User:Falldel24/Stucco decoration in Islamic architecture

Technique

Throughout the Islamic world, stucco was smoothed and the decorative designs were marked out with a pointed instrument. The carving was then done with iron tools while the material was still slightly wet. Evidence of this technique has been found in unfinished stucco decoration at Khirbat al-Mafjar (8th century) near Jericho and in the interior of the Kutubiyya Mosque's minaret in Marrakesh (12th century). Alternatively, the stucco could be cast from molds. In Iran, gypsum mixtures were initially stirred continuously until they lost their ability to set rapidly, and then this mixture was applied in several coats, taking up to 48 hours before setting. Sometimes, stucco would be used in molds to create more intricate designs. These molds were typically made out of wood then the architects would apply multiple layers of the stucco to the walls and stamp on the molds to cast the design on the wall. Sometimes, the architects would go in after the stucco has had time to dry and carve into the stucco to add even more detail to the walls. After this, the stucco on the walls would usually be painted over or whitewashed just to make it have a cleaner finish. Stucco could also be used to create inscriptions in architecture and not just designs. The architects often inscribed the stucco with religious quotes and ideas.

Origins and Early Development

It was only in the 9th century that a distinctively "Islamic" style of stucco decoration emerged. Under the Abbasids, based in Iraq, stucco decoration developed more abstract motifs, as seen in the 9th-century palaces of Samarra. Three styles are distinguished by modern scholars: "style A" consists of vegetal motifs, including vine leaves, derived from more traditional Byzantine and Levantine styles; "style B" is a more abstract and stylized version of these motifs; and "style C", also known as the "beveled" style, is entirely abstract, consisting of repeating symmetrical forms of curved lines ending in spirals. The Abbasid style became popular throughout the lands of the Abbasid Caliphate and is found as far as Afghanistan (e.g. Mosque of Haji Piyada in Balkh) and Egypt (e.g. Ibn Tulun Mosque).The Abbasid Dynasty also heavily influenced Islamic Architecture specifically in developing more intricate designs with Stucco. Samarra, Iraq was the capital of the Abbasid Dynasty and this is where they first started creating new designs of stucco decoration. In the 9th century, the Abbasid Dynasty started creating different patterns with the stucco including a new swirling pattern which was became a design that was used in carving wood and stone.

Egypt

Fine stucco carving was still employed in Egypt during the Fatimid period (10th to 12th centuries). The earlier Samarra styles evolved to incorporate more naturalistic forms. In carved Arabic inscriptions, for example, flowers and leaves were added to embellish the letters. One of the finest examples from this period is the mihrab of the al-Juyushi Mosque. In the Mosque, there were panels of stucco with inscriptions, carvings, and stampings. The stamps were either created out of leaves and other natural materials or they were made with carved wood then pressed onto the wet stucco to stamp on the designs.

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This intricate process of using stucco in architectural design reflects the meticulous craftsmanship and artistic flair of the builders. Beyond its functional purpose, stucco becomes a medium for creativity and expression in architecture. The utilization of molds, often crafted from wood, showcases a deliberate effort to introduce elaborate patterns and details to the walls. The layering of stucco, combined with the method of stamping on the molds, brings forth a textured and visually captivating surface.

Moreover, the additional step of carving into the dried stucco by architects adds another layer of artistry, enhancing the overall aesthetics of the walls. This practice not only demonstrates technical skill but also allows for a personalized touch, where architects can infuse unique designs and intricacies into the stucco surfaces.

The final touch of painting over or whitewashing the stucco serves not only a practical purpose in providing a cleaner finish but also contributes to the overall visual harmony. It showcases the consideration given to the presentation of these architectural elements, ensuring they complement the surrounding environment and contribute to the desired aesthetic appeal. This blending of craftsmanship, creativity, and finishing touches reflects the thoughtfulness embedded in the architectural processes involving stucco.

References

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Grbanovic, Ana Marija. “Islamic Stuccos Made Digital. Digitality and Studies of Islamic Art and Architecture.” Startseite, University of Bayreuth, 27 June 2018, www.zfdg.de/sb003_004.

Kana’an, Ruba. “Architectural Decoration in Islam: History and Techniques.” SpringerLink, Springer Netherlands, 1 Jan. 2000, link.springer.com/referenceworkentry/10.1007/978-1-4020-4425-0_8634.

Leal, Dr. Beatrice. “Arts of the Abbasid Caliphate.” Smarthistory, Smarthistory - the Center for Public Art History, 19 Dec. 2021, smarthistory.org/arts-abbasid-caliphate/.

Mahtab Mobini, & Tayebe Shakarami. (2021). Continuity of Sassanid Motifs in Stucco Decorations of Seymareh Mosque. نگره, 16(60), 77–95. https://doi.org/10.22070/negareh.2020.5119.2396

Mathews, A.-C. D. (2006). Mamluk Elements in the Damascene Decorative System of the Eighteenth and Nineteenth Centuries. Artibus Asiae, 66(2), 69–96. https://doi.org/10.2307/25261856

Sarem, Wafaa. “Stucco Decoration in Arab-Islamic Architecture (Its Beginnings - Evolution - Formations).” Tishreen University Journal- Arts and Humanities Sciences Series, journal.tishreen.edu.sy/index.php/humlitr/article/view/10837. Accessed 1 Nov. 2023.