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Islamic thought laid the foundation fortheir arts such as architecture,painting and arabesque. These beganto be referred to as Islamic, too. Thegrounding for this artistic thought,if it must be called Islamic, is theQuran. The earlier essays havealready seen the significance ofornamental motifs like the scalesof justice, the mosque lamp,mocárabe and others with respectto its passages. We also see a strongintegration with nature throughcreation of paradise gardens andthe use of fruits and trees,mentioned in the sacred text. Thesky, the earth, the heavens and thestars; the laws of nature; the principlesof unity, continuity, centrality andbalance, belief in purity andrighteousness: how can they all bemanifest in the architecture of Islam?

Whether religious or secular, theyare indeed integral to the conceptof Islamic architecture, where thedesigned environment must alwaysremind of the Creator’s trace.

Islamic civilisation developed through centuries

with strong links binding all its aspects. Its unity

was not only formal and visible, but also

fundamental - deeply rooted in religion, ideal

and history. The cohesive force that

remains behind any Islamic thought or its

development is the Quran. Quoting

translations from the holy book, Ar.

Jinisha Jain, in the finale of her series,

discusses the principles and

paradigms that explain the

spirituality and design in the Islamic

thought of architecture.

Photos courtesy: Ar. Jinisha Jain

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insite add-onsFoundations, Pillars and Dome:Earth and Sky

In the field of construction, it isrelevant that the Quran emphasisesthe role of earth as the provider offoundation and that of sky as thecanopy for protection. The sturdyelevated plinths of the diverse Islamicstructures built on strong foundationsthus symbolise this resting place, andthe domes - the canopy of the sky.

[Surah Ghafir, 40:64] It is Allah Whohas made for you the earth as a restingplace, and the sky as a canopy, andhas given you shape - and made yourshapes beautiful - and has providedfor you sustenance, of things pure andgood; - such is Allah your Lord. SoGlory to Allah, the Lord of the Worlds!

The Quran frequently uses examplesrelevant to construction andarchitecture in order to illustratepoints of deeper relevance todevotees of Allah. However, theirliteral application in artmetaphorically amounts again to pietyand pleasure in Allah.

[Surah At Taubah, 9:109] Which thenis best? - he that layouth hisfoundation on piety to Allah and Hisgood pleasure? - or he that layouthhis foundation on an underminedsand-cliff ready to crumble to pieces?and it doth crumble to pieces withhim, into the fire of Hell. And Allahguideth not people that do wrong.

The reason behind laying foundationsis to provide security.

[Surah Al Hijr, 15:82] Out of themountains did they hew (their)edifices, (feeling themselves) secure.

The architect thus complies withAllah’s injunctions to achieve strengthand stability of his buildings, and laysa stable and good foundation for the

same. No building is built without afoundation and pillars that could bearthe super-structure. The Quran setsan example of ancient Damascuswhose pillars were firmly laid down.

[Surah Al Fazr, 89:7-8] Of the (city of)Iram, with lofty pillars, the like of whichwere not produced in (all) the land?

Though, Allah raised the heavenswithout pillars. One of the reasonsthat the dome came to be usedextensively in Islamic architecturewas that it was a structural innovationthat did not need pillars and thusalluded better to the pillar-lessheaven of Allah.

[Surah Ar Rad, 13:2] Allah is He Whoraised the heavens without any pillarsthat you can see; is firmly establishedon the throne (of authority); He hassubjected the sun and the moon (tohis Law)! Each one runs (its course)for a term appointed. He doth regulateall affairs, explaining the signs in detailthat you may believe with certaintyin the meeting with your Lord.

Detailing and Beauty

Just as the Quran emphasises settingup architecture on science so thatit would be firm and strong, itemphasises art, thus supporting thebelief that architecture is both anart and a science. There is beauty inevery little detail of Allah. Thus, anemphasis on detailing in architecturecommunicates the importance of thegreater details of Allah, which cannotbe replicated and from which greaterpleasures can be drawn.

[Surah Al Araf, 7:32] Say: Who hathforbidden the beautiful (gifts) of Allah,which He hath produced for Hisservants, and the things, clean andpure, (which He hath provided) forsustenance? Say: They are, in the lifeof this world, for those who believe,

(and) purely for them on the Day ofJudgment. Thus do We explain the signsin detail for those who understand.

It also comprises taking care of waterand vegetation inside structures sothat delight would prevail in them.

[Surah An Naml, 27:60] Or, Who hascreated the heavens and the earth,and Who sends you down rain fromthe sky? With it We cause to growwell-planted orchards full of beautyof delight: it is not in your power tocause the growth of the trees inthem. (Can there be another) godbesides Allah? Nay, they are a peoplewho swerve from justice.

Allah also says: “Nor forget there portionin this world” [Qasas:77], and “thatwhich is on earth we have made but asa glittering show for the earth” [Kahf:7].At the same time, the Quran also warnsagainst excess and exaggeration.

[Surah Ar Rad, 13:19] For the scumdisappears like froth cast out; whilethat which is for the good of mankindremains on earth.

Proportions, Order and Symmetry:Purity and Balance

Architectural beauty comprises thestudy of structural and aesthetic balance.

[Surah Al Hijr, 15:19] And the earthWe have spread out (like a carpet);set thereon mountains firm andimmovable; and produced therein allkinds of things in due balance.

Pleasing proportions, order andsymmetry become tools to reach thestate of perfect balance or purityso often described in Quran. In thebuildings, these minimise theimperfections and anomalies,rendering a lifeless structure a soulthat symbolises the piety and lovein Allah.

Mausoleums of Nisar Begum andKhusro at Khusro Bagh, Allahabad-

domed structures on elevatedfoundations is the common

construction in Islamic tombs

The ceiling of the Sheikh-Lotf-Allah mosque inIsfahan, Iran (courtesy Phillip Maiwald)

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[Surah Ash Shams, 91:7] By the Soul, andthe proportion and order given to it.

[Surah At Taubah, 9:108] Never standthou forth therein (the mosque puttogether by way of mischief). Thereis a mosque whose foundation was laidfrom the first day on piety; it is moreworthy of the standing forth (forprayer) therein. In it are men who loveto be purified; and Allah loveth thosewho make themselves pure.

The existence in pairs and therepresentation of duality is alsosignificant in the creation of balance.It is often translated in architecturethrough the creation of a jawab. Thusblind arches and doors would oftenbe made on the other side of the realones, or pavilions and buildings thatlook alike, though serving differentfunctions, would feature on bothsides of a central axis. It was thissymmetry that was extended, in themaking of the Jamatkhana or theassembly house - an entire mirror inred sandstone of the Mecca-facingmosque placed to the west of the TajMahal. It was perhaps the same codeof the whole mausoleum complexbeing a mirror on earth of the one inthe paradise that appeared as a visualdiagram of the two Taj Mahals on thetablet of this mosque itself.

[Surah Ar Rad, 13:3] And it is He whospread out the earth, and set thereonmountains standing firm and (flowing)rivers: and fruit of every kind He madein pairs, two and two: He draweth thenight as a veil over the Day. Behold,verily in these things there are signsfor those who consider!

The principle of a justly balancedUmmah mentioned in the Quran andwhich is a characteristic of theIslamic Ummah also perhaps urges thearchitect to strike a just balance inhis architecture, and set an examplefor the community to follow.in

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[Surah Al Baqarah, 2:143] Thus havewe madeth of you an Ummah justlybalanced that you might be witnessesover the nations. And the apostle awitness over yourselves.

Light and Shade: Laws of Nature

Light and shade are maintained notonly for space perception in Islamicarchitecture but as signs of the Lord.Light is always a virtue of the sky, ofheaven, of the sun and moon, oftruth, and of realisation. The lightmetaphor engenders the presence ofAllah, just the way the mosque lampin the mihrab symbolises the eternallight of the Divine. Shade and Shadowthrough contrast demonstrate thelight that is concealed in the shroudof unawareness, disbelief or mischief.The Quran also ordered that light,warmth and shade conditions beobserved. A recurring verse is, “Allahgave you the sun and the moon”. Allahalso says, “and We gave you the shadeof clouds” [Al Baqarah: 57].

[An Nahl, 16:81] It is Allah Who madeout of the things He created, somethings to give you shade; of the hillsHe made some for your shelter; Hemade you garments to protect youfrom heat, and coats of mail to protectyou from your (mutual) violence. Thusdoes He complete His favours on youthat you may bow to His Will (in Islam).

Calligraphy: The Written Word of Allah

Calligraphy or ornamental writing hasevolved into a visible expression forthe highest art of all, the art of thespiritual world for Muslims. Al Qalam-the 68th Surah of Quran meaning ‘ThePen (the letter)’ - talks about Allah’sjustice and Judgment Day. Theopening verse endorses that Allahhonours the pen and writing.

[Al Qalam, 68:1]Nun. By the Penand the (Record) which (men) write;

Proverbs and passages from the Quranare still sources for Islamiccalligraphy. The beautiful calligraphyis thus a sign of respect for thegreatness of Quranic inscriptionsfound almost in every mosque,mausoleum or other structures.

[Al Qalam, 68:37] Or have you a bookthrough which you learn.

Apart from Quranic verses, Islamicbuildings also have poetry, names anddates in surface inscriptions that arelaid in stone, stucco, tile-mosaics or

painting. Sometimes single wordssuch as Allah or Muhammad arerepeated and arranged into patternsover the entire surface of the walls.Sacred calligraphic texts also appearin pierced cartouches providing apattern for light filtering throughwindows, thus sanctifying the largerspace and volume with changingshadows that are experienced inharmony with the shifting positionsof the sun, the moon, the stars andthe other wonders of Allah. In India,scripts employed in the Persio-Arabicepigraphs include Kufi, Naskh, Thulthand Nastaliq. The last mentioned wasthe preferred script of the Mughals.

Islamic art is not the art of aparticular region, country or aparticular people. It is the art of acivilisation, formed by a combinationof historical forces andcircumstances. The earliest Muslimsadopted many pre-Islamic traditionsand also picked up elements of variousregions and peoples they conqueredwith time. These were synthesisedin new forms distinctly their own.Thus, Islamic art truly emerged onlyafter the original Arab consciousnesswas coloured and diversified by theTurkish, the Persian, the Mongol-Chinese, the Indian and several othertraditions. But while the Arabconsciousness provided the base forIslamic art, it was the religion of Islamthat largely determined itsexpression both in form and content,and this was most evident inarchitecture and in its decoration. Amodern search for the relevance ofIslamic art, therefore, must desire tosee consistency with the letter andthe spirit of the Quran. Amen!

Pair of Taj Mahals seen at the Entrance of Taj Mosque

One of the early examples of calligraphy inIndia at Arhai Din Ka Jhompra, Ajmer