APAH Unit 4

Pyxis of Al-Mughira Umayyad, c. 968 CE Ivory *pyxis-Cylindrical box used for cosmetics *ivory-a hard creamy-white substance composing the main part of the tusks of an elephant, walrus, and narwhal, often (especially formerly) used to make ornaments and other articles.

Context: Centers for production of ivory were the courts of Muslim caliphs and sultans. Abd al-Rahman III was a descendant of the Umayyad family in Spain and became the emir or ruler at the age of 22. He declared himself caliph in 929 which was a title restricted among Muslim rulers in Medina and Mecca. Abd al-Rahman constructed a palace for himself and successors at Medina al-Zahra near Cordoba. Palace housed workshops for production of items for caliph's family and for diplomatic gifts, including ivory boxes. Spanish Umayyad ivory pyxides featured motifs symbolic of royal power and prestige, including hunting scenes and musical entertainment. Pyxis belonged to al-Mughira the younger son of Abd al-Rahman III. After the death of his brother, al-Hakam II, al-Mughira may have been a threat to Hisham II and was executed along with his supporters. Content: The inscription at the base of the lid is a prayer for al-Mughira's well being. It said "God's blessing, favors, and happiness to al-Mughira, son of the commander of the faithful [the standard epithet of caliphs], may God have mercy upon him, in the year 357 [968 CE]. The pyxis is decorated with an array of animals and hunters amid lush vine scrolls surrounding four eight lobed figural medallions. In one medallion lions attack bulls. Lions were seen as victorious and meant to symbolize Umayyads. In another one, al-Mughira appears to be serenaded by a lutenist. The final scene depicts men on horseback date picking. Function: Many caskets and pyxides held perfumes and cosmetics. Pyxides were given to members of the royal family on special occasions such as marriage or birth (coming of age). Form: Pyxis was cut from a cross section of an elephant's tusk and adorned in highly specific, royal iconography. There are traces of inlaid jade. This is an ivory bas relief. This piece has calligraphy and arabesques showing stylized symbols of authority. The use of visual imagery, also shown in poetry, demonstrates that these two art forms were in communication.

Alhambra Granada, Spain, Nasrid Dynasty 1354-1391 CE Whitewashed adobe stucco, wood, tile, paint, gliding *muqarnas-niche like arches stacked on different tiers supported by a column

Context: Constructed by Berber ruler Badis Ben Habus, commissioned by Nasrid Sultan Muhamed V by Emirate of Granada in Al-Andalus, started during second period of reign (1362-1391 CE), Nasrids took over and constructed palaces, Christians preserved it, used to be for Jewish vizier (ruler), palace in the late 13th century Small, low bubbling fountains in each room provide cool temperatures in the summer. The fortified palace was created by Muhammad I. The name "Alhambra" was derived from the arabic word meaning red due to the red color of the walls. Function: served as residence of Muhamed V, conjured image of paradise The Alhambra was built as a palace to house the Nasrid sultans of Southern Spain. It included numerous fountains and gardens to create a sense of paradise. Content: Court of Lions, gardens, windows, columns, sculpted ceilings and walls, central fountain with lion, 16 windows at top, 23 towers and gates, heated baths, water, streams in all directions The Alhambra was a walled palace that included numerous gardens, fountains, and the usage of stucco. It included numerous arches and one of the most notable features is the Palace of the lions which portrays lions surrounding a fountain in the middle of a courtyard. Form: light, airy interiors, fortress like exteriors, built on hill overlooks city, thin columns support heavy roof Large, elaborately decorated palace split into various sections. Contains the usage of golden, red, and earthy/natural tones. (weightlessness), animal imagery, abstract pattern windows, muqarnas retract light, highly sophisticated and refined interior, play of light and shadows, lacelike, water plays role in art and form, interior shows idea of luxury

Dedication Page with Blanche of Castile and King Louis IX of France, Scenes from Apocalypse from Bibles moralisees Gothic Europe c. 1225-1245 CE illuminated manuscript (ink, tempera, and gold leaf on vellum) *moralized bible-made for French Royal House with texts from Old and New Testaments *quire-folded page from moralized bible

Context: French king died in 1226, so rebellions framed Blanche of Castile and demanded lands back. After her son Louis IX took over in 1234, there was peace. Content: Blanche of Castile and Louis IX, beardless, cleric and scribe underneath them, set in Paris, city of Capetian Form: registers, stylized and colorful buildings above king and queen's heads, suggests urban setting, each figure set against ground of burnished gold, seated beneath trefoil arch, quires, three volume moralized bible Function: People assured that ruler is trained to rule.

Bahram Gur Fights the Karg Folio from the Great Il-Khanid Shahnama, Islamic, Persian Il' Khanid c. 1330-1340 CE Ink and opaque watercolor, gold, and silver on paper *Il'Khanid- The established Mongol empire in Persia until 1353 ruled by Hugalu. *Shahnama- Known as the Persian Book of Kings, this book chronicles the history of Persia before the arrival of Islam. *Bahram Gur- King of the Sasanian Empire during a time when it ruled Persia. Living up to his name, which means "swift", Bahram Gur was renowned for his hunting skills.

Form- The King is illuminated behind a light bluish background, yet surrounded by darker toned trees. There is no consistent symmetry throughout this scene, however there is a great representation of the hierarchic scale. The king is seen as the biggest figure as he towers over the tallest trees. Function- This piece serves as a strong identification of the persona of warrior-kings of ancient Persia, depicting them as noble, virtuous, and powerful. In addition, the item was intended to express the patron's power and wealth. Content- This illustration depicts the story of a Persian king, Bahram Gur, who defeated the monstrous beast Karg, also known as the horned wolf. Karg is seen as a combination between a rhinoceros and wolf. Chinese influences include motifs on imported Chinese scrolls and ceramics. As well, the twisted trees and overlapping forms suggest eastern Asian influences. The King is seen riding through the scene on horseback, wearing kingly garb and golden crown, and holding a plethora of weapons to indicate himself as a warrior. European garb and fabrics on the king is evidence of long-distance trade to Europe Context- This illustration depicts one of the stories from the Shahnama. Painted by artists in the Mongol Court, this depiction is surrounded by text composed by Firdawsi around 1000 C.E. According to the story, Bahram Gur's talents were sought out by the king of India, who wanted his help in ridding the Indian countryside of the beast Karg. The Mongols invaded Persia shortly after the fall of the Sasanian empire and was named the Ilkhanid period under the rule of Hulagu's dynasty. This book survived because of the Mongols' encouragement of art to flourish. Influences from China was partly due to the widespread availability of paper.

Merovingian Looped Fibulae Early Medieval Europe, mid-6th century CE Silver gilt worked in filigree, with inlays of garnets and other stones *zoomorphic-Having or representing animal forms or gods of animal form.

Form: Decorative patterns (adjusted carefully to the basic shape of the object) are covering almost the entire surface.; "Medieval Metalworkers integrated zoomorphic elements into this type of 'highly disciplined', abstract decorative design that the animal forms because almost unrecognizable."; Function: Men and women alike used fibulae to fasten their garments.; Decoration Content: Pins made of bronze, silver, or gold with precious stones. Context: "Formed part of jewelry of the Mid 6th Century, when Merovingian kings named the founder of their line, Merovech, ruled large parts of what is now France. The pins, probably once the proud possession of a wealthy Merovingian woman, accompanied their owner to the afterlife.

Reliquary of Saint-Foy Conques, France c. 9th century CE (with later additions) Gold, silver, gemstones, and enamel over wood *SAME VOCAB AS LAST FLASHCARD

Form: Disproportionate features- oversized head, small body, Frontal seated figure with engravings on the throne Function: Receptacle that held sacred relics of Sainte Foy- protection of relics Content: Engraving shows the parallel of St. Foy's martyrdom and Jesus' crucifixion, Gold and valuable materials- emphasize importance of St. Foy Context: St. Foy- child saint who died after refusing to worship Roman Gods, Furta Sacra (holy theft)- monks stole relics from another monastery

Church of Saint-Foy Conques France c. 1050-1130 CE Stone and Paint Romanesque Europe *Romanesque- architectural style of medieval Europe characterized by semi-circular arches *tympanum- semi-circular or triangular decorative wall surface over an entrance, door, or window, bounded by a lintel and arch. They often contain imagery or ornaments *mandorla- a pointed oval figure used as an architectural feature and as an aureole enclosing figures such as Jesus Christ or the Virgin Mary in medieval art *reliquary- a container for holy relics *transept- either of the two parts forming the arms of the cross shape projecting at right angles from the nave *crossing- junction of the four arms of a cruciform church *barrel Vault- a vault forming a half cylinder; tunnel vault *Last Judgement- fresco by Michelangelo depicting the Second Coming of Christ and the eternal judgement by God of all humanity

Form: Five radiating chapels, Basilica plan modified into a cruciform plan- controlled crowds of pilgrims , Octagonal crossing dome set in a square, Groin vaults allow for lights to enter the building, Light from windows in clerestory, ambulatory, and radiating chapels focus onto the high altar Function: Pilgrimage church- one of the large churches along the route to Santiago de Compostela, Tympanum depicting last judgement- reminder to pilgrims about the joys of heaven and torments of hell, Held the reliquary of Sainte Foy Abbey- church part of monastery where monks lived, worked, and prayed Content: 212 columns decorated with motifs- palm leaves, biblical monsters, scenes from the life of St. Foy, Reliquary figure of Saint Foy (see next slide), Tympanum- central semi-circular relief carving above the central portal, Grill in ambulatory- made from shackles from those freed by Sainte Foy Context: Located on the Camino de Santiago (The Way of Saint James) as a stop for pilgrims, Pilgrims allured by remains of St. Foy- a young woman martyred during the fourth century, Holy theft of St. Foy relics

Basin (Baptistere de St. Louis) Muhammed ibn-al Zain 1320-1340 CE Brass inlaid with gold and silver *iconography - visual symbols used in a work *Mongols - Central Asian nomad culture with a lasting presence from the 13th century onward *Mamluk - Egyptian sultanate, also a slave class in the Middle East

Form: Images are engraved in the side of the basin. The side of the basin is split into three bands, with friezes above and below the central band. Intricate carvings are interconnected. Content: The inside base of the piece depicts tangled sea creatures, while the inside lip depicts land animals and a plethora of warriors. The basin is notably lacking in Arabic script. The central band of the side of the basin depicts a procession, complete with officials, dignitaries, and coats of arms. The artist's signature is also present in six different places. Function: At first, the piece served to show the power and wealth of the Mamluks as a banqueting piece or for ceremonial hand washing. However, it later ended up in France, and was used in the baptism of royal infants from the 17th century until it was put in the Louvre. Context: The piece was created at a time where opulence was welcomed in Egypt. The coat of arms were remade into a fleur-de-lis once the piece was appropriated by the French.

Lindisfarne Gospels: St. Matthew, cross-carpet page; St. Luke portrait page; St. Luke incipit page Early Medieval (Hiberno Saxon) Europe c. 700 CE Illuminated manuscript (ink, pigments, and gold on vellum) *hiberno-Saxon (Insular style)- style of art produced in Britain and Ireland during medieval period - focus on abstract, geometrical decoration, figures highly stylised forms. Common designs featured are circular forms, spirals, triskeles, Celtic knots, plant forms and other curvilinear forms; avoidance of straight lines and symmetry, maze-like *interlaced patterns- the interlacing broad lines passing under and over one another alternately. *scriptorium- a room set apart for writing, especially one in a monastery where manuscripts were copied *colophon- a publisher's emblem or imprint, especially one on the title page or spine of a book. *incipit- the opening words of a text, manuscript, early printed book, or chanted liturgical text.

Form: series of repetitive knot and spirals and stacked wine-glass shapes horizontally and vertically which creates a symmetrical arrangement. (St. Matthew Cross Carpet Page) blue pinwheeled shapes rotating in repetitive circles in the letter Q, swirling vortexes, and repeated red dots around the words. (St. Luke Incipit Page) Eyes of the figure is turned toward the viewer with its body in profile, the shapes create words, and many warm and cold colors made of different pigments alternate. (St. Luke Portrait Page) Function: cover and opening of St. Matthew's gospel. meant to honor God. (St. Matthew Cross Carpet Page) opening of Luke's gospel and to honor God. (St. Luke Incipit Page) representation of Luke. (St. Luke Portrait Page) Content: centrally located cross with colorful abstract animals. (St. Matthew Cross Carpet Page) large Q that starts the beginning of the chapter (St. Luke Incipit Page) curly-haired bearded evangelist wearing a purple robe streaked with red, sitting on a red-cushioned stool with his feet hovering above a tray. He has a gold halo which means divinity, and a blue- winged calf representing sacrifice on the cross flies over the halo. The calf holds a green parallelogram which is a reference to gospel. (St. Luke Portrait Page) Context: illuminated by the bishop Eadfrith on Lindisfarne, an island off the coast of Northumberland in England during time of social upheaval and devastating invasions. In 793 CE Vikings pillaged the monastery but the monks were able to keep the Lindisfarne Gospels safe. These pages were written in Latin and was copied by hand by monks. (St. Matthew Cross Carpet Page)

Great Mosque (Masjid-e Jameh) Isfahan, Iran Stone, brick, wood, plaster, glazed ceramic tile c. 700 AD, additions and restorations: 14th, 18th and 20th centuries *aniconic- Opposed to the use of idols/icons/religious images to warship. *vegetal- Of or relating to pants. *squinch- Any device by which a square or polygonal room has its upper corners filled in to form a support for a dome. *arabesque- An ornamental design consisting of intertwined flowing lines. *crenellated- Having open spaces at the top of a wall so that people can shoot guns and cannons outward. *iwan- Rectangular hall/space, walled on three sides with one end completely open, usually vaulted.

Form: The Great Mosque (Masjid-e Jameh) is made from Stone, brick, wood, plaster, and glazed ceramic tile that is used throughout the whole piece. Function: This Mosque was made to worship Islam, Or a place of prayer. Content: The structure of this piece is held up my arches and pillars in the interior of this piece. The pillars and the top of the arches are designed with phrases from the Qu'ran. The use of arches and pillars also creates a dome like structure between 4 pillars. Context: Each side of the courtyard has a centrally planned iwan. The qibla iwan is the largest and most decorative; its size indicates the direction to Mecca

Mosque of Selim II Edirne, Turkey, Ottoman culture 1568-75, Mimar Sinan Brick and Stone *Sultan Selim II: Son of Suleyman the magnificent, who was the longest reigning ruler of the Ottoman Empire. *madrasa: A madrasa is a college for Islamic education. *muezzin: A muslim man appointed to lead prayers at a mosque for every event of prayer and worship.

Form: The Mosque of Selim II features a curvilinear dome, with an angular and geometric base. The front face of the building demonstrates an impressive degree of symmetry with two tall towers on each side. The nature of the architecture also creates a focal point based on the golden spire that reaches to the heavens at the very top of the dome. Function: The entire building is composed of a mosque and two square madrasas, one of which is intended to serve as a religious college that teaches students the traditions of Prophet Muhammad. There is also a school dedicated to reciting the Quran on the west side of the complex. Content: The building is a massive temple with four pillars on the corners of the complex. There is a very impressive dome that is centered at the very top of the main building of the entire mosque. The sides of the complex are lined with various shops. Context: Edirne was a very important Turkish city, as it was the former city. The mosque was built by Sultan Selim II, who really liked the city Edirne, as he was stationed there when his father was campaigning in Persia. Edirne was also the location of the second European empire, so it has political and geographic significance.

Golden Haggadah(The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover) Late medieval Spain. C. 1320 C.E., Illuminated manuscript (pigments and gold leaf on vellum) *Judaism: The religion of the Israelites of the Bible and of the Jews of today, based on the teachings of the Torah. *Ten Plagues of Egypt: The traditional name for the set of disasters that God inflicted on Egypt before the pharaoh let Moses lead the Israelites out of Egypt to the Promised Land. *Seder: a Jewish ritual service and ceremonial dinner for the first night or first two nights of Passover. *Haggadah: the text recited at the Seder on the first two nights of the Jewish Passover, including a narrative of the Exodus.

Form: This is a book with a lot of art with gold paint and normal paint creating a illuminated manuscript. Function: This book shows the story of the Passover. When Moses led the Jews out of slavery in Egypt with a series of miraculous events. Content: It shows a story through pictures about the Passover. Context: This was inspired by older books in Judaism but it is done in a gothic style.

Rottgen Pieta Late Medieval Europe c. 1300-1325 CE Painted Wood *vesper- an evening prayer *pieta- a picture or sculpture of the Virgin Mary holding the dead body of Jesus Christ on her lap or in her arms *stigmata- the wounds that jesus got from crucifixion; also refers to wounds on other people in the same places

Form: This is a small statuette with wooden colors and disproportionate repulsive looking figure Function: The function of the pieta was to show converts that jesus can relate to pain and suffering; a mood very prevalent in the middle ages Content: This is a pieta which is a statue of mary holding the dead body of Jesus Context: Many pietas came out of this time (and in germany) but this is set apart by mary's distraught gaze and the gross looking and not idealized bodies

Chartres Cathedral Chartres, France, Gothic Europe Original construction: c. 1145-1155 CE, Reconstructed: c. 1194-1220 CE Limestone, stained glass

Form: barrel vault to groin vault to pointed arches to ribbed vault (Gothic architecture), elevated elements, light gives sense of heaven, circumambulated interior. The cathedral has an enlarged chevet, vertical interior to pull the viewer's gaze to the heavens, a mysterious interior, and stained glass to enliven the interior surfaces of the church. Context: Gothic architecture was elevated, using flying buttresses which allowed for more windows. Context: The cathedral's association with the Virgin Mary (the supposed veil of the Virgin is kept in the cathedral treasury) made it the destination of pilgrims in the Middle Ages. Content: biblical stories depicted in stained glass windows. Content: This cathedral is very Romanesque, with rose windows that're more stone than glass (plate window). It burned down in 1194 and was rebuilt to fit the style at the time of the rebuilding. The stained glass was intended to be educational and portrays figures from the Old Testament. The royal portal has 3 entry ways with elongated figures (caryatids). Function: Sacred building, Gothic Catholic cathedral. Function: This is a sacred building. It is a Gothic Catholic cathedral.

The Ardabil Carpet Masqud of Kashun 1539-1540 CE Silk and wool *Sufism: Sufism, mystical Islamic belief and practice in which Muslims seek to find the truth of divine love and knowledge through direct personal experience of God. Sufis have elaborated the image of the Prophet Muhammad—the founder of Islam—and have thus largely influenced Muslim piety by their Muhammad-mysticism. *medallion: It is widely held that Gothic geometrical medallions were also of Islamic origin *weft and warp: Warp and weft are terms for the two basic components used in weaving to turn thread or yarn into fabric.

Form: hand knotted- 340 knots per inch, Width approx 535.5cm x length approx 1044cm. The entire surface of the Ardabil carpet is covered by a single integrated design. The border is composed of four parallel bands. It surrounds a huge rectangular field, which has a large yellow medallion in its centre. The medallion is surrounded by a ring of pointed oval shapes, and a lamp is shown hanging from either end. This centrepiece is matched by four corner-pieces, which are quarters of a similar but simpler composition, without the lamps. Function: Carpets were sold and traded across Islamic lands, carpets decorated the floors of mosques, shrines, and homes, but they could also be hung on walls of houses to preserve warmth in the winter. This carpet was one of a matching pair that was made for the shrine of Safi al-Din Ardabili Content: The work of the slave of the portal, Maqsud Kashani. Translation of text woven into carpet: 'Except for thy threshold, there is no refuge for me in all the world. Except for this door there is no resting-place for my head. The work of the slave of the portal, Maqsud Kashani.' He was not necessarily a slave in the literal sense but called himself one to express humility, while the word for 'portal' can be used for a royal court or a shrine. The fourth line contains the date 946 in the Muslim calendar, which is equivalent to AD 1539 - 1540. Context: The carpet takes its name from the town of Ardabil in northwest Iran, where the Sufi saint, Safi al-Din Ardabili, lived. Sufi trained his followers in Islamic practices, and after he died one of his descendents established Shi'a Islam as the official religion. The completion of the carpets was marked by a four-line inscription placed at one end. The first two lines are a poetic quotation that refers to the shrine as a place of refuge.

Dome of the Rock Jerusalem, Islamic, Umayyad 691-692 CE Multiple renovations, stone masonry and wooden roof decorated with glazed ceramic tiles, mosaics, and gilt aluminum and bronze dome *CONNECTION TO PANTHEON

Function: Marks coming of new religions to city, sacred to Jews and Christians. The function of the piece is to mark the triumph of Islam in Jerusalem on a site sacred to Muslims, Christians, and Jews. Context: First dome shrine built, destroyed by Babylonians, 3rd temple built during Crusades became Christian shrine before returning to Islamic hands, marks ascension of Muhammed into heaven, Byzantine rules 629 and Islam takes over 638. It rises from a huge platform known as the Noble Enclosure, where in ancient times the Hebrews built the Temple of Solomon, which the Roman emperor Titus destroyed. The site is reputed as the location of Adam's grave and the spot where Abraham prepared to sacrifice Isaac. The rock that gives the building its name also later came to be identified with the place where Muhammad began his miraculous journey to Heaven and then, in the same night, returned to his home in Mecca. It was inspired by a neighboring Christian monument, Constantine's Church of Holy Sepulchre. Form: Persian tiles on exterior and marble slabs interior, octagonal plan. The shrine takes the form of an octagon with a towering dome. The construction and decoration is firmly in the Late Antique tradition of the Mediterranean world. It is a domed central-plan structure descended from the Pantheon in Rome and Hagia Sophia in Constantinople, but it more closely resembles the octagonal San Vitale in Ravenna. The vivid, colorful patterning wrapping the walls like a textile is typical of Islamic ornamentation. The mosaics depicted crowns, jewels, chalices, and other royal motifs-probably a reference to the triumph of Islam over the Byzantine and Persian empires. Inscriptions, mostly from the Koran, underscore Islam as the superior new monotheism, superseding both Judaism and Christianity in Jerusalem. Content: Islamic architecture, domed wooden octagon, columns from Romans, calligraphy, circumabulate rock (sense of oneness). The content is not a mosque, but it marks the coming of the new religion to the city that had been, and still is, sacred to both Jews and Christians. It is a domed central-plan rotunda in the Late Antique tradition. At the center, below the dome, is the rocky outcropping later associated with Adam, Abraham, and Muhammad. The Arabic inscriptions that cover the piece do not refer to the rock within the shrine.

The Kaaba Mecca, Saudi Arabia, Islamic, Pre-Islamic Monument Rededicated by Muhammed in 631-632 CE Multiple renovations, granite masonry, covered with silk curtain and calligraphy in gold and silver wrapped thread *CONNECTION TO FEMALE DEITY AND REBELLIOUS SILENCE

Function: Place of Hajj for Muslims, direction they should pray in, walk around Kaaba to touch Black Stone. The Ka'aba is the center of Islam and is considered their holiest place on Earth. The structure is part of the Hajj pillar of Islam, which centers on making pilgrimage to Mecca at least once in one's life. Context: Muhammed was exiled in 632 CE, but returned 10 years later, spreading Islam everywhere and destroyed idols, Kaaba said to be gift from Angel Gabriel, caliphs afterwards extended area to accommodate people and functions, silk covering (kiswa) added 7th century, aniconism. Originally, the Ka'aba served as a sanctuary for the surrounding Arab tribes and is said to have been built by Abraham. As Muhammad preached his monotheistic view, he-- with support from his followers-- was able to conquer the tribe in charge of the building and rededicated it to the Islamic faith. Form: geometric, dark, elegant, grand, circumambulate. The Ka'aba is made from a box-like structure, adorned with golden inscriptions and black and white cloth. Content: granite masonry and calligraphy, original had wooden roof and sides. The Ka'aba includes Arabic script from the Quran and other Islam-related scripture. It also has various geometric designs as part of the Islamic tradition of not depicting human figures.

Great Mosque Cordoba, Spain, Umayyad c. 785-786 CE Stone Masonry *iwan-vaulted open room

Function: To represent the Seljuk's powerful empire. The mosque was designed for worship. The dome shows the skill of the architects. Context: Isfahan becomes capital for Seljuks who constructed, south dome in 1086-87 by Nizam al-Mulk, famous vizier, largest dome, north dome by rival Taj al-Mulk, shared with North Africans. This mosque is known locally as Mezquita-Catedral. It is believed to have originally been a temple to the Roman god Janus, which was then converted to a church by Visigoths who invaded in 572 CE. It was then converted into a mosque. Form: structural clarity, geometric balance, north-south axis (direct riposte to south), iwan, domes, above horizon of Isfahan's silhouettes (visual landmarks), entrance is southeast, iwans not equal in importance (reflected in different dimensions, structure, motifs). The Great Mosque of Cordoba makes use of geometric patterns. There are two main areas: the courtyard and the praying hall. It was built with Roman columns and stone and red brick. Content: Large central rectangular courtyard surrounded by a two story arcade, each iwan has centrally placed iwan, dome adorned by tiles, quibla iwan is largest and most decorative, hypostyle interior, Arabic calligraphy. The inside contains a hypostyle hall filled with columns and arches decorated with red and white stripes. It also has an orange tree courtyard.