The Abbasid Mosaic Tradition and the Great Mosque of Damascus
Glass wall mosaic is a major feature of early Islamic architecture, surviving above all in the Umayyad monuments of the Dome of the Rock and the Great Mosque of Damascus. These grand mosaics inspired periodic revivals from the eleventh century onwards. The centuries between the Umayyad commissions a...
| Published in: | Muqarnas |
|---|---|
| Main Author: | |
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Brill
[2020]
|
| In: |
Muqarnas
Year: 2020, Volume: 37, Issue: 1, Pages: 29-62 |
| Further subjects: | B
early Islamic art
B glass tiles B Bayt al-Mal B Medina B Mecca B Damascus B Samarra B early Islamic architecture B Abbasid B Umayyad B Mosaic B glass tesserae |
| Online Access: |
Volltext (Verlag) Volltext (doi) |
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| 520 | |a Glass wall mosaic is a major feature of early Islamic architecture, surviving above all in the Umayyad monuments of the Dome of the Rock and the Great Mosque of Damascus. These grand mosaics inspired periodic revivals from the eleventh century onwards. The centuries between the Umayyad commissions and the first of the documented revivals, however, have been seen as a period of decline for the craft; the Abbasid dynasty that defeated the Umayyads in 750 has not traditionally been associated with the medium. This article reexamines the question, looking at textual and material evidence for Abbasid mosaic production. It argues that, in fact, there was a continuous mosaic tradition well into the ninth century, under the patronage of both caliphs and lower-ranking officials. The first part of the article considers written evidence for mosaics in Mecca and Medina. The second part looks in detail at a surviving example that, it will be argued, dates to the Abbasid period, on the Bayt al-Mal (Treasury) of the Great Mosque of Damascus. The concluding section discusses factors behind the general decline in mosaic production in the tenth century and the possibility of pockets of continuity. | ||
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