Horseshoes and Calligraphy: Islamic Architecture through the Ages

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This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.

This exhibition is based on Chapter 8 of the Art History textbook entitled “Islamic Art”. This gallery focuses on Islamic architecture, including pieces that are modern but made by Muslim artists. Many of the works included are paintings which have Islamic architecture in the background or the foreground, and there are also a few pieces that include smaller pieces of Islamic architecture, like furniture, etc. A number of the pieces feature specific stylings of Islamic architecture as well, which is why they are included. Some of the works are tile fragments, pieces of places that still exist or used to exist. Many, if not all, of these works contain the art of calligraphy, something that Islamic culture holds in highest esteem and uses very frequently. Because the Muslims are most known for their enthusiastic building of shrines, mosques, and palaces, a lot of the works in here are either those or fragments of those. Unique arches and columns also define Islamic art and architecture, as well as calligraphic friezes. Specifically looking at the horseshoe arches, which was a common design during the rule of Rome and later on, the Visigoths, many of the Great Mosques possess those, making them closely associated (if not specifically defining) Islamic architecture in the West. My two focus pieces, the Jami Masjid in Delhi and the Dome of the Rock in Jerusalem, both possess those well-known arches, huge dome (or domes) atop a geometrically pleasing base, and colorful patterns/ornamentation all over.  

[Shrines. Alai Darwaza marble and sandstone Gateway to the Quwwat-ul-Islam Mosque, Kootub], Felice Beato, 1858, From the collection of: The J. Paul Getty Museum
Diorama presenting the Al-Azhar University's inner court at the permanent Islam exhibition in the 'Tropenmuseum', Tropenmuseum, Fotobureau, 1958/1958, From the collection of: Nationaal Museum van Wereldculturen
Palace Façade (Palace of Sayyed Akbar Shah, King of Swat 1835-57), Islamic, Pakistan, c. 1835, From the collection of: Denver Art Museum
Islamic fountain, Unknown, Early 14th century, From the collection of: Museo Nacional de Ceramica y Artes suntuarias Gonzalez Marti de Valencia
Model of a mosque and school, Surinaamse Islamitische Vereniging (SIV) (1929), 1947/1953, From the collection of: Nationaal Museum van Wereldculturen
Serpentine Gallery Pavilion 2007, Olafur Eliasson, Kjetil Thorsen, 24 August 2007 - 5 November 2007, From the collection of: Serpentine Galleries
SULTAN BANJAR THRONE, Unknown, 19th century, From the collection of: Museum Nasional Indonesia
Tile with the Great Mosque of Mecca, Turkish, 17th century (Ottoman), From the collection of: The Walters Art Museum
Rumi, Mark Di Suvero, 1991, From the collection of: The Nelson-Atkins Museum of Art
Mausoleum Doors, Qanbar ibn Mahmud, December 1551-January 1552 (early Safavid), From the collection of: The Walters Art Museum
Jami Masjid, Delhi, Thomas Daniell, 1749–1840, British, active in India, 1811, From the collection of: Yale Center for British Art
The Jami Masjid is one of the focus piece for my Islamic architecture gallery because it embodies nearly all aspects of that culture’s take on architecture. The arches are probably the most important to touch on here, because while they are the well-known horseshoe arches, they also include more ornamental mini-arches within the entire arch itself. Jami Masjid also has three domes, a common trait among the Islamic mosques, but arranged in such a way that they seem to be in a straight line if the mosque is looked at from the front. The largest arch, which seems to be in front of and below the middle dome, is actually more dome shaped itself and gives an appearance of a fourth dome. This particular piece also has four large, long columns, two of which tower over the domes and feature mini-domes at the very top. These columns follow the color scheme of the entire building: a brownish-red base that alternates with white, leading to a dome that is specifically white. Earthern colors are very popular in Islamic art and architecture, as well as the use of many vibrant colors, but often when more earthy colors are used, they are paired with white.
Sultan Ahmed's Mosque, James Robertson, Felice Beato, 1855–1857, From the collection of: The J. Paul Getty Museum
The Ancient Fountain by The Old Bridge, James Robertson, Felice Beato, 1855–1857, From the collection of: The J. Paul Getty Museum
Bull's Head Altar, -600/-400, From the collection of: Nationaal Museum van Wereldculturen
Toilet of the Duchess of Parma, François-Désiré Froment-Meurice, Circa 1847, From the collection of: Musée d’Orsay, Paris
Indo-Portuguese Cabinet, Unknown, 17th-18th century -, From the collection of: National Palace of Sintra
La Mezquita, Cordoba, Andalucia, Spain, Michael Busselle, 2005-09-01, From the collection of: Getty Images
Photographer Kassian Céphas on the Borobudur, K. (Kassian) Céphas (Yogyakarta 1845 - Yogyakarta 1912), 1885/1895, From the collection of: Nationaal Museum van Wereldculturen
The Taj Mahal, William Hodges, late 1780s, From the collection of: National Gallery of Modern Art
Israel, Jerusalem, The Dome of The Rock, Medioimages/Photodisc, 2005-10-03, From the collection of: Getty Images
The Dome of the Rock was another focus piece for this gallery because of its well known status as well as its incredible ornamental design and colors. The Dome features a singular dome, not rare in Islamic architecture, but definitely not a common occurrence. The Dome is meant to be the central focus of the architecture, judging by its placement in the direct center of the octagonal structure. The Dome, while in Jerusalem, exhibits immense examples of Islamic architecture as well as a bit of Byzantine styling, with the dome being painted a bright gold and the rest of the structure being an ornamental design of blue, white, and gold. The mini archways above each entrance are horseshoe shaped, and each panel above and continuing around the structure exhibit a repeating five-image pattern, also a Islamic-specific styling. The very bottom of the structure is a combination of white and gold, with the ornate columns located all in one area and equally balanced on both sides of the entrance. Much of Islamic architecture relies on a balanced use of geometry, giving it an ornate and aesthetically pleasing look.
Israel, Jerusalem, Cityscape of Jerusalem from Mount Olives, Medioimages/Photodisc, 2005-10-03, From the collection of: Getty Images
Israel, Jerusalem, The Dome of The Rock, Medioimages/Photodisc, 2005-10-03, From the collection of: Getty Images
Game board, Unknown, 1300/1499, From the collection of: Benaki Museum of Islamic Art
Stone Capital, Unknown, 150 AH, From the collection of: The al-Sabah Collection, Kuwait
Domed roof from the Palacio del Partal in the Alhambra, Unknown, 1200 - 1250, From the collection of: Pergamonmuseum, Staatliche Museen zu Berlin
Tile Fragment Depicting a Sailor on the Mast of a Ship, Unknown, first half of 17th century, From the collection of: Brooklyn Museum
Dado Panel from the Courtyard of the Royal Palace of Mas`ud III of Ghazni (reigned A.H. 493-509/ 1009-1115 C.E., Unknown, 1 Ramadan 505 AH /22 March 1112, From the collection of: Brooklyn Museum
Inscribed Tile Fragment, Unknown, late 13th century, From the collection of: Brooklyn Museum
Façade of the Mshatta Palace, Unknown, 743 - 744, From the collection of: Pergamonmuseum, Staatliche Museen zu Berlin
Iron Gate Plaque, Unknown, Iraq, early 14th Century, 1300/1350, From the collection of: The Museum of Islamic Art, Qatar
Page from the Shahnama, Unknown, Iran, 16th Century, 1525/1535, From the collection of: The Museum of Islamic Art, Qatar
Timurid Wood Doors from Iran, Unknown, Iran, 15th Century, 1400/1500, From the collection of: The Museum of Islamic Art, Qatar
Mosaic Tile Panel, Unknown, Iran, 1475-1500, 1475/1500, From the collection of: The Museum of Islamic Art, Qatar
Carved Sandstone Panel, Unknown, India, 15th Century, 1400/1500, From the collection of: The Museum of Islamic Art, Qatar
Interior of the Great Mosque, (Ulucami) Bursa, Turkey, John Frederick Lewis, 1804–1876, British, between 1840 and 1841, From the collection of: Yale Center for British Art
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