Timeless yet changing architecture

Sparkling décor of vines and patterns on ceramic walls of a mosque, magnificent domes, and tall minarets for the muezzin to call for prayers are all too synonymous to what we consider as distinguishing features of Islamic art, or to be more precise — Muslim architecture.

Bowls, pots and pans of burnt clay; the magnificent decorations on the pages of medieval manuscripts, and the unique calligraphy itself, are considered hallmark of a unique form that many term as Islamic art. However, for quite some time art historians are attempting to re-define the terminology which many now consider to be a misnomer.

The very first mosques were simplistic and only served the basic purpose of holding congregational prayers, and as space for official work of the community leader, the Imam. Within a few centuries, Islam became a powerful force that spread beyond Arabia. As Arab Muslims gained affluence and reverts were introduced to a new set of beliefs, life in an Islamic world was changing forever. The confluence of cultures soon began to mirror in the lifestyle of a new society. Art of the Islamic world absorbed local traditions, and combined with the teachings of the religion, developed into new forms.

Did religion come into play?

In all possibility it did. Pottery was promoted in Islam, as the use of metal utensils, particularly of precious nature, was frowned upon. Thus, both the Islamic world and the Chinese developed exceptional prowess in ceramics, but there are distinguishable features that set works of Muslim artists apart. It is also known that Islam discourages imagery and that Islamic art has only depicted flora, geometric patterns, and a well-developed school of calligraphy over the centuries. While there is enough evidence to support this claim on what we see in public platforms — mosques, palaces and even mausoleums, art of more private nature did depict unambiguous forms of fauna.

The Taj Mahal in its grandiosity is an iconic form of art/architecture created by Muslims; the famed Blue Mosque of Istanbul may also serve a similar example. Yet, at the same time, the whole gamut of Mughal paintings that quite so often depicts human figures is also considered an example of art by predominantly Muslim artists.

One can still debate whether such portrayals can be termed “Islamic” and hence the debate on the use of the term, but there cannot be any doubt that these are very much a reflection of Muslim societies, whether done by Muslims or even non-Muslims.

Considering the case of mosque architecture in what is now Bangladesh, we see abundant use of terracotta and brickwork. The domes too are made from clay, and the minarets of the earliest architectures, completely absent.

The widespread use of clay as the basic form, as against stones and ceramic, is simply an innovation of this locality. Some of the earliest known religious and non-religious structures of Bengal are indeed all made from terracotta. As time moved on and as materials hitherto unavailable became available, architects of the time simply made use of the new raw materials. Slowly as Bengal lost it prominence, new rulers introduced new ideas and newer forms.

Another aspect that one must always keep in mind is the notion of time itself. None of the structures that we see today retain their original forms. Over centuries, they have undergone a number of renovations and a detailed study will only reveal that the earliest forms were even more simplistic from what we see now.

The remnants of the period showcase that what we perceive as Islamic art or architecture is neither monolithic nor repetitive. The pluralism of Islam was once clearly reflected in the day to day lives of the community, and as we know, lives and lifestyle give rise to craft, art and aesthetics.

Photo: LS Archive/Sazzad Ibne Sayed