Muqarnas

... Al-Amir is reported to have considered this loss to be al-Ma'mun's greatest sin.52 In this case the inscription had a talismanic significance, wishing for a triumph in the face of past defeat. Other inscriptions, which include the names CAli, Muhammad, and the Qur'anic reference to ...

... 2), sheds light on the esoteric meaningof what is depicted, mostly by relying on verses from Sufi poetry.12 Mil stein's overarching claim that iconographic and sty listic elements in Persian miniatures are not mere decorative embellishments is well established today. ...

... in Creswell's sparse discussion of what he called the "later history." He cites the well-known but spurious response of Charles V in 1526 to the building of the Capilla del Crucero, "If I had known what you wished to do, you would not have done it, because what you are carrying ...

Families of Muqarnas Blocks in Historical Compositions
By Mamoun Sakkal
Muqarnas is a unique architectural–decorative element introduced by Muslim architects and builders before the 10th century. It is made up of repeated units with a concave surface such that each layer in a muqarnas composition projects beyond the previous layer and creates a rich, articulated surface that changes in three-dimensions. These units will be called the muqarnas blocks in this paper.
This paper presents a new method for generating the various forms of muqarnas blocks, explores the relationships between the blocks, and provides a method by which we can predict the possible forms of missing parts in a muqarnas structure based on the properties of the existing blocks’ remains. The study doesn’t address issues associated with restoration and preservation activities other than the geometric reconstruction of the muqarnas design.
The method presented in this paper is called the “dome dividing” method because it is based on a simple process of dividing a dome’s surface to several divisions, then completing these divisions to create a full family of blocks. The most common families are presented, and a detailed discussion of the 45 degrees family is illustrated.

... Page 2. LAYLA S. DIBA but extended them for a brief time as far as Central Asia and India. ... The passage refers to CAli-Quli Jubbadar as a painter second only to Mani, who was known to have converted to Islam and worked in the royal employ in the Safavid period. ...

Geometry of Muqarnas in Islamic Architecture
A thesis submitted in partial fulfillment of the requirements for the degree of Master of Architecture at the University of Washington, 1982.
Chapter 1. History: Muqarnas in General, Muqarnas Domes. Chapter 2. Research Status. Chapter 3. The Geometry of the Muqarnas Block: Definitions, Principals of Block Generation, Families of Blocks. Chapter 4. The Geometry of Muqarnas Compositions: Definitions. Methods of Muqarnas Dome Compositions. Catalog of 45º Family Regular Compositions. Chapter 5. Application Possibilities: Materials and Technology, Architectural Uses. Contains a bibliography and two appendixes on Computer Graphics and Graphic Representations from other Authors. This profusely illustrated thesis received All College Award for graduate work, College of Architecture and Urban Planning, University of Washington, Seattle, 1982, and Best Thesis Award, Department of Architecture, University of Washington, Seattle, 1982.

This paper traces the material and the spiritual dimensions of light in the architecture of Islam. In a Quranic chapter called “An-Nur” or the light, and in a mystical group of lines “The verse of light”, God has explained how light is the essence of life on earth comparing his divine image to the light of heaven and earth. This metaphor clearly explains its sacred dimension confirming its importance in the architecture of Islam. The phenomenal experience of this natural element is created in the interiors of buildings and transforming them into an element that enlightens the soul and energizes the space.
Light is a timeless, dynamic, and transformative entity that shapes the configuration of space and enhances its dynamism. In the architecture of Islam, it is ingeniously transforming buildings into living entities. Its penetration and its reflection through patterns and on colours accentuates the dynamism of the interiors and calls for an exploration of the duality between light, pattern, and colour. The solid surface then becomes fluid and a myriad of patterns transforms the meaning of the architectural space. Each pattern, geometry and form is a living element inside the building. Muqarnas cells beneath domes are reflecting and refracting elements depending on light quality.
This research investigates the dimension of light in Islam and explains how this dynamic entity coexists with surfaces, patterns, and colours creating a unity within a diverse architecture. The sublime becomes architectural and its fluidity then reveals an intimate relationship between the spiritual and the material.

Keywords:  Islamic Architecture, light, Quran, Muqarnas, Dar Lasram, Tunis.

Between 1957 and 1974 Lucien Golvin published some muqarnas stucco fragments that he discovered in the course of his archaeological excavations at Qalʿat Banī Ḥammād, Algeria.These well-known fragments have been long considered the earliest extant remains of muqarnas in the Islamic West ever since, according to the French scholar, they could be dated either as early as the 11th century, or to the very beginning of the 12th century. However, I propose a revision of Golvin’s study, arguing that his chronology for the fragments relies expressly on an historical reconstruction that underestimated or directly neglected some textual and archaeological evidence which allows for a different interpretation.

The dissemination of Owen Jones’ studies of the Alhambra and his color theory has been
increasingly well understood as a cornerstone of the later Alhambresque style. And yet, curiously,
Jones offers at once an accurate appreciation of the Alhambra and a basis for a striking divergence
from Nasrid design in Alhambresque interiors. This article examines that discrepancy. It begins with
a review of the aesthetics of the Alhambra in view of the eleventh-century optics of Ibn al-
Haytham, supported by conservation work that has confirmed Jones’ vibrant colors. The aesthetic
key to the Alhambra is not color alone, however, but a principle of visual harmony integrating color
and geometry. The Nasrid builders applied color in conjunction with principles of proportionate
geometric relationships and measurable visual properties—height, distance, size, depth—in the
architectural and decorative design. They also manipulated color through their consideration of
the materiality of the polychromed surfaces, whose reflective and refractive potentials allowed for
differing optical effects. By balancing attention between color, as transmitted through the innovative
technique of chromolithography, and the drawings of plans and elevations, this article strengthens
the understanding of Jones’ grasp of the visual harmony of the Alhambra. Second, it demonstrates
the ways in which Jones’ plates of various ornament were often privileged over, or simply divorced
from, his architectural drawings in Alhambresque interiors: e.g., the Salón árabe (1847-1851) in the
Royal Palace of Aranjuez (Spain), the Salotto Turco in the Villa Mimbelli (1865-1870) in Livorno (Italy),
and the Moorish Bath (1850-1854) at Schloss Albrechtsberg in Dresden (Germany). In conclusion,
this article proposes that, in contrast to the Alhambra, a loss of visual harmony is a significant
characteristic of the Alhambresque, or, otherwise stated, that the Alhambresque interiors feature a
disproportionate emphasis on color, consistent with the ideological burden of Orientalism.

UPPSALA MECCA PAINTING DEBATE. How not to define Ottoman realism in the Uppsala Mecca painting.
Some remarks to an article by Deniz Beyazıt in Muqarnas 37 (2020).


In Muqarnas 37 (published in November
2020), an article by Deniz Beyazit (from The
Metropolitan Museum of Art, in New York) was
published. The article1 deals with a subject
that’s near to my heart: The Mecca painting
at Uppsala University in Sweden. In 2015, I
published a comprehensive article about the
same subject. So, I was very much interested
if Deniz Beyazit’s article would give any new
insight and possible new points of view and
discoveries. But after reading, I was left with a
great disappointment, since the complete text
is repeating the conclusions and plagiarize my
earlier published article, but without giving
sufficient acknowledgment, credits, or the
necessary reference. Instead, the author tries
to depreciate my contributions by grabbing
some of my views and discoveries and
presenting this as hers.

Families of Muqarnas Blocks in Historical Compositions* By Mamoun Lutfi Sakkal Abstract: Muqarnas is a unique architectural–decorative element introduced by Muslim architects and builders before the 10th century. It is made up of repeated units with a concave surface such that each layer in a muqarnas composition projects beyond the previous layer and creates a rich, articulated surface that changes in three-dimensions. These units will be called the muqarnas blocks in this paper. This paper presents a new method for generating the various forms of muqarnas blocks, explores the relationships between the blocks, and provides a method by which we can predict the possible forms of missing parts in a muqarnas structure based on the properties of the existing blocks’ remains. The study doesn’t address issues associated with restoration and preservation activities other than the geometric reconstruction of the muqarnas design. The method presented in this paper is called the “dome dividing” method because it is based on a simple process of dividing a dome’s surface to several divisions, then completing these divisions to create a full family of blocks. The most common families are presented, and a detailed discussion of the 45 degrees family is illustrated.

Cet article presente quelques principes de base des compositions de muqarnas. On y decrit le bloc muqarnas, les familles de blocs reguliers et la maniere de les generer, les domes a muqarnas fondamentaux et les variations de plans creees en combinant des groupes organises. Pour illustrer I'etude, on utilise la famille des muqarnas a 45".

Muqarnas is one of the original and iconic patterns in Iranian architecture, which has been identified and developed over various periods and constructed in a variety of forms by Iranian architects. Different patterns of muqarnas are observed in various typologies of Iranian architecture, such as tombs, mosques and bazaars. This study aims to answer the question: what are the similarities and differences between muqarnas patterns in Tabriz historic bazaar? To find the differences and similarities, the geometry of muqarnas applied in various parts of Tabriz historic bazaar is analyzed. Despite apparent similarities, muqarnas ornaments seem to have different patterns in accordance with different spaces; resulting in a variety of designs. This study seeks an applied objective and employs a descriptive-analytical method. The information necessary for the study is collected through library research, field surveys (observations) and geometric drawings of muqarnas patterns prepared by AutoCAD and 3Ds Max. Since Tabriz was destroyed by the earthquake in 1779 and most of its buildings, e.g. Tabriz historic bazaar, were constructed during the Qajar dynasty, the study may illustrate the geometric patterns of muqarnas in the Qajar era in Tabriz. The muqarnas ornaments of buildings such as Saheb-al-Amr Mosque, Hojat-al-Islam Mosque, Kacheh CHilar Saray, Haj Safar Ali Mosque-School and the Small Mosque (the Bala mosque) all located in the bazaar are analyzed in terms of formal, static, design and implementation criteria. The findings of this study indicate that the muqarnas ornaments of Tabriz historic bazaar have different types, shapes and positions depending on the land-use of buildings. In religious buildings, muqarnas ornaments were applied in the barrel vaults on altars and the pendentives of domes; but in public spaces, such decorations were constructed in the places overlooking the courtyard and the small iwans (porches) on upper floors. However, the patterns applied in religious buildings were more complex than those of non-religious buildings.

Link: http://rdcu.be/HTsi
Muqarnas’ vaults represent one of the most unique elements in Arab architecture. Muqarnas allow to build an endless variety of longitudinal friezes, but, especially, constitute a system that enables the construction of amazing vaults. These architectonic elements are possible thanks to a series of well differentiated pieces which, by juxtaposing with each other, mass the space and, by addition, can form a linear cornice or a vault-like shape. The present article’s goal is double: on one side, it aims at going further into the origins of such an ingenious building system, by establishing substantial differences between the Eastern and Western systems of muqarnas, and, on the other side, it shows the muqarnas’ assembling and building methodology in the Western world.

74 photographs of architecture describe, through seven monuments, the main features of the architectural style that shall determine islamic architecture in the Near East for more than three centuries. Special attention is paid to stone muqarnas. These photographs were shown, in large format, in Damascus, Dar al-Baroudi, Faculty of Architecture.
At the end of the twelve century, and the beginning of the thirteenth century, Aleppo has led the way for stone architecture development in the Near East. The recent desctructions have altered these monuments, and completely destroyed one of them. This document testifies to the glory of Aleppo's architectural school.

This article presents some basic principles of muqarnas compositions.
It describes the muqarnas block, regular block families and how they are generated, basic muqarnas domes and the plan variations created by combining organized clusters.
The study uses the 45-degree muqarnas family as an illustrative example.

Catalogue published by Maraya Art Center, Sharjah, UAE.

"All the Letters in All the Stars" is Timo Nasseri's first solo exhibition in the UAE and its starting point is the story of Ibn Muqla, a 10th century calligrapher who claimed to have found four missing letters in the Arabic language.

Language: English./Arabic

The main objective of this paper is to introduce a new approach to analyzing  muqarnas units. Although there are many studies in this area, most of them are not comprenhensive and treat the subject from a narrow perspective. The basic approach consists of using al-Kashi’s work as a point of reference. But, since examples of units of the muqarnas technique are many and varied, a new approach needs to be developed to define them. This article consists of three sections. The first covers etymological discussions in the field; the second explains the methods that have been used to analyze muqarnas units. Finally, the third section will present a way of classifying muqarnas units on geometric foundations. It is believed that this article will contribute to the field by creating a way of classifying muqarnas units in historical context and adding a new perspective to the debates in this field over their origins.

Persians formed an important group among the builders working in nineteenth-century Georgia. They were known as consummate brick masons who mastered the art of constructing complex vaulted structures. They participated in the construction of a number of administrative buildings, barracks, hospitals, caravansaries, and residential houses. Interior decoration work was another field of activity of Persian masters in Georgia. They used rich repertoire of Safavid and Qajar decorative art including stucco ornament, painting, and mirror work. Among the clients of Persian decorators there were high officials, rich merchants, noblemen, and even the members of the Russian royal family. Artisans invited from Persia played a leading role in embellishing “Persian style” interiors in Georgia; however, there were local Persian masters as well. Persians were also engaged in the construction of hydraulic structures such as channels, wells, and dams. In the first half of the nineteenth century, the area of the activity of Persian masons was limited to Eastern Georgia. The majority of them worked in Tbilisi. From the mid-nineteenth century, following the great wave of emigration from Persia, they appeared in the Black Sea littoral cities of Batumi and Poti as well.

Depuis quinze ou vingt ans, je parcours le monde arabo-musulman à la recherche des muqarnasat, ces encorbellements aux multiples facettes qui ornent certaines parties privilégiées de l'architecture. En Syrie, les plus anciennes manifestations conservées sont en terre, à Damas. Mais Alep prend vite le relais, transposant le motif en pierre de taille. Les réalisations anatoliennes et égyptiennes sont issues de la solution aleppine, tout en introduisant des variantes propres. À Palerme, le prototype d'Alep est modifié, et c'est la solution sicilienne qui passe au Maroc et à l'Andalousie, où le bois et le stuc induisent des solutions techniques différentes.
Les questions qui se posent sont géométriques en premier lieu: comment concevoir ces volumes complexes, en préparer les éléments, et les assembler dans l'espace? Les difficultés techniques liées aux matériaux, au découpage, à l'assemblage et à l'équilibre sont loin d'être triviales. Mais tout nous ramène à des questions de géométrie: définition des volumes, intersection des surfaces, pavage de l'espace…
En l'absence de documents écrits ayant fixé les manières de penser et de procéder des anciens constructeurs, serait-il possible de reconstituer leurs manières de faire? Ne pas s'arrêter à l'émerveillement et à l'aporie du regard qui passe sans fin d'une facette à l'autre. Remonter à la logique des formes. Retrouver les mécanismes de la pensée et de l'exécution.

Cette exposition consacrée aux muqarnasat est ma quatrième. Elle pose un jalon dans ma quête, menée par les moyens de la photographie et de l'analyse formelle. Par la distinction des aires géographiques et des périodes historiques, il est peut-être possible de mettre en évidence des processus de transformation qui pourraient constituer des indices menant vers les mécanismes sous-jacents. Cela reste à faire.
Manar HAMMAD

Understanding the mystery of muqarnas geometry and its complexity needs to have knowledge about the designing thought and designing methods of these geometrical decorative elements. This topic tries to reveal the architectural scrolls, geometrical properties of muqarnas, what we should know, and how to research technologies of the creation of the muqarnases.
Furthermore, in order to understand the structure of muqarnas, we going to study muqarnas structure in both two-dimensional plane projection which is a substitute for the muqarnas design, and three-dimensional muqarnas compositions and the way that are constructed as a volume. In this regard, all information is based on

Throughout history, mathematicians from different cultures and places traced other scholars' work  to  make  a  contribution  and  extend  the  knowledge  of  the  geometry field.  In  the  Islamic  world, artisans combine the theoretical knowledge about geometry and making skills to build more  sophisticated  and  complicated  geometric  patterns.  Today,  the  underlying  principles  of geometric patterns are still a research subject of many physicists andmathematicians. Geometric patterns are used both in design and construction phases of muqarnas which is a specialized spatial element in Islamic Architecture. In the scope of this study, after a comprehensive analysis, new muqarnas patterns are generated by using algorithms.

Title: Arab-Islamic influences in the 12th-century monuments of the Hauteville dynasty [Ro] Abstract. The cultural synthesis achieved in Sicily in the 12th century under the Norman rule of the House of Hauteville is a phenomenon both recognized and rich in appraisals, which nevertheless, due to the absence of satisfactory documents, lacks significant clues to be better understood. Although having, within about one hundred years’ time, been depopulated by the Muslims who had conquered and ruled the island before the Normans, a few important architectural monuments concentrated in Palermo and close surroundings (the Norman Palace, the Palatine Chapel, churches La Martorana and San Cataldo, monastery San Giovanni degli Eremiti, palaces Zisa, La Cuba or the Cathedral of Monreale) preserve a touch of remembrance of the Arab presence in Sicily through the very acts of Christian patronage of king Roger II of Sicily and/or his immediate heirs. In this paper I will analyze the Arab influence in the Palermitan architecture erected by the Hautevilles and in some related works of applied arts found in the monuments discussed. My approach is to identify and discuss such traits from an architectural and art morphological viewpoint, with a few elements of comparative architecture.
Key words: 12th-century Sicily, Palermo, the Hauteville dynasty, Roger II of Sicily, Arab-Norman architecture, muqarnas, ecclesiastic architecture, palatial architecture, gardens, cultural hybridity