History of the Islamic Geometric Patterns - Research Paper Example

History of the Islamic Geometric Patterns Name: University: Date: History of the Islamic Geometric Patterns Introduction Islamic geometrical patterns (IGPs) has for centuries been utilised as a decorative elements over dome, ceilings, walls, doors grilles, minarets as well as openings. Still, Embi and Abdullahi (2012) believes that lack of code and guideline for such delectable ornaments have resulted in unsuitable application, based on matching of the architectural style, time-scale accuracy as well as identity. The research will focus on Muqarnas, which is a three–dimensional ornament utilised in the Islamic architecture, especially in niches, domes, arches, and as an almost flat decorative frieze. It is the function of a muqarnas to guarantee vaults as well as for transition between more curved walls and the straight parts. For centuries, muqarnas vault has been constructed from diverse niche such as elements in horizontal tiers arrangement. The study focuses on history of the IGP, particularly Muqarnas with the intention of demonstrating the suitability of Muqarnas to architectural elements based on style matching as well as time scale accuracy. Besides that, the research will discuss the history of Muqarnas from the early stages as well as how it is used in architectural fields. Keywords: Islamic Architecture; Geometrical; Architectural decoration; Art; Patterns; Muqarnas. Research Questions 1. What are earliest examples of IGPs that incorporated Muqarnas through history of Islamic architecture? 2. Why did the Muslim lands adopt and develop the Muqarnas? 3. What are different styles of Muqarnas? Review of Literature Muqarnas according to Anderson (2013) is a three-dimensional ornament normally utilized in the Islamic architecture. Muqarnas visual function offers the steady transition between two shapes, two sizes or two levels. According to Yaghan (2010), Muqarnas includes small ‘unit-surfaces’ that have horizontal layers that are arranged orderly, with each layer stacked on top of the other, coupled through their top- and base-layer lines. The layer’s base and top layer-lines are either matching or alienated through ‘layer-joints’. Yaghan (2010) asserts that roof-patches are used to fill the existing horizontal gaps between layer-lines having similar height. In this case, the unit-surfaces, roof-patches as well as the layers are made in line with a 2DPP (two-dimensional-pattern-plan) with boundaries that are clearly defined. Some of the basic parts of the muqarnas as shown in figure one include 2DPP, roof patch and unit surface. Fig 1: Muqarnas basic parts (Yaghan, 2010) As a form of Islamic geometrical pattern, Grabar (1990) posits that Muqarnas is the making of the Islamic architecture and together with Arabic calligraphy it is viewed as a fundamental determinant of Islamic art. The ivans surrounding the Masjid-i-Jame courtyard in Isfahan has three Muqarnas each offering a unique impression. The first Muqarnas is the southern Muqarnas, which occupies the frontal position that faces the courtyard. The southern Muqarnas as shown in figure three has an apex that has 8 segments showing a prehistoric strength. Another Muqarnas in the Masjid-i-Jame courtyard is the western Muqarnas as shown in figure four whose apex has 5 segments and shows a sophisticated form like that depicted by Hakuho sculptures. The last Muqarnas is the courtyard is the Eastern Muqarnas, which has an apex having eleven segments, and is considered by Al-Hassani (2007) as complex, but not artistically attractive (see figure five). Since the early phase of Islam in 960, Masjid-i-Jame has been modified and rebuilt repeatedly for a long duration of time until 12th century during the Mongol invasions. The figure below show some examples of muqarnas in domes: Fig 2: Examples of muqarnas in domes (Harmsen, 2006) Fig 3: The southern Muqarnas (Al-Hassani, 2007) Fig 4: The western Muqarnas (Al-Hassani, 2007) Fig 5: The eastern Muqarnas (Al-Hassani, 2007) Methodology The study will use historical method which will involve the guidelines as well as techniques utilized by the historians through primary sources as well as other sources of evidence. In this case, the primary sources of information will involve artifacts, relics as well as original documents. Besides that, the secondary sources of information will involve scholarly studies that focus on Islamic geometrical patterns, especially the Muqarnas. They will include, review of research, textbooks, newspapers, periodicals, and encyclopedias. Discussion Examples of IGPs that incorporated Muqarnas as shown in the historical periodicals as cited by Embi and Abdullahi (2012) include the Mosque of Ibn Tulun created in 876, which was constructed under the command of Egypt’s Abbasid governor, Ahmad Ibn Tulun. The mosque is a good example of Abbasids Architecture. Generally, the mosque decorations as well as layout pursued Samarra- Iraqi style. As cited by Embi and Abdullahi (2012), the mosque used simple geometrical patterns, which are amongst the first examples of Muslim decorative arts as well as geometrical themes. The mosque has a detailed geometrical and muqarnas decoration patterns of terracotta and carved brickwork, and provides a good example of Seljuk and Abbasid’s era architectural techniques and tradition. The figure below show muqarnas in the Ibn-Tulun Mosque: Figure 6: Ibn-Tulun Mosque in Egypt (Embi & Abdullahi, 2012) Another example is the Al-Aqmar Mosque (1125 CE), which provides a good example of Fatimid’s architecture, and had Muqarnas pendentives with fluted domes, keel-arches as well as rich carved facade. The mosque’s facade is detailed with geometric, vegetal as well as calligraphic decorations; still, the motifs were a replica of designs that were introduced previously. Muqarnas decorations are also evident in the Madrasa of Mustansiriyeh (1233 CE) and Baghdad’s Abbasid Palace (1230 CE), which are decorated with Muqarnas as well as elaborated geometrical patterns. The figure below show Abbasid Palace in Baghdad: Fig 7; Abbasid Palace in Baghdad (Embi & Abdullahi, 2012) Another example that incorporated Muqarnas is the Ali-Qapu (1598 CE), which is a eight storey palace in Isfahan’s Shah Square with Muqarnas decorations and stucco that has been painted and carved. Even though, figural and floral motifs appear to be the prevailing decorations, its high columned balcony’s ceiling has varying eight and ten-point geometrical patterns. Figure 8: The first two panels show Ali-Qapu Palace in Isfahan (Embi & Abdullahi, 2012) According to Takahashi (2000), Muqarnas, which connect a circular dome to square room, was developed from the Persian brick architecture. Decorated squincharches can be seen from Iranian tombs wall patterns created in the 11th century. Muqarnas show various construction finishes and techniques by using locally produced materials from their respective areas. For instance, the material utilised in Turkey is stone, Iran is brick while wood is used in the Northern Africa, Sicily and Iberian Peninsula. According to Takahashi (2000), utilising stone or wood facilitates formation of protrusions, which droop like stalactites. The figure below shows example of square Muqarnas: Fig 9: Square Muqarnas (Takahashi, 2000) Following the fall of Mongols after the invasion, Takahashi (2000) posits that the pole table pattern materialised in the 15th century at the time of Timurid dynasty and became widespread around the Middle East. The pole table Muqarnas, is a geometric pattern that includes surface-decorated panels that are not directly connected to the architectural structure. Besides that, jigs are used to accurately make Muqarnas panel components on the ground prior to them being assembled as well as connected architectural structure through protruding attachment ribs. A good example of pole table Muqarnas is the Shah Mosque at Isfahan at the time of Safavid dynasty (between 1502 – 1736). Fig 10: Pole Table Muqarnas (Takahashi, 2000) In Egypt, Syria, and Turkey, stone materials were utilised resulting in the generation as well as evolution of original Muqarnas styles. Some unique Muqarnas were created during the Osman period between 1259 and1326. The figure below show some other style of Muqarnas developed during the Osman period. Fig 11: Other styles of Muqarnas (Takahashi, 2000) Fig 12: The mathematical principles of Muqarnas (Takahashi, 2000) Different geometrical patterns can be seen in the Masjid-i-Jame, which has an ancient brick-assembled walls as well as dome. Basically, how various patterns appear shows distinction in their particular construction processes. For this reason, Muqarnas have number of several horizontal layers lying upon one another as shown by the figure below. Fig 13: Horizontal nature of Muqarnas (Takahashi, 2000) Conclusion In conclusion, the study has focussed on the history of the Islamic Geometric Patterns, particularly Muqarnas and has demonstrated the suitability of using Muqarnas to architectural elements with reference to time style matching as well as scale accuracy. With regard to the first research question, some of the earliest examples of IGPs that incorporated Muqarnas through history of Islamic architecture as discussed in the paper include; Mosque of Ibn Tulun, Ali-Qapu Palace in Isfahan as well as Abbasid Palace in Baghdad. The different styles of Muqarnas include; square Muqarnas, pole table Muqarnas, others such as triangular tiling and diamond tiling. Basically, Islamic countries adopted as well as developed the Muqarnas so as to be utilised widely in the constructions. Basically, the Muqarnas got a number of characteristic qualities, whose attributes and evolution has created its history: being a three-dimensional geometric patter it offered volume everywhere it was utilised, while the volume’s depth and nature being remained the maker’s discretion. Muqarnas was utilised not just in architectonic form, but also in decoration due to its controllable depth and lack of intrinsic limits. References Read More