5B & 6 ettinghausen_grabar_madina2001_5051& -59 Baghdad Samarra

5. Early Islamic Art and Architecture

5.1 Overview of Mshatta

• Mshatta: Eighth-century palace located near Amman, known for its carved stone triangles.

• Significance: Represents the rich decorative arts of the Umayyad period, reflecting cultural and stylistic influences from various regions.

• Decorative Features: Twenty carved stone triangles with varying designs; complexity makes systematic classification challenging.

5.2 Artistic Analysis of Mshatta

• Panel Variations: Panels left of the entrance feature animals, while those to the right are devoid of living beings; attributed to cultural or religious significance.

• Model Influences: Many designs drawn from Persian and Central Asian art, showcasing a blend of cultural influences.

• Imagery Divergence: A study proposed that the lack of living figures on the right façade might relate to architectural constraints, i.e., being the back wall of the mosque.

• Artistic Value: Early representations of humans and animals show lower aesthetic quality compared to contemporary mosaics from structures like the Dome of the Rock.

5.3 Characteristics of Umayyad Decorative Arts

• Sculptural Techniques: Notable for the lack of sophisticated painting and sculpture compared to mosaics; possibly due to differing skills among artisans.

• Geometric Frame Use: Patterns often designed within simple geometrical frameworks (squares, rectangles), leading to occasional formal awkwardness.

• Material Sources: Influenced by the gathering of various decorative motifs through trade and cultural exchanges across conquered territories.

• Themes and Motifs: Varied motifs primarily encompass geometric and vegetal designs, illustrating a dynamic interplay of styles from the Mediterranean and Central Asia.

5.4 Abbasid Cities and Architecture

• Founding of Baghdad: Established in 762 by al-Mansur as a central urban hub of the Islamic empire, known for its circular design aimed at cosmic significance.

• City Plan: Considered a monumental royal palace comprising houses, shops, and a mosque, indicating a blend of administrative and ceremonial functions.

• Architectural Features: Gates derived from ancient structures symbolize a reconnection with historic traditions; the layout was designed with cosmic ideologies in mind.

5.5 Evolution in Abbasid Architecture

• Ukhaydir Palace: Indicative of the architectural lineage from Umayyad to Abbasid styles, showcasing Sasanian building techniques such as vaulted designs and decorative wall surfaces.

• Samarra as New Capital: Founded by al-Mu'tasim in 836; its extensive layout reflects the grandeur and imperial ambition of the Abbasid caliphate, extending over 50 kilometers.

5.6 Artistic Developments in Samarra

• Sammarra Styles: Three distinct styles of stucco ornamentation developed, characterized by repetition, abstraction, and symmetry.

• Cultural Influence: Samarra's decoration represents a pivotal shift in Islamic art towards abstraction; the third style, particularly, emphasizes decorative rhythm while avoiding depictions of living beings.

• Figural Representation: Mural paintings reflect a blend of Hellenistic and Persian styles, with lively depictions transitioning to more static and patterned forms.

5.7 Reflection on Islamic Art's Evolution

• Cultural Synthesis: Islamic decorative arts reflect a synthesis of regional influences, demonstrating the Umayyads' role as a showcase for diverse artistic expressions across the empire.

• Symbolic Resonance: Artistic motifs frequently communicate deeper symbolic meanings, representing imperial power and cultural identity during the early phases of Islamic rule.