Geometric patterns, in near infinite variations of pattern and scale are combined with floral and vegetal designs for a reason that exceeds any aesthetic directive: they express something about the world itself.[1]
Islamic art in its two dimensional form, falls into the three genres of calligraphy, geometry, and nature. Entire books can be devoted to each of these genres alone, but it is common in Islamic religious art to find all three present at the same time.
The Grand mosque of Kuwait is full of these triadic surprises and contains beautiful examples of Islamic art. The subject of this article is the small mihrab (prayer niche). There are six[2] identical mihrabs built into the South-West wall. Their function is to serve as the jibla’, pointing the faithful to pray in the direction of Mecca. They also serve as a sound chamber and ‘pulpit’ for a teacher speaking to small groups of students.
The art portrayed in the mihrab is bewilderingly complex, integrating abstract geometrical patterns, swirling leaves, and a wonderful motif of the honey comb[3]. The geometrical patterns are divided from the portrayal of nature (the honey and leaves) by verses from the Qurán written in Kufi script. Framing the top of the mihrab chamber is an outcrop of Isfahan style stucco. It conveys images of stalactites found in a cave[4] and indeed standing inside the mihrab is a cave like experience. You are embraced by the chamber and your view of the vast worship area in front of you is framed by the archway of the entrance.
If you start from the ground up, the richly coloured hues of blue, yellow and brown Morrocan mosaic patterns portray star and circle shapes. There is a complex repetition requires some concentration to discern, though one is subconsciously aware that there is order. which The mathematics under-girding this art form is formidable. Its origins lie in Pythagorean Theorem which was brilliantly applied to an Islamic context by early Islamic philosopher al-Kindi. The geometrical patterns convey a cosmology which reveals the belief that the universe reflect an intelligent design held together in unity by a creator. The early Islamic philosophers believed that part of their task was to discern the patterns and principles which governed the cosmos and in doing so they would learn more of the divine nature. The geometrical designs reflect the crystalline structures believed to be the building blocks of creation[5]. Yet this philosophy acknowledged that as well as frozen shapes there is a fluidity and variety which reflects the work of the eternal divine principle. Think of the snowflake. There is a basic structure and yet within this order is an endless variety of swirling patterns.
This stunning design is then interrupted at head level by the calligraphic words from the Qurán. Then arching over your head is carved a series of honeycomb motifs[6], the familiar hexagon construct framed by an intricate pattern of leaves and plant tendrils.
The mihrabs in the mosque blend the three elements of order, voice and nature. It conveys a theology to the believer of a created world divided by the spoken Word which separates the created and temporal from the sublime and eternal gardens of paradise. The stucco outcrop framing the mihrab suggests that the believer can encounter the divine within the context of our cave experiences.
[1] Jason Elliot. 2006. Mirrors of the Unseen. (Picador:London)
[2] The number six is significant in Islamic numerology. For an explanation see Keith Critchlow’s, (1999) Islamic Patterns.
[3] According to the Qurán a river of honey flows in paradise.(Surah 47.15)
[4] The prophet of Islam received his first revelation of the Qurán while meditating in a cave.
[5] Modern science vindicates this understanding of nature with the discover of the atom cell, DNA structures and so on.
[6] And your Lord taught the bee to build its cells in hills, on trees. . . there issues from within their bodies a drink of varying colours, wherein is healing for men: Verily, in this is a sign for those who give thought. (Surah 16:68-69)
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