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A Mesquita De Ibn Tūlūn Com Representação UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE LETRAS ORIENTAIS PROGRAMA DE PÓS-GRADUAÇÃO EM LÍNGUA, CULTURA E LITERATURA ÁRABE. A MESQUITA DE IBN ÆŪLŪN COM REPRESENTAÇÃO DA HERANÇA ARQUITETÔNICA ÁRABE Estudo da Mesquita de Ibn Æūlūn como monumento-síntese das características árabes e das transferências de elementos arquitetônicos entre os povos não árabes. Lygia Ferreira Rocco Dissertação apresentada ao Programa de Pós-Graduação em Língua, Literatura e Cultura Árabe junto ao Departamento de Letras Orientais da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, para a obtenção do título de Mestre em Letras. Instituição Financiadora: Capes Orientador: prof. Dr. Mamede Mustafa Jarouche São Paulo 2008 Ao Enzo, que chegou para tornar tudo especial e, ao Ricardo, pelo amor com que cuidou de todos nós. ii AGRADECIMENTOS Agradeço a importante colaboração de: Mamede Mustafa Jarouche, por primar pela correção e qualidade das palavras transcritas do árabe e ter acreditado que realizar uma pesquisa sobre arquitetura árabe no Departamento de Letras Orientais seria de muita valia para a contribuição deste tipo material sobre este tema no nosso país. Andrea Piccini, pelo entusiasmo e apoio que transmitiu em todas as etapas desta pesquisa. Em especial, por seus comentários, indicações bibliográficas, pela leitura do material, pela constante troca de idéias e por acreditar neste trabalho e estar presente em todas as etapas da pesquisa. Ricardo Ribeiro Maciel, que se não fosse pela sua ajuda, compreensão e carinho este trabalho não teria sido possível, pois foi quem proporcionou a infra-estrutura necessária do dia-a-dia, para que eu pudesse realizar minhas leituras e redigir esta dissertação. Patrícia Rodrigues Loureiro e Silva e Marisa Alves de Souza, pelo apoio e amizade. iii PALAVRAS CHAVE Arquitetura do Oriente Médio – Mesquita – Elementos Arquitetônicos – Islão – Arquitetura do Egito RESUMO Este trabalho trata de mostrar que nem todos os árabes eram nômades e que mesmo estes desempenharam um importante papel no desenvolvimento social, cultural e artístico da antiguidade pré-islâmica, pois foram eles os responsáveis pela transmissão e conhecimentos existentes na época, e que colocaram em contato os pontos mais distantes desta vasta região. Também os árabes sedentários participaram ativamente do processo político desta área durante o império romano, parta, e mais tarde sassânida e bizantino. A pesquisa acentua o fato da arquitetura do Islão ter sido formada a partir das tradições regionais das populações islamizadas e de sua obediência e entendimento de um livro religioso, o Alcorão, que regulou a sociedade, e em decorrência a sua maneira de ver o mundo e de se relacionar com o espaço e com as expressões artísticas. A análise dos eventos históricos, das técnicas construtivas e dos edifícios da região estudada [os paises do norte da África, e do Oriente Médio (península arábica, crescente fértil, Irã)] tratou de demonstrar o desdobramento que teve na construção do edifício escolhido como representativo da arquitetura árabe e que foi o objeto de análise, a mesquita de Ibn Æūlūn. Além disso, mostra que durante o primeiro período da expansão islâmica, houve uma intensa fusão de culturas. Esta situação fez com que toda esta região sob a expansão mulçumana se comportasse de maneira similar a da Antigüidade, ou seja, como uma ponte onde trafegaram correntes de pensamento e cultura entre os extremos, o Ocidente e o Oriente Médio. Esta foi uma época de intensa urbanização e fundação de novas cidades e é dentro deste processo de fusão de culturas, que as cidades vão se construindo e dentro delas, os seus principais edifícios, no caso da cidade muçulmana, a mesquita. iv KEY WORDS Middle East Architecture – Mosque – Architectural elements – Islam – Egyptian Architecture ABSTRACT This work shows that nor all the Arabs were nomadic and even they had played an important role in the social development, cultural and artistic of pre-Islamic antiquity, because they had been responsible for the transmission and knowledge at this time, and that they had put in contact the points most distant of this vast region. Also the sedentary Arabs had participated actively of the politic process of this area during the Roman empire, Parthian, and later Sassanid and Byzantine. The research points out the fact of the Islamic architecture have been formed from the regional traditions of the muslim populations and their obedience and agreement of a religious book, the Qur’an, that dictated directions for the society, and so its way of seeing the world and dealing with the space and the artistic expressions. The analysis of the historical events, the building techniques of the studied region [the north African countries, and the Middle East (Arabian peninsula, the Fertile Crescent, Iran)] it demonstrated the unfolding that it had in the construction of the chosen building as representative of the Arab architecture and it was the analysis object, the Ibn Æūlūn mosque. Moreover, it shows that during the first moment of the islamic expansion, there had been an intense fusing of cultures. This situation did with this whole area under the Muslim expansion behaved itself in a similar way of the Antiquity, that is, like a bridge where thought and culture crossed from a point to another, the Western and the Middle East. This was a time of intense urbanization and foundation of new cities and it is inside of this process of fusion of cultures, the cities are building and within them, their main building, in the case of the Muslim city, the Mosque. v ÍNDICE Epígrafe _____________________________________________________________ p. 1 Introdução ___________________________________________________________ p. 3 Cap. I – Os antecedentes da Arquitetura Islâmica _____________________________ p. 9 Cap. II – O Islão _______________________________________________________ p. 33 Cap. III – As tradições construtivas _______________________________________ p. 66 Cap. IV – A mesquita de Ibn Æýlýn ________________________________________ p. 98 Conclusão ____________________________________________________________ p. 141 Anexos ______________________________________________________________ p. 146 Índice de Ilustrações ____________________________________________________ p. 171 Bibliografia ___________________________________________________________ p. 182 vi O Aleph1 “Toda linguagem é um alfabeto de símbolos cujo exercício pressupõe um passado que os interlocutores compartem: como transmitir aos outros o infinito Aleph, que minha tímida memória mal e mal abarca? Os místicos, em transe semelhante, gastam os símbolos: para significar a divindade, um persa fala de um pássaro que, de algum modo, é todos os pássaros; Alanus de Insulis fala de uma esfera sujo centro está em todas as partes e a circunferência em nenhuma; Ezequiel fala de um anjo de quatro asas que, ao mesmo temo, se dirige ao Oriente e ao Ocidente, ao Norte e ao Sul....... Nesse instante gigantesco, vi milhões de atos agradáveis ou atrozes; nenhum me assombrou mais que o fato de todos ocuparem o mesmo ponto, se superposição e sem transparência. O que os meus olhos viram foi simultâneo. .... O diâmetro do Aleph seria de dois ou três centímetros, mas o espaço cósmico ali estava, sem diminuição de tamanho. Cada coisa... era infinitas coisas, porque eu a via claramente de todos os pontos do universo. Vi o populoso mar, vi a aurora e a tarde, vi as multidões da América, vi uma prateada teia de aranha no centro de uma negra pirâmide, vi um roto labirinto (era Londres, vi intermináveis olhos próximos perscrutando em mim como num espelho, vi todos os espelhos do planeta e nenhum me refletiu.... vi a engrenagem do amor e a modificação da morte, vi o Aleph, de todos os pontos, vi no Aleph a terra, e na terra outra vez o Aleph e no Aleph a terra, vi meu rosto e minhas vísceras, vi teu rosto e senti vertigem e chorei, porque meus olhos haviam visto esse objeto secreto e conjetural cujo nome os homens usurpam, mas que nenhum homem tem olhado: o inconcebível universo.” “Quero acrescentar duas observações: uma, sobre a natureza do Aleph; outra, sobre seu nome. Este, como se sabe, é o da primeira letra do alfabeto da língua sagrada. Sua aplicação ao círculo da minha história não parece casual. Para a Cabala, essa letra significa o En Soph, a ilimitada e pura divindade; também se disse que tem a forma de um homem que assinala o céu e a terra, para indicar que o mundo inferior é o espelho e o mapa do superior; para a Mengenlehre, é o símbolo dos números transfinitos, nos quais o todo não é maior que qualquer das partes. 1Borges, Jorge Luis. O Aleph, Editora Globo, 1982. 2 .... Os fiéis que acorrem à mesquita de Amr, no Cairo, sabem muito bem que o universo está no interior de uma das colunas de pedra que rodeiam o pátio central.... Ninguém , é claro, pode vê-lo, mas os que aproximam o ouvido da superfície declaram perceber, em pouco tempo, seu atarefado rumos... A mesquita data do século VII; as colunas procedem de outros templos de religiões anteislâmicas, pois como escreveu Abenjaldun: Nas repúblicas fundadas por nômades, é indispensável o concurso de forasteiros para tudo o que seja alvenaria.” Existe esse Aleph no íntimo de uma pedra? Vi-o quando vi todas as coisas e o esqueci? Nossa mente é porosa para o esquecimento..........” 3 INTRODUÇÃO Após o advento do Islão no século VII, e a partir da conquista árabe na Península Ibérica em 711 d.C., até o século XIII, a arquitetura ganha uma nova linguagem, que conjuga elementos do universo artístico do Mediterrâneo, da herança histórica do Oriente Médio e de todos os impérios e dinastias que ali existiram até o momento da chega de Mu¬ammad, o profeta do islão. O diálogo entre as culturas, ocidental e médio-oriental, será intensificado na mesma proporção da velocidade de expansão do novo império. A arquitetura é algo mais que uma história de formas e estilos: ela é um produto de fatores culturais e ambientais e uma expressão do modo de vida de um povo para o qual se constrói.
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