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Islamic Ornamentation

Islamic ornamentation is a defining characteristic of Islamic architecture, especially pertaining to mosques. Islamic ornamentation came about with the first examples of Islamic architecture during the late 7th century CE. Since Islam infiltrated and conquered much of Europe, Asia, and northern Africa, examples of Islamic ornamentation can be found in Spain, Jerusalem, India, and countries previously considered as part of the Ottoman Empire.

The main reason of having ornamentation, especially in mosques, is to feel the presence and existence of Allah the Almighty.

=Origins=

Appearing during the seventh century CE, Islam drew its inspiration for its initial artistic forms from existing Christian and Byzantine architecture and decorations. The Dome of the Rock in Jerusalem is the first Islamic religious monument was inspired by Byzantine patterns.

Islam holds the themes of equality and community above all others. Consequently, the words “wholeness” or “community” have the same root as the word “beauty” in Arabic.

=Characteristics=

The purpose of decoration in Islamic architecture is not the making-explicit of certain constructive details, but rather decoration tends to function more as a reconciler of opposites by masking and blurring the constructive procedure.

Islamic architectural ornamentation necessitates the appreciation of balance, symmetry, natural beauty, and functions to emphasize community, equality, and Islamic faith. Ornamentation in Islamic architecture is largely centered on the portrayal of the infinity of Allah the Almighty. It also serves to promote a feeling of weightlessness in massive structures, simultaneously creating the illusion of never-ending spaces. Islamic decoration can further be seen as flexible and independent of form, material and scale. It is important to note that these forms of ornamentation should be considered as a vital component of the building and not as mere decoration

These characteristics are commonly represented in the form of intricate geometric patterns and naturalistic symbols on stone or wood inlay (jali or arabesque), and calligraphy or inscriptions of passages from the Koran. However, geometrical patterns are always subsidiary in order to exhibit the widespread character of Allah.

Common Themes
It is necessary to understand and appraise Islamic artworks, including Islamic architecture (specifically that of mosques) and its subsequent ornamentation in terms of the symbols that are embodied therein.

Animalistic (in India, mainly the lion, the peacock, the elephant, and tiger, for example), vegetal, floral, and the human figure are among the most observable motifs in Islamic architecture.

Relationships between geometric forms, especially the circle, square, and the triangle, also constitute basic forms in the structure and decoration of Islamic religious buildings. The circle symbolizes the perfect form and relates to the heavens and to Allah the Almighty, whereas the square, because of its four cardinal directions, relates to human existence and to the world. Shapes, such as polygons and stars, can be derived from the rotation of the circle within the square.

All mosques attempt to create an atmosphere that refers to a conception of earthly paradise. Specifically, an attempt is made to recreate the perfect world initially given by Allah. Moreover, people are made to remember the promised paradise primarily through the use of symbols by means of calligraphy and decoration. The faithful are often faced with designs that symbolize the entrance to the garden of paradise while looking toward the mihrab. Entrances to mosques are designed, decorated, and even covered with special inscriptions in order to prepare visitors for the special experience of the heavenly theater that lies inside. Many medieval mosques portray the garden of paradise symbolically. Later erections simplify geometrical designs to create aesthetically pleasing atmosphere through the manifestation of floral motifs in arabesques.

Regional Variations
Islamic patterns as a whole incorporates a wide range and combination of styles that vary by region. Countries from the Middle East, for example, are known for the application of motifs of vegetal nature, such as vine scrolls, as mentioned in the Koran. Ornamentation will typically reflect local traditions combined with a mixture of foreign influences, depending on the geographical location.

=Types of Ornamentation=

Jali
A notable example of Islamic Ornamentation is the Jali screen. These highly intricate screens can be constructed out of various materials. Traditionally, Jali screens were made of clay, though more contemporary examples are made out of ceramics, marble, and wood. Jali screens have been used for centuries as a type of partition, serving to separate larger spaces and rooms in order to create additional privacy.

Construction
While the construction of these screens varies depending on the material, simple clay versions can be constructed in the following way:


 * 1) A small but thick slab is laid out across a detailed mold
 * 2) The clay is massaged into the mold
 * 3) Excess clay is trimmed from the exterior of the wet tile
 * 4) The clay is carefully removed from the mold after drying
 * 5) The newly constructed tile is attached to other tiles to avoid erosion

While this process applies specifically to clay Jalis, it is worth noting that the craft that goes into creating Jalis is a lengthy procedure. The result is a coupling of tiles fit together to create an asymmetrical screen representing and symbolizing organic growth and nature. For jalis that will be installed outdoors or in windows, a layer of glaze can be added to protect against weather erosion.

Arabesque
The arabesque is another common type of Islamic ornamentation that appears in mosques. This decorative rhythmic linear patterning paired with foliage and other motifs from the natural world are fundamentally connected to the common themes and characteristics associated with Islamic aesthetic values of natural beauty.

Calligraphy
Calligraphy in Islamic ornamentation is said to be the major art form that transformed the words of the Koran into visual art. Calligraphy is a simple art form of joined letters that are sometimes made into three-dimensional arabesques on carved wood as decoration to complement the accompanying geometric patterns. Islamic calligraphy is vitally important to Islamic architecture because the most popular wordings found on the walls of mosques are the most fundamentally important ones taken from the Koran. The aesthetic value in calligraphy comes in conveying precise meanings of the Koran and other important texts.

=Famous Examples=

Süleymaniye Complex
The Süleymaniye Complex in present day Istanbul, Turkey, is a shining example of Islamic architectural ornamentation. The walls are covered with ceramic panels covered in blossoming tree and flower motifs, made to represent the garden of paradise. The mausoleum of Süleyman and his wife are also made to evoke a sense of earthly paradise. The ceiling is decorated with palmette motifs and ceramic stars with rock crystals and precious stones in their centers, a design apparently inspired by the jewel motifs of the Dome of the Rock.

The Süleymaniye is relatively simple in decoration, and very little of the original ornamentation remains. The complex has suffered through a fire in 1660 and an earthquake in 1766. The mosque was redecorated in a baroque-rococo style in the nineteenth century, with its inscriptions being renewed in 1869. This baroque decoration was later removed in a renovation undertaken between 1959 and 1969, and was replaced by original designs where they were uncovered. However, where no original work was found, the restorers had to improvise motifs based on other mosques from Süleyman’s reign. Materials used in the mosque’s decoration included dyes, pigments, tiles, lamps, stained glass, and gold leaf used for inscriptions on the dome, gilding the capitals of the columns, and for other painted decorations. The inscriptions in the dome are contained in circles, their letters radiating like the sun’s rays. In this way, the earth, through Süleymaniye’s dome is said to “challenge the sky”.

The painted Koranic inscriptions in the mosque have been restored several times, but unlike the other painted decorations, the outlines of the original script have been retained.The ceramic inscriptions on the qibla wall, over the windows of the mosque’s courtyard façade, and inside the mausolea, as well as the carved stone inscriptions inside and above the gates of the marble courtyard, are original. All of the inscriptions in the Süleymaniye Complex were chosen from the Koran. Royal messages of the sultan and religious messages from the Koran are interwoven in the mosque’s inscriptions as an additional mean to communicate the sultan’s absolute power.

=See Also=


 * Islamic architecture
 * Jali
 * Arabesque (Islamic art)
 * Süleymaniye Mosque

=References=

Kashigar, Muhammad. "Contemporary Jali Screens." PotteryMaking Illustrated, Mar. - Apr. 2009.

Othman, R., and Z.J. Zainal-Abidin. "The Importance of Islamic Art in Mosque Interior." Procedia Engineering 11 (2011): 105-109.

Necipoğlu-Kafadar, Gülru. "The Süleymaniye Complex in Istanbul: An Interpretation." Muqarnas 3 (1985): 92-117.

Nejdet Erzen, Jale. "Reading Mosques: Meaning and Architecture in Islam." Journal of Aesthetics & Art Criticism 69, no. 1 (2011): 125-131.

Glazier, Richard. A manual of historic ornament, treating upon the evolution, tradition, and development of architecture & applied arts; prepared for the use of students and craftsmen. London, New York: B.T. Batsford, 1948.