Draft: this lesson was written with AI help and has not yet been read by a human editor.
1 What your class asks
This lesson asks you to analyse the function and social impact of art works in past and present societies, and to assess the impact of political, cultural, spiritual and other factors on how they were made. The museum offers only examples from the medieval Islamic world; your class adds the examples of other societies. 1
Curriculum expectations, with their official codes
- B2.1 analyse, on the basis of research, the function and social impact of different kinds of art works in both past and present societies […]
- B2.2 assess the impact of socio-economic, political, cultural, and/or spiritual factors on the production of art works […]
2 The lesson
Who was this work made for, and why?
Ask who ordered it, where it stands, and what it reminded people of or expressed, whether power or memory.
What limits or widens what an artist makes?
Think of money, place, belief, and legal or social opinion. Which of these appear in the records, and which do not?
Go deeper
Read a patron's name on a building. The Encyclopaedia of Islam names Abd al-Malik as the builder of the Dome of the Rock 2. A long inscription in gold mosaic cubes dates the building to 72/691–2, and the article adds that al-Ma'mun replaced Abd al-Malik's name in the inscription with his own 3. The book on Bayt al-Maqdis relates that the cost was drawn from Egypt's kharaj for seven years 4. The record gives the patron, the later caliph who altered the name, and the province that paid.
Two views
Why was it built? The Encyclopaedia of Islam says the many explanations fall into three groups, and it sets each out without a verdict. The first is the traditional pious Muslim view, which takes the Rock as the place of the Prophet ﷺ's Night Journey and ascension; the article adds that nothing of this appears in the building's own long inscription 5. The second, from a passage in al-Ya'qubi, holds that Abd al-Malik sought a shrine to rival the Kaaba and the pilgrimage to Mecca; the al-Kuds article says this thesis cannot be maintained, since no major historian of the ninth century hints at such an intention 6. The third sees a monument proclaiming the new faith in the city of the two older religions; the Dome article's author says it seems to him to fit the sources best, while stating that the debate is not closed 5.
How do we know?
The inscription is dated, but the article says the literary sources are confused and contradictory 5. On images, the article points to the absence of figural representation as a sign of a conscious new Muslim taste in the decoration 3. The museum's record on tasweer, taken from the Kuwaiti encyclopaedia of jurisprudence, reports that images whose making is lawful may be ordered and hired for, while forbidden images may not be hired for, paid for, ordered or helped with, and that al-Mawardi alone allowed the maker a fair wage 7. Neither record says that these rulings changed what a patron commissioned.
Think about it
Give a reason from the records, and answer the objection that the Dome shows no figures: do these records show that law or belief shaped what Abd al-Malik had built, or only that patrons, builders and later rulers did?
Into the museum
- Dome of the Rock: the inscription, the patron and the three accounts of its purpose.
- Construction of the Dome of the Rock: the dates and the cost the book reports.
- Images and picturing (tasweer): what the jurists' encyclopaedia says about making, selling and ordering images.
- Abd al-Malik ibn Marwan: the caliph the record names as builder.
Try this
Read the record on tasweer. Write a short paragraph comparing what it says about plants and about three-dimensional images with what you know of art works in another society you study.
3 Carry it further
Where this lesson leads in the museum.
4 Check yourself
Nothing here is marked or sent anywhere. It is for you.
In your own words: what does Dome of the Rock have to do with this lesson?
Compare with the card
A building raised over a remembered place. Muhammad Qabbani writes that Abd al-Malik ibn Marwan ordered, in 72 AH, a mosque to be built over the Rock from which, he says, the Prophet was taken up on the night of the Isra and Mi'raj, and he counts it among the best-known mosques the Umayyads raised. The Thesaurus d'Epigraphie Islamique records for it a building inscription dated 72 AH. What can a building do for a place that people already remember?
In your own words: what does Tasweer (making and keeping images, and the view on living beings) have to do with this lesson?
Compare with the card
What do jurists say about making images?. The Kuwaiti Fiqh Encyclopedia defines tasweer as making an image. It says depicting plants and trees is lawful for the majority, and that jurists differ on images of humans and animals. One view holds it is not forbidden unless one makes an idol worshipped besides God. Another, that of the Malikis, some early scholars and Ibn Hamdan, forbids only images that are three-dimensional and complete in their limbs, and dislikes flat ones. The majority of the Hanafis, Shafi'is and Hanbalis, and many early scholars, forbid making flat images as they forbid three-dimensional ones, except the cut-off, the demeaned and some other things. How might views like these shape what an artist chooses to make?
I can now
Notes
- 1. Ontario Ministry of Education, The Ontario Curriculum: The Arts
- 2. Encyclopaedia of Islam, 2nd edition (Leiden: Brill, 1954–2008), 13 volumes, vol. 1 p. 96
- 3. Encyclopaedia of Islam, 2nd edition (Leiden: Brill, 1954–2008), 13 volumes, vol. 5.1 p. 336
- 4. Bayt al-Maqdis in Islam — a group of scholars and thinkers, p. 17, 43
- 5. Encyclopaedia of Islam, 2nd edition (Leiden: Brill, 1954–2008), 13 volumes, vol. 5.1 p. 337
- 6. Encyclopaedia of Islam, 2nd edition (Leiden: Brill, 1954–2008), 13 volumes, vol. 5.1 p. 363
- 7. al-Mawsu'a al-Fiqhiyya al-Kuwaitiyya, Noor-Book copy (file named v3), p.5292