Muqarnas Dome of the Alhambra Hall of the Abencerrajes - Catalogue Entry
The Muqarnas Dome of the Alhambra Hall of the Abencerrajes is a showpiece of Islamic art’s ornate vaulting style: muqarnas. The dome was built during the Nasrid dynasty in the 14th century, located within the Hall of Abencerrajes in the Alhambra palace complex in Granada, Spain.
The dome is made up of stucco cells and tiles taking the form of continuous concave niches stacked on top of one another. The three-dimensional design creates a pyramidal shape. Another description of its dome is that its tilework creates the illusion of a honeycomb structure floating in the air. The dome itself has two different layers. Its outer layer is a large dome with a diameter of roughly 12 meters. The inner layer is a smaller dome with a 7-meter diameter. The arrangement of the Muqarnas dome has one layer on top of another with the inner layer more complex in its inscriptions than the outside. The actual material of the niches of the Muqarnas dome is carved plaster. A well-recognized beauty of the dome is the star-shaped openings in its design that allow the passing-through of light, creating a hypnotizing effect dependent on how much sun is out in the day and night.
The dome contains inscriptions, calligraphy, and decorations that ingrain it with deep symbolic meaning. Yasser Tabbaa in “The Muqarnas Dome: its Origin and Meaning” refers to this as heavenly symbolism. There is a representation of the heavens and an emphasis on God’s oneness. [6]The calligraphy on the dome is quoting from the Quran expressing God’s unity and the importance of his commandments. An example of calligraphy on the dome is the Islamic declaration of faith: The Shahadah, “There is no God but Allah and Muhammad is his messenger.” This is simple, but arguably the most important principle of Islam. A geometric pattern on the dome present is the eight-pointed symbolizing Islam’s concept of the eight gates of heaven, with patterns of interlocking circles and squares. Not only that but the painting and coloring of the dome is a noteworthy feature. Blue and gold are colors associated with prestige as well as heaven and divinity–gold is all about radiance and blue is the sky. This combination reflects the dynasty’s control as well as the core religious beliefs of Islam. Using architecture and art as a medium, the dynasty was able to use extravagance in scale and size to showcase its power and the Islamic faith.
Other scholarly texts can help us religiously contextualize the dome’s construction. Yasser Tabbaa tells us in “The Transformation of Islamic Art During The Sunni Revival” about this significant desire to artistically express Islam’s prestige and the omnipotence of God. The Muqarnas dome uses scale and size in its grand, unique structures while adhering to the status quo of Islamic art’s principles to showcase power, prestige, and control. [1] D. Fairchild Ruggles in “Gardens, Landscape, and Vision in the Palaces of Islamic Spain” describes how Islamic rulers used ostentatious structures to showcase the wealth and power they had. The Alhambra Palace in essence was an exemplar of this effort. [5]
The Nasrid Dynasty, who commissioned the Palace and dome, was incredibly prosperous. The dynasty was well-recognized for its patronage of arts, literature, and sciences, and so the dynasty sought to display that through different mediums like art. In the time that Alhambra Palace was under Islamic control, its visitors and viewers were members of the elite, court members, and high-ranking officials. Additionally, the palace was a center of social and intellectual enterprise. It wouldn’t have been surprising to see scholars, musicians, and poets there. Considering this, a place with such exclusivity is needed just as exclusive architecture: the best for the best. The Nasrid Dynasty with its Alhambra Palace and just as much the muqarnas dome utilized scale and size as a means of extravagance to flex how highly advanced it academically, economically, and socially was. [4]
It is possible that the application of extravagance by scale and style used by the Nasrid Dynasty in their architecture was a tool for attracting outsiders to Islam. This wasn’t a revolutionary method as many other caliphates like the Umayyad caliphate used its grand architectural projects like its mosque in Damascus to attract outsiders to Islam while showcasing its power and prestige in the beauty and grandeur of its design. [3] Different rulers in Islamic history used art and architecture to express their Islamic identity and promote Islam to non-Muslims.
In further contextualizing the Muqarnas Dome and its use of scale and size as a means of extravagance, we must take a look at other pieces of Islamic architecture from similar periods.
The first one we’ll take a look at is the Great Mosque of Cordoba, built during the 8th century CE. The mosque itself is immense, with an expansive courtyard and numerous aisles–reflecting the power and wealth of the Umayyads. The mosque’s interior consists of horseshoe arches, intricate geometric patterns, and beautiful tilework that mirrors the ornate style of the Muqarnas Dome. [5]
Next, we’ll take a look at the Alhambra Court of the Lions, just like the Alhambra, built in the 14th century CE. The court has a gorgeous central fountain surrounded by 124 marble columns and arches decorated with muqarnas-style vaulting. Just like the Muqarnas dome, there is an intricate pattern and size that catches any viewer's eye. The court also utilizes architecture as a medium to showcase the extravagance of Nasrid's architecture and the power and control of their dynasty.
Another example is the Ardabil Carpet which was created in the 16h century CE. The carpet is over 10 meters long and 5 meters wide. Not only that but its design is sophisticated with vast floral and geometric patterns. The piece was created for a wealthy patron and it was used just like the Muqarnas to highlight power and prestige.
We can also look at The Selimiye Mosque in Edirne, Turkey. Built-in the 16th century CE, the mosque has an incredibly large dome and tile work showcasing the grandeur and ornate style of Ottoman art and architecture. These components make it a good comparative material for the Muqarnas dome.
The Shrine of Imam Reza in Mashhad Iran built in the 17th century CE is also another important Islamic site but for Shia Islam. The shrine has muqarnas vaulting and calligraphic components that highlight the importance of decorative arts in Islamic culture providing a good comparative material for the Muqarnas dome.
There are a lot more questions asked about the Muqarnas Dome. Has it influenced later Islamic architecture? The answer is in fact, yes! The dome’s construction represented a departure from traditional Islamic vaulting. The repeated, large stucco cells and tiles that create a three-dimensional honeycomb, raised the eyebrows of other artists and changed the traditional approach. For example, the Dome of the Rock in Jerusalem incorporated similar elements into its dome. The dome of the rock, as well as large stucco cells and tiles, create a three-dimensional honeycomb. The use of the muqarnas style on the walls, arches, and piers mirrors the muqarnas dome of the Alhambra. This example proves that the muqarnas dome of Alhambra not only served as a beautiful work in its own right but a catalyst for innovation and experimentation in Islamic architectural design. Not only does the piece showcase scale and size as a means of extravagance but it changed the status quo.
We should also consider how the Muqarnas Dome was reacted to in different cultural and historical contexts. The question arises: How did the rulers who later occupied the Alhambra react to the symbolisms of the Muqarnas dome? What did later travelers and artists think? The Spanish Christian rulers who later occupied Alhambra still found the work impressive and used it. It’s important to note that the work wasn’t destroyed, but respected. Interestingly, some of the Christian rulers even commissioned additional Islamic-style buildings in the Alhambra Palace. For example, the palace of Charles V represented Alhambra’s courtyard of the lions which represents the Muqarnas dome in its way while being an independent, unique work.
Examining the Muqarnas Dome's reception shows us how complex and rich Islamic art and architecture are. This exploration reinforces the group topic of scale and size as a means of showcasing extravagance. The dome constructed so uniquely with complexity has always elicited a feeling of awe and grandeur. By examining its reception we have been able to get a better understanding of how cultural forces have shaped Islamic architecture over time and how the Muqarnas dome contributed. [2]
To conclude, the Muqarnas Dome of the Alhambra Hall of the Abencerrajes masterfully displays Islamic art’s use of scale and size as a means of extravagance.
Tilework Of The Muqarnas Dome At The Hall of Abencerrajes (Close-Up)
Muqarnas Dome At The Hall Of Abencerrajes
Works Cited
[1]Barrucand, Marianne, and Achim Bednorz. Moorish Architecture in Andalusia. Cologne: Taschen, 2007.
[2]Bloom, Jonathan. "The Introduction of the Muqarnas into Egypt." Muqarnas, vol. 5, 1988, pp. 21-26. Brill, Leiden, Netherlands.
[3] Creswell, K.A.C. Islamic Art, and Architecture: A Comprehensive Bibliography. Boston: G.K. Hall, 1989.
[4]Irwin, Robert. The Alhambra. Cambridge, Massachusetts: Harvard University Press, 2004.
[5]Ruggles, D. Fairchild. Gardens, Landscape, and Vision in the Palaces of Islamic Spain. University Park, PA: Pennsylvania State University Press, 2000
[6]Tabbaa, Yasser. The Transformation of Islamic Art During the Sunni Revival. Seattle, WA: The University of Washington Press, 2001.