1. ISLAMIC ART EUGENIA LANGAN MATER ACADEMY CHARTER HIGH SCHOOL HIALEAH GARDENS, FLORIDA WITH APOLOGIES TO FRED KLEINERT

2. THEME: ALLAH ABSTRACTION DAR – AL – ISLAM

3. UNDERSTAND THE ESSENTIAL TENETS OF ISLAM AND HOW THEY ARE MANIFESTED IN ISLAMIC ART AND ARCHITECTURE. UNDERSTAND THE NEAR EASTERN ARTISTIC TRADITIONS THAT SHAPE ORIGINAL FORMS IN THE ART OF ISLAM. UNDERSTAND AND CITE ARCHITECTURAL DEVELOPMENTS AND THE TERMINOLOGY OF ISLAMIC RELIGIOUS, FUNERARY AND OTHER STRUCTURES. EXAMINE THE MEDIA, TECHNIQUES AND DESIGNS THAT ARE SPECIFIC TO ISLAMIC ART.

4. UNDERSTAND THE CONTRIBUTIONS OF ISLAMIC ART AND IDEAS TO LATER WESTERN ART AND CULTURE. KNOW AND USE RELEVANT ARTISTIC AND ARCHITECTURAL TERMINOLOGY CAREFULLY ANALYZE THE STYLISTIC ELEMENTS AND HISTORICAL CONTEXT OF ART AND ARCHITECTURE, AND HOW THE CONTEXT INFLUENCES ART AND ARCHITECTURE

5. TIMELINES: ORIGIN OF ISLAM (HISTORY AND MYTHOLOGY  © 570 – BIRTH OF MUHAMMAD IN MECCA  © 610 – FIRST APPEARANCE OF ARCHANGEL GABRIEL TO MUHAMMAD, REVELATION OF Q’URAN  © 613 – MUHAMMAD BEGAN PREACHING  620 – ISRA TO MASJID AL-AQSA, AND MIRAJ  622 – THE HIJIRA – FLIGHT TO MEDINA  630 --- MUHAMMAD’S CONQUEST OF MECCA

6.  631 – MUHAMMAD’S CONQUEST OF ARABIAN PENINSULA  632 – DEATH OF MUHAMMAD UMAYYAD DYNASTY (661 – 750)  638 – CONQUEST OF JERUSALEM  © 680 – CONTSTRUCTION OF AL-AQSA MOSQUE ON TEMPLE MOUNT BEGAN  687 – CONSTRUCTION OF DOME OF THE ROCK (IN AL-AQSA COMPOUND) BEGAN  711 – CONQUEST OF IBERIA 732 – BATTLE OF TOURS 732 – BATTLE OF TOURS

7. EXPANSION UNDER MUHAMMAD, 622–632 EXPANSION DURING THE RAHDIDUN CALIPHATE, 632–661 EXPANSION UNDER THE UMAYYAD CALIPHATE, 661 - 770

8. ABBASID DYNASTY (750 – 1258)  FROM 11 TH C. MOSTLY CONTROLLED BY SELJUK TURKS  1096 – 1192 – 1 ST - 3 RD CRUSADES  1258 – MONGOL SACK OF BAGHDAD

9. ABASSID CALIPHATE AT ITS GREATEST EXTENT (LATE 10 TH C.)

10. ISLAMIC SPAIN (711- 1492)  756 – 1031 – CÓRDOBA CALIPHATE (UMAYYAD DYNASTY) – GOLDEN AGE OF ISLAM  1031 – 1212 – ALMORAVIDS, ALMOHADES  1212 – 1492 – KINGDOM OF GRANADA (NASRIDS)  1236 – KINGDOM OF CASTILLE CONQUERED CÓRDOBA  GRANADA = VASSAL STATE OF CASTILLE  1492 – RECONQUISTA (SURRENDER OF GRANADA

13. ISLAMIC EGYPT, 909-1517 909 – 1171 – FATAMID CALIPHATE 1171 – 1250 – AYYIBID DYNASTY 1250 – 1517 – MAMLUK DYNASTY 1517 – OTTOMAN CONQUEST 1517 – OTTOMAN CONQUEST TIMURID AND SAFAVID IRAN AND AFGHANISTAN, 1370 – 1732  1370 - 1501– TIMURID DYNASTY  1501 – 1732 – SAFAVID DYNASTY

16. OTTOMAN EMPIRE, 1281 – 1924  1453 – CONQUEST OF CONSTANTINOPLE

18. THE FIVE PILLARS OF ISLAM  SHAHADAHPROFESSION OF FAITH IN THE GOD OF ABRAHAM: “THERE IS NO GOD BUT GOD; MUHAMMAD IS HIS MESSENGER”  SALAHDAILY PRAYER (5 TIMES)  ZAKATCHARITY TO POOR  SAWMFASTING, ESPECIALLY DURING RAMADAN  HAJJPILGRIMAGE TO MECCA MAJOR UNIFIER OF ISLAM

19.  STRICT ADHERENCE TO THE 613 “OT” LAWS, INCLUDING THE SECOND COMMANDMENT

20. UMAYYAD ART

22. DOME OF THE ROCK, JERUSALEM – TEMPLE MOUNT, 687-692 NEW RELIGIONS ALWAYS APPROPRIATE THE HOLY SITES AND SACRED ART STYLES OF PRIOR RELIGIONS!

23. AERIAL VIEW

24. FAÇADE, DOME OF THE ROCK – SIMILARITIES, DIFFERENCES TO OTHER ART? TILEWORK CF. BYZANTINE MOSAICS – BUT ABSTRACT

25. ELEVATION, DOME OF THE ROCK WHAT CHURCH IS IT PROBABLY BASED ON? CHURCH OF THE HOLY SEPULCHRE, JERUSALEM HOW DOES THE PLAN RESEMBLE, DIFFER FROM BYZANTINE CHURCHES? WHAT IS THE DOME BUILT FROM? DOME 60’ DIAMETER, 80’ HIGH

26. CHURCH OF THE HOLY SEPULCHRE, JERUSALEM © 330

27. INTERIOR, DOME OF THE ROCK WHAT’S SIMILAR, WHAT’S DIFFERENT FROM BYZANTINE CHURCHES? HOW DOES THAT REFLECT ISLAM?

29. AERIAL VIEW OF THE GREAT MOSQUE, DAMASCUS, SYRIA, 706–715 WHAT WAS ORIGINALLY ON THE SITE?

30. GREAT MOSQUE DAMASCUS, SYRIA 706-715 FUNCTION OF MINARETS? MUEZZIN CALLS MUSLIMS TO SALAT FROM TOWER

31. MOSAIC FROM COURTYARD GREAT MOSQUE, DAMASCUS INFLUENCES? CLASSICAL, X’IAN, BYZANTINE

33. PLAN OF THE UMAYYAD PALACE MSHATTA, JORDAN CA. 740-750 THAT WALL IS THE? QIBLA WHAT DIRECTION DOES IT FACE? TOWARD MECCA THE NICHE IS THE? MIHRAB ITS FUNCTION? WHERE MUHAMMAD STOOD?

34. RECONSTRUCTION DRAWING OF FAÇADE OF UMAYYAD PALACE, MSHATTA

35. FAÇADE FRIEZE, UMAYYAD PALACE, MSHATTA. LIMESTONE, 16’ 7” HIGH

37. DETAIL OF THE FRIEZE, UMAYYAD PALACE, MSHATTA NOTE ANIMAL MOTIF ONLY IN NON- SACRED ART!

38. ABBASID ART

39. ARCHITECTURE

41. AERIAL VIEW OF THE GREAT MOSQUE, QAYRAWAN, TUNISIA © 836-875 -- WHAT KIND OF MOSQUE? “HYPOSTYLE” – MIDDLE EASTERN INFLUENCE

42. PLAN OF THE GREAT MOSQUE OF AYRAWAN WHAT OTHER INFLUENCES? CLASSICAL – ROMAN FORUM

44. MALWIYA MINARET OF THE GREAT MOSQUE OF SAMARRA, IRAQ © 848-852 MALWIYA = SNAIL SHELL

45. THE GREAT MOSQUE OF SAMARRA – “THE GOLDEN MOSQUE” – BEFORE AND AFTER THE U.S. INVASION OF IRAQ

47. MAUSOLEUM OF THE SAMANIDS, BUKHARA, UZBEKISTAN, EARLY 10TH C.

48. ANOTHER VIEW, AND DETAIL, SAMANID MAUSOLEUM

49. INTERIOR, SAMANID MOSQUE

50. LUXURY ARTS

51. CONFRONTING LIONS AND PALM TREE, FRAGMENT OF A TEXTILE SAID TO BE FROM ZANDANA, NEAR BUKHARA, UZBEKISTAN, EIGHTH C. SILK COMPOUND TWILL, 2’ 11” X 2’ 9 ½”. MUSÉE HISTORIQUE DE LORRAINE, NANCY.

52. SULAYMAN, EWER IN THE FORM OF A BIRD, 796. BRASS WITH SILVER AND COPPER INLAY, 1’ 3” HIGH. HERMITAGE, SAINT PETERSBURG. WHAT’S ISLAMIC ABOUT IT? ABSTRACT DESIGNS AND MOTIFS ON BODY

53. FLASK FROM SYRIA, EARLY 8 TH C. VERY STYLIZED ZOOMORPHIC SHAPES!

54. WHY IS CALLIGRAPHY IMPORTANT IN ISLAM? GABRIEL TOLD MUHAMMAD, “ GABRIEL TOLD MUHAMMAD, “THY LORD IS MOST BOUNTIFUL – HE WHO TAUGHT YOU TO USE THE PEN” SO HE COULD TRANSCRIBE THE QUR’AN QUR’AN PAGE WITH BEGINNING OF SURAH 18, “AL-KAHF” (THE CAVE), 9TH OR EARLY 10TH CENTURY. INK AND GOLD ON VELLUM, 7 1/4” X 10 1/4”. CHESTER BEATTY LIBRARY AND ORIENTAL ART GALLERY, DUBLIN.

55. SIGNATURE, FROM ARABIA 9 TH C.

56. CULTURAL DIFFUSION: BIBLE VERSES ON COPTIC CHURCH, EGYPT 11 TH C.

57. ART OF ISLAMIC SPAIN

58. UMAYYAD ART: CÓRDOBA CALIPHATE

60. GREAT MOSQUE, CÓRDOBA, SPAIN, 8 TH TO 10 TH Cs.

61. ENTRANCE, GREAT MOSQUE OF CÓRDOBA WHAT KIND OF ARCH IS THAT? HORSESHOE (MOORISH – POSSIBLE VISIGOTHIC SOURCE)

62. PRAYER HALL OF THE GREAT MOSQUE 0F CÓRDOBA WHAT’S REALLY NEW HERE? PIERS AND DOUBLE ARCHES ATOP COLUMNS AND PIERS TO RAISE HYPOSTYLE CEILING – WHY? COLUMNS ARE SPOLIA

65. MAQSURA, GREAT MOSQUE OF CÓRDOBA THOSE ARCHES ARE? MULTI-LOBEDMAQSURA? RESERVED FOR CALIPH AND FAMILY

67. DOME IN FRONT OF THE MIHRAB, GREAT MOSQUE OF CÓRDOBA PLAN? OCTAGON ATOP SQUARES AT 45° ANGLE DOME SUPPORTED BY? ARCTUATED SQUINCHES, CROSS- RIBBING

68. CASKET OF AL-MUGHIRA (AND DETAILS), FROM CÓRDOBA, 9 TH C. IVORY, 6” HIGH. LOUVRE. WHAT INFLUENCES? CLASSICAL, EARLY X’IAN (VISIGOTHIC).

69. NASRID ART – KINGDOM OF GRANADA

71. PALACE OF THE LIONS, THE ALHAMBRA, GRANADA, SPAIN, 1354-1391. THE ALHAMBRA WAS? A CITADEL

72. COURT OF THE LIONS, ALHAMBRA – DESCRIBE ISLAMIC ARCHITECTURAL ELEMENTS

73. COURTYARD OF THE LIONS

74. MUQARNAS DOME, HALL OF THE TWO SISTERS, PALACE OF THE LIONS, ALHAMBRA

75. MUQARNAS DOME, HALL OF THE TWO SISTERS MUQARNAS = ? STUCCO STALACTITES DOME IS SUPPORTED BY? OCTAGONAL DRUM AND SQUINCHES

76. DETAIL, ENTRANCE ARCH, PALACE OF LIONS

77. AFTER THE RECONQUISTA – INSCRIBED ON ALHAMBRA: “TATO’ MOTA” = “TANTO MONTA, MONTA TANTO, ISABEL COMO FERDINAND”

78. QUR’AN PAGE, INK ON PARCHMENT, FROM SPAIN, 13 TH C.

79. MAMLUK ART

80. WHICH DIRECTION WOULD A QIBLA WALL FACE IN CAIRO? SOUTHEAST

81. MADRASA-MOSQUE- MAUSOLEUM COMPLEX OF SULTAN HASAN, CAIRO, EGYPT 1356-1363 MADRASA =? THEOLOGICAL SCHOOL WHAT ELSE WAS IN THIS COMPLEX? HOSPITAL, ORPHANAGE, BATHS, SHOPS POSSIBLE REASONS FOR AUSTERE EXTERIOR? MONGOL CONQUEST OF BAGHDAD; MAMLUKS = SOLDIER DYNASTY

82. INSPIRATION FOR HASAN’S MOSQUE COMPLEX? PALACE OF SHAPUR I, CTESIPHON, IRAQ © 250 C.E.

83. PLAN OF THE MADRASA - MOSQUE - MAUSOLEUM COMPLEX OF SULTAN HASAN IWANS? VAULTED “CHAPELS”- CF. RADIATING CHAPELS (EXEDRAE) IN BYZANTINE CHURCHES BUT WHAT’S THE SOURCE OF THIS PLAN? PERSIAN MOSQUES – CENTRAL COURTYARD, 4 IWANS

84. QIBLA WALL, MAIN IWAN, MADRASA-MOSQUE- MAUSOLEUM COMPLEX OF SULTAN HASAN MIHRAB MINBAR

85. LUXURY ARTS

86. MUHAMMAD IBN AL-ZAYN, BASIN (“BAPTISTÈRE DE SAINT LOUIS”), FROM EGYPT, © 1300. BRASS, INLAID WITH GOLD AND SILVER, 8 3/4” HIGH. LOUVRE. NOTE STYLIZED VEGETAL AND ZOOMORPHIC MOTIFS FROM 17 TH C., USED AS ROYAL FRENCH BAPTISMAL FONT

87. CANTEEN WITH EPISODES FROM THE LIFE OF CHRIST, FROM SYRIA, CA. 1240–1250. BRASS, INLAID WITH SILVER, 1’ 2 1/2” HIGH. FREER GALLERY OF ART, WASHINGTON, D.C. PATRON? CRUSADER OR SYRIAN CHRISTIAN? COMBINES CHRISTIAN ICONOGRAPHY AND ISLAMIC STYLE/ MOTIFS

88. MOSQUE LAMP, FROM EGYPT, 14 TH C. GLASS WITH ENAMEL, 1’ 1 ½” HIGH. BRITISH MUSEUM

89. ART IN IRAN AND AFGHANISTAN

91. GREAT MOSQUE, ISFAHAN, IRAN, AERIAL VIEW (LOOKING SOUTHWEST ). 11TH TO 17TH CENTURIES. SELJUK, SAFAVID

92. 1 1 1 3 4 5 1.IWANS 2. COURTYARD 3. QIBLA MOSQUE 4.DOMED MAQSURA AND MIHRAB 5. QIBLA WALL – FACES? WSW

93. COURTYARD OF THE GREAT MOSQUE OF ISFAHAN

94. OTHER SELJUK ART

95. MIHRAB FROM THE MADRASA IMAMI, ISFAHAN, IRAN, CA. 1354. GLAZED MOSAIC TILEWORK, 11’ 3” X 7’ 6”. MET. MEDIUM? CUERDA SECA TILE – KNOW THE TECHIQUE, ADVANTAGES AND DISADVANTAGES

96. TIMURID ART

97. Herat

98. BIHZAD, SEDUCTION OF YUSUF, FOLIO 52 VERSO OF THE BUSTAN OF SULTAN HUSAYN MAYQARA, FROM HEART, AFGHANISTAN, 1488. INK AND COLOR ON PAPER, 11 7 / 8 ” x 8 5 /8 ”. NATIONAL LIBRARY, CAIRO.

99. SAFAVID ART

101. SULTAN-MUHAMMAD. COURT OF THE GAYUMARS, FOLIO 20 VERSO OF THE SHAHNAMA OF SHAH TAMASP, FROM TABRIZ, IRAN © 1525 – 35. INK, WATERCOLOR AND GOLD ON PAPER. 1’ 1” x 9”. PRINCE SADRUDDIN AGA KHAN COLLECTION, GENEVA NOTE PAINTING “FLOATS” AS FIGURES DO - OFF- CENTER PLACEMENT OF PAINTING ON PAGE

102. DETAILS, COURT OF THE GAYUMARS

103. SULTAN-MUHAMMAD, HUSHANG DISCOVERS FIRE, FOLIO RECTO OF THE SHAHNAMA OF SHAH TAHMASP, AND DETAIL – MORE FLOATING!

104. 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”. VICTORIA & ALBERT MUSEUM, LONDON. > 25 MILLION KNOTS NOTE CONTRAST WITH LUXURY ART – NO HUMANS OR ANIMALS, ONLY STYLIZED VEGETAL MOTIFS

105. SHAHI (IMAM) MOSQUE, ISFAHAN, IRAN, 1611- 1638

106. MAQSURA/ MIHRAB DOME, IMAM MOSQUE MORE CUERDA SECA TILEWORK

107. WINTER PRAYER HALL OF THE SHAHI (IMAM) MOSQUE, ISFAHAN, 1611– 1638. CUERDA SECA TILEWORK AND MOORISH VAULTED ARCHES

108. OTTOMAN TURKISH ART

110. SINAN THE GREAT, MOSQUE OF SELIM II. EDIRNE, TURKEY, 1568- 1575 INSPIRATION? HAGIA SOPHIA

111. PLAN OF MOSQUE COMPOUND OF SELIM II WHAT KIND OF PLAN IS THE MOSQUE? CENTRAL: OCTAGON TOPPED WITH SQUARE TOPPED BY FOUR HALF- DOMES, TOPPED WITH BIG DOME 1:2 RATIO, WIDTH: HEIGHT

112. INTERIOR, MOSQUE OF SELIM II NOTE: MORE LIGHT THAN OTHER MOSQUES WE’VE SEEN -- MORE

113. SIGNATURE OF SULTAN MEHMET II, 15 TH C.

114. SIGNATURE, FROM TURKEY, 16 TH C.

115. SILK PILE CARPET, OTTOMAN, 16 TH C. NOTE STYLIZED ZOOMORPHIC MOTIC

116. PREVIEW – ISLAMIC ARCHITECTURE BEYOND THE MIDDLE EAST

117. MUGHAL INDIA

119. TAJ MAHAL, AGRA, INDIA, 1632-1647

120. FAÇADE, TAJ MAHAL – CARVED MARBLE RATHER THAN TILES – BUT SAME ISLAMIC GEOMETRIC AND STYLIZED VEGETAL MOTIFS

121. SUB-SAHARAN ISLAMIC ART

123. GREAT MOSQUE OF DJENNÉ, MALI. 13 TH C., LAST REBUILT 1907 (MUD BRICK!). MINARETS AND EXTERIOR DECORATION!

124. FORM AND FUNCTION – BUNDLES OF PALM STICKS INSERTED IN WALLS = DECORATION AND SCAFFOLDING FOR REPAIRS