What a work was for, and whose world it shows

A domed shrine, a glass mosaic and a written band on cloth, read for their materials, their use and the society that made them (B1.3, B2.1, B2.2).

Lesson 1 of 2 2 of 5 in the course

Course map

Draft: this lesson was written with AI help and has not yet been read by a human editor.

What your class asks

This lesson asks you to explore and interpret works from the past to describe their purpose, style, materials and meanings, to say what different works were for, and to show how they reflect the society that made them. The museum offers three Islamic works known through written descriptions and studies: a domed shrine, a glass mosaic and a written band on cloth. Judging colour, form and composition in the works themselves is for your class. 1

Curriculum expectations, with their official codes

  • B1.3 explore and interpret a variety of art works, both historical and contemporary, to identify and describe their purpose and style, the materials used, and the meanings the works convey […]
  • B2.1 identify and describe the function of various types of art works […] in past and present societies
  • B2.2 identify and describe ways in which various art works reflect the society in which they were created […]

Before you start

A thought to carry into the lesson.

The lesson

What was this work for?

For each record, write what the work was used for in one sentence, then underline the words of the record that support it. If the record does not say, write what you would need to find out.

What does the work tell you about the people who made it?

Look at where the materials and skills came from, who is named, and who is shown or left out. Compare one case with a work you know from your own community.

Go deeper

Read one band of writing on cloth. The TDV encyclopaedia says the band of tiraz usually ran around the collar, the sleeves, the front or the back of the garment, mostly in Kufic script 2. Its text was commonly the basmala, the declaration of God's oneness, the ruler's name and members of his family, and prayers for his long life and reign; it often named the place of manufacture and the official responsible for the workshop, and rarely the weaver 2. The same encyclopaedia says that Abd al-Malik ibn Marwan ordered the Greek tiraz on the cloth of Egypt replaced with the declaration of God's oneness 2, and that the state put tiraz on the garments of the caliph, the officials of the state and the soldiers 2. Ibn Khaldun adds that the garments were marked to honour the sultan who wore them, or the man the sultan honoured with a garment of his or appointed to an office of the state 3.

Often misunderstood

It is easy to think the written band began with Islam. The record says it did not: it was older than Islam among the Persians and the Byzantines, and the TDV encyclopaedia traces it back to the pharaohs of Egypt 2 3. What the sources ascribe to Abd al-Malik is a change in what the tiraz carried, and al-Baladhuri's own words are cautious: Abd al-Malik was "among the first" 4.

How do we know?

The Dome and the tiraz are both known through written descriptions. The Dome was described by al-Umari "as its building stood in the year 743", drawing on a short book by Taj al-Din Ahmad ibn Amin al-Mulk that set down measurements in cubits 5 6. The editor of al-Umari's book says he went to Palestine to compare these figures with the building 7. For tiraz the record leans on al-Baladhuri, Ibn Khaldun and the TDV encyclopaedia, and on surviving pieces such as a fragment at The Met from about 892–902 8.

Think about it

The record says that when al-Ma'mun rose against his brother al-Amin, he took al-Amin's name and title off the tiraz 2. Give a reason from the record, and answer the objection that it was only decoration: was a name on a garment a gift of honour or a sign of power?

Into the museum

Try this

Read Dome of the Rock, Gold-leaf glass tesserae and Tiraz. For each, write a sentence on purpose, one on materials, and one on the society that made it.

Carry it further

Where this lesson leads in the museum.

Check yourself

Nothing here is marked or sent anywhere. It is for you.

Which of these did you meet in this lesson?

Not in this lesson. Look again at the cards above.

Yes. That is the one from this lesson.

Not in this lesson. Look again at the cards above.

In your own words: what does Dome of the Rock have to do with this lesson?

Compare with the card

The Dome of the Rock in two descriptions. Al-Maqdisi described the Dome of the Rock around 375 AH as an octagonal building with four gilded doors, each facing a flight of steps. Inside, he says, three ambulatories circle on columns that he calls finer than marble, and above them is a dome sheathed in gilded brass a hundred cubits high. Later al-Umari recorded door leaves sheathed in chased yellow brass. Which materials does each writer notice first?

In your own words: what does Gold-leaf glass mosaic tesserae (Umayyad) have to do with this lesson?

Compare with the card

Glass and gold on the walls of Damascus. Gold-leaf tesserae are small glass cubes carrying a leaf of gold or silver, used to decorate the Great Umayyad Mosque of Damascus. Its walls were covered inside and out with glass mosaic, and Nadine Schibille estimates its mosaics needed about 170 tons of glass. Tenth-century Arab sources, Schibille notes, say the tesserae and workmen came from the Byzantine empire. Whose skills and materials went into this work?

I can now

Notes

  1. 1. Ontario Ministry of Education, The Ontario Curriculum: The Arts
  2. 2. TIRÂZ — TDV İslâm Ansiklopedisi (Nebi Bozkurt), pp. 112–114
  3. 3. Muqaddimat Ibn Khaldun, p. 256
  4. 4. Futuh al-Buldan — al-Baladhuri (Mu'assasat al-Ma'arif edition), pp. 335–336
  5. 5. Masalik al-absar fi mamalik al-amsar — al-Umari (1924 printing), p.177
  6. 6. Masalik al-absar fi mamalik al-amsar — al-Umari (1924 printing), p.178
  7. 7. Masalik al-absar fi mamalik al-amsar — al-Umari (1924 printing), p.10
  8. 8. Metropolitan Museum Open Access
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