By Steven A Sahn
Islamic artwork isn't the paintings of a country 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, within which all illustration of guy and God used to be prohibited, constructed canons and numerous explanations of significant ornamental price. Thorough and artistic, those artists expressed their ideals via growing enormous masterpieces reminiscent of the Al-Aqsa mosque in Jerusalem, the Taj Mahal in Agra or the Alhambra in Granada, architectural works within which one recognises the stylisation of causes of the Muslim ceramics. vigorous and colored, Islamic artwork mirrors the richness of individuals whose universal denominator used to be the idea in a single singular fact: absolutely the necessity of constructing works whose good looks equaled their appreciate for God
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A style unique to the Maghreb thus emerged from the independent centres of North Africa. In 1018, the Great Mosque of Algiers had horseshoe-shaped arcades, which were already slightly ogival. With the palace of the grand vizier in Fez in mind, we could compare the modern arch, barely shrunken at the base, with antiquated arches, whose overhang is so distinctive. The Hassan Tower in Rabat (1199) The Hassan Tower in Rabat is simple. It was unfortunately denied its crown, which was supposed to be a series of blind arcades surmounted by a row of serrated melons on top of which arose a small dome-carrying lantern on a platform, a regular feature in Maghrebian minarets.
This magnificent residence could accommodate the caliph’s court and a guard of 12,000 horsemen. It had a fountain decorated with a golden swan in the caliph’s pavilion. He set up a statue of al-Zahra, his concubine, over the palace’s entrance. The political change resulting from the battle of Zalaca which brought Spain under the Almoravids – Berbers from the south of Morocco – marked the end of Middle-Eastern supremacy in the area. The policy of the new Berber monarchs involved identifying and Mulay Isma’il Mausoleum, 18th century.
50] It has a vast square courtyard, with a square pavilion in the middle. The four sides of the courtyard are decorated with huge, arched gates, linked to each other via porticos with two-tiered arcades. The tallest and most attractive of them, leading to the sanctuary itself, is flanked by two big minarets. The minarets, which may actually be likened to huge chimney stacks, are slightly conical, ending in a balcony supported by stalactite-like corbels, from where the muezzin calls the faithful to prayer.