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Al-Ashraf Sayf-ad-Din Barsbay was the ninth Burji Mamluk sultan of Egypt from AD 1422 to 1438. He was Circassian by birth and a former slave of the first Burji Sultan, Barquq.
He was responsible for a number of administrative reforms in the Mamluk state, including the consolidation of the sultanate as a military magistrature and securing for Egypt exclusive rights over the Red Sea trade between Yemen and Europe.[1]
His Red Sea activity included the final destruction in 1426 of ‘Aydhab, a once important port which had been in decline in the previous century.
His mausoleum, which included a madrasa and khanqah, was built in Cairo's Northern Cemetery, and has survived to this day.[2]
Hüdavendigar Complex, Bursa (1366-86). A multiple iwan zawiya-mosque topped by a madrasa. It was built by Murad I who extended the empire into Europe, organized it with the help of the ulema class (hence the madrasa) and introduced the Janissaries system.
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Image courtesy of Yasser Tabbaa.
MIT OpenCourseWare Course of Origin
4.614 Religious Architecture and Islamic Cultures, Fall 2002
MIT Course Instructor
Rabbat, Nasser O.
MIT Department
Architecture
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In 1646 AD, the brothers Abdul Haq and Lotfi Mohammad Kanani children. Qama to build a house in the Alley Aini Street next to the house Abdul Rahman Hirawi and just a few meters from the Al-Azhar mosque. Where the text indicates the Constitutive the wrapper roof seat this house, that the origin is Haji Abdul Haq and brother Lotfy boys Mohammad Kanani year 1074 AH / 1664 AD and then took ownership of the house to move even signed its key in the hands of el-set Wasela "Khatun girl Abdullah Al Beida Matoukh" The last of the inhabited house and therefore knew her name
The Headquarters of the Ain Al Fijeh Water in An-Nassr Street occupy a beautiful building that was erected in 1942 and decorated with the beautiful artwork of Mohamad Ali Khayat and calligraphy of Mohamad Badawi Al-Dirani. The script on the top is a verse from the Holy Quran: "And we made from water every living thing"
Üç Serefeli Cami at Edirne (1438-47): Built by Murat II, it is a turning point in Ottoman architecture: a hypostyle mosque with a large, domed maqsura that dominates both the interior space and exterior profile of the mosque.
Format
Photograph
Credit
Image courtesy of Nasser Rabbat of the Aga Khan Program at MIT.
MIT OpenCourseWare Course of Origin
4.614 Religious Architecture and Islamic Cultures, Fall 2002
MIT Course Instructor
Rabbat, Nasser O.
MIT Department
Architecture
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While trawling through my external drives to find good examples of my past obsessions I have decided to select one each week. This first IOTW image from 2013 is a 'pattern image' from within the Grand Mosque of Cordoba - the view taken from within its 'forest' of 856 pillars and arches. The marble Corinthian columns were reclaimed from Roman buildings on the site
Jama Masjid is oldest Mosque in INDIA, it can accupt 20,000 prayers, its dome is formed white and black marbel stone, it has caracterestic Islamic Architecture, CANON EOS 550D, OCT 2013
Quwwat-ul-Islam was sponsored by Qutb-ud-din Aibak, founder of the Mamluk dynasty. Born a slave in Turkey, Qutb rose to prominence as a general during Muhammed Ghari's invasion of India in the 1180s. After Muhammed's assasination in 1206, Qutb seized the throne and crowned himself Sultan of the Mamluk dynasty, often disparagingly called the "Slave Dynasty" after Qutb's origins. Although the dynasty lasted for only a few centuries, Muslim rule in India endured up to the British occuption in 1858.
Qutb was a fanatical Muslim. When his garison occupied Delhi under the command of Muhammed Ghari in 1192, he ordered the destruction of twenty-seven Hindu and Jain temples to furnish building materials for the construction of Delhi's first mosque. Quwwat-ul-Islam, the "Glory of Islam," was hastily erected by the young amir, who conscripted an army of local craftsmen, presumably Hindus, to assemble the structure. The Hindu stonemasons re-used columns from the destroyed temples, but adapting them to use in a mosque proved problematic given Islam's injunction against the use of images in temples. The masons were forced to plaster over the highly sculpted Hindu columns and presumably cover them with geometric designs. However, after centuries of neglect the plaster has fallen away, revealing the original Hindu carvings.
The Quwwat-ul-Islam is best known for its tower of victory, celebrating the Muslim conquest of India. It is built of red sandstone, gray quartz, and white marble, but is probably inspired by the iron "Pillar of the Law" that stands on the site. Built in the Mauryan dynasty in the 6th century, it is the only piece of the temple that stands in its original location. Qutb built around it when he constructed the mosque. Although made of iron, it has resisted rust for over 1,500 years, evidence of the Mauryan's superb knowledge of metallurgy.
Expansion of the mosque continued after the death of Qutb. His son-in-law Altamash (or Illtutmish) extended the original prayer hall screen by three more arches (image 8). By the time of Altamash the Mamluk empire had stablized enough that the Sultan could replace most of his conscripted Hindu masons with Islamic ones. This explains why the arches added under Altamash are stylistically more Islamic than the ones erected under Qutb's rule.
Just to the west of the expanded mosque, Altamash built his own tomb, the first to be erected for the Delhi Sultanate. Despite the presence of Muslim craftsman, the tomb is mostly Hindu in design if not in execution. Much of the superstructure and most of the walls are built of pillaged building material. Altamash's body was laid to rest in a subterranean chamber beneath the tomb.
The decline of Quwwat-ul-Islam began during the rule of Ala-ud-din (1296-1316), known to the West as "Alladin". Ala-ud-din at first seemed inclined to patronize the mosque, even adding an enormous new courtyard wall and erecting the base of a huge new minar (tower). However, Ala-ud-dins dreams were so grand that he decided to abandon the Lal Kot (Delhi) capital and move to nearby Siri, whereupon Quwwat-ul-Islam lost its pre-eminence.
In 1646 AD, the brothers Abdul Haq and Lotfi Mohammad Kanani children. Qama to build a house in the Alley Aini Street next to the house Abdul Rahman Hirawi and just a few meters from the Al-Azhar mosque. Where the text indicates the Constitutive the wrapper roof seat this house, that the origin is Haji Abdul Haq and brother Lotfy boys Mohammad Kanani year 1074 AH / 1664 AD and then took ownership of the house to move even signed its key in the hands of el-set Wasela "Khatun girl Abdullah Al Beida Matoukh" The last of the inhabited house and therefore knew her name
The Gol Gumbaz is so huge, it wouldn't fit into the frame afforded by my 18mm lens initially. Shot this with half my body leaning over a wrought iron fence that separated the tourist area from a restricted garden space.
Süleymaniye Mosque Complex, Istanbul
The tomb of this notorious woman is beautifully decorated with Iznik tiles.
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Photograph of the Mosque of Sultan Hasan (on the left) and the Mosque of al-Rifa'i.
Format
Photograph
Credit
Image courtesy of Nasser Rabbat of the Aga Khan Program at MIT.
MIT OpenCourseWare Course of Origin
4.615 The Architecture of Cairo, Spring 2002
MIT Course Instructor
Rabbat, Nasser O.
MIT Department
Architecture
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The garden, or Court of Honour at the Great Mosque of Paris (Grand Mosquée de Paris). Inaugurated in 1926, the mosque was founded as a sign of gratitude for the help France received from Muslim “tirailleurs” (infantry) during World War I. It was built in the Mudéjar style, a reinterpretation of Western cultural styles through Islamic influences, that emerged in the 12th century on the Iberian peninsula. The mosque boasts a beautiful garden, courtyard and galleries that are open to visitors, as well as a restaurant serving maybe the best couscous in Paris, a tea-room, a hammam and a small souk.
The fountains were not turned on when I was visiting, but the wonderful turquoise tiling still imparts the refreshing feel typical of an Islamic garden. “Throughout the Islamic world, gardens of different sizes and purposes share the following: Love of the sight and sound of water is at their heart; they are enclosed by rectangular walls, mysterious from outside and private within; lay-out is symmetrical, geometric, harmonious; gardens are used to evoke feelings of peace, harmony and happiness.” If you take a close look at the fountains and potted plant formations, you will find that the number eight is prominent – the number is associated with Paradise in Islam. What I really love is the colour scheme and the way it is implemented – the pink roses against the lush green hedges and turquoise tiles – and the geometric compositions that bring them all together.
Sources: the mosque’s official website, Wikipedia, REEP.org
At its lower levels and at every pier, the interior of the mosque is lined with more than 20,000 handmade ceramic tiles, made at Iznik (the ancient Nicaea) in more than fifty different tulip designs. The tiles at lower levels are traditional in design, while at gallery level their design becomes flamboyant with representations of flowers, fruit and cypresses. More than 20,000 tiles were made under the supervision of the Iznik master potter Kasap Haci,and Baris Efendi from Avanos(Cappadocia). The price to be paid for each tile was fixed by the sultan's decree, while tile prices in general increased over time. As a result, the quality of the tiles used in the building decreased gradually. Their colours have faded and changed (red turning into brown and green into blue, mottled whites) and the glazes have dulled. The tiles on the back balcony wall are recycled tiles from the harem in the Topkapı Palace, when it was damaged by fire in 1574.
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Chehel Sotoun (also Chehel Sotoon, Persian: چهل ستون) is a charming pavilion in the middle of a park at the far end of a long pool, in Isfahan, Iran, built by Shah Abbas II to be used for the Shah's entertainment and receptions. In this palace, Shah Abbas II and his successors would receive dignitaries and ambassadors, either on the terrace or in one of the stately reception halls.
The Mausoleum of Sultan Oljeïtu at Sultaniyya (1307-13). Intended as a major component of a larger complex, this octagonal structure with eight slender minarets and a huge, blue-glazed dome is not well understood. Oljeïtu had the idea of transforming it into a mashhad for Ali and his son al-Husayn when he converted to Shiism but then changed his mind again and made it his own, and plastered the interior. The building shows the striving for verticality and the perfection of pre-existing traditions.
Format
Photograph
Credit
Image courtesy of Nasser Rabbat of the Aga Khan Program at MIT.
MIT OpenCourseWare Course of Origin
4.614 Religious Architecture and Islamic Cultures, Fall 2002
MIT Course Instructor
Rabbat, Nasser O.
MIT Department
Architecture
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The Central-Dome Mosque: A Mosque in which the prayer hall's space is dominated by a central dome surrounded by smaller and lower semi-domes. It was introduced by the Ottomans in the 15th century.
Format
Photograph
Credit
Image courtesy of Nasser Rabbat of the Aga Khan Program at MIT.
MIT OpenCourseWare Course of Origin
4.614 Religious Architecture and Islamic Cultures, Fall 2002
MIT Course Instructor
Rabbat, Nasser O.
MIT Department
Architecture
License
Publisher
Photograph of the Malqaf of the Main Qa-a of the Suheimi House.
Format
Photograph
Credit
Image courtesy of Nasser Rabbat of the Aga Khan Program at MIT.
MIT OpenCourseWare Course of Origin
4.615 The Architecture of Cairo, Spring 2002
MIT Course Instructor
Rabbat, Nasser O.
MIT Department
Architecture
License
Publisher
Photograph of the mosque of Lu'lu'a after Bohras restoration of the mid 1990's.
Format
Photograph
Credit
Image courtesy of Nasser Rabbat of the Aga Khan Program at MIT.
MIT OpenCourseWare Course of Origin
4.615 The Architecture of Cairo, Spring 2002
MIT Course Instructor
Rabbat, Nasser O.
MIT Department
Architecture
License
Publisher