By Gaston Migeon, Henri Saladin
Islamic paintings isn't the artwork of a state nor of a humans, yet that of a faith: Islam. Spreading from the Arabian Peninsula, the proselyte believers conquered, in a couple of centuries, a territory spreading from the Atlantic to the Indian Ocean. Multicultural and multi-ethnical, this polymorphic and hugely religious paintings, during which all illustration of guy and God used to be prohibited, built canons and numerous explanations of significant ornamental price. Thorough and artistic, those artists expressed their ideals by means of growing huge masterpieces resembling the Al-Aqsa mosque in Jerusalem, the Taj Mahal in Agra or the Alhambra in Granada, architectural works during which one recognises the stylisation of explanations of the Muslim ceramics. full of life and colored, Islamic paintings mirrors the richness of individuals whose universal denominator was once the idea in a single singular fact: absolutely the necessity of constructing works whose good looks equaled their admire for God.
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Extra info for Art of Islam (Temporis Collection)
See pp. 39-40] Córdoba’s Great Mosque has parallel naves with a larger central nave that leads to the mihrab. [See pp. 42-43] This mosque is architecturally different from the one in Kairouan. The influence of ancient and indigenous monuments was stronger here than in Tunisia. The Byzantine influence here is visible only in the decoration of the mihrab. Here, there are no massive minarets like those in Kairouan and Tunis, neither are there slender minarets like those in Susa, nor domes with cupolas like those in Kairouan.
The Alhambra Despite the frequent restoration and damage it has experienced, the Alhambra is still the most remarkable Islamic monument of the 14th and 15th centuries. This palace is built on a long hill overlooking Granada. Charles V, the Holy Roman Emperor, destroyed a weak part of it to construct a palace in his taste. Despite these damages, it remains an attractive structure exuding elegance and luxury. [See pp. 46-47] The creation of the thick walls generally included packed earth or backfilled blocks, joined by brick courses.
The arch of the main porch is extraordinary, not only because of the faience and enamelled brick decoration and the two minarets lined with enamelled bricks, but also and most importantly because of the way it was constructed. The rectangular plan on which it is constructed does not actually constitute a cradle; it is a half-dome preceding a dome, both of them star-shaped, which have been able to restore this rectangular plan through a succession of stalactites in the form of tiered corbels on a triangular plan.
Art of Islam (Temporis Collection) by Gaston Migeon, Henri Saladin