arena; rather, he was aware of the surrounding nations led by the Persians and Romans during that time. -
Title: Location: Date: Artist: Period/Style: Patron
TITLE:Buddha LOCATION:Bamiyan, Afghanistan DATE: C. 400-800 C.E. ARTIST: PERIOD/STYLE: Gandharan PATRON: MATERIAL/TECHNIQUE:Cut sandstone with plaster and polychrome paint. FORM: Details such as facial features and hands were modeled using mud mixed with straw and then coated with stucco and painted bright colors. Stucco is a kind of plaster that is sometimes put on the exterior of houses as a protective coating against the elements. The stucco wore off long ago, but we do know that the larger Buddha figure was painted a deep red and the smaller Buddha was multi-colored with both jewels and copper. The legs were carved in the round which allowed for circumambulation. FUNCTION: The Silk Road comprosed an overland network of trade routes linking China and Central Asia with India and ultimately the Medi- terranean Sea. The Bamiyan Valley’s fertile fields attracted merchants and Buddhist missionaries. Thus between 500 and 750, the region served as both a commercial hub and an important Buddhist spiritual center. CONTENT: The Bamiyan Buddhas served as centerpieces of a flourishing Buddhist community. Both statues manifested the power and piety of their royal benefactors. Visible for miles, they provided pilgrims and merchants with a dramatic reminder to follow Buddhist practices, The two timeless images also marked a momentous development in Buddhist art. The gigantic Bamiyan statues represented Buddha as more than a gifted teacher; he was now presented as a guiding, enduring, and universal spiritual presence. CONTEXT: Bamiyan was situated right on the Silk Route as it went through the Hindu Kush mountain region in the Bamiyan valley of Afghanistan. -
Bioclimatic Devices of Nasrid Domestic Buildings
Bioclimatic Devices of Nasrid Domestic Buildings Luis José GARCÍA-PULIDO studies in ARCHITECTURE, HISTORY & CULTURE papers by the 2011-2012 AKPIA@MIT visiting fellows AKPIA@MIT 2 The Aga Khan Program for Islamic Architecture at the Massachusetts Institute of Technology 3 2011-2012 CONTENTS 1. INTRODUCTION 6.1.A.1. Control of Spaces and Natural Light 6.1.A.2. Reflecting Surfaces 2. CLIMATIC CHANGES IN THE PAST AND THEIR INFLUENCES 6.1.A.3. North-South Orientation 6.1.A.4. Microclimate Provided by Courtyards IN SOCIETIES 6.1.A.5. Spatial Dispositions around the Courtyard. The 2.1. The Roman Climatic Optimum Sequence Patio-Portico-Qubba/Tower 2.2. The Early Medieval Pessimum 6.1.B. Indirect Methods of Passive Refrigeration (Heat 2.3. The Medieval Warm Period Dissipation) 2.4. The Little Ice Age 6.1.B.1. Ventilation 6.1.B.2. Radiation 6.1.B.3. Evaporation and Evapotranspiration 3. BUILDING AGAINST A HARSH CLIMATE IN THE ISLAMIC WORLD 7. BIOCLIMATIC DEVICES IN OTHER ISLAMIC REGIONS 3.1. Orientation and Flexibility WITH COMPARABLE CLIMATOLOGY TO THE SOUTHEAST 3.2. Shading IBERIAN PENINSULA 3.3. Ventilation 7.1 The North West of Maghreb 7.1.1. The Courtyard House in the Medinas of North Maghreb 4. COURTYARD HOUSES 7.2 The Anatolian Peninsula 4.1. The Sequence from the Outside to the Courtyard 7.2.1. Mediterranean Continental Climate 4.2. Taming the Climate 7.2.2. Mediterranean Marine Climate 7.2.3. Mediterranean Mountainous Climate 5. NASRID HOUSE TYPOLOGY 7.2.4. Dry and Hot Climate 7.2.5. -
Living the Muslim Life - Meditating and Retreating to the Mosque for the Last 10 Days of Ramadan Can Bring a Special Closeness to and Charitable Causes
The Ten Obligatory Acts Shahadah – 1st Pillar Salah – 2nd pillar Salah at home: Muslims are allowed to pray at home. They must perform wudu Sawm – 3rd pillar before prayer but they do not need a special room in their house to pray. Sunni Muslims refer to their faith as ‘the house of Islam’ ‘There is no God but Allah and Muhammad is the History of Salah Muslims will use a prayer mat, which they position so it is facing Makkah, in the same way as it would in a mosque. Muslims women can often find it useful to Ramadan: Ramadan is the ninth month of the Muslim Year, but that does not mean that it happens in September. by which they mean their home. A house needs Prophet of Allah’ Salah is the five times a day ritual prayer of Islam. Salah as it pray at home, especially if they have children to look after. Muslims traditionally follow a lunar calendar which is slightly shorter than the solar year, it means that Ramadan will foundations and for Muslims, this is the Qur’an. The is known today began with Muhammad. According to the Muslim be slightly earlier (by about ten days) in the Western calendar every year. ‘House of Islam’ is supported by the 5 pillars. The Ten Shahadah means ‘to observe, witness, testify’, The biographies, Muhammad began a system of morning and evening Jummah prayer: The midday prayer every Friday is considered to be special, Obligatory Acts were developed by the Twelve Imams of first part shows the belief of Tawhid, that there is prayers. -
SACRED SPACES: ISLAMIC ART and ARCHITECTURE (Mecca and the Dome of the Rock) ART of EARLY ISLAM
SACRED SPACES: ISLAMIC ART and ARCHITECTURE (Mecca and the Dome of the Rock) ART of EARLY ISLAM Online Links: Mosque - Wikipedia, the free encyclopedia Dome of the Rock - Wikipedia, the free encyclopedia Mecca - Wikipedia, the free encyclopedia Kaaba - Wikipedia, the free encyclopedia Minaret - Wikipedia, the free encyclopedia Mihrab - Wikipedia, the free encyclopedia Minbar - Wikipedia, the free encyclopedia Adhan - Wikipedia, the free encyclopedia Muezzin - Wikipedia, the free encyclopedia Isra and Mi'raj - Wikipedia, the free encyclopedia ART of EARLY ISLAM Online Links: Origin of the Crescent Moon Symbol - The Guardian The Kaaba – Smarthistory Dome of the Rock - Smarthistory Known to the Muslim faithful as Umm al-Qura- the Mother of Cities- Mecca is the holiest place in the Islamic world. Here, the prophet Muhammad (c. 570-632 CE), the messenger of God and founder of the Muslim faith, was born. Here, too, within the city’s Great Mosque, is the most sacred Muslim shrine, the Ka’aba. According to tradition, this cube-shaped building, draped in black cloth embroidered with a band of sacred verses in gold and silver thread, was originally built as a replica of a heavenly prototype. It was sacred to the Meccans before the time of the Prophet. And since the birth of Islam in the seventh century, it has been the focal point of the hajj, now the world’s largest annual pilgrimage. One of the “five pillars” of Islam, the hajj lasts several days, during which pilgrims must carry out certain rituals in Mecca and at sacred sites nearby. Muslims consider the city and an area several miles around it to be haram (“restricted,” “sacred”) and off-limits to non-Muslims. -
The Aesthetics of Islamic Architecture & the Exuberance of Mamluk Design
The Aesthetics of Islamic Architecture & The Exuberance of Mamluk Design Tarek A. El-Akkad Dipòsit Legal: B. 17657-2013 ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tesisenxarxa.net) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del s eu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tesisenred.net) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. -
Auction 39 | January 21-25, 2021 | Session G
Numismatic Literature 4012. Allan, John, A Catalogue of the Indian Coins in the British Museum: Coins of Ancient India, London, 1936, original printing, 318 pages, 46 plates, hardcover, mostly Punchmarked coins of Session G the Mauryan Empire and tribal issues of ancient India. Nicely organized to facilitate identification of types. The plates are clear and detailed, , ex The Skanda Collection Library $75 - 100 4013. Allan, John, A Catalogue of the Indian Coins in the British Begins at 10:00 PST on Monday, January 25, 2021 Museum: Coins of Ancient India, Originally published 1936, reprinted by Eastern Book House, Patna, India, 1989, 302 pages, 46 plates, hardcover with dust jacket. Mostly punchmarked coins of the Mauryan Empire and tribal issues of ancient India. Nicely Numismatic Literature organized to facilitate identification of types. The plates are mediocre, which is typical of Indian reprints, , 4001. A Catalogue of the Indian Coins in the British Museum: Coins ex James Farr Collection Library $20 - 30 of Ancient Allan, J, A Catalogue of the Indian Coins in the British Museum: Coins of Ancient India, London, 1936, original printing, 4014. Allan, John, A Catalogue of the Indian Coins in the British 318 pages, 46 plates, hardcover with dusk jacket. Mostly Museum: Coins of Gupta Dynasties and of Sasanka, King of Punchmarked coins of the Mauryan Empire and tribal issues of Gauda, Originally published 1914 (British Museum reprint of ancient India. Nicely organized to facilitate identification of types 1967), 181 pages, 24 plates in good quality, hardcover with dust with excellent high quality photographic plates, , jacket. Altekar’s work replaces this informationally & is more ex The Skanda Collection Library $50 - 75 comprehensive, but this is still a good collection and the photo record is worth having even at reprint quality, , 4002. -
The Symbol Cf the Centre and Its Religious Function in Islam
The Symbol cf the Centre and its religious function in Islam By JAN HJARPE A modern catechism for English-speaking Muslim children contains a map showing Mecca as the Centre of the inhabited world1 justas the old Arab geographers, e.g. Ibn Hawkal, begin their descriptions of cities and countries with "the mother of cities" (cf. Sura 42: 7/5), Mecca'. Eliade cites the feeling of a-homogeneity in space as a basic religious experience'. Separate parts of a room, different places, regions and directions have different emotional values in the eyes of the individual. There is a ritual orientation in the world. In this context we may speak of a Centre, the Origo in the religious orientation in the world. This concept is an essential feature of Islam. To be valid the prayers must be performed facing the kibla, which is the Ka`ba in Mecca4. The animal to be slaughtered stands with its head towards the kibla5, the dead is buried with his face towards Mecca. The kibla determines the orientation of the mosques, and thus indirectly, town plans throught the Muslim world. Mecca is also the goal of the Pilgrim- age. In bygone days the Muslim traveller carried an astrolabe to find the kibla with the help of the stars6; today a special compass is used. The kibla, the direction for ritual acts, is towards the Centre of the world, the Ka`ba in Mecca, or, to be exact, towards the north-western wall of the Ka`ba building between the western corner and the gilded spout for the rainwater from the roof7. -
Alhawasli Et Al.Pub
JOURNAL OF ISLAMIC ARCHITECTURE P-ISSN: 2086-2636 E-ISSN: 2356-4644 Journal Home Page: http://ejournal.uin-malang.ac.id/index.php/JIA THE IMPACT OF HOLY KAABA CUBIC SHAPE ON THE INCORPOREAL SPACE | Received May 4th, 2018 | Accepted July 27th, 2018 | Available Online December 15th, 2018 | | DOI: http://dx.doi.org/10.18860/jia.v5i2.5040 | Hiba Alhawasli ABSTRACT Department of Architecture Engineering The Holy Kaaba is the house of God; the home of greatness secrets, wisdom Tarbiat Modares University, Tehran, Iran and divine beauty, which is reflected in all his creatures. This study aims to [email protected] find the role of the shape of holy Kaaba in producing such kind of spaces and discovering the characteristics possessed by its form which has an impact in Mohammad Reza Bemanian creating such incorporeal space. In this study, scientific articles and Department of Architecture Engineering research were used to achieve the rules of research theory with taking into Tarbiat Modares University, Tehran, Iran account considering the position of Islamic theoretical and practical wisdom. [email protected] In the process of creating works of art, architecture and joint issues with urbanization, and by using the rational method to find out, in the end, the study shows the space of Holy Kaaba is a sign of divine glory from visualization and embodiment material. The nature veil in this space shines the divine light in human conscience. Human perception of space is related to his knowledge of himself and the world. Human in the use of space is approaches to percepts the true meaning of it. -
Jerusalem Studies in Arabic and Islam
Institute ofAsian and African Studies at the Hebrew University The Max Schloessinger Memorial Foundation offprint from JERUSALEM STUDIES IN ARABIC AND ISLAM 8 1986 FROM JAHIUYYA TO ISLAM I Part II THE MAGNES PRESSOTHE HEBREW UNIVERSITY-JERUSALEM J5AI 8. 1986 THE KAcBA Aspects of its ritual functions and position in pre-Islamic and early Islamic times Uri Rubin The history of the Ka-ba in pre-Islamic times, as recorded in the Arab sources, is, in many cases, related from a specific Islamic viewpoint, and formulated in a special Islamic terminology, which has, sometimes, un- dergone a process of adaptation and re-adaptation. But, in spite of these disadvantages of the Muslim records, which have already been noticed by western scholars, lone may still come across many passages which seem to reflect the authentic pre-Islamic reality of the Ka-ba. Even pas- sages containing details which appear to be contradictory, or, inconsis- tent, or even legendary, are, more often than not, most revealing with respect to the history of the Ka-ba, The present study is based upon the assumption that much of the inconsistency in the information about the Ka-ba, as recorded in our sources, is essentially the result of real changes and developments which took place in the structure, ritual functions and position of the Ka'ba in pre-Islamic times, and in the attitude of the worshippers towards this sanctuary since it became part of Muslim worship. Some of these changes and developments are studied in the present article, the outline of which is as follows: 1. -
Unraveling Identity Catalogue
Unraveling Identity Our Textiles, Our Stories Unraveling Identity Our Textiles, Our Stories Edited by Sumru Belger Krody With essays by Dr. Ingrid Creppell Dr. Mattiebelle Gittinger Lee Talbot First published on the occasion of the exhibition Cover and page 16: Detail of Daoist Priest’s Unraveling Identity: Our Textiles, Our Stories Robe, China, late 18th–early 19th century; at the George Washington University Museum silk, metal-wrapped yarns; embroidered. and The Textile Museum, Washington, D.C., 73" × 54 ¾". The Textile Museum 51.24; March 21, 2015—August 23, 2015 Acquired by George Hewitt Myers in 1929. Published 2015 by The Textile Museum Page 10: Detail of a common tampan, south at the George Washington University Sumatra, Indonesia, early 20th century. © 2015 The Textile Museum and The George 19 ½" × 17". The Textile Museum 1984.23.5, Washington University Gift of Mr. and Mrs. G. Reginald van Raalte. The George Washington University Museum Page 26: Detail of Chasuble fragment with and The Textile Museum inscribed bands, Nasrid dynasty, Spain, 701 21st Street, NW Granada, early 15th century, silk, satin weave Washington, DC 20052 patterned with twill weave (lampas). http://museum.gwu.edu/ 54 ½" × 29 ½". The Textile Museum 84.29, acquired by George Hewitt Myers in 1936. All rights reserved under International and Pan-American Copyright Conventions. Except for Page 42: Tampan from Gunung Terang near legitimate excerpts customary in review or scholarly Sukamara. Photo by Mattiebelle Gittinger. publications, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photo- copying, recording, or information storage or retrieval systems, without permission in writing from the publisher. -
Gazing in the Eyes of the Martyrs: Four Theories of South Asian Shiʿi Visuality
Journal of Material Cultures in the Muslim World 1 (2020) 268–290 brill.com/mcmw Gazing in the Eyes of the Martyrs: Four Theories of South Asian Shiʿi Visuality Karen G. Ruffle | ORCID 0000-0001-8289-8771 Associate professor, Department of Historical Studies and Study of Religion, University of Toronto, Canada [email protected] Abstract This essay presents an extended theoretical reflection on how South Asian Shiʿa visually engage with image-objects, notably the metal standard (ʿalam), and replica of Imam Husayn’s Karbala shrine-tomb (taʿziya). I present four theoretical lenses to theorize South Asian Shiʿi visual inter- actions: 1. Image acts; 2. Objects as assemblages imbued with thing power; 3. Images as focal objects of reciprocal gazing, and 4. The intersensorial nature of image-objects. Keywords South Asian Shiʿism – New Materialism – visual culture – image acts – Hyderabad – ʿalam – taʿziya – assemblage – Sayyid ʿAli Naqi Naqvi Standing before the ʿalams displayed each Muharram at the ʿāshūrkhānah Sayyid Jamshed ʿAli Khan, also known as Lohe ki Kaman, located in the Old City neighbor- hood of Pathar Gatti in Hyderabad, India, one gazes on the faces of the beloved Imams and Ahl-e Bayt (the family of the Prophet Muhammad descended through Fatimah al-Zahra and his cousin and son-in-law ʿAli ibn Abi Talib), dressed in royal finery. An ʿāshūrkhānah (“the house of the tenth”), Lohe ki Kaman is a ritual space in Hyderabad, where the majlis-e ʿazā, or mourning assemblies are held to remember the martyrdom of the third Imam, Husayn at the battle of Karbala, Iraq in 680 ce.