Misplaced Pages

#859140

61-419: Turkish motif of a hands-on-hips female figure Elibelinde (Turkish for "hands on hips") is a Turkish motif of a hands-on-hips female figure. It is widely used on kilims (flat tapestry-woven carpets) and occurs in many variations. The arms of the figure are represented by two inward-facing hooks, while the body of the woman is represented by a triangle or diamond. The head

122-409: A geometrical framework with a few axes of symmetry. The individual cells consist of a limited set of simple prismatic elements which are combined according to precise rules. Cells are organized in multiple levels overlapping and projecting over those below like corbels , thus creating a three-dimensional composition. Although following strict rules and using only a limited set of individual forms,

183-604: A hidden supporting framework or upper vault above, either glued or suspended by ropes. The earliest monuments to make use of this feature date from the 11th century and are found in Iraq, North Africa, Iran, Central Asia, and Upper Egypt . This apparently near-simultaneous appearance in distant regions of the Islamic world has led to different scholarly theories about their origin and diffusion. Some early scholars of Islamic art, such as K. A. C. Creswell and Georges Marçais , believed that

244-456: A new level of standardization and always employed the same repertoire of eight possible shapes, regardless of the complexity of the overall composition. Whereas muqarnas in other regions is typically organized in horizontal layers projecting over each other, those in the west are organized in vertical layers. Wood and stucco were also the preferred mediums of muqarnas construction. Muqarnas eventually reached its highest level of sophistication in

305-513: A pyramidal or triangular shape, more akin to a corbelled vault than a half-dome. This kind of muqarnas vault also appears in some Cairene Mamluk portals, particularly in the shape of the pyramidal muqarnas vault of the Madrasa of Umm al-Sultan Sha'ban , possibly due to Anatolian influence. During the 14th century, Mamluk influence is in turn apparent in the design of muqarnas portals in Anatolia. Under

366-440: A triangular package containing a sacred verse). Such an amulet woven into a rug is not a picture of the thing itself: it actually is an amulet, believed to confer protection by its presence. Other motifs symbolise fertility, as with the trousseau chest motif (Turkish: Sandıklı ), or the explicit fertility (Turkish: Bereket , [beɾeket] ) motif. The motif for running water (Turkish: Su Yolu ) similarly depicts

427-748: A tripartite squinch . The earliest surviving examples preserved in situ are tripartite squinches used as transitional elements for domes and semi-domes. These examples include the Arab-Ata Mausoleum (977–978) in Tim (near Samarkand ) in Uzbekistan , the Gunbad-i Qabus (1006–1007) in northeastern Iran, and the Duvazdah Imam Mausoleum (1037–1038) in Yazd , Iran. The oldest muqarnas dome, completed in 1090,

488-535: A written account by al-Udhri , though the wording may be open to multiple interpretations. Muqarnas in the Maghreb and al-Andalus evolved a different style and execution from that of muqarnas in the regions to the east. In this western region, the technique was also traditionally denoted by the term muqarbaṣ in Arabic and it can also be denoted by the present Spanish term mocárabe . This style of muqarnas reached

549-520: Is a form of three-dimensional decoration in Islamic architecture in which rows or tiers of niche-like elements are projected over others below. It is an archetypal form of Islamic architecture, integral to the vernacular of Islamic buildings, and typically featured in domes and vaults, as well as iwans , entrance portals, or other niches. It is sometimes referred to as "honeycomb vaulting" or "stalactite vaulting". The muqarnas structure originated from

610-522: Is also featured in the Byzantine -built Church of Hagia Sophia in Trabzon (Trebizond), completed in the 13th century. Antony Eastmond, in analyzing this detail of the church and comparing it with other non-Muslim monuments of the period (including Armenian constructions), suggests that muqarnas could have been adopted into a wider repertoire of architectural motifs and ideas that was shared across Anatolia and

671-733: Is also seen in the Shrine of Shaykh 'Abd al-Samad in Natanz , Iran, which is dated to 1307 and demonstrates the sophistication muqarnas had reached in the Ilkhanid period . The oldest examples of entrance portals decorated with muqarnas vaulting in Iran also date to the Ilkhanid period. Under the Timurids , ruling from Central Asia in the late 14th and 15th centuries, some extraordinary muqarnas vaults were built. Muqarnas

SECTION 10

#1732875959860

732-423: Is derived from the Arabic term muqarbaṣ , which was also used to denote muqarnas in the western regions of the Islamic world. Its origin may be Koinē Greek : κρηπίѕ , romanized:  krēpís , lit.   'base, plinth'. It may also be related to the Arabic word mukrab meaning "solid, firm, bound". Muqarnas consists of a series of niche-like elements or cells which are combined in

793-624: Is found in the Imam Dur Mausoleum , at Samarra . (This shrine was reported destroyed by ISIS in October 2014. ) Some scholars have theorized that muqarnas originated in northeastern Iran, based on the evidence from Nishapur and Tim, and that it was further developed in subsequent Great Seljuk architecture , as seen in the Seljuk domes of the Great Mosque of Isfahan (1088). Other scholars believe

854-501: Is somewhat vague. Its earliest use in Arabic dates to the 12th century. It is thought to have originated from the Greek word korōnis , meaning " cornice " or "ornamental molding". There is also speculation of the origin to stem from the Arabic word qarnasi meaning "intricate work". Nişanyan claims that it is related to the Aramaic קרנסא, meaning "hammering". The Spanish term mocárabe

915-413: Is typically applied to the undersides of domes , pendentives , cornices, squinches , arches and vaults and is often seen in the mihrab of a mosque. It can also be applied across a flat surface as a decorative band or frieze. Its main function is ornamental and it is typically used to obscure or fill the structural transitions within a building. One of its main uses is to bridge the transition between

976-2127: Is typically represented by a diamond. The Elibelinde is a symbol of fertility and motherhood. It is one of many kilim motifs commonly woven into Turkish flatweave rugs. [REDACTED] [REDACTED] [REDACTED] [REDACTED] References [ edit ] ^ "Hands on Hips - Elibelinde" . Retrieved 24 February 2014 . ^ "elibelinde" . Art and Architecture Thesaurus . The J. Paul Getty Trust . Retrieved 24 February 2014 . ^ Erbek, Güran (1998). Kilim Catalogue No. 1 . May Selçuk A. S. Edition=1st. ^ Peter Davies (2000). Antique Kilims of Anatolia . W.W. Norton. p. 55. ISBN   978-0-393-73047-0 . v t e Islamic art Architecture Regional styles Abbasid Ayyubid Anatolian Seljuk Chinese Fatimid Great Seljuk Hausa Indo-Islamic Bengali Bahmani and Deccan Mughal Indonesian / Malaysian Iranian Mamluk Moorish Ottoman Sudano-Sahelian Swahili Tatar Timurid Umayyad Yemeni Elements Ablaq Banna'i Iwan Jali Mashrabiya Mihrab Minaret Mocárabe Muqarnas Sitara Stucco decoration See also Decoration [REDACTED] Arts Regional styles Bangladeshi Persian ( Early , Qajar , Safavid ) Turkish ( Ottoman ) Carpets Gul Kilim Motifs Persian Turkish Prayer Pottery Fritware Hispano-Moresque Iznik Lustreware Mina'i ware Persian Chinese influence Textiles Batik Damask Ikat Embroidery Soumak Suzani Woodwork Khatam Minbar Other media Music Brass Damascus steel Enamelled glass Glass Hardstone carving Ivory carving Mosque lamp Stained glass Shabaka Arts of

1037-414: The gavit s (narthexes) of the churches, which were the locus of much innovation and experimentation in medieval Armenian architecture. These borrowings of Islamic architectural motifs may have been due to either Ilkhanid or Seljuk influences in the region, although the wide geographic spread of muqarnas usage in this period makes it difficult to pinpoint any specific influence with certainty. Muqarnas

1098-712: The Alhambra of Granada , built by the Nasrids . The most impressive domes are found in the Palace of the Lions , built in the 14th century. The dome over the chamber known today as the Sala de Dos Hermanas ('Hall of the Two Sisters') is one of the most magnificent muqarnas domes in Islamic art, consisting of at least 5000 cells that unfold from a central summit downward into sixteen miniature domes around

1159-567: The Jazira region of eastern Syria, with a diverse variety of applications in domes, vaults, mihrabs, and niches. These domes date from a period of great architectural activity between the mid-12th century and the Mongol invasion in the mid-13th century. They follow the same model as the dome of the Imam Dur Mausoleum and have a pine cone-like appearance from the outside, as exemplified by the dome of

1220-801: The Mausoleum of Zumurrud Khatun , completed before 1202 in the late Abbasid period. This type of dome was also popular in Zengid Syria around the same time, as in the example of the Bimaristan of Nur al-Din in Damascus (1154), which also features a shallow muqarnas vault hood over its entrance portal. In northern Mesopotamia, muqarnas domes were often made of stucco inside a conical or pyramidal brick roof, as seen in Mausoleum of Imam Awn Al-Din in Mosul (built in 1245, destroyed by ISIL in 2014 ). A closely related type

1281-697: The Mosque-Madrasa of Sultan Hasan in Cairo. Among the other examples, several unusual portals have muqarnas covering the underside of a flat vault, most notably at the Mosque of Amir Ulmas (1330). Muqarnas became less prominent in Mamluk portals during the 15th century. In Anatolia , the monuments of the Anatolian Seljuks and other local dynasties made use of muqarnas inside mihrabs (sometimes covered in tilework), on

SECTION 20

#1732875959860

1342-711: The Ottoman Baroque period . In the western Islamic world, muqarnas decoration was definitively introduced during the reign of the Almoravid emir Ali ibn Yusuf . The earliest examples, although limited to small details of larger domes, are found in the Almoravid Qubba in Marrakesh , Morocco, built probably in 1117 or 1125, and in the stucco openwork dome in front of the mihrab of the Great Mosque of Tlemcen , Algeria, dated to 1136. The earliest complete muqarnas vaults in

1403-520: The Ottomans , the tradition of Seljuk muqarnas continued into Ottoman architecture , although it diminished in importance during the Classical period in the 16th century, when it was only one element in a wider decorative repertoire. It was mainly used in entrance portals, niches, and column capitals. It eventually faded from use in the 18th century, when European-influenced decoration began to predominate in

1464-603: The Persian galīm ( گلیم ) where it means 'to spread roughly', perhaps of Akkadian or Aramean origin. Like pile carpets, kilim have been produced since ancient times. The explorer Mark Aurel Stein found kilims dating to at least the fourth or fifth century CE in Hotan , China: Kilims are produced by tightly interweaving the warp and weft strands of the weave to produce a flat surface with no pile. Kilim weaves are tapestry weaves, technically weft-faced plain weaves, that is,

1525-461: The atomist and occasionalist view of the universe endorsed by Muslim philosophers , particularly the version formulated by al-Baqillani (d. 1013) and endorsed by the Abbasid caliph al-Qadir (r. 991–1031), roughly around the time that muqarnas began to appear. By subdividing the continuous surface of a dome into a large number of small units organized in a complex pattern, while also de-emphasizing

1586-417: The capitals of columns, in the transitional zones of minaret balconies, and over masonry entrance portals. It was used less in the pendentives and squinches of domes, where other techniques came to be employed instead. The muqarnas-vaulted entrance portal was strongly associated with Seljuk royal patronage in the 13th century and spread more widely across Anatolia as the century progressed. It typically had

1647-450: The geometry of the weave . Weaving strategies for avoiding slit formation, such as interlocking, produce a more blurred design image. The weft strands, which carry the visible design and color, are almost always wool, whereas the hidden warp strands can be either wool or cotton. The warp strands are only visible at the ends, where they emerge as the fringe. This fringe is usually tied in bunches, to ensure against loosening or unraveling of

1708-497: The minaret of Badr al-Jamali's mashhad in Cairo, dated by inscription to 1085, and a cornice in Cairo's north wall (1085). The first fully realized, sophisticated use of muqarnas is found on the street façade of the Aqmar Mosque (1125) in Cairo. The advanced technical mastery of constructing muqarnas suggests that the technique and its associated architectural elements were imported from elsewhere. Jonathan Bloom speculates that

1769-444: The squinch . Its purpose is to create a smooth, decorative zone of transition in an otherwise bare, structural space. This structure gives the ability to distinguish between the main parts of a building and serves as a transition from the walls of a square or rectangular room to a round dome or vault above it. Muqarnas could also form entire vaults and domes. From below, these compositions can create an elaborate visual effect based on

1830-460: The 12th century muqarnas had spread far and wide and from this point onward it would develop into different styles in different regions. A broad distinction in style and technique is sometimes made between muqarnas in the Maghreb and al-Andalus (the far western regions of the Islamic world) and muqarnas in the rest of the Islamic world. The largest examples of muqarnas domes can be found in Iraq and

1891-820: The 13th century also made use of muqarnas, spurred by the influence of contemporary Islamic architecture. Examples of this can be found in the Geghard Monastery , the Gandzasar Monastery , the church in Astvatsankal (all in present-day Armenia), and at the Church of the Apostles and the Church of St Gregory of the Illuminator in Ani (in present-day eastern Turkey). In many of these examples, muqarnas vaults are recurring features in

Elibelinde - Misplaced Pages Continue

1952-599: The 18th century, Iranian muqarnas began to be covered with mirror glass mosaics, with one of the earliest examples found at Chehel Sotoun in Isfahan, dating to its restoration in 1706–7. This style was used afterward to decorate the interiors of major Shi'a shrines in Iran and Iraq. Muqarnas was also a recurring embellishment of vaults and iwans in Mughal architecture in the Indian subcontinent . Experimentation with new styles of vaulting

2013-629: The Islamic empire. This allowed for a great exchange of ideas as well as a lucrative economy, capable of funding various architectural projects. At Qal'at Bani Hammad in central Algeria, a royal city founded in the early 11th century by the Hammadid dynasty , archeologists discovered fragments of plaster which have been identified by some as the earliest appearance of muqarnas in the western Islamic world, but their dating and their identification as true muqarnas have been rejected or disputed by some scholars, including Yasser Tabbaa and Jonathan Bloom. By

2074-1142: The Sultans Heaven on Earth: Art from Islamic Lands Hajj: Journey to the Heart of Islam Principles, influences Islamic Art: Mirror of the Invisible World Aniconism in Islam Indo-Saracenic Revival Islamic world contributions to Medieval Europe Influences on Western art Grotesque Moresque Mathematics and architecture Moorish Revival Mudéjar Oriental carpets in Renaissance painting Pseudo-Kufic Stilfragen Topkapı Scroll Retrieved from " https://en.wikipedia.org/w/index.php?title=Elibelinde&oldid=1162050904 " Category : Turkish rugs and carpets Hidden categories: Articles with short description Short description matches Wikidata Kilim The word 'kilim' originates from

2135-536: The base of a circular dome and a square chamber below it, effectively serving as an evolution of the more traditional squinch. The form and medium vary depending on the region they are found, as does the size of individual cells. In Syria , Egypt , and Turkey, muqarnas are usually constructed out of stone. In North Africa, they are typically constructed from plaster or wood. In Iran and Iraq, muqarnas are built with bricks which are sometimes covered in plaster or ceramic. Some plaster muqarnas compositions are attached to

2196-1108: The book Miniatures Arabic Mughal Ottoman Persian Calligraphy Arabic Diwani Indo-Muslim Kufic Muhaqqaq Naskh Nastaliq Persian Sini Taliq Thuluth Tughra Other arts Muraqqa Hilya Ottoman illumination Decoration Arabesque Geometric patterns Girih ( tiles ) Zellij See also Calligraphy The garden Charbagh Mughal Ottoman Paradise Persian Museums, collections Berlin Cairo Doha Ghazni Istanbul ( Arts , Calligraphy Art ) Jerusalem ( Islamic Museum , Museum for Islamic Art, Jerusalem ) Kuala Lumpur London ( British Museum , V&A , Khalili Collection ) Los Angeles Marrakech ( Museum , Majorelle Garden ) Melbourne Paris ( Arab World Institute , Louvre ) Singapore Toronto (Aga Khan) Tripoli Exhibitions Empire of

2257-564: The cells. Muqarnas in carved stone was characteristic of Ayyubid and Mamluk architecture from the 13th to early 16th centuries in Egypt and the Levant. The Mamluk sultan Baybars introduced to Egypt the Syrian tradition of entrance portals with a muqarnas hood. These subsequently developed into spectacular designs used in at the entrances of both religious monuments and private palaces, forming some of

2318-565: The dome's perimeter. Muqarnas was also employed in the constructions sponsored by non-Muslim patrons in the Iberian Peninsula, referred to as Mudéjar art . It continued to be used up to the 17th century in chapels, synagogues, and palaces. The Asunción chapel in the Abbey of Santa María la Real de Las Huelgas (near Burgos in northern Spain) features muqarnas and other Islamic-style decoration compatible with Almohad craftsmanship. Muqarnas

2379-499: The evidence points to a simultaneous parallel development in these different regions. Others propose that they originated in one region at least a century earlier and then spread from there. The earliest evidence of muqarnas-like elements, although only conjectural, comes from fragments of stucco found in Nishapur , Iran, dated to the 9th or 10th century. These fragments have concave triangular shapes and were reconstructed by excavators as

2440-439: The former squinches and making the dome appear unsupported, architects were representing a universe divided into atoms and held together by God. Tabbaa goes on to suggest that the symbolism of the muqarnas dome as a representation of the rotating dome of heaven, proposed by Grabar, could have been a secondary interpretation that developed in subsequent centuries. The muqarnas domes were often constructed above portals of entry for

2501-502: The horizontal weft strands are pulled tightly downward so that they hide the vertical warp strands. When the end of a color boundary is reached, the weft yarn is wound back from the boundary point. Thus, if the boundary of a field is a straight vertical line, a vertical slit forms between the two different color areas where they meet. For this reason, most kilims can be classed as "slit woven" textiles. The slits are beloved by collectors, as they produce very sharp-etched designs, emphasizing

Elibelinde - Misplaced Pages Continue

2562-402: The interplay of light and shadow across the surfaces sculpted into three-dimensional patterns. Muqarnas most likely first developed in eleventh-century Iraq , though the earliest preserved examples are also found outside this region. As the technique became widespread in the 12th century, regional styles and variations developed across the Islamic world. The etymology of the word muqarnas

2623-565: The market, rather than woven according to tradition and to suit the needs of the weaver's family and the weaver's own hopes and fears. Perhaps the best known and most highly regarded, these kilims are traditionally distinguished by the areas, villages or cities in which they are produced, such as Konya , Malatya , Karapınar and Hotamis. Most Anatolian kilims are slit woven. Larger antique kilims were woven in two to three separate sections on small nomadic horizontal floor looms in three feet wide long strips, then carefully sewn together matching

2684-400: The most accomplished stone muqarnas designs in the Islamic world. Muqarnas was also frequently used to cover the pendentives inside domed chambers. Muqarnas vaulting in Mamluk portals usually culminated in a scalloped or shell-shaped semi-dome at the top. Variations of this style became prevalent in the entrance portals of the 14th century, with the most monumental example being that of

2745-614: The most likely point of origin is instead Abbasid Iraq in the early 11th century, at a time when the Abbasids in Baghdad were undergoing a renaissance. Alicia Carrillo Calderero has proposed that the first muqarnas originated in the palaces of the Abbasid caliphs in Baghdad. In the case of Egypt, the earliest known and securely dated examples of muqarnas are from the Fatimid period and are found on

2806-619: The oldest surviving muqarnas fragments were found in a palace built by Muhammad Ibn Mardanish (r. 1147–1172), excavated under the present-day Monastery of Santa Clara in Murcia . The fragments are painted with images of musicians and other figures. It's possible that an even older instance of muqarnas existed in a palace inside the Alcazaba of Almería , dating to the reign of the Taifa ruler al-Mu'tasim (r. 1051–1091). The evidence for its existence comes from

2867-553: The outside influence could originate from Syria, but notes that there are few Syrian monuments still standing that can support this claim. A cemetery in Aswan, containing many domed tombs from the 11th and 12th centuries, is a crucial example for the advancement in the development of the stalactite pendentive. In the mid-11th century, prosperous pilgrimage routes along the Red Sea and flourishing trade routes began in Cairo and dispersed throughout

2928-479: The patterns edges to create an ultimately wider rug. These pieces are still produced in very limited quantities by nomadic tribes for their personal use and are commonly known as cicims . Muqarnas Muqarnas ( Arabic : مقرنص ; Persian : مقرنس , or Persian: آهوپای , romanized:  ahoopāy ), also known in Iberian architecture as Mocárabe (from Arabic: مقربص , romanized:  muqarbaṣ ),

2989-745: The resource literally. The desire to tie a family or lovers together may be depicted with a fetter motif (Turkish: Bukaǧı ). Several other motifs represent the desire for good luck and happiness, as for instance the bird (Turkish: Kuş ) and the star or Solomon's seal (Turkish: Yıldız ). The oriental symbol of yin and yang is used for love and unison (Turkish: Aşk ve Birleşim ). Because kilims are often cheaper than pile rugs, beginning carpet collectors often start with them. Despite what many perceive as their secondary (or inferior) status to pile carpets, kilims have become increasingly collectible in themselves in recent years, with quality pieces now commanding high prices. What some sensed as inferiority

3050-593: The surrounding region at this time. As with the origins of the muqarnas form, there are multiple theories about its possible symbolic meaning or function. Oleg Grabar , in his work on the Alhambra in Granada, suggested that the large muqarnas domes in the Palace of the Lions were representations of the rotating heavens. Yasser Tabbaa has argued that the muqarnas dome was originally intended as an architectural representation of

3111-467: The technique allows for the creation of highly complex and diverse compositions. The interplay of light and shadow across individual cells in a vast, geometric arrangement is what gives muqarnas its aesthetic visual effect. Western writers have often compared the resulting compositions to "stalactites" or "honeycombs" and these terms are often used in European languages to describe the technique. Muqarnas

SECTION 50

#1732875959860

3172-508: The weave. Many motifs are used in Turkish kilims, each with many variations. A few examples are illustrated here, with meanings as described by Güran Erbek in Kilim . A widely used motif is the elibelinde , a stylized female figure representing motherhood and fertility . Other motifs express the tribal weavers' desires for protection of their families' flocks from wolves with the wolf's mouth or

3233-509: The western Islamic world are located in the Qarawiyyin Mosque in Fez , dating to Ali ibn Yusuf's major expansion of the mosque between 1134 and 1143. These vaults are made of plaster and suspended from hidden wooden struts above them. They are richly decorated, with individual cells painted with vegetal motifs and highlighted in red and blue. Further north, in al-Andalus (present-day Spain),

3294-471: The wolf's foot motif (Turkish: Kurt Aǧzi , Kurt İzi ), or for safety from the sting of the scorpion (Turkish: Akrep ). Several motifs hope for the safety of the weaver's family from the evil eye (Turkish: Nazarlık , also used as a motif), which could be divided into four with a cross symbol (Turkish: Haç ), or averted with the symbol of a hook (Turkish: Çengel ), a human eye (Turkish: Göz ), or an amulet (Turkish: Muska ; often,

3355-450: Was a development in industrial chemistry. An important element in the attractiveness of traditional rugs is abrash , the dappled appearance resulting from variation in shade of each colour caused by hand-dyeing of the yarn. The synthetic ( aniline -derived) dyes introduced late in the Victorian era abolished abrash, giving brilliant colours which however often faded with time. A second factor

3416-490: Was actually a different nature of rugs woven for indigenous use as opposed to rugs woven on a strictly commercial basis. Because kilims were not a major export commodity, there were no foreign market pressures changing the designs, as happened with pile carpets. Once collectors began to value authentic village weaving, kilims became popular. Three factors then combined to reduce the quality of the West's newly discovered kilims. The first

3477-418: Was also used by Christian patrons outside the Muslim world, in regions influenced by Islamic art and culture. It is found in some monuments of Arab-Norman architecture in 12th-century Sicily. The most impressive example is in the Cappella Palatina (c. 1140) in Palermo , which has a central nave covered by the largest rectangular muqarnas vault in the world, made of painted wood. Armenian architecture in

3538-435: Was characteristic of the reign of Jahangir ( r.  1605–1627 ). Muqarnas with small lozenge-shaped cells were combined with a related type of geometrically-patterned (squinch net) vaulting, usually based on a star motif. The latter was probably derived from the influence of Safavid architecture. In Mughal decoration, muqarnas are often covered with arabesque decoration, crafted with molded plaster and fitted to each of

3599-479: Was composed, the Miftāḥ al-ḥisāb ('Key to Arithmetic'), written by Ghiyath al-Din al-Kashi in 1427. Muqarnas vaulting nonetheless became somewhat less popular in the region during this period. In Safavid Iran of the 16th to early 18th centuries, muqarnas was no longer used to cover the interiors of religious buildings but was still used to fill the vaults of iwans. Like other surfaces in Safavid architecture , they were typically covered in colourful tilework. In

3660-399: Was the loss of the nomadic way of life across Central Asia. Once people had settled, the tribal character of their weavings faded. A third factor was a direct consequence of the kilim's new-found marketability. As rugs began to be made for export and money rather than personal use, the local style and social significance of each type of carpet was lost. Patterns and colours were chosen to suit

3721-423: Was used on the exterior of large ribbed domes along the transition between the base of the dome and the cylindrical drum below. Timurid architecture also developed a new type of geometric ribbed vaulting, also known as "squinch net vaulting", where muqarnas was further employed to fill spaces between different segments of the vault. It is also in this period that the oldest surviving written work about muqarnas

SECTION 60

#1732875959860
#859140