The Kaaba and the Foundations of Islamic Devotion\n\nThe Kaaba, designated as work number 183, is a central granite block monument located within Mecca. A primary ritual associated with the site is circumambulation, in which believers walk around the structure. The Kaaba is covered by a decorative cloth that is replaced every year; this cloth is adorned with Arabic calligraphy featuring verses from the Quran embroidered in gold. A primary goal for those visiting the Kaaba is to reach the center to interact with the black stone, which Muslims believe was given by God to Adam. Pilgrims rub the stone as a gesture of faith. The site is also associated with meteorites and serves as the focal point for the call to prayer. The pilgrimage, known as the hajj, is an essential trip that Muslims are expected to undertake at least once in their lifetime. According to Islamic belief, Adam and Eve were the first man and woman, and Abraham is recognized as the first prophet in the shared traditions of Judaism, Christianity, and Islam. God, referred to as Allah, commanded Abraham and Ishmael (recorded as Ishmal) to build a monument in the desert as a testament to Him. While the site was eventually overtaken by Arabian paganism, Muhammad reclaimed it as a monument for God. His own pilgrimage established the practice as a requirement for the faithful. Islam recognizes a lineage of prophets including Adam, Abraham, Moses, Jesus, and Muhammad. The Quran is the sole holy book of Islam, containing the revelations Muhammad heard from God. Muslims are required to pray 5 times a day in the direction of the Kaaba. Historically, travel to the site was dangerous, though it is now surrounded by modern hotels and is situated within a mosque courtyard. This site is identified with ID quiz 6.1.\n\n# The Dome of the Rock and the Power of the Umayyad Empire\n\nThe Dome of the Rock, work number 185, is situated on a hill in Jerusalem within a contested space between Jerusalem and Palestine. After the 2nd Jewish temple was destroyed, the Umayyad Muslims—part of a Muslim empire that extended from Spain—built this structure in its place. The building was constructed to demonstrate religious power over the site. It holds significance for three major beliefs: it is the place where God created Adam, where Abraham was tested by God and nearly sacrificed his son Isaac (Issac) before God intervened, and where Muhammad performed his night journey, flying into the sky with Gabriel to meet the prophets in heaven. The interior of the building houses the rock where Abraham's sacrifice nearly occurred and where Muhammad began his ascent to receive the revelations of the Quran from God. Islamic law dictates that Muhammad cannot be depicted in art. Notably, the Dome of the Rock is not a mosque.\n\n# The Mosque of Selim II and Ottoman Architecture\n\nThe Mosque of Selim II, identified as work number 84, was commissioned by Selim II to display the immense power of the Ottoman Empire. The architecture is similar to the Hagia Sophia but features larger minarets to project a sense of greater power. The site includes a madrasa, which is a school dedicated to religious learning. Because the original structure was oriented toward cardinal directions, the mihrab—the niche used to indicate the direction of prayer toward Mecca—is situated off-center. This was added later so worshippers would know to face Mecca (Mekka) rather than the cardinal directions.\n\n# The Great Mosque of Djenne and the Great Mosque of Cordoba\n\nThe Great Mosque of Djenne (168) is constructed of mud (adobe), a material that washes away over time, requiring the community to rebuild it every year. This structure became connected to the wider world through the Silk Road, which facilitated the spread of Islam. The mosque features small minarets (minrates) that create a rhythmic visual pattern. It is oriented toward Mecca, and its minarets are decorated with ostrich eggs, which symbolize purity and fertility. Because of the materials used, the building requires vents for air circulation, and its exterior serves as a site for local markets.\n\nThe Great Mosque of Cordoba (56) was established by the Umayyad Muslim empire and reflects influence from Europe. Originally a Roman temple dedicated to Janus—the two-headed god—it was converted into a mosque after the Moors conquered the Visigoths. The site has shifted between Roman, Catholic, and Muslim control, with its current Catholic status established by Ferdinand III during the push against Muslim rule. The mosque features Kufic calligraphy from the Quran.\n\n# The Great Mosque of Isfahan and the Taj Mahal\n\nThe Great Mosque of Isfahan (Majid-Jameh), work number 186, is designed to be visible from the city, yet it offers a sense of peace and tranquility once inside. It utilizes Persian architectural features, including the first use of iwans in a mosque to create a serene environment. The qibla (gibla) is oriented toward Mecca to facilitate prayer. Believers enter the mosque during prayer as part of the umma, or community. In the Mughal Empire, Shah Jahan commissioned the Taj Mahal (209) as a mausoleum (musanim) to hold his dead wife, Mumrazmahal. She passed away during childbirth, and the burial site was built within a palace complex. The site is covered in Kufic calligraphy and places a heavy emphasis on gardens and reflective pools. The layout is based on the concept of the Garden of Eden, symbolizing purity.\n\n# The Alhambra and Islamic Decorative Arts\n\nThe Alhambra (65) was the last stronghold of the final Islamic dynasty before the Reconquista, the movement to remove Muslims from Spain. It served as both a fortress and a palace for the ruling family. The design utilizes skinny columns to create a sense of light. A fountain supported by lions serves as the centerpiece, with the lions acting as strong protecting guardians. Water is used throughout to evoke tranquility and represent the Garden of Eve. While public Islamic art generally avoids the depiction of humans and animals (as pretending to create life is considered haram, or Forbidden), such depictions were acceptable in the private home of the patron, Muhammad V. \n\nThe Pyxis of al-Mughira (57) is a luxury item made from ivory (elephant tuft), a material prized for being easy to carve. Dedicated to al-Mughira, the pyxis was used to hold perfumes or makeup. It features scenes of people engaged in activities typically reserved for the wealthy. Despite the depiction of humans and animals, the item was considered acceptable because it was for personal use rather than religious display. Similarly, a Folio from a Qur’an (187) represents the holy book as an illuminated manuscript intended to be read from right to left. Consistent with Islamic law, it contains no depictions of people. The creation of the text is rooted in the revelations recited by Muhammad and later written down during the Umayyad dynasty; it is typically read by an Islamic priest known as an imam (miam).\n\n# The Basin, Ardabil Carpet, and Persian Miniatures\n\nThe Basin (188) is a metal vessel originally used for hand washing. It was produced in the Mamluk (mumluk) empire and was later taken by the French, where the royal family used it for baptizing babies. The piece depicts the royal family and various animals, illustrating the battle and the reach of the empire. It features the fleur de lis, a flower symbol of the French royal family, which highlights how the piece changed over time after being colonized. The Ardabil carpet (191) is a luxury item measuring 20ft long with a high thread count. Made of wool from Europe and silk from China, it features radial symmetry. Created by the Safavids for a special mosque, it was used for prayer. In this tradition, men were responsible for weaving because women were not trusted in the Islamic context for this specific task.\n\nPersian miniatures such as Bahram Gur Fights the Karg (189) and The Court of Gayumars (190) served as instructional manuals or mythical stories to teach kings how to rule. Bahram Gur is depicted with a halo and European-style clothes amidst a Chinese-inspired landscape, showing the influence of the Silk Road. The Court of Gayumars, created 200 years after the story, depicts the mythical king at the top of a mountain. These manuscripts focus more on imagery than calligraphy and depict humans for personal use, designed to look like they are made of jewels.\n\n# Buddhism: From Bamiyan to Tibet\n\nThe Bamiyan Buddha (182) depicts Buddha, a former Hindu prince who witnessed suffering and sought the goal of reaching enlightenment, or nirvana. The site served as a place for meditation and pilgrimage along the Silk Road, connecting China and Asia to Greece and blending Indian religion with Hellenistic Greek style. The statue no longer exists because it was bombed by the Taliban, who viewed it as idolatry. Worshippers would circumambulate inside the niche (hole) where the statue stood. \n\nThe Jowo Rinpoche (184) is a highly significant symbol for Tibet, a province in China that seeks its own independence. During the Cultural Revolution, Ma Za Dong (Mao Zedong) suppressed religious and cultural elements that challenged the government. The statue was believed to have been made during Buddha's lifetime and blessed by him. It depicts the Buddha in the padmasana (leg position), representing the moment he reached enlightenment. This statue is central to Tibet's religious identity and its desire for independence from China and its government.\n\n# Stupas, Caves, and the Path to Enlightenment\n\nThe Great Stupa at Sanchi (192) is a dome structure used for meditation and reaching enlightenment. King Ashoka built the stupa to spread Buddhism across India, and it contains a relic of the Buddha. Worshippers enter the gate and circumambulate the structure, passing by statues of Buddha. In the stupa's symbolism, 1 represents Buddha, 2 represents the path to enlightenment, 3 represents the universal axis mound (center of the universe), and 4 serves as the burial mound. This helps practitioners understand the Four Noble Truths and the cycle of rebirth known as samsora.\n\nThe Longmen Caves (195) were commissioned by the emperor Wu Zetan to spread Buddhism. Connected to China via the Silk Road, the site features sculptures of Buddha and Bodhisattvas (Budhissatus), who are beings that have delayed their own nirvana to help others. The caves utilize the Gandharan art style from Afghanistan. Similarly, Borobudur (198) in Java, Indonesia, is built on a hill to symbolize the spiritual journey. The base represents the state before thinking about enlightenment, the body represents the process of reaching it, and the superstructure signifies the attainment of enlightenment.\n\n# Hinduism: Angkor Wat and the Lakshmana Temple\n\nThe Temple of Angkor Wat (199) in Cambodia (the Khmer kingdom) reflects a transition between Hinduism and Buddhism. It was originally built to honor the Hindu gods Brahma (the creator), Vishnu (the preserver), and Shiva (the destroyer). A central relief depicts the churning of the ocean of milk, where gods (devas) and devils (dsurna) stirred a container to create the universe. Jayaurman VII later made the kingdom Buddhist, leading to sculptures of him and Buddha. The temple is considered the mythical home of the gods and an axis mundi. The Lakshmana Temple (200) is a pilgrimage site for Vishnu where the center, or womb, represents rebirth and regeneration. The exterior features sculptures of people having sex, and the figures are depicted in triple contrapposto, bending 3 times.\n\nShiva as Lord of Dance (202) is a bronze sculpture from the Chola dynasty in India, created using the lost wax method. It depicts Shiva destroying the universe to facilitate reincarnation and enlightenment. Shiva is surrounded by a ring of fire created by a drum (damaru) representing creation and time. The flame of destruction (agni) is also present. Highlighting a cross-cultural dynamic, Jahangir Preferring a Sufi Shaikh to Kings (208) depicts the Muslim leader of the Mughal Empire favoring a religious priest (Sufi shaikh) over temporal powers like King Jones I of England and the Ottoman Sultan. The hourglass signifies that Jahangir is a moral man focused on spirituality rather than his bloodline.\n\n# East Asian Artistic Traditions\n\nThe David Vases (204) were created using coiling and a pottery wheel. They feature the famous blue and white Chinese porcelain made with cobalt from Iran, referred to in China as "Hui hui Qing" or Muslim blue. This connection was made possible by the Mongol empire and the Silk Road. In Japan, Todaiji (197) features the largest Buddha statue housed in a wooden pagoda roof. The temple is protected by Nio guardian statues at the gate and was reconstructed by Emperor Minamoto to demonstrate power, utilizing styles inspired by the Chinese Song dynasty. Ryoan-ji (207) is a Zen Buddhist rock garden where shapes made in the sand symbolize water, and rocks represent mountains. This microcosm of nature is intended for meditative looking to reach sudden enlightenment.\n\nIn China, the Terracotta Warriors (193) were created for Qin Shi Huangdi, the first emperor of the Qin dynasty who united China at the age of 13. The warehouse of soldiers was discovered by farmers in 1974. The warriors were individually sculpted with distinct faces to protect the emperor in the afterlife. The Funeral Banner of Lady Dai (194) is a silk banner with 3 registers: the top represents heaven, the middle shows Lady Dai with attendants, and the bottom depicts her funeral. Travelers among Mountains and Streams (201) is a Daoist landscape painting that emphasizes the power of nature (the sublime) over humans. It includes the artist's signature (stamp) and a colophon (writing describing the image).\n\n# Imperial Structure and Modern Propaganda\n\nThe Forbidden City (206) served as the royal residence for Chinese emperors during the Ming and Qing dynasties. It was built by Zhu Di after he overthrew his father Zhu Yuanzbig. The layout is divided into an outer court for lower status members and an inner court for the emperor and his family, including the Palace of Tranquility. The Hall of Supreme Harmony was used for hosting guests. The architecture utilizes the pagoda style, inspired by Buddhist stupas. In Korea, the Gold and Jade Crown (196) from the Silla kingdom shows a connection to Shamanism, with tree and deer antler motifs acting as an axis mundi.\n\nThe Portrait of Sin Sukju (205) depicts a meritorious official from the Joseon dynasty who maintained favor during King Sejo's coup. The portrait follows Korean norms of being full-length and slightly turned, showing one ear. His wrinkles signify wisdom, though the focus on the face shows a departure from norms influenced by Jesuit missionaries. Finally, Chairman Mao en route to Anyuan (212) is a work of political propaganda created during the Cultural Revolution to re-establish Mao Zedong's (Ma Za Dong) power after the Chinese famine. It depicts him at the Anyuan miner's strike, using an idealized, youthful appearance to help the socialist transition and purge capitalist elements.\n\n# Narrative and Nature in Japanese Art\n\nNight Attack on the Sanjô Palace (203) is a narrative scroll telling the story of the Heiji Rebellion, a military coup in which samurai soldiers overthrew Emperor Go-shirabawa. The composition moves from single figures to crowded scenes, memorializing the start of the shogunate (military government). White and Red Plum Blossoms (210) reflects the Rinpa school style, using white blossoms to represent death/dying and red blossoms for life. This folding screen art focuses on the ephemerality of nature. The Great Wave (211) is a woodblock print by Hokusai from a series featuring Mt. Fuji. It shows influence from European art and represents the commodification of art as it was sold to tourists. This work popularized landscape art in Japan and later inspired American pop art. This series follows the topics explored in ID quiz 6.2.