Islamic Architecture in
Umayyad Period
The buildings commissioned by the Umayyad dynasty of Syria (661-750) constitute the earliest Islamic monuments, and illustrate the dynasty's appropriation and adaptation of the Hellenistic and Sassanian cultural traditions of the territories that were united into the first Islamic empire. Founded by a companion of the Prophet, Mu'awiya, the Umayyad dynasty established their capital in Damascus.
Umayyad religious architecture utilizes regular square or rectangular plans composed of a courtyard with a covered hypostyle prayer hall, an arrangement that continued to be used for most mosques constructed by the Abbasids and into the medieval period.
Constructed in local materials, usually of ashlar stone, which might be combined with brick, Umayyad mosques' monumental, austere exteriors gave way to lavish interior decoration of geometrically-patterned marble revetment and mosaics depicting architecture, vegetal forms, and objects with royal connotations such as crowns and vases. These characteristics are exemplified by the three Umayyad mosques constructed during the rule of the Umayyad caliph al-Walid (705-714): the Great Mosque of Damascus (706), the al-Aqsa Mosque of Jerusalem (715), and the Mosque of the Prophet in Medina (709-715).
Umayyad secular architecture is best known from a group of desert structures (often called qasr, pl. qusur in Arabic sources) constructed of stone and/or brick, which have been interpreted as princely residences. The best-known examples include the eighth-century Khirbat al-Mafjar, Qusayr 'Amra (712-715), Qasr al-Hayr (727-9, east & west), and Mshatta (744). Usually square in plan, semi-circular towers buttresing the exterior walls and flanking entrance portals give the qusur a fortified appearance. The interior spaces were arranged around a central porticoed courtyard. Often decorated with freestanding sculptures, carved stucco reliefs, fresco paintings and mosaics, the qusur also demonstrate how the Umayyad patrons adapted and reinterpreted Late Antique domestic and military architectural traditions during the early Islamic period.
After 750 AD the Abbasids seized political leadership of the Islamic Empire, and Umayyad architecture after this period refers to the patronage of the dynasty founded by the Umayyad prince 'Abd al-Rahman I on the Iberian Peninsula.
The architecture of the Umayyad dynasty of Spain is also characterized by the appropriation of an existing local Late Antique architectural tradition that was reinterpreted for Islamic patrons. The Great Mosque of Cordoba exemplifies this process, with its ashlar construction, hypostyle hall of spolia columns and capitals supporting arcades of horseshoe arches (an element adapted from Visigothic architecture). Its ornamental program of mosaics and carved relief sculpture evoke the decoration of the Umayyad monuments of Syria.
The palatine city of Madinat al-Zahra (building began in 936 AD) illustrates construction and decorative practices similar to those of the Great Mosque of Cordoba. Madinat al-Zahra's reception halls and pavilions, which opened through columned arcades onto gardens and pools, were ornamented with carved stucco reliefs, painted walls, and sculpture. Residential quarters consisted of rooms arranged around internal courtyards.
The Umayyads established the first Islamic dynasty in Damascus, which is renown for a number of important accomplishments.
Under their leadership, Islam reached most parts of today's Muslim World and by mid eight century Muslim Caliphate ruled from Damascus to Tashkent in the East and to the Pyrenee mountains in the West. One fo their major achievement was the organisation of administration and trade and the introduction of coinage.
These events engendered greater architectural movements reflecting the Umayyad grandeur as portrayed in their master pieces; the Dome of the Rock and the Great Mosque of Damascus. The full article examines the main flagship construction projects of that period and explores its innovative architectural and artistic elements.
The arrival of Muawiya to the throne of Caliphate after the death of Ali ibn Abi Talib, the 4th Caliph, marked the beginning of the Umayyad dynasty. That period was renowned for its architectural achievement. The relative security and peace that followed the turbulent first few years after the war the Umayyads led against Ali's family, augmented by the newly acquired wealth generated by the annexation of Iraq, Iran and Syria to Islam contributed to the development of artistic and architectural activities. Signs of this change emerged in religious as well as secular buildings. The development of major architectural components of the mosque is attributed to the Umayyads.
Muawiya introduced the minaret in 673 while carrying some enlargement works for the mosque of Amr Ibn-Al-AAs (Egypt, 641-2). He equipped it with four minarets for the call to prayer (Adhan). This innovation, according to Creswell (1958, p.14), was imitated from a Syrian Christian practice. According to this story, early Muslims in Damascus prayed initially at a neglected temple(endnote 1) which the Christians named as the Church of John the Baptist. It had four small projections at the four Corners on which people climbed to make the Adhan and thus inspiring the development of minarets (for example, Briggs, 1924 & Creswell, 1926) (endnote 2). Other theories suggest the influence of the Pharaohs light towers (Mitchell, et al., 1973).
In Damascus Mosque (706-715), the Umayyad innovation also included the use of stone arcades surrounding the court and consisting of horseshoe arches. This is the earliest recorded appearance of this type of arches, a fact which contradicts some claims which attribute its adoption by Muslims to the influence of Visigoth Spain(endnote 3) (Briggs, 1924 p.42).
The first use and appearance of multifoil arches is also attributed to the Umayyad Mosque, in the minaret, then transmitted to the rest of the Muslim world before crossing over to Europe where it has been consistently used in church as well as civic buildings. The other main innovation was the introduction of the dome over the crossing, in the central nave in front of the Mihrab. This feature is known to have been used in Christian churches first appeared in the Umayyad Mosque and progressively became a central feature of most mosques. Moreover, according to Ibn Khaldoun (1967), Muawiya was also responsible for the introduction of the maqsura, a separate room near the Mihrab for his personal use, as a result of an attempt made on his life by the Kharijite.
When Al-Walid became Caliph, the Prophet's Mosque in Medina was becoming unfit to receive the large crowds of the faithful. He decided (in 707-709) to enlarge it. He erected four minarets and introduced the Mihrab in the centre of the Qibla wall. The origin of the Mihrab had many explanations which chiefly linked it to the form of the apse in Christian architecture. In Islam it became a symbol of a niche containing God's light placed in front of worshippers helping them to achieve sincerity and devotion during prayers. The other function of the Mihrab was a symbol indicating the direction of the Qibla, the Kaaba (see: Article on the Mosque).
Architecture of the Dome of the Rock
The skyline of Jerusalem is dominated by a Muslim shrine called Qubbat As-Sakhrah, the Dome of the Rock in Arabic.Built between 685 and 691 C.E., this shrine is the first piece of Islamic architecture sponsored by a Muslim ruler that was created as a work of art. See here the Dome of the Rock historical importance.Built to transcend its function by the quality of its forms and expression, the Dome is still standing in much of its original shape and with a good portion of its original decoration.
Its wooden gilt dome, which is approximately 20 meters in diameter, rises to a height of some 30 meters above the surrounding stone-paved platform.
It is supported by a circular arcade of four piers and twelve columns. Surrounding this circle is an octagonal arcade of eight piers and sixteen columns, which help support the dome.The outer wall repeats this octagon, each of the eight sides being about 18 meters wide and 8 meters high. Both the dome and the exterior walls contain many windows.Extensive decoration from a variety of periods, including mosaics, painted wood, marble, multi-colored tiles, carpets, and carved stone, covers most of the exterior and interior of the building.Many of the 45,000 blue and gold exterior tiles were installed under Suleiman the Magnificent in the 1500s.
Inside, 1,280 square meters of elaborate mosaics cover the walls that enshrine the mystical rock under the dome. The intricate patterns and geometric shapes of the mosaics replace figurative art since, according to Muslim belief, it would be impossible to represent Allah in any figurative form.
Instead, the shrine conveys its own message through color and shape. In Islamic art, blue, the color of the sky, suggests infinity, while gold represents the color of the knowledge of God. The shape of the dome itself is a powerful symbol of the soaring ascent to heaven, its circle representing the wholeness and balance essential to the Muslim faith.
