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Islamic and Mujédar stucco decoration followed the main types of ornamentation in Islamic art: geometric, arabesque or vegetal, and calligraphic motifs. [ 3 ] [ 2 ] Three-dimensional muqarnas was often also carved in stucco, [ 24 ] [ 7 ] most typically found as transitional elements on vaults, domes, capitals, friezes, and doorways.
Muqarnas (Arabic: مقرنص), also known in Iberian architecture as Mocárabe (from Arabic: مقربص, romanized: muqarbaṣ), is a form of three-dimensional decoration in Islamic architecture in which rows or tiers of niche-like elements are projected over others below. [1]
The stucco figures would have decorated similar royal palaces in the audience hall or the royal court. They were found decorating large palaces of the Seljuk sultans, or smaller royal courts of the local vassals or successors. [3] The stucco figures may be part of larger stucco geometric ornamentation which conceals the base wall behind it.
Islamic ornament is the use of decorative forms and patterns in Islamic art and Islamic architecture. Its elements can be broadly divided into the arabesque , using curving plant-based elements, geometric patterns with straight lines or regular curves, and calligraphy , consisting of religious texts with stylized appearance, used both ...
Various types of interlacing lozenge-like motifs are heavily featured on the surface of minarets starting in the Almohad period (12th–13th centuries) and are later found in other decoration such as carved stucco along walls in Marinid and Nasrid architecture, eventually becoming a standard feature in the western Islamic ornamental repertoire ...
Their architectural style was also distinguished by increasingly elaborate decoration, which began with pre-existing traditions like stucco and glass mosaics but eventually favoured carved stone and marble mosaic paneling. Among the most distinguished achievements of Mamluk architecture were their ornate minarets and the carved stone domes of ...
The patterns cut into the stucco surface at an angle. This is the first and purest example of the arabesque. [20] It may represent a deliberate attempt to make an abstract form of decoration that avoids depiction of living things, and this may explain its rapid adoption throughout the Muslim world. [22]
[7] [8] In Islamic culture, the patterns are believed to be the bridge to the spiritual realm, the instrument to purify the mind and the soul. [9] David Wade [b] states that "Much of the art of Islam, whether in architecture, ceramics, textiles or books, is the art of decoration – which is to say, of transformation."