Religious Symbolism in Islamic Art

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Religious Symbolism in Islamic Art
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‫‪OUSSOUR Al Jadida –Vol.7 No27‬‬ ‫‪Summer-Autumn (October) 1438-1439/2017‬‬
‫‪ISSN 2170- 1636 EISSN 2600-6324 Depot Légal 1156-2014‬‬
‫____________________________________________________‬
‫‪Religious Symbolism in Islamic Art‬‬
‫‪~~~~~~~~~ Dr. Ibrahim M. O. Abu A’mar1‬‬
‫‪The Institute of Archaeology- Alquds University- Palestine. Email:[email protected]‬‬
‫ــــــــــــــــــــــــــــــــــــــــــ‬
‫اﻟﺮﻣﺰﻳﺔ اﻟﺪﻳﻨﻴﺔ ﻓﻲ اﻟﻔﻦ اﻻﺳﻼﻣﻲ‬
‫اﻟﻤﻠﺨﺺ‪ :‬ﻳﺘﻨﺎول ﻫﺬا اﻟﺒﺤﺚ اﻟﺮﻣﺰﻳﺔ اﻟﺪﻳﻨﻴﺔ ﰲ اﻟﻔﻦ اﻹﺳﻼﻣﻲ اﻧﻄﻼﻗﺄ ﻣﻦ اﻟﻘﺮآن واﻟﺴﻨﺔ‪،‬‬
‫إﺿﺎﻓﺔ اﱃ اﻇﻬﺎر اﻟﻔﻜﺮ اﻟﺼﻮﰲ‪ ،‬وﺗﺄﺛﲑة ﰲ ﻫﺬا اﻟﻔﻦ‪ ،‬وذﻟﻚ ﻹﺑﺮاز اﻷﺛﺮ اﻟﺪﻳﲏ ﻓﻴﻪ‪ ،‬وﻟﻘﺪ ﰎ‬
‫اﺧﺘﻴﺎر ﺟﺰء ﻳﺴﲑ ﻣﻦ اﳌﻮاﻗﻊ اﻹﺳﻼﻣﻴﺔ اﻟﱵ ﲤﺜﻞ ﻗﻤﺔ اﻟﺮﻣﺰﻳﺔ اﻟﺪﻳﻨﻴﺔ‪ ،‬وﺗﺘﻤﺜﻞ ﰲ ﻗﺼﻮر اﳊﻤﺮاء‬
‫ﰲ ﻏﺮﻧﺎﻃﺔ‪ ،‬واﻟﱵ ﺗﻌﺞ ﺑﺎﻟﺮﻣﻮز اﻟﺪﻳﻨﻴﺔ اﻟﱵ ﻇﻬﺮت ﻣﻦ ﺧﻼل اﻟﻌﻨﺎﺻﺮ اﻟﺰﺧﺮﻓﻴﺔ اﻟﱵ ﺗﻐﻄﻲ‬
‫اﳉﺪران واﳊﺪاﺋﻖ اﳌﻮﺟﻮدة ﻓﻴﻬﺎ‪ .‬ﻓﻨﺸﺎﻫﺪ أﻣﺜﻠﺔ ﻋﺪﻳﺪة ﻣﻨﻬﺎ ﺑﺎب اﻟﻨﺒﻴﺬ وﺑﺎب اﻟﺸﺮﻳﻌﺔ وﺟﻨﺔ‬
‫اﻟﻌﺮﻳﻒ‪...‬اﱁ‪.‬‬
‫ﻟﻘﺪ ﲣﻴﻞ اﳌﺴﻠﻤﻮن ﻣﺎ ﰲ اﳉﻨﺔ ﻣﻦ ﻣﻈﺎﻫﺮ‪ ،‬وﻋﻜﺴﻮا ﻫﺬﻩ اﻟﺘﺼﻮرات ﻋﻠﻰ واﻗﻌﻬﻢ اﻟﻌﻤﺮاﱐ‬
‫وزﺧﺎرﻓﻬﻢ اﻟﱵ ﲤﺜﻠﺖ ﰲ ﳐﻴﻠﺘﻬﻢ‪.‬‬
‫وﻫﻨﺎك اﻟﻜﺜﲑ ﻣﻦ اﻟﺸﻮاﻫﺪ اﻟﱵ ﳍﺎ ﻣﺪﻟﻮل دﻳﲏ ﰲ اﻟﺰﺧﺎرف اﻟﻔﺴﻴﻔﺴﺎﺋﻴﺔ اﻟﱵ ﺗﻈﻬﺮ ﰲ اﻟﻌﺪﻳﺪ‬
‫ﻣﻦ اﻷﺑﻨﻴﺔ اﻟﺪﻳﻨﻴﺔ ﻛﺎﳉﺎﻣﻊ اﻷﻣﻮي ﰲ دﻣﺸﻖ ﺣﻴﺚ ﺗﻈﻬﺮ رﺳﻮﻣﺎت ﻟﻨﻬﺮ ﺑﺮدى واﻟﻌﺪﻳﺪ ﻣﻦ‬
‫اﻷﺷﺠﺎر ﰒ اﳌﻌﻤﺎر اﻟﺬي ﻋﻜﺲ ﳐﻴﻠﺔ اﳌﺼﻤﻤﲔ ﲟﺎ ﻗﺪ ﻳﻮﺟﺪ ﰲ اﳉﻨﺔ‪.‬‬
‫ﻛﻤﺎ ﺗﻄﺮﻗﻨﺎ اﱃ ﻗﺒﺔ اﻟﺼﺨﺮة اﻟﱵ ﲤﺜﻞ أﺣﺪ أﻫﻢ اﻟﻌﻨﺎﺻﺮ اﻟﻔﻨﻴﺔ اﻟﱵ ﻇﻬﺮت ﻓﻴﻬﺎ اﻟﺮﻣﺰﻳﺔ اﻟﺪﻳﻨﻴﺔ‬
‫واﻟﱵ ﲤﺜﻠﺖ ﰲ اﻟﺰﺧﺎرف اﻟﻔﻨﻴﺔ اﻟﱵ ﺗﺰﻳﻦ ﺟﺪرا‪‬ﺎ اﻟﺪاﺧﻠﻴﺔ اﻟﱵ ﻧﻔﺬت ﺑﺎﻟﻔﺴﻴﻔﺴﺎء‬
‫واﻟﺮﺧﺎم‪...‬اﱁ‪ .‬ﺣﻴﺚ ﻧﺸﺎﻫﺪ اﻟﺮﻣﻮز اﻟﺪﻳﻨﻴﺔ ﻣﻦ ﺧﻼل أﺷﺠﺎر اﳉﻨﺔ اﻟﱵ ذﻛﺮت ﰲ اﻟﻘﺮآن ﻣﺜﻞ‬
‫اﻟﻨﺨﻴﻞ‪ ،‬واﻟﻌﻨﺐ واﻟﺮﻣﺎن واﻟﺘﲔ‪ ،‬إﺿﺎﻓﺔ اﱃ اﻷﺣﺠﺎر اﻟﻜﺮﳝﺔ ذات اﻷﻟﻮان اﳌﺨﺘﻠﻔﺔ‪ ،‬وﳝﻜﻦ أن‬
‫ﺗﻜﻮن اﻟﺰﺧﺎرف اﳌﻮﺟﻮدة ﰲ ﻗﺒﺔ اﻟﺼﺨﺮة ﻣﺴﺘﻮﺣﺎﻩ ﻣﻦ رﺣﻠﺔ اﻟﺮﺳﻮل اﱃ اﻟﺴﻤﻮات اﻟﻌﻠﻰ‪،‬‬
‫وﻣﺸﺎﻫﺪة اﳉﻨﺔ وﻣﺎ ﻓﻴﻬﺎ ﻣﻦ أ‪‬ﺎر وﺣﺪاﺋﻖ وأﺣﺠﺎر ﻛﺮﳝﺔ‪.‬‬
‫وﻣﻦ ﺧﻼل اﻹﲢﺎد ﺑﲔ اﻹﳝﺎن وﲡﺮﺑﺔ اﻟﻔﻨﺎن اﻟﺸﺨﺼﻴﺔ ﻓﻘﺪ ﰎ ﺧﻠﻖ أﻋﻤﺎل ﳐﺘﻠﻔﺔ ذات ﻣﻐﺰى‬
‫رﻣﺰي دﻳﲏ ﰎ ﺗﻨﻔﻴﺬﻩ ﰲ اﻟﻔﻦ اﻹﺳﻼﻣﻲ‪.‬‬
‫‪1-‬‬
‫‪Date de réception: 20/06/2017 date de révision:02/10/2017 date d'acceptation:08/10/2017.‬‬
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OUSSOUR Al Jadida –Vol.7 No27 Summer-Autumn (October) 1438-1439/2017
ISSN 2170- 1636 EISSN 2600-6324 Depot Légal 1156-2014
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‫ اﻟﻌﻨﺎﺻﺮ‬،‫ اﻟﻌﻤﺎرة‬،‫ اﳉﻨﺔ‬،‫ اﻟﺮﻣﺰﻳﺔ اﻟﺪﻳﻨﻴﺔ ﻟﻠﻔﻦ‬،‫ اﻟﻔﻦ اﻻﺳﻼﻣﻲ‬،‫ اﻟﻘﺮآن‬:‫اﻟﻜﻠﻤﺎت اﳌﻔﺘﺎﺣﻴﺔ‬
.‫ اﻻﻟﻮان‬،‫ اﻟﻔﺴﺒﻔﺴﺎء‬،‫ اﺷﺠﺎر اﳉﻨﺔ‬،‫اﻟﻔﻨﻴﺔ‬
Introduction: An understanding of the religious symbolism in Islamic
art requires a prior general knowledge of Sufis’ vision of Islam and how
they are represented. Sufis are usually Sunnites who simply specialize in
spirituality and the affairs of the hearts. Ibn a1-‘Arabi states that
according to the Quran, the origins of Sufism are attributable to a small
group of disciples of the Prophet, who were originally poor, (some would
argue that they deliberately renounced all worldly luxuries and embraced
poverty), as a means to achieving a more intense contemplation of
heaven than that sought by common believers. Besides the prophet
himself, this group of disciples have throughout the ages provided
example and inspiration for many generations of Muslims, leading to the
establishment of what is known today as Sufism2.
Throughout the ages, Sufism has been reserved in its attitude
towards the outside world. Its art is characterised by the use of religious
symbolism, making the ideas that the artist wishes to express not easily
interpreted without a prior understanding of the underlying philosophical
concepts involved. In an attempt to explain the mystical aspect of Sufism,
Cerda J. Ferre states: “The act of Sufi artistic creation consists of two
stages: the first is “apprehension”, in which the artist is receptive to
everything around him, and the second is “recovery”, in which the artist
reaches a mental state, in which observer and the subject being observed
merge into a single entity. This second stage of perception involves the
elimination of the distance between man and his surroundings, thus
suppressing the perception of objects as external forms and altering the
perception of space. The individual is neither inside nor outside, but
rather between space, and thus immersed into reality. Only after this
mental state has been achieved can the artist commence his work of art”3.
A Sufi is a profoundly religious person whose role is to indicate
the path of Allah. He feels the need to interpret everything that happens
around him. In Sufi art, the use of symbolism and signs is prominent,
which even when perceived, are not readily comprehensible to the
ordinary person. An understanding of Sufi thinking is required before one
can begin to decipher the message that the artist wishes to convey. Samîr
2
- Bin ‘Arabi. ( 1979): Les soufis d’Andalousie. Traduc. Austian, R. W. J. Paris, p. 47.
3
- Cerde 1 Ferre, J, (1986): Teoria i Practica de la Trama: Tragats, Harmonics i
Reguladors de l’Alhambra de Granada. Universidad de Barcelona, p.123.
289
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al-Sâyigh explains that the aesthetics of Sufi art originate from the
religion itself, in a relationship that encompasses philosophy, logic,
mystical Sufism and religious faith4.
The idea that it is the underlying philosophy of the religion that
provides the generating force behind Sufi art can also, with minor
differences, be applied to Sunnism. In a religious context, Sunnism is
more of a mainstream movement than Sufism, but shares the belief that
God reveals His word through the Quran. Although there are differences
in the day to day application of the faith, both share a specific common
objective.
In our analysis of the influence that either interpretation of Islam
has had on its art, we have chosen the Alhambra of Granada as a
representative example of Sufi art, and the Dome of the Rock and the
Umayyad Mosque as examples of Sunni art.
The Alhambra abounds with religious symbolism. In fact, the
entire complex may even be considered as a religious symbol in itself.
Basilio Pavon Maldonado wrote: “the Alhambra, above all, appears
before us as an immense triumphal carriage running on the wheels of
power along the path of Islamic victory, leaving by the wayside infidels
and Christian enemies, who on reflection did not inspire as much fear as
the ancient inscriptions may have led the Muslims to believe”5.
Various parts of the Alhambra are considered as representative of
the victory of Islam and Islamic symbolism, such as the Wine Gate, the
Gate of Justice, the Generalife and the Court of the Myrtles etc..
However, to gain a deeper understanding of this art form attention should
be focussed on the works of art that appear in the Generalife.
The Generalife is a majestically beautiful palace, situated on a hill
overlooking the rest of the Alhambra complex. Perched upon the highest
point of the hill, it is considered as one of the most beautiful of all
Muslim constructions. Nasri architects successfully combined
architecture, nature including water in a unique ensemble with great
mastery. Torres Balbas praised its simple, minimalist and intimate style.
"Nothing in architecture or natural environments created by the hand of
man compares with its magnificence or monumentality”. In French and
Italian gardens, water is used as a mere decorative element, but in the
gardens of the Generalife water arises from a multitude of small
4
- AL-Sayigh, Samir. (1984): Al-Fann al-Islami Qiraá Taámmuliyya fi Falsafati-hil-
Jamaliyya. Beirut, p. 55.
5
- Pavon Maldonado, Basilio. (1985): “Arte, Símbolo Emplemas de la España
Musulmana” Al-Qantara, VI , pp 397-450, espec. 409.
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fountains, extending out in every direction and mingling with the
surrounding vegetation and architecture6.
This description brings to mind three combined components of
the celestial paradise mentioned in the Quran: water, trees, plants and
architecture. Water and vegetation are of course inseparable, but with the
aim of focussing on an area of the gardens that combined all three
elements, we turned our attention to the Patio de la Acequia, sometimes
considered a Garden of Eden. The Quran makes ample references to
plant life and water, including the following verse:
“of course there are, during the creation of sky and earth, in the rotation
of night and day, on the ship which sails in the sea and which people take
benefits from, in the water Allah sends from de sky to give a new life to a
dead land, in the way all kind of creatures disperse through that land, in
the change of winds’ directions and clouds stuck between earth and sky
too, signs for those people who can understand” (Qur’an, 2:164).
Torres Balbás also makes reference to the concept of gardens as
heavenly paradise: “The Quran describes the Islamic Heaven as a lush
garden, of dark greenness, refreshed by running water, with fruits,
pomegranate trees and palms, in which the blessed people, on roof-
gardens and green brocade cushions, rest in summerhouses...”7. El Patio
de la Acequia appears to possess all of the elements of the Islamic
conceptualization of celestial paradise, including the concept of “rivers”
running under chambers as described in Surat Az Zumar, Verse, 20: “but
the ones who fear their Lord will be in the high chambers built over other
high chambers, at whose feet flow streams. Allah promise! He doesn’t
break His promise”. Given the similarities between the Patio de la
Acequia and the descriptions of paradise in the Quran, it is plausible to
suggest that the main objective in the design of the garden was to create a
reflection of the celestial garden on earth (fig. 1).
From the epigraphic decoration within the Generalife palace, it is
clear that the Islamic artists of the time wished to express the fact that the
Patio de la Acequia was a recreation of a heavenly garden. The
inscriptions are a source of valuable information on the palace, the
gardens and the philosophy of the time; one of which makes reference to
the Sultan: “the majesty of the building is enhanced by his presence”. In
another inscription, Sultan Abül-Walīd is commended for the restoration
6
- Torres Balbás, Leopoldo. (1949): “Arte almohade. Arte nazarí. Arte mudejar” Ars
Hispaniae, IV, p. 90.
3-
Torres Balbás, Leopoldo. (1949): “Arte almohade. Arte nazari. Arte mudejar” Ars
Hispaniae, IV, p.136.
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of this building, and another describes the gardens “as beautiful as a
bride”. Lafuente Alcantara, known for his translations of these verses,
draws our attention to one of the inscriptions in particular: “I am to
perpetually walk between the light of the straight path and the shade of
faith”. He believes that there is a play of words between light and shade
and interprets the straight path as the path of virtue; a brightly
illuminated path that leads to righteousness, upon which there also exists
shade; interpreted to mean shelter 8 . In our opinion, this Verse is an
allusion to the garden of Heaven in which the number of trees is infinite.
Consequently, there is always shade in the presence of light at the same
time. The hypothesis of an association between the gardens of the
Generalife and the divine celestial garden of the Quran is further
strengthened by the fact that most of the plants and trees, such as myrtles,
roses, fruit trees and palms are common to both.
Parallels with the religious symbolism of gardens of the
Generalife can also be found in the Barada panel on the wall of the
Umayyad Mosque in Damascus, which depicts the river Barada passing
under a bridge, between palms and houses9. The depiction of a river is
thought to symbolize the presence of a celestial river as described in the
Quran, in the [Surat Muhmmad], verse 15: “images from the promised
garden for those who fear Allah: there will be in the incorruptible water
of the streams...” Another quote from the same Surat alaya 12 says:
“Allah will introduce people who believed and did good in the gardens
under which streams pass”. (Fig. 2, 3).
Both the gardens of the Generalife and the Barada panel are
earthly representations of the celestial garden of paradise, originating
from the same source of inspiration: the Quran. However, the art work of
the Sufi representation is expressed through the physical creation of a
garden with plants, trees, streams and buildings, while the Sunni
representation of the same ideal appears in graphic form.
The Dome of the Rock in Jerusalem, where the Prophet
Muhammad is said to have ascended to Heaven, represents a point of
union between heaven and earth. Throughout the ages, humanity has
intuitively created shapes that are capable of conveying symbolic
meaning. The hemispherical shape of the dome is symbolic of the
universe, while its original quadrangular supporting structure symbolises
the point of union between heaven and earth. The dome is the point
8
Lafuente, Alcantara, Emilio. (1859): Inscripciones árabes de Granada. Madrid , p. 191.
9
Cresswell, KAC. (1989): A short account of early Muslim architecture, Britain, p. 59.
292
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through which the spirit may connect with the other eternal world, while
its interior reflects various dimensions and aspects of life. This religious
belief constituted the conceptual basis for construction of the building,
with the aim of reflecting heaven in the form of a dome and earth as a
square supporting structure.10
On the horizontal plane the circular 360º shape of The Dome of
the Rock reflects the number of days in a lunar year. From an Islamic
point of view, this symbol represents the starting point for a journey from
its centre. A dome is the most appropriate example of Creation11; it has a
centre, a circle and a sphere that as a whole are representative of the
concept of soul surrounded by different kinds of life. It’s an expression of
Heaven12.
The Octagonal structure itself, which is unique in the history of Islamic
architecture might have been inspired by the Qur’amic reference to the
Thrown on the Day of Judgment, which is carried by eight angels
(Qur’an, ).
Ayalon goes further by saying that the Dome of the Rock
symbolizes life, death, the day of reward and the day of resurrection13. It
is central to the belief in the Prophet’s journey to heaven, in which he is
said to have flown from Mecca to Jerusalem, from where he ascended to
the seven heavens and reached the “The final Tree”. This journey is
described in the Quran, in the [Surat an-Najm] Verses 8 to 14,“... and he
comes closer and he humbled himself. And he wasn’t further than two
arches or even closer. And inspired his servant what he inspired. The
heart didn’t lie about what it saw. Could you deny what he saw? He has
already seen that in another revelation, at the Lote Tree of the Utmost
Boundry”.
What was believed to have been seen by the Prophet in Heaven
provided the symbolic basis for its subsequent recreation in Islamic art.
The significance of symbols, such as palm trees, grapes, pomegranates,
precious stones, etc., could be discussed at length, but for the purposes of
this work, we’ll provide a brief analysis of their religious meaning.
10
- Wālī, Tāriq. (1993): Nahŷ al-Wāhid fīímārit al-masāŷid. Albahren, p. 306.
11
- Ardalan, Nader and Bakhtlar, Laleh: (2000): the sense of unity: The Sufi Tradition in
Persian Architecture. Chicago, p. 74.
12
- Critchlow, Keith. (1976): Islamic patterns: an analytical cosmological approach.
Themes and Hudson, London, p. 24.
13
- Rozen-Ayalon, Mariam. (1989): “The Early Islamic Monuments at al-Haram al-
Sarif: An Iconographic study”, Quedem, 28, pp. 55-72.
293
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Firstly the palm tree, believed to represent one of the trees of
Paradise, appears in numerous Verses of the Quran, such as the “Cow
verse" [Surat al-Baqara] Verse 266: “Would one of you like to have a
garden of palm trees and grapevines, underneath which rivers flow, in
which he has from every fruit?”.
The use of the palm tree in Islamic art is a clear reference to
heaven. Other references to palm trees in the Quran are always idyllic:
“...the fronds of the palms of heaven are made of red gold; its stumps are
beryllium green, its branches are tunics, its dates are like those described
in the poetry of the Song of Hayar...whiter than milk, sweeter than honey,
softer than butter and with no stones. The length of the cluster is around
twelve elbows from side to side and no sooner than a man has taken one,
God replaces it with another, returning the tree to its original state...”14.
(Fig. 4).
Another symbol that frequently appears together with the palm
tree is the pomegranate,: “In both there will be fruit, palm and
pomegranates”. The pomegranate is recurrently depicted in the Dome of
the Rock. (Qur’an, 55:68).
During his journey to heaven, the Prophet is also said to have
seen grapevines, as illustrated by the “Night Journey Surat” [Al-Isra’
Surat], verse 91.“Or you have a garden of date-palms and grapes, and
cause rivers to gush forth in their midst abundantly; In its earthly
representation, the fruit not only appears in the form of a bunch, but also
as a leaf, and is a frequently recurring motif throughout Dome of the
Rock. (Fig. 5, 6).
Finally, olive and fig trees complete the list of plant components
that are recurrently represented, often appearing together as mentioned in
the [Surat at-Tin], Surat 95, verse 1" By the fig, and the Olive".
The symbolic non-plant components of the dome are the precious
stones that appear in the pictorial representations of heaven throughout
the mosque. The entrance to each garden has a door with its own colour;
reds, whites, gold, silvers, greens, browns, blacks and purples, are all
thought to have their own specific significance. According to Puerta
Vilchez, the Hadith states: that the door to glory (Dar al-Jalal) is of white
pearl, the door to peace (Dar al-Salam) is decorated with purple
amethysts, the door to the garden of shelter (Jannat al-Ma’wa) is emerald
green, the door to the eternal garden [Jannat al-Khuld] is red and yellow,
14
- Ábd Al-Malik, Ibn Habīb. (1997): Kitāb wasf al-Firdaws, Edit. & Transl. Juan
Pedro Sala, Granada, p. 82.
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and the door to the garden of delights [Jannat an-Naìm] is a collage of
red, gold and silver bricks”15. Other quotations from the Quran indicate
that colours may represent more than one meaning. The [Surat al-Kahf:
18:31] indicates that green and yellow symbolize the suits and dresses
used in Heaven: “they will have the gardens of Àdn through which
rivers run; in those gardens they’ll adorn themselves with golden
bracelets and they will wear green satin-brocade suits, lying on couches.”
The colours of the dome itself are also symbolic; gold and silver
are used to cover inclined surfaces that reflect bright light onto its
visitors.16 Gold is the predominant colour, symbolic of the magic power
that separates man from his earthly reality, thus giving guidance along
the path to heaven. It considered as an additional message, inspiring
Muslims to contemplate their final objective.17
A final aspect concerning the design of the building is its four
doors. It is said that when the Prophet ascended to Heaven, he saw a
dome from which four rivers emanated. An account of this is given in a
Hadith: “on the night of His journey to Heaven, after visiting all 7
heavens, Muhammad saw four rivers and asked Gabriel about them (...)
and I was here close to a tree when I noticed a white pearl dome (...) and
saw that the four rivers emanated from under the dome.”18 The symbolic
significance of the four doors is therefore clear and its reflection on earth
is likened to the “rivers of believers” who make pilgrimages to the
mosque and continue to pray until the day of resurrection.
Shemuel Tamari remarked that the design of the Dome of the
Rock with its doors, perpendicularly oriented to the four cardinal points,
may be symbolic of other concepts: “the Dome of the Rock is a kind of
axis from which numerous symbolic ideas are represented. The point
where the projected axes from the four doors meet is where Angel Israfil
- peace be upon Him - will blow the trumpet on the day of resurrection".
This in turn leads to other symbolic connections, such as the wings of
this angel and the four corners of Earth.19
15- Puerta Vilchez, José Miguel. (1990): Los códigos de utopia de la Alhambra de
Granada, Granada, p. 155
16 - Qasim, Ahmad. (2009): Al-’anasir al-m’mria wal-fania li Qubbat al-aisajra.
Amman, p. 255.
17- Al-Alfi, Abu Salih. (1984): Al-fan al-islami, Uṣolah, Falsafatihi, Madaresaho. Dar
Al- Ma'arif, Cairo, p. 106.
18- Abu Hasan, al-Aŝ´ arī. (1987): Kitāb Šaŷarat al-yaqin. Editor and Translator. De
Castillo Castillo, Concepción, Madrid, p. 90.
19
- Tamari, Semul. (1996): Icontextual studies in Muslim ideology of Umayyad
Architecture and Urbanism, Jerusalem, pp. 5-6.
295
____________________________________________________
While the Tower of the Comares in Al-Hambra is also believed to
represent the Prophet’s Ascension to the seven heavens, the Dome of the
Rock goes further still by indicating what believers, who are admitted to
this celestial after world, may expect to find.
In conclusion, given the close relationship between the literary
expression of concepts and symbolism in the Quran and its visual
representation in Islamic art, it is clear that true Islamic art can only be
created by artists that have a full understanding of the faith and a specific
sensitivity towards life, creation and reality. The Islamic artist is one that
has the capacity to appreciate the beauty of creation and the ability to
interact with his surrounding world in accordance with the underlying
philosophy and ideals of his religion. The result of this union between
faith and the artist’s personal experience of the world around him is the
creation of the beautiful and inspiring works of art discussed in this
article. This inextricable connection between art and religion makes an
appreciation of Islamic art an obligation for all its followers.
Refrenases:
Abu Hasan, al-Aʻari. (1987): Kitâb shajarat al-yaqîn. Editor and
Translator. De Castillo Castillo, Concepción, Madrid.
Al-Sayig, Samîr. (1984): al-fann al-isalmi qira’a ta’ammuliyya fi
falsafati-hil-Jamaliyya. Beirut.
Al-Alfi, Abu Salih. (1984): Al-fan al-islami, Uṣolah, Falsafatihi,
Madaresaho. Dar Al- Ma'arif, Cairo.
‘Abd Al-Malik, Bin Habîb. (1997): Kitâb wasf al-Firdaws. Editor and
Translator. De Juan pedro Sala, Granad.
Ardalan, Nader and Hakhtiar, Laleh. (2000): the sense of unity: The Sufi
Tradition in Persian Architecture . Chicago.
Creswell, KAC. (1989): A short account of early Muslim architecture.
Britain.
Critchlow. Keith. (1976): Islamic patterns: an anaytica1 and
cosmological approach, Thames and Hudson. London.
Bin ‘Arabi. (1979) Les soufis d’Andalousie. Translator, Austian, R. W. J.
Paris.
Cerde Ferre, J, (1986): Teoria i practica de la trama. Tragats harmonics i
reguladors de l’Alhambra de Granada. Universidad de Barcelona, Spain.
Lafuente Alcantara, Emilio. (1859): Inscripciones árabes’ de Granada,
Madrid,.
Pavon Maldonado, Basilio. (1985): “Arte, símbolo emblemas en la
España musulmana’, AL-Qantara, VI, pp.397- 450.
296
____________________________________________________
Puerta Vilchez, Jose Miguel. (1990): Los códigos de utopía de la
Alhambra de Granada. Granada.
Qasim, Ahmad. (2009) Al-’anasir al-m’mria wal-fania li Qubbat al-
aisajra. Amman, No Date.
Rozen-Ayalon, Mariam. (1989): the Early Islamic Monuments at aI-Haram AI-Sarîf: An
Iconographic study”. Quedern, 28.
Torres Balbas, Leopoldo. (1949): “Arte almohade. Arte nazarí. Arte mudéjar”. Ars
Hispaniae, IV.
Tamari, Shemuel. (1996): Icontextual studies in Muslim ideology of Umayyad
architecture and urbanism. Jerusalem.
Wali, Tariq. (1993): Nahj al-Wahid fi ‘imârit Al-Masâjid. Al-Bahren.
Fig. 1: The Garden of the Court of the Generalife.
297
____________________________________________________
Fig. 2: Barada panel on the wall of the Umayyad Mosque in Damascus.
Fig. 3: The Palme tree in Damascus Mosque (Dome of treasury).
Fig. 4: The Palme tree in the mosaics of the Dome of the Rock from outside octagonal
arcade. Islamic Waqf Department - Jerusalem.
298
____________________________________________________
Fig. 5: The fruit of grapes, pomegranates and figs in the mosaics in the
Dome of the Rock, the inside of the arcade (Intrados). Islamic Waqf
Department- Jerusalem.
Fig. 6: The fruits of Grapes and Pomegranates in the mosaics of the

Dome of the Rock. Islamic Waqf Department- Jerusalem.
299
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Religious Symbolism in Islamic Art

Article · October 2017

Ibrahim mohammad Abuaemar

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Fig. 1: The Garden of the Court of the Generalife.

Fig. 2: Barada panel on the wall of the Umayyad Mosque in Damascus.

Fig. 3: The Palme tree in Damascus Mosque (Dome of treasury).

Fig. 6: The fruits of Grapes and Pomegranates in the mosaics of the

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