A Brief History of Materials and Construction Techniques of Mughal
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The Sasanian Tradition in ʽabbāsid Art: Squinch Fragmentation As The
The Sasanian Tradition in ʽAbbāsid Art: squinch fragmentation as The structural origin of the muqarnas La tradición sasánida en el arte ʿabbāssí: la fragmentación de la trompa de esquina como origen estructural de la decoración de muqarnas A tradição sassânida na arte abássida: a fragmentação do arco de canto como origem estrutural da decoração das Muqarnas Alicia CARRILLO1 Abstract: Islamic architecture presents a three-dimensional decoration system known as muqarnas. An original system created in the Near East between the second/eighth and the fourth/tenth centuries due to the fragmentation of the squinche, but it was in the fourth/eleventh century when it turned into a basic element, not only all along the Islamic territory but also in the Islamic vocabulary. However, the origin and shape of muqarnas has not been thoroughly considered by Historiography. This research tries to prove the importance of Sasanian Art in the aesthetics creation of muqarnas. Keywords: Islamic architecture – Tripartite squinches – Muqarnas –Sasanian – Middle Ages – ʽAbbāsid Caliphate. Resumen: La arquitectura islámica presenta un mecanismo de decoración tridimensional conocido como decoración de muqarnas. Un sistema novedoso creado en el Próximo Oriente entre los siglos II/VIII y IV/X a partir de la fragmentación de la trompa de esquina, y que en el siglo XI se extendió por toda la geografía del Islam para formar parte del vocabulario del arte islámico. A pesar de su importancia y amplio desarrollo, la historiografía no se ha detenido especialmente en el origen formal de la decoración de muqarnas y por ello, este estudio pone de manifiesto la influencia del arte sasánida en su concepción estética durante el Califato ʿabbāssí. -
Investigating the Patterns of Islamic Architecture in Architecture Design of Third Millennium Mosques
European Online Journal of Natural and Social Sciences 2014; www.european-science.com Vol.3, No.4 Special Issue on Architecture, Urbanism, and Civil Engineering ISSN 1805-3602 Investigating the Patterns of Islamic Architecture in Architecture Design of Third Millennium Mosques Parvin Farazmand1*, Hassan Satari Sarbangholi2 1Young Researchers and Elite Club, Tabriz Branch, Islamic Azad University, Tabriz, Iran; 2Architecture Group of Azad-e-Eslami University, Tabriz Branch *Email: [email protected] Abstract Islamic architecture, which is based on the Islamic school, has been shaped by the total awareness of architects’ of techniques of architecture and adherence to the principles of geometry and inspired by religious beliefs. Principles of geometry and religious beliefs caused certain patterns to take shape in Islamic architecture that were used in designing buildings including mosques. With the advancements in technology, architecture entered a new stage considering the form of construction and the buildings. Islamic architecture and mosque, which is the primary symbol of Islamic architecture, are not different and consequently went through changes in forms and patterns. In this paper, the purpose is to express the place of patterns of Islamic Architecture in the mosques of the third millennium. The method used is descriptive-analytic and the mosques of the third millennium are the statistical population and ten of them are the statistical sample. The tools used are the library studies and the data has been analyzed using chars obtained from Excel. The result indicated that in the architecture of the mosques of the third millennium, the patterns of Islamic architecture have been fixed and proposed, and yet do create different designs that would be novel. -
Celebrating Thirty Years of Muqarnas
Muqarnas An Annual on the Visual Cultures of the Islamic World Celebrating Thirty Years of Muqarnas Editor Gülru Necipoğlu Managing Editor Karen A. Leal volume 30 Sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts LEIDEN • BOSTON 2013 © 2013 Koninklijke Brill NV ISBN 978 90 04 25576 0 CONTENTS Gülru Necİpoğlu, Reflections on Thirty Years of Muqarnas . 1 Benedict Cuddon, A Field Pioneered by Amateurs: The Collecting and Display of Islamic Art in Early Twentieth-Century Boston . 13 Silvia Armando, Ugo Monneret de Villard (1881–1954) and the Establishment of Islamic Art Studies in Italy . 35 Ayşİn Yoltar-Yildirim, Raqqa: The Forgotten Excavation of an Islamic Site in Syria by the Ottoman Imperial Museum in t he Early Twentieth Century . 73 D. Fairchild Ruggles, At the Margins of Architectural and Landscape History: The Rajputs of South Asia . 95 Jennifer Pruitt, Method in Madness: Recontextualizing the Destruction of Churches in the Fatimid Era . 119 Peter Christensen, “As if she were Jerusalem”: Placemaking in Sephardic Salonica . 141 David J. Roxburgh, In Pursuit of Shadows: Al-Hariri’s Maqāmāt . 171 Abolala Soudavar, The Patronage of the Vizier Mirza Salman . 213 Lâle Uluç, An Iskandarnāma of Nizami Produced for Ibrahim Sultan . 235 NOTES AND SOURCES Serpİl Bağci, Presenting Vaṣṣāl Kalender’s Works: The Prefaces of Three Ottoman Albums . 255 Gülru Necİpoğlu, “Virtual Archaeology” in Light of a New Document on the Topkapı Palace’s Waterworks and Earliest Buildings, circa 1509 . 315 Ebba Koch, The Wooden Audience Halls of Shah Jahan: Sources and Reconstruction . -
Decagonal and Quasi-Crystalline Tilings in Medieval Islamic Architecture
REPORTS 21. Materials and methods are available as supporting 27. N. Panagia et al., Astrophys. J. 459, L17 (1996). Supporting Online Material material on Science Online. 28. The authors would like to thank L. Nelson for providing www.sciencemag.org/cgi/content/full/315/5815/1103/DC1 22. A. Heger, N. Langer, Astron. Astrophys. 334, 210 (1998). access to the Bishop/Sherbrooke Beowulf cluster (Elix3) Materials and Methods 23. A. P. Crotts, S. R. Heathcote, Nature 350, 683 (1991). which was used to perform the interacting winds SOM Text 24. J. Xu, A. Crotts, W. Kunkel, Astrophys. J. 451, 806 (1995). calculations. The binary merger calculations were Tables S1 and S2 25. B. Sugerman, A. Crotts, W. Kunkel, S. Heathcote, performed on the UK Astrophysical Fluids Facility. References S. Lawrence, Astrophys. J. 627, 888 (2005). T.M. acknowledges support from the Research Training Movies S1 and S2 26. N. Soker, Astrophys. J., in press; preprint available online Network “Gamma-Ray Bursts: An Enigma and a Tool” 16 October 2006; accepted 15 January 2007 (http://xxx.lanl.gov/abs/astro-ph/0610655) during part of this work. 10.1126/science.1136351 be drawn using the direct strapwork method Decagonal and Quasi-Crystalline (Fig. 1, A to D). However, an alternative geometric construction can generate the same pattern (Fig. 1E, right). At the intersections Tilings in Medieval Islamic Architecture between all pairs of line segments not within a 10/3 star, bisecting the larger 108° angle yields 1 2 Peter J. Lu * and Paul J. Steinhardt line segments (dotted red in the figure) that, when extended until they intersect, form three distinct The conventional view holds that girih (geometric star-and-polygon, or strapwork) patterns in polygons: the decagon decorated with a 10/3 star medieval Islamic architecture were conceived by their designers as a network of zigzagging lines, line pattern, an elongated hexagon decorated where the lines were drafted directly with a straightedge and a compass. -
Evolution of Islamic Geometric Patterns
Frontiers of Architectural Research (2013) 2, 243–251 Available online at www.sciencedirect.com www.elsevier.com/locate/foar RESEARCH ARTICLE Evolution of Islamic geometric patterns Yahya Abdullahin, Mohamed Rashid Bin Embi1 Faculty of Built Environment, Universiti Teknologi Malaysia, Johor 81310, Malaysia Received 18 December 2012; received in revised form 27 March 2013; accepted 28 March 2013 KEYWORDS Abstract Islamic geometrical This research demonstrates the suitability of applying Islamic geometrical patterns (IGPs) to patterns; architectural elements in terms of time scale accuracy and style matching. To this end, a Islamic art; detailed survey is conducted on the decorative patterns of 100 surviving buildings in the Muslim Islamic architecture; architectural world. The patterns are analyzed and chronologically organized to determine the History of Islamic earliest surviving examples of these adorable ornaments. The origins and radical artistic architecture; movements throughout the history of IGPs are identified. With consideration for regional History of architecture impact, this study depicts the evolution of IGPs, from the early stages to the late 18th century. & 2013. Higher Education Press Limited Company. Production and hosting by Elsevier B.V. All rights reserved. 1. Introduction three questions that guide this work are as follows. (1) When were IGPs introduced to Islamic architecture? (2) When was For centuries, Islamic geometrical patterns (IGPs) have been each type of IGP introduced to Muslim architects and artisans? used as decorative elements on walls, ceilings, doors, (3) Where were the patterns developed and by whom? A domes, and minarets. However, the absence of guidelines sketch that demonstrates the evolution of IGPs throughout and codes on the application of these ornaments often leads the history of Islamic architecture is also presented. -
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Advances in Social Science, Education and Humanities Research, volume 232 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018) “Geometric Power” The Aesthetic Logic of Zellige Guanghui Chen Shanghai Academy of Fine Arts Shanghai University Shanghai, China Abstract—Zellige is a specific Moroccan ceramic mosaic, usage, it appears in Moroccan structure with traces of Spanish normally in geometric design. It is not only the decorative Muslims, etc. The Moroccan ceramic mosaic is a diverse feature of Islamic Moroccan buildings, but also the peak of the information combination of ceramics in material, mosaic building decoration worldwide. Since almost all the literatures patchwork in European style and Islamized geometrical on the world history of arts and craft and of building have decorative functions. overlooked the art in North Africa consciously or unconsciously, the author intends to find out the origin and the aesthetic Compared with the quadrel drawing and tiling in typical appreciation of Zellige through the field trip and research. The Islamic architectures, it seems that Zellige belongs to Islamic author realizes that the research on Zellige requires the culture. However, seen from the size and arrangement style, it background and difficulty analysis on the mixed culture of Islam is obviously closer to the mosaic in Mediterranean cultural and Morocco. For this, the author accepted professional Zellige circle. But, seen from the mosaic itself, Zellige is the product geometric training in the institute of Zellige in Tetuan of of Islamic culture, because its strict geometrical pattern and Morocco. As the research goes further, we can take the history of continuous structure have nothing to do with the Romanesque European, Asian and African culture and civilization and mosaic images composed by the curves. -
Exploration of Arabesque As an Element of Decoration in Islamic Heritage Buildings: the Case of Indian and Persian Architecture
Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930 Exploration of Arabesque as an Element of Decoration in Islamic Heritage Buildings: The Case of Indian and Persian Architecture Mohammad Arif Kamal Architecture Section Aligarh Muslim University, Aligarh, India Saima Gulzar School of Architecture and Planning University of Management and Technology, Lahore, Pakistan Sadia Farooq Dept. of Family and Consumer Sciences University of Home Economics, Lahore, Pakistan Abstract - The decoration is a vital element in Islamic art and architecture. The Muslim designers finished various art, artifacts, religious objects, and buildings with many types of ornamentation such as geometry, epigraphy, calligraphy, arabesque, and sometimes animal figures. Among them, the most universal motif in ornamentation which was extensively used is the arabesque. The arabesque is an abstract and rhythmic vegetal ornamentation pattern in Islamic decoration. It is found in a wide variety of media such as book art, stucco, stonework, ceramics, tiles, metalwork, textiles, carpets, etc.. The paper discusses the fact that arabesque is a unique, universal, and vital element of ornamentation within the framework of Islamic Architecture. In this paper, the etymological roots of the term ‘Arabesque’, its evolution and development have been explored. The general characteristics as well as different modes of arabesque are discussed. This paper also analyses the presentation of arabesque with specific reference to Indian and Persian Islamic heritage buildings. Keywords – Arabesque, Islamic Architecture, Decoration, Heritage, India, Iran I. INTRODUCTION The term ‘Arabesque’ is an obsolete European form of rebesk (or rebesco), not an Arabic word dating perhaps from the 15th or 16th century when Renaissance artists used Islamic Designs for book ornament and decorative bookbinding [1]. -
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. -
A Parametric Metamorphosis of Islamic Geometric Patterns: the Extraction of New from Traditional Mostafa Alani1, Carlos Barrios1
A parametric metamorphosis of Islamic geometric patterns: The extraction of new from traditional Mostafa Alani1, Carlos Barrios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
Mosque and Mausoleum: Understanding Islam in India
Mosque and Mausoleum UNDERSTANDING ISLAM IN INDIA THROUGH ARCHITECTURE By Joseph Piro and Iftikhar Ahmad Ah, to build, to build! That is the noblest of all the arts. — Henry Wadsworth Longfellow, Translation of Sonnets of Michael Angelo ARCHITECTURE AS A WINDOW INTO CULTURE East Asian cultures to abandon their deities but incorporated aspects In compiling a checklist of what makes a civilization great, there are of Buddhism into existing belief systems, so too with Islam and Hin- some universal markers. What original ideas did the civilization duism. In cultivating an integrated building style, Hindu and Muslim advance and have they had staying power? How many notable lead- cultures borrowed from each other to create an amalgam of architec- ers were produced and what were their accomplishments? How ture that endures as a visual statement about the flexibility, interde- influential were their cultural values and did these contribute to the pendency, and fusion of cultures. civilization’s rise and spread, or subsequent decline? Another mea- AN OVERVIEW OF ISLAM IN INDIA sure of civilization, perhaps not as frequently used but no less signif- According to the latest official census of the government of India, icant, could be the number of great buildings constructed. To mea- approximately 138 million Indian citizens are Muslim out of a popu- sure the greatness of a civilization by the grandeur of its architecture lation of more than one billion.2 Historical forces accounting for the can be highly instructive. The built environment serves as an enlight- spread of Islam into India are complex. Nonetheless, a consensus ening window into the vitality, depth, and imagination of a civiliza- exists among historians that Arab armies and merchants were on the tion, for architecture does more than decorate. -
The Construction of Cultural and Religious Identities in the Temple Architecture
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Siberian Federal University Digital Repository The construction of cultural and religious identities in the temple architecture Natalia P. Koptseva, Ksenia V. Reznikova and Veronika A. Razumovskaya Siberian Federal University 79 Svobodny, Krasnoyarsk, 660041, Russia Cultural and religious identity is constructed in works of art. These processes will be considered in the example of Indian Islamic art. Religious art is representative of religions concept. Indian mausoleums, which were created during the reign of Mughal represent features of Indian Islam. Art analysis and philosophical interpretation of signs and images of Indian mausoleums helps to understand the unique features of Indian Islam. Religious Islamic art in India continues to have an impact on the recipients in the present. The art works of Islamic architecture can be studied as cultural texts. The ideals, values and standards of Islam are of architectural form. Indian Islam has unique cultural features. These cultural ideals, values and standards not set out in the treatises and books. Features of Indian Islam can be understood if we explore the features of Indian architecture of the Great Mughals’ Era. The Indian mausoleums are representing of unique qualities of Indian Islam of this historical period. The inside and outside interior of the Great Mughals’ mausoleums, as well as their environment, represent together the fact of achieving Heaven and the process itself, as well as the guide for people beholding the architecture, which would help to get in Heaven with grace of Allah. Indian mausoleums of the Great Mughals’ Era can well be called as architecture representatives of the Islamic religion. -
Early Islamic Architecture and Structural Configurations
International Journal of Architecture and Urban Development Urban and Architecture Journal of International International Journal of Architecture and Urban Development Vol. 3, No. 2, Spring 2013 Early Islamic Architecture and Structural Configurations Kubilay Kaptan Assistant professor, Disaster Education, Application and Research Center, Istanbul Aydin University, Turkey Received 18.02.2013 ; Accepted 1.05.2013 ABSTRACT: Islam spread rapidly after its founding, encompassing much of North Africa, the Middle East, and Southeast Asia. The art of this vast region draws its distinctive character both from Islam itself and from the diverse cultural traditions of the world’s Muslims. Because Islam discouraged the use of figurative images, particularly in religious contexts- unlike Christian art- Islamic artists developed a rich vocabulary of aniconic, or nonfigural, ornament that is a hallmark of Islamic work. This vocabulary includes complex geometric patterns and the scrolling vines known outside the Islamic world as arabesques. Figural representation, to the extent it was permitted which varied from time to time and place to place, first developed most prominently in regions with strong pre-Islamic figural traditions, such as those that had been under the control of the Roman and Byzantine empires. Stylized forms for representing animals and plants developed in the regions that had been under the control of the Sassanian dynasty of Persia (modern Iran), the heirs of the artistic traditions of the ancient Near East, who ruled from 226 to 641. Because the Arabian birthplace of Islam had little art, these Persian and Roman Byzantine influences shaped Islamic art in its formative centuries. The elements of early early Islamic architecture were formed to respond effectively to people’s physical, environmental, social, physiological and religious requirements at their time.