DEPARMENT OF ARCHITECTURE
AH 539 COSMOLOGICAL THOUGHT AND ARCHITECTURE IN THE
MIDDLE EAST
PATTERNS REFLECTING
COSMOLOGY IN ISLAMIC
ARCHITECTURE
BANU DENZ
22. 01. 2016
ABSTRACT
PATTERNS REFLECTING COSMOLOGY IN ISLAMIC ARCHITECTURE
Deniz, Banu
M.Arch., Department of Architecture
Instructor: Ali Uzay Peker
January 2016
This paper aims to comprehend the patterns in the Islamic architecture related with
cosmological context. These Islamic patterns will be examined in three parts which are
calligraphic, geometric and vegetative and floral (which became arabesque later) patterns.
To exemplify these patterns, some of the outstanding buildings from the Umayyad, Abbasid
and Fatimid periods will be studied to explain the chronological development of the Islamic
patterns. With the reviews of the studies in cosmologically investigated concepts in relation
with Islamic patterns will be explored to show how spirituality and creativity can be
coexisted. Hence, the paper investigates the associations of cosmology and Islamic patterns
with detailed examples.
Keywords: cosmology in Islam, cosmological patterns, spirituality, Islamic architecture,
Islamic patterns
1. Introduction
Ultimate Reality is at once Absolute and Infinite, the source of all being, of all
consciousness and of all life. Itself beyond form, it speaks to mankind through revealed
forms which, while externally bound and limited, open up inwardly towards the Boundless.
Through revelations of this Word or Logos come into being the sacred traditions which
although outwardly different are inwardly united into a Centre which transcends all forms.
They are, however, the bridge from the periphery to the Centre, from the relative to the
Absolute, from the finite to the Infinite, from multiplicity to Unity.1
Seyyed Hossein Nasr, foreword to Islamic Patterns: An Analytical and Cosmological Approach, by Keith
Critchlow. UK: Thames Hudson Ltd., 1984, pg. 6.
2
The image is used in a website to represent Islamic cosmology by Dr. Stephen N. Lambden who is a researcher
mainly on the topics that are Shi`i Islam and Qajar Persia. Representation of Islamic Cosmology,
http://www.hurqalya.pwp.blueyonder.co.uk/BIBLIOGRAPHY-HYP/18-ISLAMIC%20SCIENCES/cis-logw.jpg,
(January 17, 2016).
could be the dimension that enabled Islam to produce a sacred art that was based on
geometric nature. 3
Calligraphy
Geometric
Figure 2. The Islamic Decorative Canon4
Arabesque
Madison Morrison. Pattern as Cosmology in Islamic Geometric Art, Madison Morrisons Web,
http://www.madisonmorrison.com/topics/pattern-as-cosmology-in-islamic-geometric-art/, (January 17, 2016).
Yasser Tabbaa. The Transformation of Islamic Art during the Sunni Period, University of Washington Press,
2001, as quoted by Op. Cit., Morrison, (January 17, 2016).
7
Muqarnas Vault, Islamic Arts & Architecture, http://islamic-arts.org/wpcontent/images/0276a9725761_FA8D/Muqarnas-vault-Bishiriya-Madrasa-in-Baghdad-8x6.jpg, (January 17,
2016).
8
Op. Cit., Tabbaa, 2001, as quoted by Op. Cit., Morrison, (January 17, 2016).
Islam can be explained, as it is mentioned before, with the Islams nature of unity. As Keith
Critchlow mentions;
The overriding principle for Islam is the unity of existence and therefore of the universe.
This unity has always an inner and an outer aspect a hidden as well as a manifest aspect.
From this it follows that there is an inner as well as an outer way of studying cosmology. The
outer embraces sensible observation, the inner is appreciating the expression of
cosmological laws within ones own structure. The goal of spiritual disciplines is to unite the
inner and the outer, the greater and smaller, into an inseparable integrity. The language of
the archetypal laws which unite the inner and the outer cosmos is that of pattern and in
particular number pattern. 9
2. Calligraphic Patterns and Cosmology
Although calligraphy has developed in numerous forms and has embraced
functions and domains not directly related to the text of the Quran, something of this
principial wedding between calligraphy, which began in a purely Quranic context, and the
spiritual substance of the Quran has survived within all aspects of traditional Islamic
calligraphy.10
Keith Critchlow. An Analytical and Cosmological Approach, UK: Thames Hudson Ltd., 1984.
Seyyed Hossein Nasr. The Spiritual Message of Islamic Calligraphy, Islamic Art and Spirituality, Newyork:
State University of Newyork Press, 1990, pg. 19.
10
11
In the book entitled Islamic Art and Spirituality, Seyyed Hossein Nasr says that
sacred calligraphy is the visual embodiment of the Sacred Word and is the origin of the
traditional sonoral arts. He describes calligraphy as the geometry of the spirit. He also says
that it is the visual embodiment of the crystallization of the spiritual realities contained in
the Islamic revelation.12
About the calligraphy and cosmology relation, Nasr considers the reed used as the
instrument of calligraphy as the medium of a cosmogonic act, the act of descent of
traditional cosmology which is the motion of the Soul to the corruption and ultimately hell,
and the act of return to the Origin, the arc of ascent which is the motion of the Soul to the
heaven. By relating the reed and the cosmological acts of the soul, the author represents the
correspondence between calligraphy and cosmology which Is the basis of all traditional art. 13
As another example to the connection between calligraphy and cosmology, he
mentions that representation of the universe with a tree. As he refers to the Quran, it has
its roots firm and its branches spread in the heavens. Among the cosmic manifestations,
The World Tree is one of the most known symbols. Therefore, combining calligraphy with
stylized plant forms is frequently seen. He exemplifies this statement with the architectural
edifices as Cordoba mosque, Minareli School in Anatolia, Gawhar Shad Mosque in Mashhad
and the mausoleums and mosques of Agra. 14
12
15
He says intertwining of calligraphy and arabesque forms can be observed on these buildings
to reflect the correspondence between the Quran and the world of nature. 17
Stylized plant forms or arabesques and geometric patterns are often combined with
calligraphy. As Nasr says;
Here the calligraphy, related directly to the Divine Word, may be said to symbolize
the Principle of creation, the geometric element symbolizing the immutable patterns or
masculine aspect while the arabesques, related to life and growth, represent the living,
changing and material aspect of creation. Seen in this light, the calligraphy can be
contemplated as the principle from which the two other elements of Islamic patterns,
namely the geometric and the arabesque, originate and into which they become integrated
as all cosmic dualities become integrated in the unity of the Principle.18
3. Geometrical Patterns and Cosmology
Beside the conceptual relation between geometrical patterns and cosmology, the
formational relation in terms of the shapes of the geometrical patterns with regard to
cosmology is another issue. In this chapter, both of these issues will be discussed with the
review of Keith Critchlow and his main reference man, Ibn Arabi to comprehend the origins
of the Islamic geometrical patterns.
As quoted by Critchlow, Ibn Arabi offered that cosmology had to be equally an
interior truth and an exterior truth which can be explained as that the universe owes its
existence to the observation of it by people and the existence of humanity completely
dependent on the universe while both are subjected to the Creator. 19
For Ibn Arabis cosmogony as illustrated in Figure 7, the starting point is the sphere
of potentiality, the sphere-limit of all space. He explains the disequilibrium that gives rise to
the existent cosmos with the rhythm of expansion and contraction. The principle of the
equinoxes at the spring and at the autumn is produced by the expansion of day and night to
17
18
Ibid.
19
Keith Critchlow. Astronomical and Cosmological Symbolism in Islamic Patterns: The Objectivity of Sacred
Geometry, pg. 47, http://archnet.org/system/publications/contents/4233/original/DPC0431.pdf?1384781930,
(January 17, 2016).
the time that they are equally long. When the days and nights are as short as related to each
other, the principle of contraction is produced and thereby the shortest day in winter and
shortest night in summer are seen. Therefore, in the limit sphere, four poles are formed
which are Aries in the spring, Cancer in the summer, Libra in the autumn, and Capricorn in
the winter. Critchlow mentions that the contraction and expansion constitutes the life
rhythm of the people.20
The limit
sphere
of existence
21
.
Figure 8. Islamic Geometric Patterns Classification 24
Abdullahi says that constructive polygons such as the hexagon and octagon are the
basic forms of the most Islamic geometrical patterns. By connecting the vertices of
constructive polygons, star polygons are created. 25
22
23
25
Ibid.
26
Floral Patterns in Islamic Decoration, Islamic Art: History of Muslim Visual Arts, http://www.visual-artscork.com/islamic-art.htm, (January 17, 2016).
27
Patrick Ringgenberg. Man and Nature, Islamic Ornamentation: Reflections on its Humanistic, Cosmological,
and Metaphysical Aspects, http://patrickringgenberg.com/?q=node/52, (January 17, 2016).
regionally traced the evolution of Islamic patterns. Therefore, mainly with the help of his
research and statements, the Islamic patterns will be exemplified.
5.1. Umayyad architecture (660750 CE)
The vegetal and floral patterns obtained from Sassanid and Byzantine architecture became
common in Islamic architecture around the end of the 7th and early 8th centuries. From this
period, Dome of Rock, which was built in 688691 CE stands as a surviving building from this
period. It is richly decorated with vegetal, calligraphic and geometrical motifs, but most of its
ornaments; especially the geometrical ones are added later from the Umayyad era.
The Great Mosque of Damascus which was converted from the Damascus Christian Temple
in 705 CE is another example. The floral patterns that looks like the the rich gardens and
natural landscape of Damascus are the original ones while the geometrical ones are later
additions.28
The third example from this period is Qasr Mshatta which is the ruin of an Umayyad
winter palace. As seen from the ruins, it was lavishly decorated with floral patterns with the
28
29
animals. About the patterns, Betsy Williams who is a researcher at Institute of Fine Arts, New
York University says;
Mshatta's decor is particularly interesting in that it suggests the early Muslim
community was attentive to distinctions between secular and sacred space. While most of
the decoration filling the zig-zag shapes along the facades walls is populated with animated
creatures entirely in keeping with secular elite residential dcor, one side lacks animals of
any kind. This is the qibla wall, on the side facing Mecca, along which was located
the qasr's mosque. A pronounced effort at visual distinction suggests a concept of the
appropriate uses of figural imagery in secular contexts, but not in sacred ones, had
developed already by the eighth century.31
About this period, Yahya Abdullahi states that, the vegetal ornaments stand as one
of the common features of Umayyad architecture. Molded stucco, mosaic, and wall
paintings, with figural and floral motifs are the most seen features on the finishing surfaces
and facades of Umayyad buildings. The use of figural patterns in mosques was reduced by
the end of the Umayyad era. 32
5.2. Abbasid Architecture (7501258 CE)
For this era, the first example is the Great Mosque of Kairouan (Tunisia) which is
constructed in 670 CE and rebuilt in 836 CE. The primary motifs are the vegetal and floral
ones while some elementary geometrical shapes which are the earliest endeavors to apply
geometrical ornaments in Islamic architecture are also observed. In the Mosque of IbnTulun (876879 CE), the basic 6- and 8-point geometrical patterns as the earliest examples of
woven geometrical patterns in Muslim decorative arts can be seen. That is why it is regarded
as a starting point of geometrical patterns to Islamic architecture. Another examples are the
Abbasid Palace in Baghdad (1230 CE) and the Madrasa of Mustansiriyeh (1233 CE) which are
embellished with Muqarnas decorations as well as the detailed geometrical patterns of
31
Betsy Williams. Qasr al-Mshatta, 2012, unpublished research paper supported by The Metropolitan
Museum of Art, http://www.metmuseum.org/exhibitions/listings/2012/byzantium-and-islam/blog/where-inthe-world/posts/qasr-al-mshatta, (January 17, 2016).
32
carved brickwork and terracotta. The earliest examples of rosette petals introduced to 8and 12-point star patterns can be observed on these buildings.33
Ibid.
34
36
CE) in Cairo. The calligraphic, vegetal, and geometrical decorations can be observed on this
structure. The final example of the Fatimid buildings is the Mosque of Al-Salih-Tala'i (1160
CE), that resembles to the Al-Aqmar Mosque in structural and decorative ways. 6- and 8point star shapes over the walls and a perfectly proportioned 12-point pattern is carved over
the Minbar which is added in the Mamluk era in 1300 CE can be seen. Also, 8- and 12-point
geometrical rosette patterns can be observed on the carved wooden door, which dates back
to 1303.37
37
Ibid.
38
39
Abdullahi says that the form of isolated elements, rather than entire surface-covering
patterns are common among the early Fatimid decorative ornaments while in the late
Fatimid era Geometrical patterns became common.42
Conclusion
"As an architect draws (yusawwir) the details of a house in whiteness and then brings it
out into existence according to the drawn exemplar (nuskha), so likewise the creator (fatir)
of heaven and earth wrote the master copy of the world from beginning to end in the
Preserved Tablet (al-lawh al-mahfuz) and then brought it out into existence according to the
written exemplar. 43
As quoted by Samer Akkach, in his Iy Ulm al-Dn, Ghazali relates the religion with
art, spirituality with creativity. He presents that the designs and acts of human are
interconnected to the cosmological and cosmogonic ideas that are contained by religious
writings.44 Therefore, as the product of human design, the patterns in Islamic architecture
are meant to represent these cosmological ideas throughout the centuries as told in this
paper.
42
43
Al- Ghazali. Iy Ulm al-Dn, as quoted by Samer Akkach, Cosmology and Architecture in Premodern Islam:
An Architectural Reading of Mystical Ideas, New York: State University of New York Press, 2005, pg. xvii.
44
Ibid.
BIBLIOGRAPHY
Akkach, Samer. Cosmology and Architecture in Premodern Islam: An Architectural Reading of
Mystical Ideas, New York: State University of New York Press, 2005.
Abdullahi, Yahya. Evolution of Islamic Geometric Patterns, 2012.
Critchlow, Keith. An Analytical and Cosmological Approach, UK: Thames Hudson Ltd., 1984.
Critchlow , Keith. Astronomical and Cosmological Symbolism in Islamic Patterns: The
Objectivity of Sacred Geometry.
Morrison, Madison. Pattern as Cosmology in Islamic Geometric Art, Madison Morrisons
Web.
Nasr, Seyyed Hossein , foreword to Islamic Patterns: An Analytical and Cosmological
Approach, by Keith Critchlow. UK: Thames Hudson Ltd., 1984.
Nasr, Seyyed Hossein. The Spiritual Message of Islamic Calligraphy, Islamic Art and
Spirituality, Newyork: State University of Newyork Press, 1990.
Tabbaa, Yasser. The Transformation of Islamic Art during the Sunni Period, University of
Washington Press, 2001.
Ringgenberg, Patrick. Man and Nature, Islamic Ornamentation: Reflections on its
Humanistic, Cosmological, and Metaphysical Aspects
Williams, Betsy. Qasr al-Mshatta, 2012.