Juma Masjid ceramic structure

Figure 2.23 - Adams.Z., (2018). Ceramic structure of Juma Masjid.

This ceramic structure is a replica of one of a portion of the Juma Masjid in Durban. It is made up of a dome, arches and pillars. When I chose to make this ceramic structure, I was at a point in my research where I wasn't sure what I should make and focus on. Architecture, being one of my most researched topics at the time, was the direction I decided to go in. I visited the Juma Masjid for the first time on a Beset Durban tour, where I took pictures and learn a bit about the history of the Masjid (KZNIA 2014).

After doing some paintings and drawings of the mosque structure, I tried to interpret them into designs I could make jewellery out of. I wasn't keen on any of the designs, and all I wanted to do was create a three-dimensional structure out of clay, and that's what I did. I hoped that making the clay structure would lead me to other pieces.

Figure 3.24 - KZNIA, (2014) Image of Juma Masjid, Durban

Even though I did not make any jewellery referenced by this topic, I spent time studying the technical details of the masjid that I was trying to recreate and I enjoyed working with the masjid structure.

Also, visiting the masjid was a wonderful experience that, perhaps I will have to do again to get inspired to create more. Being surrounded by beautiful Islamic designs, Quranic calligraphy and the knowledge of being in a place of worship, had transported me mentally to a space in which I felt peace. I realized that the entire process of this project was a means of spiritual mediation.

Taj Mahal arabesque pendant

Figure 3.4 - Adams.Z., (2018). Love, Inlayed. Platinum and enamel arabesque pendant 

Figure 3.5 - Adams.Z., (2018). Love, Inlayed. Silver and enamel arabesque pendant

There are two pieces that form part of this project which is a prototype made in silver (figure 3.5) and a final piece made in platinum (figure 3.4), both with enamel accent pieces. For this project I used architecture as a reference, and the work of Azza Fahmy of her use of signs and symbols in her work.

These pieces were designed for the Anglo plat 2018 competition, for which the theme was related to "love". I found that the Taj Mahal was a fitting reference because it was built by a King in memory of his wife who passed away, which is a beautiful expression of love (Leissler, B., (2013). The Taj Mahal exhibits beautifully handcrafted gemstone stone inlay-ed into marble slabs, all around its walls and doorways, that illustrate Quranic Arabic calligraphy and floral arabesque patterns (see figure 3.6).

Figure 3.6 - Leissler, B., (2013). Gemstone inlay-ed in marble on the Taj Mahal.

In designing this piece, I looked that extracting arabesque patterns from the doorway on the outside of the structure and recreating the pattern in wire, and to incorporate colour, I thought of using enamel. I started with a silver prototype seen in figure 3.5, which I was happy with other than a few technical faults that were found. The final piece was made in platinum and was strung onto a black spinal bead necklace.

This piece was meant to represent love and devotion between two people or, on a deeper level, between a person and their Creator. This relationship is embodied in the arabesque pattern of the pendant, in the way the pattern has no beginning or end and is full of never ending life (metallic flowers and leaves as nature are meant to represent life). 

Masjid Al-Haram

Figure 1.18 - Al Haram Mosque., (2019) Image of the holy Masjid "Al-Haram" in Makkah, Saudi Arabia

Figure 1.19 - Adams, Z., (2018) Image of a part of the Al-Haram ceiling

Masjid Al-Haram (meaning the sacred mosque), situated in Makkah, Saudi Arabia, is the largest and most travelled to Masjids in the world. This is because it is situated the Muslim holy land and encloses the "Kabah" which is the holiest shrine for Muslims. Every year, millions of Muslims travel to Makkah to visit the Kabah and perform pilgrimage. (Al-Haram Mosque 2019)

Masjid Al-Haram was built during the early 8th century and was very small and simple at the time. Over the years, it has expanded and has been redesigned, redecorated multiple time, and the improvements carry on till today. So it is difficult to say who was the architect and interior architects of this Masjid since there have been so many and so many changes made over the years.

Sevan Bıçakçı

Figure 2.12 - Bıçakçı, S., (2011). Gold ring with micro painting, intaglio and stone setting

Figure 2.13 - Bıçakçı, S., (2014). Gold and silver ring showing off micro mosaic and intaglio.

Sevan Bıçakçı's rings capture so beautifully the essence of Turkish Islamic architecture, which is the beautiful Masjids, the calligraphy and the scene of the land. Bıçakçı uses some complicated techniques like intaglio carving, micro-mosaic and miniature paintings in his pieces (see figure 2.12 and 2.13). Each ring is hand made from start to finish and can take on average two to three months to complete (Doulton, M 2011).

What I like about his pieces is that they tell a story or flaunt a scene of an ideal day around a Turkish Masjid, which can be quite poetic. If I were to describe his pieces, I would say that Bıçakçı's jewellery is like miniature sculptures or landscape/scenery painting.

Bıçakçı's jewellery depicts Islamic architecture in a very literal way; it is self-referential. Since I began researching for this paper, I have been thinking of different ways that architecture can influence the design and construction of a piece of jewellery. I thought it might not be interesting to make miniature models of architectural structures because it would not be a creative piece. After seeing some of Bıçakçı's pieces and learning about how much skill and time goes into creating such a piece of jewellery, I see how it can be interesting to represent an object by recreating it in a different form and on a different scale. 

I do not intend to use the techniques that Bıçakçı has used to create his pieces, but I do want my jewellery to tell a story just as his jewellery does. I will also be open to creating pieces that are scaled up or down versions of the original.

Architecture

Figure 1.7 - Freeman, M., (2009) Dome of the Rock, a Muslim shrine in Jerusalem.

On the topic of architecture, I have chosen to look at the large elements and structure on a whole as one part, and to look at the exterior and interior decorations as a separate part. For the sake of creating a better understanding within this report, part one will be referred to as "architecture" and part two as "Interior/exterior architecture".

Architecture
In this research, Islamic architecture refers to Masjids (place of prayer), tombs, palaces, madrassas (schools) and shrines. Distinctive features in Islamic architecture can be seen in the shapes of and decoration on domes, arches and minarets, which are influenced by the Byzantine empire.

Masjids and madrasas (see figure 1.8) were the foundation of Islamic architecture and were created to represent a place of peace. The structure is built so that people are drawn to the exterior because of beautiful art that decorates it, and the interior surrounds them with harmonious patterns, colours and visually pleasing elements full of geometrical secrets. In the Quran, the term "Masjid" signifies a sanctuary (Papadopoulo, A. 1979).

Something interesting that I have learnt, through my research, is that architecture, and most other forms of art, are a lot like people. Since the beginning of time, people have evolved and changed as they traveled to different parts of the world over thousands of years. With them, they carried the knowledge of their own people, which they merged with the style and resources of the people that they came to and eventually created a whole new design style.

Figure 1.8 - Papadopoulo, A. (1979). Courtyard of the Alhambra, Granada

Interior/ exterior architecture

Regarding Interior and Exterior Architecture, I am looking at arabesque patterns, calligraphy and geometric designs which are mostly two dimensional in nature. These kinds of two-dimensional decorative elements can be found on ceilings, walls (inside and outside), and windows, while on floors, these elements can be found in arabesque and geometrical designs only.  

An aspect that intrigues me is how simple arabesques, the font of Arabic writing, or the materials used can be traced back to a country or a period in Islamic history. For example, there are so many differences between Masjids all over the world yet they all manage to carry a unique "accents", while essentially existing for the same purpose.

Researching this topic has brought me to ponder over the amount of detailing that goes into creating these large structures, the mathematics that needs to be applied while incorporating arabesques and calligraphic art. I feel like a comparison can be made between designing and planning a Masjid and a piece of jewellery, although the scale may be very different.