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The Damascus mosque is rectangular, 157.5 by 100 metres (517 by 328 ft), with a covered area 136 by 37 metres (446 by 121 ft) and a courtyard 122.5 by 50 metres (402 by 164 ft) surrounded by a portico. [6] The prayer hall has three aisles parallel to the qibla wall, a common arrangement in Umayyad mosques in Syria. [6]
Potters often chose patterns suited to the shape of the vessel they were making. [27] Thus an unglazed earthenware water flask [ e ] from Aleppo in the shape of a vertical circle (with handles and neck above) is decorated with a ring of moulded braiding around an Arabic inscription with a small 8-petalled flower at the centre.
In China, draw looms with a large number of heddles were developed to weave damasks with complicated patterns. [6] The Chinese may have produced damasks as early as the Tang dynasty (618–907). [7] Damasks became scarce after the 9th century outside Islamic Spain, but were revived in some places in the 13th century.
There are two modes to arabesque art. The first mode recalls the principles that govern the order of the world. These principles include the bare basics of what makes objects structurally sound and, by extension, beautiful (i.e. the angle and the fixed/static shapes that it creates—esp. the truss). In the first mode, each repeating geometric ...
It is rectangular in shape, 175 by 169 metres (574 by 554 ft), with four gates. Three are in half-round towers that protrude from the wall, and one in a rectangular recess in the wall. Inside there is a vaulted entrance hall, a central court, an iwan (hall) open to the court opposite the entrance hall, and residential units. [ 28 ]
Caravaggio biographer Helen Langdon describes the style of Conversion as "an odd blend of Raphael and clumsy rustic realism," but notes how the composition, with its jagged shapes and irrational light which picks out details for their dramatic impact, creates "a sense of crisis and dislocation [in which] Christ disrupts the mundane world."
The Mughals were also fine metallurgists they introduced Damascus steel and refined the locally produced Wootz steel, the Mughals also introduced the "bidri" technique of metalwork in which silver motifs are pressed against a black background. Famous Mughal metallurgists like Ali Kashmiri and Muhammed Salih Thatawi created the seamless ...
Damascus was given to Janbirdi al-Ghazali, a Mamluk who had submitted to Selim I. When Selim I died in 1520, al-Ghazali revolted and took the citadel. He marched upon Aleppo to expand his realm, but had to retreat and was eventually defeated and killed in the vicinity of Damascus in 1521. Damascus again changed hands, to the Ottomans. [36]