The Islamic World Overview

Total Page:16

File Type:pdf, Size:1020Kb

The Islamic World Overview The Islamic World Overview ● 622-756 ● 1453-1924 ○ Muhammad abandons Mecca for Medina 622 ○ The Ottomans capture Constantinople in 1453 and ○ The Umayyads, the first Islamic dynasty, build the Dome develop the domed central plan mosque of the Rock in Jerusalem and the Great Mosque in ○ Timurid book illumination flowers under shah Tahmasp Damascus ○ Safavid artisans perfect the manufacture of cuerda seca ● 756-1453 and mosaic tiles ○ THe Abbasids produce the earliest Korans with Kufic calligraphy ○ The Spanish Umayyad dynasty builds the Great Mosque in its capital at Cordoba ○ The Nasrids embellish the Alhambra with magnificent palaces ○ The Fatmid, Ayyubid, and Mamluk dynasties in Egypt are lavish art patrons http://www.vox.com/a/maps-explain-the-middle-east https://youtu.be/ymI5Uv5cGU4?t=5m Early Islamic ● Muhammad 570-632 ● https://youtu.be/TpcbfxtdoI8 ● As quickly as Christianity, Islam spread throughout Arabia, palestine, syria iraq and egypt 10 years after Muhammad's death in 632. ● Islamic Art was brought to India, Middle East, Africa, and Europe. ● Most notably Spain. Arabs overthrew the Visigoths led by Abd al-rahman and set the capital up at Cordoba, Islam was entrenched in spain until 1492 during the spanish inquisition. ● Early Islamic ● Before Muhammed, many in Mesopotamia worshiped gods from the Mesopotamian period, were separate small tribes, and nomadic traders ● Not big players on the stage before, in an area between the Byzantine Empire and Sasanian Empire (Persian). ● Muhammed became a central figure in uniting millions under a new religion, that did not have the early problem that Christianity had in waiting for the prophet to return. ● 640. Muslims ruled syria, palestine and iraq, ● 651, Ended 400 years of rule of sasanian control of iran ● 710 all north africa under control ● 711 ruled spain, 732 into parts of france and began to directly oppose Charles Martel and the Franks. Grandfather of Charlemagne ● Early Islamic ● Muslims Flourished in Cordova until 1031 starting their decline until the end in 1492. ● Caliph is a religious steward (leader) of a Caliphate. A Caliphate is an area of land that has a Caliph. ● Islamic forces were responsible by conquering the byzantine empire in 1453. ● Military dominance alone cannot explain this phenomena. Spread of the religion, openness to trade, the proximity of two wealthy empires in the Byzantine and Sasanian empires allowed for a rapid expansion. Technology moved from east to west. With culture, academics, and technology being placed in this region of the world and allowed for this civilization to rapidly expand. Early Islamic ● Jerusalem (638 under Islamic Control) ● Dome of the Rock 687-692, the first great islamic building. ● Not a mosque, rather a triumphal structure commemorating the triumph of Islam ● Places a Third religion in the holy city along with Judaism and Christianity. ● Placed in the tradition of Late Antique Mediterranean architecture. A central plan. ● A dome sits on top of a ring of columns supporting it. An octagonal structure surrounds and encloses the space. ● ● Jerusalem (638 under Islamic Control) ● Dome of the Rock 687-692, the first great islamic building. ● Not a mosque, rather a triumphal structure commemorating the triumph of Islam ● Places a Third religion in the holy city along with Judaism and Christianity. ● Placed in the tradition of Late Antique Mediterranean architecture. A central plan. ● A dome sits on top of a ring of columns supporting it. An octagonal structure surrounds and encloses the space. ● 75 foot tall double shelled wood dome, which dominates the elevation to reduce the octagon to function as a base. ● Interior/Exterior are examples of Mosaic tilework, ceramics were fired with single color glazes in a kiln and placed on the wall. ● Later Cuerda seca (dry cord tile work were introduced. ● https://youtu.be/ps-MXtxIh6o (curda seca Example) ● Early mosaics were of small pieces, then Cuerda seca allowed for intricate tiles be produced that were bigger, polychromatic and less expensive to clad on a structure. Early Islamic ● The great mosque Damascus, Syria 706- 715 ● Umayyad Caliphate transferred their capital from Mecca to Damascus in 661. ● Caliph al-Walid purchased a Byzantine Church dedicated to John the Baptist, and formerly a Roman Temple to the god Jupiter. They demolished the structure, but kept the walls to build the new mosque. ● Used the original blocks, columns, and capitals. ● Used pier arcades similar to roman aqueducts ● Minarets are earliest examples in Islamic architecture and are modified from two roman bell towers (minaret- tower that calls followers to worship) Early Islamic Great Mosque Damascus Interior shows the salvaging of Roman and Byzantine components to rebuild the new mosque. Reminiscent of early Basilica, timber trussed roof, two tiered arcade with corinthian capitals. Early Islamic Detail of mosaics in the courtyard arcade Great Mosque, Damascus Syria ● Extensive glass mosaics covered the walls and arcades. Artists depicted palace villas, trees, and gardens besides rivers ● Early Islamic mosaics owe much to Byzantine Roman, and early Christian artwork. ● No prohibition against figural art in the Koran, but based on the Hadith (words, actions, and habits associated to Muhammad) shuns the representation of animals of any kind in sacred places. Early Islamic Great Mosque Kairouan, Tunisia 836- 875. ● Hypostyle design, Vast rows of columns holding structure up. ● Its original woodwork carving minbar (think a christian pulpit) is still in use today ● Vast think buttressing holds the walls up, (Buttressing are thick ribs on the exterior of a building that support the weight of the structure. ● Early Islamic Great Mosque Kairouan, Tunisia 836- 875. ● Hypostyle design, Vast rows of columns holding structure up. ● Terms ○ Qibla wall ( Direction prayer should be facing) ○ Mihrab-semicircular niche in the Qibla where prayer should be facing. Monumentalized in mosaics. Similar to an apse in a basilica ○ Mihrab Dome (ornamental dome in the direction of prayer) ○ Hypostyle prayer hall (huge formation of columns holding roof up similar to Egyptian) Early Islamic Great Mosque Kairouan, Tunisia 836- 875. ● Hypostyle design, Vast rows of columns holding structure up. ● Terms ○ Nave- central part of church/mosque, where congregation forms ○ Entrance dome. Dome that is above the entrance ○ Forecourt (outside courtyard) ○ Minaret (tower where prayer is led outside) Early Islamic Early Islamic Malwiya Minaret, Great Mosque, Samarra, Iraq 848-852 ● Spiral Minaret at Samarra is the most novel prayer structure in the Islamic world ● At the time of construction, the Samarra mosque was the largest in the world ● Malwiya (snail shell in Arabic) ● 165 ft tall ● This form inspired the Tower of Babel (ancient Babylon’s Ziggurat). ● The war in Iraq and subsequent civil conflict has led to this structure to suffer great damages ● https://youtu.be/Upmo5ufrXjo ● Early Islamic ● Mausoleum of the Samanids, Bukhara, Uzbekistan, 10th century ● A rare example of a monumental tomb. Muhammad had been opposed to elaborate burials but by the 9th-10th century, Abbasid caliphs were laid to rest in dynastic Mausolea. ● Constructed of baked bricks, domed capped cube form with sloping sides. ● Bricks were custom shaped to create a vivid and varied geometric surface pattern. ● Bricks on corners form drafted engaged columns. ● The brick dome rests on a brick squinch. Early Islamic Great Mosque, Cordoba, Spain, 8th- 10th Century ● Abd al Rahman I escaped the Abbasid massacre in syria and fled to spain in 750, where arabs overthrew the visigoths in 711. The arab military governors accepted him as their overlord and he founded the Umayyad dynasty. ● Cordoba was the capital ● Became as important an islamic city as Baghdad, and spread civilizational influences on the Christian West. ● Early Islamic Great Mosque, Cordoba, Spain, 8th- 10th Century ● The great mosque was erected on the site of a visigoth church. A show of triumph over spain. ● Became the largest mosque in the west. ● The interior hypostyle hall had 36 piers and 514 columns. Topped with a system of double tiered arches that carried a timber trussed roof. ● Lower arches horseshoe shaped, became a style associated with Islam in the west. ● Appearance of windblown sails. ● Early Islamic Great Mosque, Cordoba, Spain, 8th- 10th Century ● 961 renovations to the mosque took place, and added a series of domes and monumental gates to the mosque. ● Colorful masonry and intricate surface patterns. ● Top, overlapping horseshoe arches springing from thin colonnettes. Early Islamic Great Mosque, Cordoba, Spain, 8th- 10th Century Masqura- an area reserved for the caliph and connected to his palace by a corridor in the qibla wall. Highly decorative multilobed arches shows islamic architectures experimentation with highly technical geometric forms. Early Islamic Great Mosque, Cordoba, Spain, 8th- 10th Century Dome in front of the mihrab. ● The same decorative effect also inspired the dome. Dome rests on an octagonal squinch. Crisscrossing ribs form an intricate pattern centered on two squares set at 45 degree angles to each other. Byzantine mosaic artists were employed to do the mosaic work of this complex during the 900’s. ● https://youtu.be/7YvNMDy_h3g ● Early Islamic Friday Mosque, Isfahan, Iran 11th to 17th century. ● Hypostyle hall type mosques were built throughout the centuries.. But different types of plans were developed. ● Originally a hypostyle plan, Friday mosque was ● Large Iwans were built (vaulted spaces opening up into the courtyard) ● Iwans were considerably intricate and adorned with stones mosaics and ceramics ● Early Islamic Iwan, Friday Mosque, Isfahan, Iran. Iwan example. Early Islamic Pyxis of al-Mughira, Cordoba Spain 968, Ivory. ● Centers of production of ivory art forms were usually for courts of muslim caliphs and sultans. ● Spanish Umayyad ivory pyxides (cylindrical boxes with a hemispherical lid) ● Featured motifs of royal power and privilege, Hunting motifs were common, this pyxis was decorated with a wide assortment of animals and hunters. Early Islamic Sulayman (artist signature) ewer in the form of a bird, 796. Brass with copper and silver inlay.
Recommended publications
  • Extremely Rare Large Beautiful Amber Enamelled Mosque Lamp Glass
    EXTREMELY RARE LARGE BEAUTIFUL AMBER ENAMELLED MOSQUE LAMP GLASS each of waisted globular form of amber tint with wide flared neck, the sides applied with six suspension loops, enamelled in opaque red, blue, and white with additional gilt, with thuluth inscriptions on the body and neck, blazons in roundels depicting a bands of scroll, floral rosettes and foliate decoration, the foot with a gilt band. ORIGIN_FRANCE CIRCA_19TH CENTURY HEIGHT_54.6 CM CULTURE: ISLAMIC WORLD In the Islamic religion, the donation of a lamp was considered an act of reverence towards God. This act is connected to a text in the Koran that says in verse 35 of the sura “The Light”: “God is the light of the heavens and the earth! His light is like a niche in which one finds a lamp. The lamp is made of glass; the glass is like a brilliant star.” The analogy between the light and God inspired the donation of Mosque lamps such as this one as well as many others since figural representations of God are strictly forbidden by Islamic religion. The beginning of this verse was later reproduced by Mamluk glass lamps. These Mosque Lamp belongs to a group of enamelled and gilded mosque lamps of the late European 'revivalist' tradition of enamelled glass, distinguishable by their highly decorative and finely-applied designs. The thuluth inscriptions and blazons emulate the style of luxury items from the Mamluk age. Bibliography CARBONI, S. , Glass from Islamic Lands: The Al-Sabah Collection, Kuwait National Museum, New York, 2001, pp. 323-325. For an introduction to the production of enameled glass, see: CARBONI S., Mamluk Enamelled and Gilded Glass in the Museum of Islamic Art, Quatar, London, 2003, p.
    [Show full text]
  • 1182 Sharafiyya Complex in Bidlis
    e-Şarkiyat İlmi Araştırmalar Dergisi/Journal of Oriental Scientific Research (JOSR) ISSN:1308-9633 Ağustos-2018 Cilt:10 Sayı:3 (21) / August-2018 Volume:10 Issue:3 (21) Sayfa:1182-1196 SHARAFIYYA COMPLEX IN BIDLIS: RETHINKING OF LOCAL HISTORY IN ISLAMIC ARCHITECTURE Birgül AÇIKYILDIZ ŞENGÜL* Abstract This article aims to discuss the architectural and decorative characteristics of the Sharafiyya Complex in Bidlis in its historical and geographical context. The complex was commissioned by Emîr Sharaf ibn Emîr Shams al-Dîn al-Roşkî, a member of the Kurdish Bidlis dynasty, in 935/1528-29. Emîr Sharaf Beg ruled Bidlis from 909/1504 to 940/1533. His son Shams al-Dîn Beg completed the complex by constructing a mausoleum for his father in 940/1533 after his death. The monumental complex was built during his alliance with the Ottomans when he governed his territory without the interference of the Ottoman Empire. The complex is formed of a mosque, a mausoleum, a zawiya, a fountain, a madrasa with a covered market, a qaysâriyya (bazaar) and a bath-house. Emîr Sharaf Beg endowed villages, arable lands, several shops, markets, a hammam and a flourishing mill to fund the complex. The article will first provide a brief historical background to the Bidlis dynasty during the reign of Emîr Sharaf Beg (909/1504-940/1533). Then it will describe and analyze the monuments forming the complex, and examine main features of the architecture of Sharafiyya Complex. Keywords: Islamic architecture, Kurdish architecture, Bidlis, Emîr Sharaf Beg al- Roşkî. BİTLİS ŞEREFİYE KÜLLİYESİ: İSLAM SANATINDA YEREL TARİHİ YENİDEN DÜŞÜNMEK Öz Bu makale, Bitlis'te bulunan Şerefiye Külliyesi'nin mimari ve süsleme özelliklerini tarihi ve coğrafi bağlamında tartışmayı amaçlamaktadır.
    [Show full text]
  • Arh 362: Islamic Art
    ARH 362: ISLAMIC ART CLUSTER REQUIREMENT: 4C, THE NATURE OF GLOBAL SOCIETY COURSE DESCRIPTION This course surveys the art and architecture of the Islamic world from the 7th through the 20th centuries. By looking at major themes and regional variations of Islamic art and architecture, the course examines how meanings in various socio-political and historical contexts have been encoded through forms, functions, as well as the aesthetic features of arts, crafts, and the built environment. The last portion of the course, spanning the 19th to the late 20th centuries, examines the West’s discovery of the Islamic arts as well as the integration of Western ideas into indigenous ones. This course can only briefly address some of the major themes. The topics (especially those pertinent to the modern period) are introduced through a number of key readings, but they should be merely seen as introductions, providing possible directions for future and more advanced studies. Discussions and questions are always encouraged. The readings, which have been selected to supplement the required textbooks, are particularly chosen to serve this purpose. COURSE-SPECIFIC OUTCOMES Gain valuable information about Islamic art and design as well as the cultures that gave shape to them Read critically and interpret and evaluate art historical issues in relation to socio-political conditions in non-Western contexts Develop a foundation for writing good critical essays about non-Western art and material culture Research non-Western art in a museum context Comparative studies of Western and Non-Western styles in a variety of media, including 2D and 3D art and design as well as architecture.
    [Show full text]
  • Open Murray Final Thesis V3.Pdf
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ARCHITECTURE BRINGING TO LIGHT THE QUR’AN: THE THEOPHANY OF ALLAH BY MEANS OF LIGHTING DESIGN IN THE SÜLEYMANIYE MOSQUE STELLA DESTEPHANIS MURRAY SPRING 2020 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Architecture and Italian with honors in Interdisciplinary Architecture and Architectural Engineering Reviewed and approved* by the following: Denise Rae Costanzo Assistant Professor of Architecture Thesis Supervisor James Gill Cooper Associate Professor of Architecture Honors Advisor Richard Mistrick Associate Professor of Architectural Engineering Honors Advisor * Electronic approvals are on file. i ABSTRACT In 1558, the Ottoman architect Koca Mimar Sinan Agha (c. 1488-1588) began construction on the Süleymaniye Mosque in Constantinople (Istanbul). Commissioned by Sultan Süleyman (1494-1566), the mosque was built early in Sinan’s career even though it was soon considered a masterpiece. The Süleymaniye Mosque drew significant inspiration from the nearby Hagia Sophia (532-37), a monument built a thousand years earlier for a different religion (Byzantine). Despite the differences in their theological origins, these two works of architecture in the same city share similar structural systems and lighting strategies. Although both the Süleymaniye Mosque and Hagia Sophia were designed to dramatize daylighting, the former has been more successful. Whereas Hagia Sophia is relatively dim inside, natural light alone fully illuminates the upper half of the Süleymaniye Mosque. In the lower half of the mosque, the simple yet effective mosque lamps serve as task lighting for Muslims who wish to pray. Architectural historians have studied the Süleymaniye Mosque extensively, investigating topics that range from the mosque’s political role in the Ottoman Empire to the comparison of oil mosque lamps and their LED counterparts.
    [Show full text]
  • INK, SILK and GOLD Islamic Art from the Museum of Fine Arts, Boston
    SATURDAY for EDUCATORS INK, SILK and GOLD Islamic Art from the Museum of Fine Arts, Boston FEBRUARY 27, 2016 Resource & Activity Guide Welcome, educators! Contents The Ringling is pleased to present this Welcome, Educators! 1 comprehensive Resource & Activity Guide, designed to facilitate a visit to our special About the Exhibition 1 exhibition, Ink, Silk and Gold: Islamic Art from How to Use This Guide 2 the Museum of Fine Arts, Boston, on view through May 5, 2016. In these pages you will What is Islamic Art? 2 find background information, activity descriptions, and suggested resources for Introduction to Islam 3 learning more about the art of the Islamic world. We hope you will be able to share this Visiting the Exhibition 4 magnificent exhibition with your students! Objects & Activities: 5 – 7 Ink Objects & Activities: 8 – 10 About the exhibition Silk Objects & Activities: Ink, Silk and Gold features approximately one 11 – 13 hundred great works of Islamic art from the Gold collection of the Museum of Fine Arts, Boston. Never Words to Know 14 before presented in a dedicated exhibition, this collection covers virtually all aspects of Islamic art For Further Learning 14 in almost all media, ranging from the eighth to the twenty-first century and from Spain to Indonesia. About The Ringling 15 Through silver inlaid metalwork, Qur’an pages Next Saturday for Educators 15 inscribed with gold, brocaded velvets, luster-painted ceramics, and more, it offers a window into many Image Credits 15 different facets of the dynamic and complex artistic traditions of the Islamic world. Arranged chronologically and regionally, the exhibition emphasizes the material aspects of the objects, proceeding from the notion that meaning in Islamic art is rooted in the substance of an object – its color, shape, and texture.
    [Show full text]
  • Hana Taragan HISTORICAL REFERENCE in MEDIEVAL ISLAMIC ARCHITECTURE: BAYBARS's BUILDINGS in PALESTINE
    the israeli academic center in cairo ¯È‰˜· Èχ¯˘È‰ ÈÓ„˜‡‰ ÊίӉ Hana Taragan HISTORICAL REFERENCE IN MEDIEVAL ISLAMIC ARCHITECTURE: BAYBARS’S BUILDINGS IN PALESTINE Hana Taragan is a lecturer in Islamic art at Tel Aviv University, where she received her Ph.D. in 1992. Her current research concerns Umayyad and Mamluk architecture in Eretz Israel in the medieval period. She is the author of Art and Patronage in the Umayyad Palace in Jericho (in Hebrew) and of numerous articles in the field of Islamic art. In the year 1274, al-Malik al-Zahir also changed a structure’s function Baybars, the first Mamluk ruler of from church to mosque, as he did Palestine (1260–1277), ordered the in Qaqun.5 addition of a riwaq (porch) to the Baybars’s choice of Yavne may tomb of Abu Hurayra in Yavne.1 be explained by the ruin of the The riwaq, featuring a tripartite coastal towns, or by Yavne’s loca- portal and six tiny domes, had two tion on the main road from Cairo arches decorated with cushion to Damascus. However, it seems to voussoirs and one with a zigzag me that above and beyond any frieze (Figure 1). Baybars also strategic and administrative con- installed a dedicatory inscription siderations, Baybars focused on naming himself as builder of the this site in an attempt to exploit riwaq.2 The addition of a portal to Abu Hurayra’s tomb as a means of the existing tomb structure typifies institutionalizing the power of the Baybars’s building policy in Pales- Mamluk dynasty in general and tine.
    [Show full text]
  • The Central Islamic Lands
    77 THEME The Central Islamic 4 Lands AS we enter the twenty-first century, there are over 1 billion Muslims living in all parts of the world. They are citizens of different nations, speak different languages, and dress differently. The processes by which they became Muslims were varied, and so were the circumstances in which they went their separate ways. Yet, the Islamic community has its roots in a more unified past which unfolded roughly 1,400 years ago in the Arabian peninsula. In this chapter we are going to read about the rise of Islam and its expansion over a vast territory extending from Egypt to Afghanistan, the core area of Islamic civilisation from 600 to 1200. In these centuries, Islamic society exhibited multiple political and cultural patterns. The term Islamic is used here not only in its purely religious sense but also for the overall society and culture historically associated with Islam. In this society not everything that was happening originated directly from religion, but it took place in a society where Muslims and their faith were recognised as socially dominant. Non-Muslims always formed an integral, if subordinate, part of this society as did Jews in Christendom. Our understanding of the history of the central Islamic lands between 600 and 1200 is based on chronicles or tawarikh (which narrate events in order of time) and semi-historical works, such as biographies (sira), records of the sayings and doings of the Prophet (hadith) and commentaries on the Quran (tafsir). The material from which these works were produced was a large collection of eyewitness reports (akhbar) transmitted over a period of time either orally or on paper.
    [Show full text]
  • Historical Tradition and Modern Transformations of the Algerian and Persian Housing Environment
    HOUSING ENVIRONMENT 31/2020 ARCHITEKTURA XXI WIEKU / THE ARCHITECTURE OF THE 21st CENTURY e-ISSN 2543-8700 DOI: 10.4467/25438700SM.20.011.12692 YULIA IVASHKO*, ANDRII DMYTRENKO**, PENG CHANG*** Historical tradition and modern transformations of the algerian and persian housing environment Abstract Historically, the urban situation in the cities and towns of Persia and Algeria was highly specific. The hot dry climate contri- buted to a street network, which was protected from the sun as much as possible. Climate conditions determined the appe- arance of houses with flat roofs, small windows and white walls. The entire urban planning system had the main centre—the city (town) mosque. There were smaller mosques in the structure of residential areas, densely surrounded by houses. Just as under the influence of climate a certain type of residential building took shape, these same factors formed a characteristic type of mosque in the housing environment. Globalist trends have affected even such a conservative sphere as Islamic religious architecture, as it gradually toned down striking regional features, which is explained by the typicality of modern building materials and structures and the interna- tional activity of various architectural and construction firms in different corners of the world. Over the centuries, two oppo- sing images of the mosque have emerged—the pointedly magnificent Persian and the fortress-type of Maghreb (typical for Algeria) types. This paper reviews how specific climatic conditions and historical processes influenced the use of building materials, structures and decoration in the mosques of Persia’s and Algeria’s different regions. Today we observe an erosion of regional features in the form and layout of modern mosques, which are analysed on the basis of the examples given.
    [Show full text]
  • 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.
    [Show full text]
  • The Elements of Local and Non-Local Mosque Architecture for Analysis of Mosque Architecture Changes in Indonesia
    The International Journal of Engineering and Science (IJES) || Volume || 7 || Issue || 12 Ver.I || Pages || PP 08-16 || 2018 || ISSN (e): 2319 – 1813 ISSN (p): 23-19 – 1805 The Elements of Local and Non-Local Mosque Architecture for Analysis of Mosque Architecture Changes in Indonesia Budiono Sutarjo1, Endang Titi Sunarti Darjosanjoto2, Muhammad Faqih2 1Student of Doctoral Program, Department of Architecture, Institut Teknologi Sepuluh Nopember (ITS), Surabaya, Indonesia 2Senior Lecturer, Department of Architecture, Institut Teknologi Sepuluh Nopember (ITS), Surabaya, Indonesia Corresponding Author : Budiono Sutarjo --------------------------------------------------------ABSTRACT---------------------------------------------------------- The mosque architecture that deserves to use as a starting point in the analysis of architectural changes in Indonesian mosques is the Wali mosque as an early generation mosque in Indonesia. As a reference, the architectural element characteristic of Wali mosque (local mosque) needs to be known, so that this paper aims to find a description of a local mosque (Wali mosque), and also description of architectural elements of non- local mosques (mosques with foreign cultural context) because one of the causes of changes in mosque architecture is cultural factors. The findings of this paper are expected to be input for further studies on the details of physical changes in the architectural elements of mosques in Indonesia. The study subjects taken were 6 Wali mosques that were widely known by the Indonesian Muslim community as Wali mosques and 6 non-local mosques that were very well known and frequently visited by Indonesian Muslim communities. Data obtained from literature studies, interviews and observations. The analysis is done by sketching from visual data, critiquing data, making interpretations, making comparisons and compiling the chronology of the findings.
    [Show full text]
  • From Haft Rang to Cuerda Seca
    Università degli Studi di Ferrara DOTTORATO DI RICERCA IN ‘SCIENZE e TECNOLOGIE per l’ARCHEOLOGIA e i BENI CULTURALI’ CICLO XXV COORDINATORE Prof. Carlo Peretto Technological study of the seventeenth century haft rang tiles in Iran with a comparative view to the cuerda seca tiles in Spain Settore Scientifico Disciplinare GEO/09 Dottorando Tutori Dott. Holakooei, Parviz Prof. Petrucci, Ferruccio Carlo Prof.ssa Vaccaro, Carmela Anni 2010/2012 Corso di Dottorato in convenzione con To Moslem Mishmastnehi Abstract The history of polychrome glazed objects in Iran is synchronised with the history of the first known examples of polychrome glazed artifacts. The polychrome glazed bricks of Chughā Zanbīl, dated back to the thirteenth century BC, might be the first evidences of such a claim. This tradition was followed until the fall of the Achaemenids in the fourth century BC, when glazed bricks objects were vastly used to cover the friezes of palaces and important edifices at Persepolis and Susa. Making polychrome glazes on ceramic materials, however, seems to be abandoned until the Islamic period, when polychrome underglaze objects were widely in use in Iran from the tenth century onwards. The first evidences of creating overglaze polychrome decoration was nevertheless achieved on mīnāʾī glazed objects in the thirteenth century AD, which as Abu’l Qasim stated used be originally called haft rang, e.g. ‘seven colours.’ This technique was slightly modified and used throughout the fifteenth and sixteen centuries in Iran, and then was extensively used in the seventeenth century over the Safavid period (1501-1736). In all these types of polychromies, a dark colour line (mostly black) is used to separate various coloured glazes.
    [Show full text]
  • Islamic Middle East
    THE MEDIEVAL ISLAMIC MIDDLE EAST THE MEDIEVAL ‘A splendid and much needed analysis of how notions of sanctity were TIME IN AND SACRED PLACE SACRED DANIELLA TALMON-HELLER translated into time and space. Talmon-Heller musters an impressive range of sources to reconstruct what sacred time and sacred space meant to Muslim communities in the pre-Ottoman Middle East.’ Konrad Hirschler, Freie Universität Berlin SACRED PLACE Explores the construction of sanctity and its AND manifestations in individual devotions, state ceremonies and communal rites SACRED TIME This book offers a fresh perspective on religious culture in the medieval Middle East. It investigates how Muslims thought about and practised at sacred spaces and in sacred times through two detailed case studies: the shrines in honour of the head of al-Husayn IN THE MEDIEVAL (the martyred grandson of the Prophet); and the (arguably) holy month of Rajab. Daniella Talmon-Heller explores the diverse expressions of the veneration of the shrines and the month, and the opposition of these cults, from the formative period of Islam until the late Mamluk period. She pays particular attention to changing political and ISLAMIC sectarian affiliations and to the development of new genres of religious literature. And she juxtaposes the sanctification of space and time in individual and communal Sunni, Ithna‘ashari and Isma‘ili piety. MIDDLE EAST Key Features • Draws on a wide variety of primary material: narrative and documentary sources, travelogues, epigraphic and material evidence, and legal, devotional and prescriptive religious literature A HISTORICAL PERSPECTIVE • Offers ‘long durée’ treatment of religious phenomena examining both continuity and change • Integrates the study of religious thought, practice and literature within changing historical contexts TALMON-HELLER DANIELLA TALMON-HELLER is a Senior Lecturer in the Department of Middle East Studies at Ben-Gurion University of the Negev.
    [Show full text]