By Gaston Migeon, Henri Saladin
Islamic paintings isn't the paintings of a kingdom nor of a humans, yet that of a faith: Islam. Spreading from the Arabian Peninsula, the proselyte believers conquered, in a number of centuries, a territory spreading from the Atlantic to the Indian Ocean. Multicultural and multi-ethnical, this polymorphic and hugely non secular artwork, within which all illustration of guy and God was once prohibited, constructed canons and numerous explanations of significant ornamental price. Thorough and artistic, those artists expressed their ideals through growing huge masterpieces reminiscent of the Al-Aqsa mosque in Jerusalem, the Taj Mahal in Agra or the Alhambra in Granada, architectural works within which one recognises the stylisation of explanations of the Muslim ceramics. vigorous and colored, Islamic paintings mirrors the richness of individuals whose universal denominator used to be the assumption in a single singular fact: absolutely the necessity of making works whose attractiveness equaled their appreciate for God.
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Extra resources for Art of Islam (Temporis Collection)
In front of this dome, which is like the choir space of the mosque, there is a spacious courtyard surrounded by cloisters with arcade fronts and supported by huge pilasters of the same craftsmanship as the domes. This mosque has two minarets embellished with enamelled bricks and seven doors. Each of the main entrances to this huge edifice has a specific name, and, like the domes and towers, some of them name the particular founder, since numerous princes contributed to the construction of this mosque.
The entire Arab section (the crown dates from the Renaissance) is made of bricks, and the decoration, initially very simple, becomes more sophisticated as you it ascends. On the second floor from the top, which is occupied by a mesh of intersecting arcades in the other minarets, there are three long, vertical bands. The middle one has four-level ajouré [open-work] windows, while the other two are covered with strapwork broken by just two series of blind arcades. The Great Mosque of Córdoba The construction of the Great Mosque at Córdoba was begun in 785 by the first caliph of Spain, Abd-ar-Rahman.
The traditional plan of the mosque initially comprised eleven naves with columns, with a larger central nave that led to the mihrab. Hicham I extended it to the south; Hakam II added twelve naves to it; and Hakam III added eight, separated by seven rows of thirty-three columns, giving it its current dimensions. Short columns raised by arches that brace and support each other function as a beautiful solution to spatial limits: they make it possible to increase the height of the naves with minimal materials.
Art of Islam (Temporis Collection) by Gaston Migeon, Henri Saladin