Abbasid Dynasty's Architectural Legacy To Honor Their Faith

The Abbasid Caliphate, which succeeded the Umayyads in 750, saw the focal point of Islamic life shift from Syria to Iraq, with Baghdad and Samara becoming the new centres of the Islamic world and art. The Abbasid Caliphate was the last universal Islamic Empire and the third caliphate to succeed the Islamic prophet Muhammad.

The Abbasid Caliphate was responsible for the construction of new capital cities, such as Baghdad, the circular City of Peace, and Samarra, which briefly replaced Baghdad as the capital. Abbasid architecture was an important formative stage in wider Islamic architecture, with the caliphate's great power and unity allowing architectural features and innovations, such as minarets and carved stucco motifs, to spread quickly across the vast territories under its control.

The Abbasids used mud brick and baked brick for construction, allowing for enormous architectural complexes to be built at a relatively low cost. Abbasid architecture continued to be copied by successor states in Iraq, Iran, Egypt and North Africa.

The Abbasids also contributed to the development of Islamic art, with a distinctive style emerging and new techniques being developed that spread throughout the Muslim realm and influenced Islamic art and architecture. Abbasid art and architecture developed their own characteristics, with extensive palaces and mosques stretching over 40 kilometres along the Tigris.

The Abbasid Caliphate witnessed a brief revival under caliphs al-Nasir and al-Mustansir, when Baghdad once more became a centre of the arts. However, the sack of Baghdad by the Mongols in 1258 brought about the end of the Abbasid Caliphate, marking the end of the universal Arab-Muslim empire.

The use of mud brick and baked brick, allowing for enormous architectural complexes at a relatively low cost

The Abbasids' preferred use of mud brick and baked brick for construction allowed for enormous architectural complexes to be built at a relatively low cost. This is best exemplified by Samarra, which was made up of vast palaces and monumental mosques spread across some 40 km (25 mi).

Mud bricks, also known as unfired bricks, are made from a mixture of mud (containing loam, clay, sand, and water) mixed with a binding material such as rice husks or straw. Mud bricks have been used widely in hot, dry areas of the East for over 4,000 years. The Mesopotamians used sun-dried mud bricks in their city construction, with some walls featuring a few courses of fired bricks from their bases up to extend the life of the building. The Abbasids' use of mud brick and baked brick was influenced by the earlier Sassanid Empire, which featured elements present since ancient Mesopotamia.

The use of mud brick and baked brick allowed the Abbasids to construct enormous architectural complexes at a relatively low cost. This was due to the low cost of materials and the fact that the bricks could be easily produced and did not require specialised labour. The bricks were formed in wooden moulds and dried in the sun. The bricks were also easy to work with, allowing for the construction of vast palaces, courtyards, and monumental mosques.

The use of mud brick and baked brick also allowed for the creation of distinctive architectural features, such as buttress towers, minarets, and carved stucco motifs. These features became hallmarks of Abbasid architecture and spread throughout the Muslim world. The use of these materials and construction techniques also allowed for the creation of vast open spaces, such as courtyards and esplanades, which became a signature of Abbasid architecture.

The Abbasids' use of mud brick and baked brick not only allowed for the construction of enormous complexes at a low cost but also influenced the development of Islamic architecture. The distinctive style and techniques of Abbasid architecture spread throughout the Muslim world and continued to be copied by successor states long after the Abbasids lost control of their empire.

The construction of new capital cities or administrative centres, such as Baghdad and Samarra

The construction of new capital cities was a tradition continued from earlier Mesopotamian and Persian rulers. The Abbasids founded Baghdad in 762 CE, which became the centre of Islamic political and cultural life, shifting it from Syria to Iraq. It was founded by Caliph al-Mansur, who chose the site for its strategic location, and it was built under the guidance of the Iranian Barmakids. The city was designed as a walled city with four gates, a mosque, and a palace in the centre. It was nicknamed the "City of Peace" or "Madinat al-Salam" in Arabic. Baghdad became a significant cultural and intellectual centre of the Muslim world, housing several key academic institutions, including the House of Wisdom, and was known for its multi-ethnic and multi-religious environment. It was also a hub of learning and commerce, with many libraries and schools, including the Hanafi and Hanbali schools of law, and the Bayt al-Hikma (House of Wisdom).

In 836, the Abbasid caliph al-Mu'tasim transferred the capital to Samarra, which was built using mud brick and baked brick, allowing for enormous architectural complexes to be built at a relatively low cost. The city was spread across 40km and included vast palaces and monumental mosques, barracks, stables, and racecourses. Samarra was decorated with a new style of carving, the so-called "beveled style", as well as a repetition of abstract geometric or pseudo-vegetal forms, later to be known in the West as "arabesque". Samarra also witnessed the extensive use of colour in decoration and, possibly, the introduction of the technique of lustre painting over a white glaze.

The development of a distinctive style of decoration, particularly in the period corresponding with Abbasid power and prosperity

The Abbasids developed a distinctive style of decoration, particularly during the period of their power and prosperity, between 750 and 932. This style emerged as the focal point of Islamic political and cultural life shifted from Syria to Iraq, with Baghdad and Samarra becoming the cultural and commercial capitals of the Islamic world.

In Samarra, a new way of carving surfaces, known as the "beveled style", emerged and was widely used as wall decoration. This style consisted of abstract geometric or pseudo-vegetal forms, later known in the West as "arabesque". These designs were also used in other media, such as wood, metalwork, and pottery. Samarra also saw the extensive use of colour in pottery decoration and possibly the introduction of the technique of luster painting over a white glaze. This technique, admired for its glittering effect, spread from Iraq to other parts of the Muslim world and beyond, influencing the development of ceramic decoration in the Western world.

In architecture, the palace of Jawsaq al-Khaqani, and the mosques of al-Mutawakkil and Abu Dulaf in Samarra, were important in setting the style that was emulated in other regions. Abbasid architecture was characterised by the use of mud brick and baked brick, allowing for enormous architectural complexes to be built at a relatively low cost.

The use of geometric and vegetal patterns, later known as arabesque, as wall decoration and in other media such as wood, metalwork, and pottery

The Abbasid Caliphate, which succeeded the Umayyads in 750 CE, witnessed the emergence of a distinctive artistic and architectural style that spread throughout the Muslim world. During this period, the use of geometric and vegetal patterns, later known as arabesque, became popular as wall decorations and in other media such as wood, metalwork, and pottery.

Arabesque, a fundamental element of Islamic art, consists of rhythmic linear patterns of scrolling and interlacing foliage, tendrils, or plain lines, often combined with other elements. It usually takes the form of a single design that can be seamlessly repeated, known for its infinite correspondence and extendability beyond its actual limits. The Islamic arabesque, likely invented in Baghdad around the 10th century, is unique due to its infinite repeatability and ability to be extended beyond its physical boundaries.

In the Abbasid capital of Samarra, a new way of carving surfaces, known as the "beveled style," was developed. This style featured the repetition of abstract geometric or pseudo-vegetal forms, which later became known as arabesque in the West. These designs adorned walls and were also used in other media, such as wood, metalwork, and pottery.

The use of vegetal patterns in Islamic art, including the arabesque, drew influences from existing traditions of Byzantine culture in the eastern Mediterranean and Sasanian Iran. The early Islamic era saw the adoption of semi-naturalistic pre-Islamic motifs and patterns, which were then adapted to suit the aesthetic interests of the new Muslim patrons. Over time, these designs became increasingly abstract and fully developed into the highly abstract Islamic style known as arabesque.

The arabesque patterns not only served as decorative elements but were also believed to hold theological significance and reflect a specifically Islamic view of the world. The infinite repeatability of these patterns may symbolize the underlying order and unity of nature, a fundamental principle in Islamic art. Additionally, the avoidance of depicting living things in arabesque art aligns with the Islamic discouragement of representing animals and people in art.

The use of arabesque in pottery during the Abbasid period is particularly noteworthy. Potters in Samarra excelled in their techniques, creating vibrant and beautiful pieces decorated with geometric patterns, Kufic lettering, and arabesque scrollwork, along with depictions of rosettes, animals, birds, and humans. The use of colour in pottery decoration was extensive, and Samarra may have also introduced the technique of luster painting over a white glaze. This technique, admired for its glittering effect, spread from Iraq to other regions, eventually influencing ceramic decoration in the Western world.

The use of colour in decoration and the introduction of the technique of luster painting over a white glaze

The Abbasids were known for their use of colour in decoration, particularly in pottery. They may have also introduced the technique of lustre painting over a white glaze, which was admired for its glittering effect reminiscent of precious metal. This technique was likely first developed in Samarra, a city established by the Abbasids north of Baghdad.

Lustre painting involves the application of metallic pigments to pottery, creating a glittering effect. This technique was widely adopted and spread from Iraq to Egypt, Syria, Iran, and Spain. It eventually contributed to the development of ceramic decoration in the Western world.

The use of colour in Abbasid decoration was not limited to pottery. Abbasid palaces, for example, often featured marble floors and reception rooms with carved or moulded stucco decoration on the lower parts of the walls. Abbasid glassware also showcased a variety of colours, with items decorated using moulded flutes, honeycomb patterns, and inscriptions.

The Abbasids were also known for their use of abstract motifs and geometric patterns in their architecture and decorative arts. This style, known as "arabesque," became widely popular and was used in media such as wood, metalwork, and pottery.

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