Content Area 7 APAH

Folio from a Qur'an

Arab, North Africa, or North East. 8th to 9th century CE. Ink, color, and gold on parchment. Function: This book was used for sacred rituals and recitations The Qur'an which means "recitation" suggests that the manuscripts were secondary importance to oral tradition Heavily decorated for ceremonial purposes The Qu'ran is the central part of Islam and the Islamic faith revolves around this book Content: Human and animal forms was considered inappropriate for the ornamentation of sacred monuments and objects, artists relied on vegetal and geometric motifs when they decorated mosques and sacred manuscripts The Qur'an consists of the divine revelation to the Prophet Muhammad in Arabic The words on the Qur'an translate as rays of light for the people who read and recite the recitations Piece from "The Spider" a text in the Qur'an Translation: "So each We punished for his sin; of them was he on whom We sent down a violent storm, and of them was he whom the rumbling overtook, and of them was he whom We made to be swallowed up by the earth, and of them was he whom We drowned; and it did not beseem Allah that He should be unjust to them, but they were unjust to their own souls. The meaning of this passage can be interpreted as if you do betray the words of Allah you will never be at peace Context: Is a huge part of the daily lives of people of Islamic faith and is still is to this day Very high value and prosperity in the religion Along with the flourishing of the Islamic faith there were advancements happening in the intellectual community It was a luxury to have such a finely inscripted object The scribes who illustrated these books were valued in their community for their stylistic abilities Some say the owner of this book could have been from a royal lineage

The Ardabil Carpet

Artist: Artist Unknown (but the inscription on the carpet reads Maqsud of Kashan). Materials: Wool/silk. Date: c. 1539-1540 C.E. Location: Found in north-west Iran, taking its name from a town here called Ardabil. Function: The piece itself has the function of a decorative piece. It could have a practical use (conserving warmth in the winter, on the floors of homes, decorative). It could also have a religious use (as they decorated mosques and places of worship like shrines). Regardless, it was likely the royal court that patronized this shrine, perhaps explaining the great detail and size that it takes on. Content: Typical of Islamic art, there are geometric patterns as well as floral looking patterns throughout. The carpet was well-organized, especially for its size. A central golden "medallion" of sorts takes the center carpet and is surrounded by a ring of multi-colored, detailed ovals. What appears to be lamps hang at either end of this center. The four corner pieces closely resemble the central medallion. The two lamps are different sizes, some scholars proposing that this was done to create a perspective effect, meaning that both lamps appear to be the same size if you sit near the smaller lamp. But there is no evidence for this type of perspective, and that wouldn't explain why lamps themselves are included.. They may have been to mimic lamps in mosques or shrines, so that the piece could be unified with its intended surroundings. Another view is that it may have been a deliberate flaw, implying that perfection belongs to God alone. The border is made up of a frame with multiple cartouches (which are rectangular-shaped spaces for calligraphy), filled with design. These four parallel bands surround a huge rectangular field with the medallion in the center. The Ardabil Carpet includes a four-line inscription placed at one end: a short poem. "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" This man was most likely the court official charged with producing the carpets. He might intend to present himself as a humble servant by calling himself a slave. May imply that the royal court patronized the shrine. Artisans of north-west Iran were of great skill, and this piece displays such skill. Characteristic of early Safavid dynasty design is the swirling flower/leaf designs that are present. Also appear to be clouds. Context: Carpet weaving typically performed by women at home, but court commission would be woven by men (like this one). The weavers would work with drawings from a designer. It is one of the world's oldest Islamic carpets. It is one of the largest as well, as mentioned. Carpets themselves are a fundamental part of Islamic art, with many other carpets being recognized as big pieces in Islamic history. Carpets from Iran were highly prized. Like this one, they are usually made of silk and wools, and portable. They were traded across Islamic lands, as well as beyond its boundaries to Europe and China. They would decorate the floors of mosques, shrines, homes, and on walls of homes to conserve warmth in winter. It is from the Safavid Dynasty of Iran, named after Ardabil, a town in north-west Iran. In this town there was a shrine of the Sufi (Sufism is Islamic mysticism) saint, Safi al-Din Ardabili who died in 1334. He was a Sufi leader, he trained his followers in Islamic mystic practices. His following grew after he died and his descendents became increasingly powerful. In 1501 a descendent, Shah Isma'il, took control and united the land. He made Shi'a Islam the official religion. The dynasty he founded is known as the Safavids, and it lasted until 1722. It was an important period for Islamic art, especially for textiles and for manuscripts. This carpet was in a matching pair made for the shrine of Safi al-Din Ardabili. The carpets were located side by side in the shrine. The shrine, by the 16th century, had become a place of pilgrimage. It is not known whether the carpet was produced in a royal workshop, but there is evidence for court workshops in the 15th and 16th centuries. The inscription on one edge, helps date the poem and identify Maqsud as most likely the court official charged with making the carpet.

Great Mosque (Masjid-e Jameh)

Isfahan, Iran. Islamic, Persian: Seljuk, Il-Khanid, Timurid and Safavid Dynasties. c. 700 C.E.; additions and restorations in the 14th, 18th, and 20th centuries C.E. Stone, brick, wood, plaster, and glazed ceramic tile. Function: The Great Mosque was used as a place of prayer and worship. It is located in the center of the city, making it perfect for gatherings. The Great Mosque united the community, or umma. Content: The Great Mosque was covered in detailed calligraphy on the arches and wall, which showed the intellectual beauty of the structure. The Vaults added more ventilation to the structure, and the minarets for the call to prayer. The roof of the Mosque was not very intricately decorated, which contrasted the underside of the Mosque. The underside of the mosque was decorated in detailed stucco motifs and geometric designs. Context: The Great Mosque can be found in Isfahan, Iran, the capital of the eponymous province. The Mosque has had renovations done slowly for the past 1000 years to keep it in pristine condition. The mosque is a great representation of the political dynasties taste during the time of its creation. The plan for the Great Mosque originally comes from the 11th century. At that time the Seljuk Turks established Isfahan as their capital and began creation of the Mosque. Malik Shah I later created the 4 Iwan design, and later Nizam al-Mulk commissioned for the dome to be created.

Mosque of Selim II

Edirne, Turkey. Sinan (architect). 1568-1575 CE. Brick and stone. The city Edirne was seen first by European travellers so the Mosque was built to use architecture to impress them. One Madras served as a college for studying the traditions of the prophet Muhammed. Built to surpass Hagia Sophia -> demonstrating Islam's triumph. Content: Consists of 18 domes dominated by a huge central dome; the main dome is supported by 8 columns placed close to the walls A mosque, two madras, a row of shops, and a school for learning the recitation of the Quran. The Mosque: Nearly square prayer hall with an ethereal dome seems to float above. Dome supported by eight muqarnas-corbelled squinches which are supported by eight large piers. The muqarnas stepping out opens up more space below. Exterior buttresses support the east and west piers and do the most work to hold up the dome. Artfully hidden in exterio porticos and galleries The Qibla Wall (faces Mecca) projects outward and showcases openness of the space. The Muzzin platform (place to lead prayers) is directly under the dome, creating an interesting geometric vertical alignment of square, octagon, circle. Placement could also reflect Sinan's interest in surpassing Christian architecture. Context: Considered the great masterwork of Sinan, an Ottoman architect. Dome's octagonal shape was influenced by the tomb of Öljeitü but much larger. The city of Edirne had been the capital of the Ottoman Empire before Istanbul, and it was effectively the second city of the Empire. Also it was one of Semin II's favorite cities Entire complex designated as a UNESCO World Heritage sight in 2011 The interior has been repainted throughout the centuries. The polychrome Iznik tiles remain largely untouched.

Alhambra Palace

Granada, Spain. Nasrid Dynasty. 1354- 1391 CE. Whitewashed adobe stucco,wood, tile, paint, and gilding. The complex was both a palace and a fortress built during the Nasrid dynasty Served as a residence for the ruler and the close family to the ruler. The citadel within the complex was a barracks for the elite guard. An area called the Medina was where court officials lived and worked. Content: Four main gates of the complex. The complex contains many pools and fountains, along with palaces and courtyards with gardens. The Comares Palace Comares façade - served as an outdoor stage for the ruler Court of Myrtles focal points - covered patio surrounding courtyard with pool Hall of Ambassadors - throne room with diverse decorative and architectural art Palace of the Lions Contains a fountain with a complex hydraulic system in a basin on top of statues of lions situated at the intersection of two water channels Muqarnas Chamber - antechamber with muqarnas ceiling Hall of Kings - vaulted muqarnas ceiling with paintings representing courtly life Hall of the Two Sisters- residential apartment with carved and painted stucco with star motifs The Partal Palace One of the oldest structures Portico formed by five-arched arcade Generalife Built outside of Alhambra walls Many water channels, fountains, and greenery Context: Alhambra is an abbreviation for Qal'at al-Hamra, or red fort, thought to be derived from the red color of the exterior walls. Built during the reign of Ibn al-Ahmar of the Nasrid dynasty and his successors as a fortress and palace. In 1492 the Spanish took control of Moors, converting all Muslims to Christianity, and effaced the interior of the palace. Charles V of Spain rebuilt much of the palace in Renaissance style, destroying much of Alhambra to create an Italianate palace in 1526. In 1812 French forces blew up parts of the palace during the Peninsular Wars. In 1821 an earthquake further damaged the complex. José Contreras undertook a restoration of the palace in 1828 which was continued by his son until 1890. The restoration process was continued into the 21st century.

Great Mosque of Cordoba

Great Mosque. Cordoba, Spain. Umayyad. C. 785-786 CE. Stone Masonry. Function: The Great Mosque was created as a place of worship, and to reinforce Umayyad Muslim rule over the region in Spain Mihrab in the Mosque points towards Mecca, a holy place in Islam that is prayed towards by Muslims. The beauty of the Mosque is to glorify worship of God, and to help promote Islamic culture and control in Spain, where Islam was foreign. Content: The Great Mosque does not contain any icons, due to the unique iconographic restrictions of the islamic faith. Much of the artistic importance of the Great Mosque comes from its architecture and coloring, and the many individually important features of the Mosque which help with following proper religious procedures. There are patterns made of different materials along many walls of the Mosque, which add to its beauty. Context: The Great Mosque in Cordoba was created by the Umayyads, a Muslim nation which had invaded Cordoba and the rest of Spain in order to spread Islam and gain power. The Mosque is also thought to have materials and influences taken from a previous Christian church it had replaced, and represents the diversity of cultures that had ruled in Cordoba. Roman and Visigothic influences are seen in the architecture of the Mosque, showing a synthesis of architectural design. The Great Mosque was one of the most important buildings in Cordoba, both as a place of worship, a cultural hub, and an administrative headquarters. It remains an iconic part of the city into the modern day.

Dome of the Rock

Jerusalem. Islamic, Umayyad. 691- 692 C.E. Stone masonry and wooden roof decorated with glazed ceramic tile, mosaics and gilt aluminum and bronze dome. Function: In the 7th century it served as a testament to the power of the Islamic faith. Built as a religious focal point by the Umayyad caliph, Abd al-Malik. The structure and ornamentation is rooted in Byzantine architectural traditions, but it represents an early stage in the emergence of the Islamic visual style. The main function is debated by scholars: Some think it was built as a substitute for the Kaaba because Mecca was currently under the control of rebels. Others think that it was built to proclaim the emergence of Islam as a supreme faith with links to the bible. Content: The mosaics do not depict human or animal figures, instead there are vegetative scrolls and motifs. Also vessels and Sassian Kings' winged crown The Sassian Empire was a major pre-Islamic civilization Mosaics were very popular during the Late Antiquity period (300-800 BCE), so it shows an artistic tie to this time. In the center of the building sits a large rock thought to be the sight where Abraham prepared to sacrifice his son. Muslims believe today that the rock commemorates the night journey of Muhammad. Context: It was built between 685 and 691/2 by Abd al-Malik in the late 7th century CE. Although the first major Muslim monument for public worship, it is not a mosque. It was one of the first Islamic buildings ever constructed. The building was finished 55 years after the Muslim army captured Jerusalem from the Byzantine Empire In the Middle Ages the Dome of the Rock was thought to be the Temple of Solomon The Knights Templar were stationed there after the Crusader army captured Jerusalem in 1099. It was used as a church until Muslims recaptured it in 1187 Since construction the dome has been modified several times In the 16th century, Ottoman sultan Süleyman I replaced the exterior mosaics with coloured ceramic tiles. In the 20th century the dome was given a new gold covering, and ornaments were repaired or replaced.

The Kaaba

Mecca, Saudi Arabia. Islamic. Pre-Islamic monument; rededicated by Muhammad in 631-632 C.E.; multiple renovations. Granite masonry, covered with silk curtain and calligraphy in gold and silver-wrapped thread. Function The most holy shrine in all of Islam Muslism gather around the stone and circle it, which is called tawaf in Arabic, and try to kiss or touch it Content Kaaba means cube in Arabic Represents the "house" of god The Hajj (traveling to see the Kaaba) is one of the main pillars of Islam The veil is replaced every hajj Every year during the Pilgrimage the Saudi king cleans the inside of the Kaaba and the preforms a small prayer in the smaller room in which he is the only one premitted Context The Kaaba can be found in the center of Masjid al-Haram in Mecca which is a holy city in Islam Muslims who are able to make the Hajj travel from wherever they live to worship here Believed to be constructed by Ibrahim and his son Ismail (Ibrahim or Abraham is believed to be the father of Arabs). It was also a gift from the angel Gabriel (through there is no archaeological evidence to suggest this) It may have been built by the tribes that lived and ruled Mecca It was originally just a regular rectangular building but then when the Quraysh tribe, rulers of pre-islamic Mecca, rebuilt it with new mansory and put a door around it to prevent flooding which was done around 608 CE After Mohammd returned after being ran out of Mecca he cleansed the Kaaba of pagan idols in 630CE From there on it became an important part of the Islamic faith The next major addition to the Kaaba was made in 644-56 CE by Caliph Umar who added important monuments and expanded the space around the Kaaba to accommodate the growing religion After a civil war in Mecca where the Kaaba was set aflame it was slpit into 3 pieces It was then repaired with silver In 705-15 CE the mosque that encloses the Kaaba was decorated with mosaics that were reminiscent of other famous mosques Another change was made in the 17th century when a black cloth was draped over the kaaba The most recent change was made by the Saudia Arabian government in 1950 to expand the mosque even more The Hajj was originally a giant caravan that would walk all the way from cities to Mecca

Basin (Baptistère de St. Louis).

Muhammad ibn al-Zain. c. 1320-1340 C.E. Brass inlaid with gold and silver. Function: Possibly commissioned by a wealthy Mamluk patron to serve as a banqueting piece or as a vessel for ceremonial hand washing Later on was an object used to baptize the children of the royal family of France for centuries Context: It comes from the area of Egypt and Syria and it dates back between 1320 and 1340 The basin was created by Mamluk artisans, majority who were ethnic Turks, who had asserted their independence after being slave warriors. For several hundred years, they ruled in the countries that are now presently Egypt and Syria These slave warriors during the years became skilled, extraordinary craftsmen, especially for their textile and metal work Normally, vessels like this would be filled with calligraphy, but this is filled instead with figures, animals, and decorative patterns. The only things not covered completely are the bottom few inches of the walls of the inside of the basin Generally, there would be islamic inscriptions, but they're absent here- there are predictions that this may have been made for someone who was not Muslim. Possibly made for export The iconography is very intricate and tangled that historians have still not deciphered it There is a bit of Arabic inscription though, the signature of the artist just under the rim. He actually signed it six times and his name is Muhammad ibn al-Zain The basin received its name in the 18th century and was so called as it was used as the baptismal font for several royal children, such as Louis XIII Content: The floor of the basin is seen having a complex, interconnected pattern of sea animals Eels in silver were at the bottom A continuous band of animals are at the top around the inner wall and then a wide frieze of men on horseback scatted with animals as well as medallions, figures that are clearly rulers, and coats of arms There are two rulers who sit facing the front both holding goblets The figures in between are seen hunting as well as battling. There are limbs and dead bodies in between with signs of violence The largest frieze is on the the outside- there are four figures with roundels (circular disks) while on horseback. Two of them are hunting, one is drawing their bow, and the last one is processing, possibly holding a club There are figures on either side of the roundels all in procession towards the royal figures. These figures are all doing different type of things. For example, one is holding a leopard by a leash, one is raising a goblet, possibly in celebration On the very bottom band there are small roundels that carry Fleur-de- lis- symbol of the royal family of France, but this symbol is also associated with a Mamluk Sultan (king/ruler) Art historians believe that they have been reworked when they came to France

The Court of Gayumars, folio from Shah Tahmasp's Shahnama

The Court of Gayumars, folio from Shah Tahmasp's Shahnama. Sultan Muhammad. c. 1522-1525 C.E. Ink, opaque watercolor, and gold on paper. Iran, Tabriz. Function: The work was created to portray the myth of King Gayumars and his court, the firsts Shahs of Iran, who left his legacy for all future Shahs to carry on. It is not a religious work, because it is not related to the faith of Islam which was the dominant religion in Iran at the time of the creation of the work. The work is mainly to complement the writing, by giving an image to correspond with the text and provide greater entertainment to the reader. This copy of the Shahnama in particular had been sent to Selim II as a gift. Content: The folio depicts the first mythical Shah of Iran, Gayumars and his court. The illustration has a very natural theme, with plants and natural landscapes making up the center of the illustration. The people of the court are gathered in a semi-circle, facing Gayumars. Context: The artist of this particular work is thought to be the persian illustrator Sultan Muhammad. The writer of the Shahnama, regardless of which copy, was the poet Ferdowsi. Both the artist and the writer of the text were of Persian origin. The work was created in the 1500s, a period in which Persians had long been subject to Arabic and Islamic cultures. Persians at this point had almost entirely converted to Islam, but retained their distinct Persian culture as opposed to the Egyptians and Levantine ethnic groups which had adopted Arabic culture. The Shahnama is considered one of greatest and most important works of Persian literature, and Ferdowsi is considered Persia's greatest poet. This copy of the Shahnama, Shah Tahmasp's Shahnama, is considered to be one of the more famous manuscripts of the Shahnama, and an important example of Persian miniature painting. The manuscript is now split up and exhibited throughout the world.

Petra, Jordan

Treasury and Great Temple, Nabataean Ptolemaic and Roman, Cut rock (pink sandstone) Function: Above all, Petra was a cosmopolitan city (including markets, audience halls, temples, tombs, and living spaces) in which traders from other civilizations came and interacted The prominence of the tombs led archaeologists to believe at first that Petra was simply a necropolis, but the discovery of the other structures and complexes showed the complexity of this area as a vast city The Treasury was an ornate royal tomb. The lack of archaeological evidence leaves many questions, but it was most likely built for Aretas IV, the most successful ruler of the time Aside from the treasury, there are over 3,000 other rock-cut rooms. These were used not only for tombs but also as living spaces, dining areas, audience halls, and temples One especially popular construction is called the Monastery which has a large dining chamber and podium possibly used for religious festivals/ceremonies The Great Temple was constructed to show the power of the city and act as the most prominent building of the city The exact deity to which this was dedicated is unknown (if in fact it was a temple), but seeing as it is the most prominent structure, it was most likely to honor their most powerful/central god/goddess Content: As stated before, Petra was a cosmopolitan city with a main colonnaded street surrounded by markets, halls, temples, tombs, living quarters, and dining areas The city is built with clear Hellenistic influences The Treasury contains Corinthian columns throughout, a central tholos, broken pediment, and two obelisk bases The features and carvings of the facade illustrates the influence of distant cultures on this architecture On the upper portion there are Amazons and Victories around a goddess (most likely Isis-Tyche, a combination of Isis the Egyptian goddess and Tyche the goddess of good fortune in Greece) On the lower portion there is the Dioscuri, twin Greek Gods Castor and Pollux who protected travelers There are also carved rosettes along the middle of the carving, showing the influence of the Near East Behind the facade is a small chamber used as the royal tomb There are over 3,000 other rock-cut rooms, some of which are tombs while others are living or dining areas The Great Temple has a monumental staircase that leads to an open plaza surrounded by Corinthian columns (Lower Temenos) that then has another set of stairways to another, smaller plaza also surrounded by columns (Upper Temenos) There is also a Theatron with 13 rows of seats that can hold around 600 people- lack of archaeological evidence leaves the exact purpose unknown, but possibly used as an audience hall or council chamber Low-relief carvings of Amazons and other figures were found here as well as carvings of Asian elephants Although since faded, the inner walls of the temple were once covered with stucco and painted with bright colors Other buildings include a shrine to water nymphs, garden-pool areas, temples, and bathhouses The most important temple was called Qasr el-Bint, but the God to which it is dedicated is unknown Another important aspect of Petra was its advanced water-storage system that allowed agricultural undertakings and protected the city from strong seasonal water currents from the mountains Context: During the 4th century B.C.E., the Nabataean kingdom grew due to its beneficial location that allowed their trade to flourish. Petra became the capital where traders all across Eurasia came and interacted (as evidenced by the various cultural influences on the architecture). However, in 106 C.E., it was conquered by the Roman emperor Trajan. Throughout the entire city there are Hellenistic influences (Greek influence) There has been very little archaeological evidence discovered in the tombs and the city leaving it difficult to date the different tombs In fact there have been no human remains discovered in any of the tombs

Pyxis of al-Mughira

Umayyed Dynasty, 968. Function: In Al-Andalus, ivory objects, including Pyxides, were bestowed upon members of the royal family. Specifically sons, wives and daughters on important or memorable occasions, such as a marriage, birth or coming of age. Later they were given as Caliphal gifts to important allies, such as the Berbers, who are the indigenous peoples of North Africa, many of whom converted to Islam and swore their allegiance to the Umayyad Caliphs in Spain. The practical function was to carry perfumes and other cosmetics. Content: The pyxis is decorated with four eight-lobed medallions. These medallions are surrounded by figures and animals, including falconers, wrestlers, griffons, peacocks, birds, goats and animals to be huntedEach medallion has princely iconography. Although Islamic art is commonly viewed as an-iconic, human and animal figures play an important role in iconography. Context: A Pyxis is a cylindrical contained for holding cosmetics. This was a coming of age gift for al Mughira, the 18-year-old daughter of the caliph of the Umayyad dynastyBest surviving example of the tradition of carved ivory in Islamic Spain. Spain was home to some of the most impressive Islamic art and architectureIvory was part of the mediterranean art tradition, so this work is an example of local artistic tradition blended with Islamic themes. This comes from the royal workshop of Madinat al-Zahra, which was one of the wealthiest cities in Umayyad-ruled SpainThe work is currently located in the Louvre

Bahram Gur Fights the Karg

folio from the Great Il-Khanid Shahnama. Islamic; Persian, Il'Khanid. c. 1330-1340 C.E. Ink and opaque watercolor, gold, and silver on paper. Function: It is a book illumination depicting the one of the stories from the Shahnama, The Persian Book of Kings. The artist, Jayne Yantz wanted to create an art that the Mongols could identify with the ancient great Persian kings. The art also represents good conquering evil. It shows the story of brave Persian King Bahram Gur and allowed patrons at the time to be able to identify with a noble and powerful king of Ancient Persia. Another theory of why the painting was created is that the new Mongol rulers in Persia wanted to link the Mongols to the great rulers of Persia's past. Content: Bahram Gur was a king of the Sasanian empire that ruled Persia from the third century to just about the arrival of Islam. His nickname was "Bahram Gur" which insinuates that he was a swift and very good hunter. He was one of the best hunters in Iran and was able to catch anything and was known for his talents in chivalry, warfare, and romance. This comes across in the painting as Bahram is shown as being the heroic leader who defeats the karg. The karg has been depicted in stories as different animals but in the painting it is a ferocious horned wolf. Context: The Sassanian Empire ended in the seventh century and a while after the Mongols invaded Persia. The Mongols made Persia into a flourishing empire with rich courts who allowed the arts to thrive. They also developed a strong oral tradition of storytelling which led to the creation of the manuscript depicting the Bahram Gur Fights the King. This manuscript was most likely created at the Mongol Court in Tabriz.