Chapter 8 study guide

What does the illuminated tugras of Sultan Suleyman represent and what was its political and symbolic meaning?
The illuminated tugra is from a document from an institution in Jerusalem made by Sultana Hurren. It symbolizes the authority of the Sultant and his officials. The were put on seals, coins and buildings.

Style
To what degree is Islamic art non-representational?
They were for anioconic style, they weren't allowed to make images of important religious figures especially Muhammad

Discuss the design of the Dome of the Rock in terms of Byzantine architectural and artistic influences?
It is a central planned mosque, it trakes the octagon with in an octagon from Byzantine tradition. But the exterior is highly decorated inlike christian churchs, it has a Gold DOme on a drum with bright colored mosaics.

What are the distinctly Islamic features of the Dome of the Rock?
It has intricate design made by individualy cutting the peices, and a calligraphic frieze topped by symmetrical vine scrolls and trees

What aspects of carved stone frieze on the exterioe of the Umayad palace of Mshatta are characteristics of Islamic art?
It has a zigzag molding that splits into triangles each containing rosettes in high relief. It has scrolls with animals and birds, it uses the arabesque style common in Islamic art

What aspects of the carved stone frieze on the exterier of the Umayyad of Mshatta relate to Persian and Byzantine motifs?
It has the intricate design and has a rosette that was common in bothe Persian and Byzantine motifs

What characteristics of the desigh of the Great Mosque of Cordoba are unique in mosque architectur ans would become influential in the development of late Islamic architecture?
They ussed the alternating pale and red Vousoirs. It has a double teired design that incresed the hieght of the interior space, with horseshoe arches

What are the stylistic characteristics of Samarkand ware?
WHite pottery with tufic-style letter was influences by Chinese porcalin which is imitated here

What are the distinctive characteristics of the Perisan four-iwan Mosque?
large, rectangular, vaulted hals with monumental arched opening, symbolizes the gateways between the outside and inside, the spiritual and material world.

From what building type did the 4-iwan mosque evolve and what particular need did the form accommodate?
It started from the madrasas that were schools for advanced study

Discuss the style and design of the mosaic mihrab from the Madrasa Inami, Isfahan in of how they represent Islamic artistice traditions?
Made but cutting each peice individually. THe color scheme uses white, turquise and cobalt blue with accents of yellow ans green was common in this type, patterns of organic and geometric forms

What are the distinctive characteristics of the Ottoman cantral plan mosque design, as represented in the Selimye Cami at Edirne?
Domed, raised on a base, truely central planed, dominatd by the large domed uninteruppted space. It has 4 minerats, one on each corner.

What unusual feature is found on the 13th century pen box from Persia which is rarely in other examples of Islamic art?
It is signed by the author

Discuss the design of the Banner of Las Navas de Tolosa in terms of its characteristics Islamic artistic features?
eight-pointed star int center with text surrounding it and intricate arabesque designs

Discuss how geometric, botanical and calligraphic motif anr combined in the design of thw Koran frontispience from 14th century Mamluk Egypt? What other examples of Islamic reveal similar combinations?
resembles court carpets, combines foliage and styleized flowers. has a 16 pointer starburst with calligraphic exteriors like in the Banner of Las Navas de Tolosa

Chapter 14 image

14-12 Palace of Charlamagne
Much of the palace has been replaced or restored. The chapel is octagonal that rises into a clerestory above the gallery level. Surrounding the the central core is an ambulatory aisle forming an outer with sixteen sides. The gallery opens into the central space with arched oprening of corinthian columns. The vault over the Palace chapel rises from the octagonal form in eight curving masonry segments. The vault used to contain a mosaic of the 24 elders of the Apocalypse.

14-15 Page with Mark the Evangelist.
Book of Mark, Godescalc Evangelistary. 781-83. Ink and colors on vellum. 12 1/2 x 8 1/2. Copied by the Frankish scribe Godescals. It lavishly illustrated, including gold and silver letters on purpled-dyed vellum. Each Gospel section has an illustration of the evangelist. The scribes didn't use punctuation marks or word spaces. Depicted is Mark in the act of writing at a tilted lecturn to display his writings. He is near a lion with a halo that Mark is associated with. There is an essence of body beneath his robe and three demensional. It has a classical spiral vine motifs.

14-16 Page with Matthew the Evangelist
Book of Matthew, Ebbo gospel c.816-35. Ink, gold, and colors on vellum, 10 1/4 x 8 3/4. Written by Archbishop Ebbo apointed by Louis the Pious. Uses the medieval expressionism. The landscape almost runs off the page but is cut off by the Golden border. The painted is created to portray his inner beauty with twisted eyebrows. On the corner of the page there is a Angel who is his symbol. There are gold highlights in his hair desk and bench.

14-9 Cross, from the Church if Saint Guilia
bresia, Italy. Late 7th - early 9th century. Gilded silver, wood, jewels, camoes, and gold-glass medallion, 50 x 39". Huge jeweled cross with bight colors and pretty gems. In Byzantine form with eaqual arms widening at the ends with a circle in the middle. A wooden core gilded with silver, christ ins in a mandorla in relief with more than 200 jewls, glass and cameos. Supposedly it was given to the Church of Saint Guilia by the last Langobard king

14-18 Crucifixtion with angels Angels and Mourning Figures
outer cover, Lindau Gospels, c. 870-80 Gold, pearls, and gems, 13 3/4 x 10 3/8". Maybe made at one of the workshops of Chsrles the Bald. It is now the covers of the Lindau gospels. Made in gold Repousee surrounded by a jeweled frame. THe Angels are above the arms of the cross, there are also figures of the moon and the sun with hiden faces. Jesus has wide eyes and straight with outstretched arms.

14-19 Memorial stone, Labro Saint Hammers Gotland
Sweden 8th century. In a mushroom shape. The figure has horizontal registers surrounded by a ribbon interlace. The elaborate patterns have symbolic significance. On one of the registers they have a ritual hanging of a victim to Odin in front of which is a burial mound called the hall of Odin. The symbol of Odin an eagle and a triple knott

Chapter 14 Vocabulary

Chapter 14 Vocabulary
33. Charlamagne: "Charles the Great" King of the Franks, then proclaimed himself King of the Langobardian people after killing his father in law. First Christian Emperor
34. Carolingian: Empire started by Charlamagne in the mid 8th century. Made the Carolingian dynasty in 768. They were the Franks who settled in Gual. Under the reign of the Charlamagne the empire was in France, Italy, Germany, Belgium, and Holland.
35. Pope Leo III: (795-816) crowned Charlamagne emporer after Constantine
36. Renovatio Romani imperii: " The revival of the Roman Empire" on Charlamagne's official seal
37. Westwork: A narthex where the church entry faced west (ex: Palace chapel of Charlamagne)
38. Cloister: arcaded courtyards linking the church and the building for the monastic community (ex: Abbey Church of Saint Riquier, Monastery of Centula)
39. Chancel: sanctuary (ex: Church of Saint Riquier)
40. Aachen: Capitol of the Carolingian empire.
41. Benidict of Nursia (St. Benedict): (c. 480-547) wrote Abbot Gozbertof the Benedictine Abbey of Saint Gali near Lake Constance