When I was visiting Istanbul I noticed this peculiar pattern done by using different coloured stones that can be found in several Ottoman era buildings. I found out that I have seen these pattern when I was researching on mosque architecture of the Arab world.
Apparently this pattern has a name. It is called Ablaq, an masonry technique in Islamic architecture using two different coloured stones (usually perusing light and dark stones) in a building as a functional, decorative feature.It is sometimes referred to multicoloured ashlar You can usually see them utilized for arches or whole walls, or even for ceilings. This feature is prominent in buildings in Arab countries like Syria or Egypt. Ablaq literally means piebald in English, referring to the white spots on a coloured animal fur or skin.
This technique seemed to originate from the Byzantines, and this can be seen in Istanbul as well, as many of the exterior of the old Byzantine Churches and the old Constantinople walls features light ashlar stone and orange bricks. However in Islamic architecture the first mention of Ablaq is during the reconstruction of the walls of the Umayyad mosque in Syria in 1100, even though it was known to be used before that. Earlier examples include the Cordoba Mosque in Spain, The Al Aqsa mosque and even in the Church of the Holy Sepulcher in Jerusalem, Palestine. Thus the usage within Islamic architecture are quite extensive within the Middle Eastern countries.
The usage is not just limited to mosques and special building such as palaces (such as the Al-Ablaq Palace in airo) but it can also be found in public constructions such as hammams, madrasah and closed markets or Bazaars. The rational of the usage of this techniques is maximizing the materials available in the region. By using two different stones or material (in this case, two different contrasting stones) it produces an interesting decorative effect while being very functional and utilitarian.
Here are a few samples of buildings that uses this technique:
For this part of the series of articles, I would like to look into the colours of the Islamic architecture in Anatolia, or more commonly known as Turkey . I think the mosques in Turkey are unique enough to warrant a separate part, instead of combined with the Arab World part of this series. We will focus on historical Ottoman and Seljuk mosques, not the modern ones (even if though they are based on traditional Ottoman mosque architecture) or converted churches (Hagia Sophia and Kalendarhane Mosques for example, although the former is pretty much the basis and inspiration of Ottoman imperial mosques)
History
Islam came into Anatolia during the Muslim conquests of the 7th and 8th Centuries. In 840AD The Abbassids, then based in Damascus, Syria, claimed Crete, and soon directed their focus eastwards. Years after, The Abbassids became fragmented and disseminated along with the challenges with other Muslim empires like the Fatimids, the hold of Islam weaken and the Byzantines reclaimed Crete. In the 11th Century, Turkmen tribes, who are Muslims themselves, reconquered Abbasid lands and reconquered the land taken from them by the Byzantines, which includes eastern and central Anatolia. This led the way for the Seljuk and Ottoman Empires, the latter which conquered Constantinople, the main city for the Byzantines. Thus Islam had its foot solidly on Anatolia for more than a millennia.
Colours
Most of the mosques in Anatolia or Turkey uses the local stones and craftsmanship, and this is dependant on their locations. Turkey is massive – so you will see geographical and climate differences between cities, from, for example, warmer climate Mardin in the east to Europe facing Edirne in the west. As such, you will also see the difference in the colours as they used the local materials available to each city. For instance, in Urfa, a city south-east of Turkey, the weather is hot and desert-like. as such, the buildings here uses sand coloured stones. Conversely in Istanbul, Marble is commonly used as building material as they are common there, and thus the colour reflects so.
But while the colours remain muted , usually in the shades of greys or browns depending on the location, a variety of colours are introduced by the way of decoration. In Turkey, old Ottoman mosques uses Iznik tiles as decoration which provides a splash of colour especially in the interior. Greens and blues dominate the hearts of Turkish mosques as well as palaces and residences. The French visited Turkey during the Ottoman times and noticed the Turks preference of these colours. The term Turquoise, or the Colour of the Turks, came from the French. In fact, Turqoise, the blue-green colour, is used quite extensively by the Turks for both interior and exterior decoration. You will be able to see this example in Bursa, where the Yesil Turbe (Green tomb) is literally covered in Turquoise tiles.
The life of a Muslim Malay is deeply saturated in Islamic traditions. When generations of Malay culture is combined with Islam it creates a unique Muslim Malay identity they still uphold even today. Islam is deeply rooted in Malay daily life that it is a basis for everything from life to death. For this post I would like to focus the influence of Islam on the costumes of the Muslim Malay.
History
Before the arrival of Islam the Malays’ outfits would be very similar throughout the Nusantara – knee length loincloth for the men and a sarong covering the chest to the knee for women called the Kemban. When Islam arrived along with the commandments, the Malays slowly adapted their cultural compute to comply with the idea of modesty that is newly established norm the religion brought over to the region.
Modesty
Modesty is an important part of the Islamic Malay culture and society, as it is a requirement in a religion to cover up while in public. In daily domestic life, people both male and female considering the weather, would weather loose, minimal clothing while around the house – ie shirtless with a sarong for men, and a kemban. However, in public, the Malays would wear a more modest outfit which complies to the requirement of the Islamic laws, while being still comfortable to wear.
The Baju Kebaya and Baju Kurong
The Baju Kebaya is a garment with front opening much like a modern blouse. Kebaya is believed to be derived from the Arabic word Qabaa or Abaya. The Baju Kebaya‘s origin can be traced back to the Javanese Hindu Kingdom of Majapahit in the 15th Century, as court attire for women. The Kebaya was adapted to the new religion making it compliant with the Islamic laws, as it is worn together with the Kemban . Slowly it spreads all over the Nusantara is a part of the daily costume of women, with different variations between the regions.
Baju Kurong on the other hand, is in a simplest term, a long sleeved shift dress, hitting above the knee in its traditional form. Kurong or Kurung means enclosed in Malay, and this is derived from the shape of this garment. It is believed to originate from 15th Century Malacca. Just like the Kebaya, varies from region to region in the Nusantara. The Baju Kurong fulfills the requirements of covering oneself so it is one of the more preferred garments for Muslim women more than the Kebaya
To truly fulfill the requirement of covering up in public, the women has to cover their body completely except for the face and hands. For the women in the Malay culture, this is done differently from their counterparts in the Middle East, for example. This adherence is to certain different levels, however, and usually it is dictated by the age, religious knowledge or even the social status of the woman. The most common way a woman would veil herself is to wear a selendang – a short scarf usually of semi-translucent material, worn loosely over the head with the ends thrown over the shoulders.Sometimes, a piece of long unsewn fabric would be worn instead. They would sometimes also wear a Sarong over their heads loosely (called a Kelubung) , or tie it up on top of the head, resembling a turban (usually the style worn by those who are working) Those of higher status would opt to wear a more expensive and decorative veil made out of songket or embroidered translucent scarf sometimes called the Kerikam or Selayah. Those who are with better understanding of religious laws however may chose to cover themselves with closely worn shawl or scarf tied to completely hide the hair, neck and chest. Some of them would also wear sarong tied and worn like a modern hijab, and sometimes they would even wear them like a Niqab – fully covering the upper torso and part of the face, leaving only the eyes exposed.
An old image of a Malay girl in Singapore with a sarong, worn as a veil.
The Baju Cara Melayu
For the men, the Baju Cara Melayu is available. It used to be called the Baju Kurung as well, however the term fell out as it is more commonly used for the female dress. The outfit consists of a long loose fitting shirt (somewhat shorter version of the women’s Baju Kurong), a pair of pants in the same material and colour as the the shirt as well as a waist-cloth referred to as Samping or Sinjang, that would cover from the navel to the knees – the areas where Muslim men are required to cover by Islamic law. Again different regions has their own variations.
Men’s Headgear To complete the outfit a hat is worn, and depending on the status of the person wearing it, it might differ. For the common men and boys, a velvet Songkok (Also known as Kopiah or Peci) in black or dark blue are usually worn, especially during the early 20th century. For those who performed the Haj (Muslim pilgrimage) they would wear a white version of the Songkok, sometimes referred to as Topi Haji. For special occassions such as the groom for their wedding, or during state ceremonies at the palace, a specially folded cloth headgear called Tengkolok, Tanjak or Dastar would be worn. This used to be the preferred headgear before the 20th century for daily wear, but it fell to misuse when the Songkok became more popular.
Even though these clothes in recent times are not worn as commonly as it was before, it is still worn by the Malay community especially during special occasions such as weddings. It is even seen as the most proper thing to wear in these situations today. In fact, these garments are seen as the best outfits that adhere to Islamic dress code as the Malay costume has been adapted to satisfy the requirements of covering up in accordance of Islam. Thus these facts shows us that Islam had a significant influence over the daily life of the Malays, even in how they dress.
One of the most common feature in Islamic architecture, whether secular (palaces and private residences, for example) or religious, would be the presence of a garden. Why is it a rather prevalent feature in Islamic buildings and monuments, and what is their significance? In this series of articles I will attempt to highlight the function of gardens, as well as examples in different Islamic architectural styles.
History
Gardens had been a feature since the beginning of Islam. A garden acts as a respite from the desert weather- the weather of the Arabian peninsula where Islam first flourished. After the 7th Century, when Islam began to spread towards Iran and the surrounding region, traditional Persian gardens were used for Islamic mosques and palaces. Persia was long known for their beautiful and expansive gardens long before the establishment of Islam.
But even before that, gardens had a special place in Islam, as it is mentioned in the Islamic traditions of the Qur’an and Hadith and Sunnah (traditions of the Prophet)
Allah has promised the believing men and believing women gardens beneath which rivers flow, wherein they abide eternally, and pleasant dwellings in gardens of perpetual residence; but approval from Allah is greater. It is that which is the great attainment.
Quran, 9:72
In Medina, there is an area between the tomb of the Prophet and his Mimbar in his mosque called Rawdhah, and is considered a garden from the paradise, showing the significance of gardens in Islamic traditions:
Between my house and my pulpit is one of the gardens of Paradise and my pulpit stands on my pool (al-Hawd).
Sahih Al-Bukhari
Purpose
One of the purpose of gardens is – as I had noted before – a respite from the heat of the desert weather of the Arabian peninsula. This is the physical facet of the existence of gardens in Islamic architecture. The weather of the Arabian desert is harsh and hot, and a garden offers a relief from this unwelcome heat. Thus gardens became an increasingly common feature in Islamic buildings.
From the relief and respite from the heat of the desert also comes a spiritual side of this point – It offers a remembrance of the hereafter – a reminder or a small “review” of the rewards of life after death. One might be reminded how the heat dissipates in the gardens, as so how it would be in the hereafter : all the hard work and the negativeness that this world gives with disappear once we reached the eternal gardens of Paradise.
A garden is also a place for reflection and contemplation. As gardens would usually be attached to a spiritual place like a mosque or to a private space like a palace or a private residence, it offers a relief from busy daily lives and offers a space to reflect upon oneself.
A garden is also a show of wealth and power, a status symbol – direct opposite of the religious and spiritual connotations of the previous points. As they, as I had noted before, are attached to private residences or palaces, they are often very expensive to build and maintain.
Common Features of an Islamic garden :
Water and fountains
Water features and fountains are common all across the regions where Islamic gardens are common, albeit in different forms. Water, while offers cooling effects to these green pockets, it also reflects the spiritual side. flowing rivers in the gardens of paradise are repeatedly mentioned in the Qur’an :
Allah will declare, “This is the Day when ˹only˺ the faithful will benefit from their faithfulness. Theirs are Gardens under which rivers flow, to stay there for ever and ever. Allah is pleased with them and they are pleased with Him. That is the ultimate triumph.”
Qur’an 5:119
The sounds of flowing water and fountains also filter out noise from the outside would, offering a peaceful sense for visitors, further aiding in reflection and contemplation. The soft sounds may also mask voices of those who are in the gardens, as sometimes they would also be used for private meetings.
Flower and fruit trees (sensory plants)
Sensory plants like pleasant smelling flowers such as roses, lillies and jasmine, and trees like lemon,almond or orange trees would be planted in these types of gardens as they offer beautiful aroma to its visitors. They would help drive away unpleasant odours coming from the public spaces, as well as acting as a therapeutic aid. The shade they offer also aids in cooling of the space further, with the help of the water features.
These are best examples of gardens in their regions. Further elaborations on the features of the gardens from these regions will be posted separately. Stay tuned 🙂
As we celebrate the end of a seemingly very long year, I pray for 2021 to be much better than what we had gotten through.
Expect more articles for this blog soon, and hopefully, when we are able to travel again, I will be able to make more posts on international Islamic art and architecture.
I wish you all a very happy new year, and see you on my next article next year. Be safe and enjoy your long weekend.
Stars in Symmetry 
