1. THE ISLAMIC WORLD
GARDNER CHAPTER 13-3 PP

2. (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
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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

3. (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
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4. ISLAMIC TILEWORK
Mihrab from the Madrasa Imami, Isfahan, Iran, ca 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

5. (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
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6. MADRASA IMAMI, ISFAHAN
Mihrab from the Madrasa Imami, Isfahan, Iran, ca 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. (7-188) BASIN (BAPTISTERE DE ST. LOUIS) Muhammad ibn al-Zain c
(7-188) BASIN (BAPTISTERE DE ST. LOUIS) Muhammad ibn al-Zain c C.E. Brass inlaid with gold and silver
MUHAMMAD IBN AL-ZAYN, basin (Baptistère de Saint Louis), from Egypt, ca 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
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8. 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

9. (7-189) BAHRAM GUR FIGHTS THE KARG Islamic; Persian, Il-Khanid c
(7-189) BAHRAM GUR FIGHTS THE KARG Islamic; Persian, Il-Khanid c 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
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10. (7-190) THE COURT OF THE GAYUMARS Sultan Muhammad c. 1522-1525 C. E
(7-190) THE COURT OF THE GAYUMARS Sultan Muhammad c 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,
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
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11. (7-191) THE ARDABIL CARPET Maqsud of Kashan 1539-1540 C. E
(7-191) THE ARDABIL CARPET Maqsud of Kashan C.E. Silk and wool
MAQSUD OF KASHAN, carpet from the funerary mosque of Shaykh Safi al-Din, Ardabil, Iran, 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
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