THE ISLAMIC WORLD GARDNER CHAPTER 13-3 PP. 355-362

(7-186/1) GREAT MOSQUE (MASJID-E JAMEH) Isfahan, Iran Islamic, Persian: Seljuk, Il-Khanid, Timurid and Safavid Dynasties c. 700 C.E. Additions and restorations in the 14th, 18th, and 20th centuries C.E. Stone, brick, wood, plaster, and glazed ceramic tile FLASHCARD Aerial view of the Great Mosque (looking southwest), Isfahan, Iran, eleventh to seventeenth centuries The typical Iranian mosque plan of four vaulted IWANS and a courtyard may have been used for first time in this mosque built in Isfahan The qibla iwan is the largest -> its size and dome covered maqsura in front of it indicated the proper direction for Muslim prayer

(7-186/2) GREAT MOSQUE (MASJID-E JAMEH) - detail Isfahan, Iran Islamic, Persian: Seljuk, Il-Khanid, Timurid and Safavid Dynasties c. 700 C.E. Additions anand restorations in the 14th, 18th, and 20th centuries C.E. Stone, brick, wood, plaster, and glazed ceramic tile Closer view of the qibla iwan -> this is the largest and most decorative -> faces Mecca Four iwans (openings) surround a central courtyard -> characteristic of Persian mosques FLASHCARD

ISLAMIC TILEWORK Mihrab from the Madrasa Imami, Isfahan, Iran, ca. 1354. Glazed mosaic tilework, 11’ 3” X 7’ 6” Starting with Dome of the Rock, the earliest major Islamic building, mosaics and or ceramic tiles used to decorate walls and vaults of mosques, madrasas, palaces, and tombs MOSAIC TILEWORK = large ceramic panels of single colors are fired and then cut into smaller pieces and set like tesserae CUERDA SECA = polychrome tiles bearing geometric, vegetal, and Arabic script

(7-186/3) GREAT MOSQUE (MASJID-E JAMEH) - courtyard Isfahan, Iran Islamic, Persian: Seljuk, Il-Khanid, Timurid and Safavid Dynasties c. 700 C.E. Additions anand restorations in the 14th, 18th, and 20th centuries C.E. Stone, brick, wood, plaster, and glazed ceramic tile (7-186/4) GREAT MOSQUE (MASJID-E JAMEH) – mihrab (prayer room) Isfahan, Iran Islamic, Persian: Seljuk, Il-Khanid, Timurid and Safavid Dynasties c. 700 C.E. Additions anand restorations in the 14th, 18th, and 20th centuries C.E. Stone, brick, wood, plaster, and glazed ceramic tile FLASHCARDS

MADRASA IMAMI, ISFAHAN Mihrab from the Madrasa Imami, Isfahan, Iran, ca. 1354. Glazed mosaic tilework, 11’ 3” X 7’ 6” Some of the masterworks of Arabic calligraphy are not in manuscripts but on walls The pointed arch that frames the mihrab niche bears an inscription from the Koran in Kufic Outer rectangular frame is another type of Islamic calligraphy Niche and area above pointed arch -> geometric and abstract floral motifs Calligraphic and geometric elements are so unified that only a practiced eye can distinguish them

(7-188) BASIN (BAPTISTERE DE ST. LOUIS) Muhammad ibn al-Zain c (7-188) BASIN (BAPTISTERE DE ST. LOUIS) Muhammad ibn al-Zain c. 1320-1340 C.E. Brass inlaid with gold and silver MUHAMMAD IBN AL-ZAYN, basin (Baptistère de Saint Louis), from Egypt, ca. 1300. Brass, inlaid with gold and silver, 8 3/4” high. Brass basin from Egypt inlaid with gold and silver Used for washing hands at official ceremonies Central band depicts Mamluk hunters and Mongol enemies FLASHCARD

Canteen with episodes from the life of Christ, from Syria, ca Canteen with episodes from the life of Christ, from Syria, ca. 1240–1250. Brass, inlaid with silver, 1’ 2 1/2” diameter During the 11th -13th centuries large numbers of Christians traveled to the Holy Land as either pilgrims or crusaders -> many returned w/souvenirs This unique brass canteen w/inlaid silver was commissioned by wealthy Christian patron Madonna and Child enthroned in central medallion, three panels w/New Testament scenes from the life of Jesus unfold in counterclockwise sequence Decorative details are Islamic Christian patronage of Islamic art

(7-189) BAHRAM GUR FIGHTS THE KARG Islamic; Persian, Il-Khanid c (7-189) BAHRAM GUR FIGHTS THE KARG Islamic; Persian, Il-Khanid c. 1330-1340 C.E. Ink and opaque watercolor, gold, and silver on paper Iranian manuscript Large painted surface; calligraphy lessened Areas of flat color Spatial recession indicated by overlapping planes -> and atmospheric perspective in the light bluish background Bahram Gur was an ancient Iranian king from Sassanian dynasty -> represents ideal king -> crown and gold halo Karg is a wolf-unicorn he fought Bahram wears European fabric Chinese landscape conventions in background FLASHCARD

(7-190) THE COURT OF THE GAYUMARS Sultan Muhammad c. 1522-1525 C. E (7-190) THE COURT OF THE GAYUMARS Sultan Muhammad c. 1522-1525 C.E. Ink, opaque watercolor, and gold on paper Safavids were the successors to the Timurids in Iran SULTAN-MUHAMMAD, Court of Gayumars, folio 20 verso of the Shahnama of Shah Tamasp, from Tabriz, Iran, 1525-1535 Ink, watercolor, and gold on paper The Shahnama is the Persian national epic poem -> this page is the work of Sultan-Muhammad -> depicts the legendary first king of Persia Lightness and airiness permeate the painting -> this is enhanced by the off-center placement of the image of the page FLASHCARD

(7-191) THE ARDABIL CARPET Maqsud of Kashan 1539-1540 C. E (7-191) THE ARDABIL CARPET Maqsud of Kashan 1539-1540 C.E. Silk and wool MAQSUD OF KASHAN, carpet from the funerary mosque of Shaykh Safi al-Din, Ardabil, Iran, 1540. Knotted pile of wool and silk, 34’ 6” X 17’ 7”. Carpet weaving became a national industry in Persia Name of the designer Maqsud of Kashan is woven into the design of the carpet Required roughly 25 million knots, 340 per square inch Central sunburst medallion representing the inside of a dome -> surrounded by 16 pendants -> mosque lamps suspended -> reflection from a blue pool w/floating lotus blossoms FLASHCARD