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cumulative (chronological) index of articles, muqarnas i–xxv 377 CUMULATIVE CHRONOLOGICAL INDEX OF ARTICLES, MUQARNAS IXXV Muqarnas I (1983) Oleg Grabar, “Reflections on the Study of Islamic Art” Walter B. Denny, “Dating Ottoman Turkish Works in the Saz Jonathan M. Bloom, “The Mosque of al ākim in Cairo” Style” Caroline Williams, “The Cult of ʿAlid Saints in the Fatimid Monu - Anthony Welch and Howard Crane, “The Tughluqs: Master ments of Cairo. Part I: The Mosque of al-Aqmar” Builders of the Delhi Sultanate” Ranee A. Katzenstein and Glenn D. Lowry, “Christian Themes in Wayne E. Begley, “Four Mughal Caravanserais Built during the Thirteenth-Century Islamic Metalwork” Reigns of Jahāngīr and Shāh Jahān” Sheila S. Blair, “The Octagonal Pavilion at Natanz: A Reexami- William J. R. Curtis, “Type and Variation: Berber Collective nation of Early Islamic Architecture in Iran” Dwellings of the Northwestern Sahara” Lisa Golombek, “The Resilience of the Friday Mosque: The Case of Herat” Muqarnas II (1984) Oleg Grabar, “Reflections on Mamluk Art” Marilyn Jenkins, “Mamluk Underglaze-Painted Pottery: Foun- Karl Stowasser, “Manners and Customs at the Mamluk Court” da tions for Future Study” André Raymond, “Cairo’s Area and Population in the Early Fif- George T. Scanlon, “Mamluk Pottery: More Evidence from Fus- teenth Century” tat” John Alden Williams, “Urbanization and Monument Construc- Louise W. Mackie, “Toward an Understanding of Mamluk Silks: tion in Mamluk Cairo” National and International Considerations” Laila ʿAli Ibrahim, “Residential Architecture in Mamluk Cairo” David James, “Some Observations on the Calligrapher and Illu- Donald P. Little, “The aram Documents as Sources for the Arts minators of the Koran of Rukn al-Dīn Baybars al-Jāshnagīr” and Architecture of the Mamluk Period” Esin Atıl, “Mamluk Painting in the Late Fifteenth Century” David A. King, “The Astronomy of the Mamluks: A Brief Over- Ira M. Lapidus, “Mamluk Patronage and the Arts in Egypt: Con- view” cluding Remarks” James W. Allan, “Shaʿbān, Barqūq, and the Decline of the Mam- luk Metalworking Industry” Muqarnas III (1985) Oleg Grabar, “Upon Reading al-Azraqi” Gülru Necipoğlu-Kafadar, “The Süleymaniye Complex in Istan- Eva Baer, “The Mihrab in the Cave of the Dome of the Rock” bul: An Interpretation” Jonathan M. Bloom, “The Origins of Fatimid Art” Alan W. Fisher and Carol Garrett Fisher, “A Note on the Loca- Caroline Williams, “The Cult of ʿ Alid Saints in the Fatimid Monu - tion of the Royal Ottoman Ateliers” ments of Cairo. Part II: The Mausolea” Ülkü Ü. Bates, “Two Ottoman Documents on Architects in Yasser Tabbaa, “The Muqarnas Dome: Its Origin and Meaning” Egypt” Sheila S. Blair, “The Madrasa at Zuzan: Islamic Architecture in James Dickie, “The Mughal Garden: Gateway to Paradise” Eastern Iran on the Eve of the Mongol Invasions” Helen Jessup, “Dutch Architectural Visions of the Indonesian Tradition” 378 cumulative (chronological) index of articles, muqarnas i–xxv Muqarnas IV (1987) Oleg Grabar, “On Catalogues, Exhibitions, and Complete Yasser Tabbaa, “Bronze Shapes in Iranian Ceramics of the Works” Twelfth and Thirteenth Centuries” Jonathan M. Bloom, “The Mosque of the Qarafa in Cairo” Mehrdad Shokoohy and Natalie H. Shokoohy, “The Architecture Leonor Fernandes, “The Foundation of Baybars al-Jashankir: Its of Baha al-Din Tughrul in the Region of Bayana, Rajasthan” Waqf, History, and Architecture” Glenn D. Lowry, “Humayun’s Tomb: Form, Function, and Howard Crane, “Some Archaeological Notes on Turkish Sardis” Meaning in Early Mughal Architecture” Nancy Shatzman Steinhardt, “Siyah Qalem and Gong Kai: An Peter Alford Andrews, “The Generous Heart or the Mass of Istanbul Album Painter and a Chinese Painter of the Mongo- Clouds: The Court Tents of Shah Jahan” lian Period” Priscilla P. Soucek, “Persian Artists in Mughal India: Influences Doğan Kuban, “The Style of Sinan’s Domed Structures” and Transformations” A. J. Lee, “Islamic Star Patterns” Muqarnas V (1988) Oleg Grabar, “Between Connoisseurship and Technology: A Godfrey Goodwin, “Gardens of the Dead in Ottoman Times” Review” Jale Erzen, “Sinan as Anti-Classicist” Howard Crane, “Traditional Pottery Making in the Sardis Maurice Cerasi, “Late Ottoman Architects and Master Builders” Region of Western Turkey” R. D. McChesney, “Four Sources on Shah ʿAbbas’s Building of Jonathan M. Bloom, “The Introduction of the Muqarnas into Isfahan” Egypt” Elizabeth B. Moynihan, “The Lotus Garden Palace of Zahir al- Marilyn Jenkins, “Mamluk Jewelry: Influences and Echoes” Din Muhammad Babur” Doris Behrens-Abouseif, “The Takiyyat Ibrahim al-Kulshani in William G. Klingelhofer, “The Jahangiri Mahal of the Agra Fort: Cairo” Expression and Experience in Early Mughal Architecture” Muqarnas VI (1989) Oleg Grabar, “An Exhibition of High Ottoman Art” Iqtidar Alam Khan, “New Light on the History of Two Early Nasser Rabbat, “The Meaning of the Umayyad Dome of the Mughal Monuments of Bayana” Rock” Eva Baer, “Jeweled Ceramics from Medieval Islam: A Note on Jamel Akbar, “Khatta and the Territorial Structure of Early Mus- the Ambiguity of Islamic Ornament” lim Towns” Peter Chelkowski, “Narrative Painting and Painting Recitation Saleh Lamei Mostafa, “The Cairene Sabil: Form and Meaning” in Qajar Iran” Sergei Chmelnizkij, “Methods of Constructing Geometric Orna- Donna Stein, “Three Photographic Traditions in Nineteenth- mental Systems in the Cupola of the Alhambra” Century Iran” I. I. Notkin, “Genotypes of Spatial Form in the Architecture of B. W. Robinson, “Qajar Lacquer” the East” Layla S. Diba, “Persian Painting in the Eighteenth Century: Tra- Perween Hasan, “Sultanate Mosques and Continuity in Bengal dition and Transmission” Architecture” Nancy Micklewright, “Late-Nineteenth-Century Ottoman Wed- ding Costumes as Indicators of Social Change” Muqarnas VII (1990) Oleg Grabar, “Europe and the Orient: An Ideologically Charged Michael E. Bonine, “The Sacred Direction and City Structure: Exhibition” A Preliminary Analysis of the Islamic Cities of Morocco” Thomas Leisten, “Between Orthodoxy and Exegesis: Some D. Fairchild Ruggles, “The Mirador in Abbasid and Hispano- Aspects of Attitudes in the Shariʿa toward Funerary Archi- Umayyad Garden Typology” tecture” Mohammad Yusuf Siddiq, “An Epigraphical Journey to an East- Sergei Chmelnizkij, “The Mausoleum of Muhammad Bosharo” ern Islamic Land” Sheila S. Blair, “Sufi Saints and Shrine Architecture in the Early Ulrike al-Khamis, “The Iconography of Early Islamic Lusterware Fourteenth Century” from Mesopotamia: New Considerations” cumulative (chronological) index of articles, muqarnas i–xxv 379 Scott Redford, “How Islamic Is It? The Innsbruck Plate and Its Leonard Helfgott, “Carpet Collecting in Iran, 1873–1883: Robert Setting” Murdoch Smith and the Formation of the Modern Persian Gülru Necipoğlu, “From International Timurid to Ottoman: Carpet Industry” A Change of Taste in Sixteenth-Century Ceramic Tiles” Jo Tonna, “The Poetics of Arab-Islamic Architecture” Muqarnas VIII (1991) Oleg Grabar, “K. A. C. Creswell and His Work” Sheila S. Blair, “Surveyor versus Epigrapher” Julian Raby, “Reviewing the Reviewers” Alastair Northedge, “Creswell, Herzfeld, and Samarra” J. W. Allan, “New Additions to the New Edition” G. R. D. King, “Creswell’s Appreciation of Arabian Architecture” Robert Hillenbrand, “Creswell and Contemporary Central Mark Horton, “Primitive Islam and Architecture in East Africa” European Scholarship” Gloria Karnouk, “The Creswell Library: A Legacy” Eric Fernie, “The History of Medieval Architecture from Caro- Teresa Fitzherbert, “The Creswell Photographic Archive at the lingian to Romanesque: Criteria and Definitions from 1925 Ashmolean Museum, Oxford” to the Present Day” R. W. Hamilton, “Keppel Archibald Cameron Creswell, 1879– Cyril Mango, “Approaches to Byzantine Architecture” 1974” J. M. Rogers, “Architectural History as Literature: Creswell’s Reading and Methods” Note Jonathan M. Bloom, “Creswell and the Origins of the Minaret” R. D. McChesney, Postscript to “Four Sources on Shah ʿAbbas’s John Warren, “Creswell’s Use of the Theory of Dating by the Building of Isfahan” Acuteness of the Pointed Arches in Early Muslim Architec- ture” Muqarnas IX (1992) Christopher S. Taylor, “Reevaluating the Shiʿi Role in the Devel- A. Ghouchani and C. Adle, “A Sphero-Conical Vessel as Fuqqāʿa, opment of Monumental Islamic Funerary Architecture: The or a Gourd for ‘Beer’” Case of Egypt” Summer S. Kenesson, “Nasrid Luster Pottery: The Alhambra Nuha N. N. Khoury, “The Mihrab Image: Commemorative Vases” Themes in Medieval Islamic Architecture” Massumeh Farhad, “An Artist’s Impression: Muʿin Musavvir’s Doris Behrens-Abouseif, “The Façade of the Aqmar Mosque in Tiger Attacking a Youth” the Context of Fatimid Ceremonial” Barbara Finster, “An Outline of the History of Islamic Religious Mohammad al-Asad, “The Mosque of Muhammadʿ Ali in Cairo” Architecture in Yemen” Marilyn Jenkins, “Early Medieval Islamic Pottery: The Eleventh Robert Hillenbrand, “Turco-Iranian Elements in the Medieval Century Reconsidered” Architecture of Pakistan: The Case of the Tomb of Rukn-i Robert B. Mason, Ronald M. Farquhar, and Patrick E. Smith, ʿAlam at Multan” “Lead-Isotope Analysis of Islamic Glazes: An Exploratory Subhash Parihar, “A Little-Known Mughal College in India: The Study” Madrasa of Shaykh Chillie at Thanesar” Wijdan Ali, “The Status of Islamic Art in the Twentieth Century” Muqarnas X (1993) Oleg Grabar: Bibliography, 1953–93 Hafez K. Chehab, “On the Identification of ʿAnjar (ʿAyn al-Jarr) Annabelle Simon-Cahn, “The Fermo Chasuble
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  • Some Aspects of Indo-Islamic Architecture

    Some Aspects of Indo-Islamic Architecture

    8 SOME ASPECTS OF INDO-ISLAMIC ARCHITECTURE N the seventh and eighth centuries CE, Islam spread towards ISpain and India. Islam came to India, particularly, with Muslim merchants, traders, holy men and conquerors over a passage of six hundred years. Although by the eighth century CE, Muslims had begun to construct in Sind, Gujarat, etc., it was only in the early thirteenth century that large-scale building activity begun under the Delhi Sultanate, established after the Turkish conquest of northern India. By the twelfth century, India was already familiar with monumental constructions in grandiose settings. Certain techniques and embellishments were prevalent and popular, such as trabeation (brackets, pillars and lintels) to support a flat roof or a small shallow dome. While arches were shaped in wood and stone, these were unable to bear the weight of the top structure. Now, however, the archuate form of construction was introduced gradually in which arches could support the weight of the domes. Such arches needed to be constructed with voussoirs (series of Qutub Minar, Delhi interlocking blocks) and fitted with keystones. The domes, resting on pendatives and squinches enabled spanning of large spaces leaving the interiors free of pillars. A noteworthy aspect of these migrations and conquests was that Muslims absorbed many features of local cultures and traditions and combined them with their own architectural practices. Thus, in the field of architecture, a mix of many structural techniques, stylised shapes, and surface decorations came about through constant interventions of acceptance, rejection or modification of architectural elements. These architectural entities or categories showcasing multiple styles are known as Indo-Saracenic or Indo-Islamic architecture.