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 Egypt
and Islamic Art With the advent of Islam to the country, Egyptians fell in
love with Islamic art. One outstanding advantage of Islam is
that it is both a spiritual and civic religion. In other
words, beside religious issues, Islam addresses and organizes
various walks of life. Architecture, in general and urban
architecture in particular, is the physical receptacle of
community life. The principles, values and teachings of Islam
clearly define the appropriate urban and architectural
patterns.
Unity and Diversity
As a result, Islamic architectural and town- planning
styles and patterns have shown striking similarities all over
the Islamic world in general , with specific variations to
suit different environmental conditions. Islamic art is ,
therefore, characterized with both unity and diversity, that
can be clearly seen in the common style of mosques, houses,
residences and similar architectural design and titles of
residential districts and market places in Islamic towns.
For example, Cairo’s markets of coppersmiths, jewelers,
glass-makers, and spice and silk-dealers, etc. are echoed in
Tunis, Fez, Damascus, Baghdad and other cities in both the
Mashreq and Maghreb.
As Islam is a religion of peace and harmony, so is the
Islamic art. When Egyptians embraced Islam, they also loved
Arabic that was the medium of the Holy Quran.
Music of Language
Influenced by the beauty of the Arabic language, the
Egyptian artist made use of its intrinsic music in his
artistic creations. A close scrutiny of the ground marble at
Sultan Hasan’s Mosque
 in
Cairo for example will reveal the contrast and harmony of colors,
in the same pattern of paronomasia and antithesis in
figurative literary language. Sometimes, an artist created
rhythms of calligraphy and formations. Although the Egyptian
artist in the Islamic era inherited a system of interlaced
block masonry, he introduced his own system of color
distribution. Impressed by harmony and music, together with a
long history, the Egyptian artist using such distributions,
created a plethora of lively works of art.
The Qibla at the mosque itself chants, in colors, calligraphic
distributions and verses of the Holy Quran. With an entrenched
sense of civilization, the Egyptians had recognized that
humans yearn to tunes and harmony. If a noble meaning is
coupled with fine melody, it will be soon heart-felt. That is
why Egypt was the first Islamic country to know melodious
recital of the Holy Quran.
Art of engraving
As the Egyptian Muslim artist inlaid and adorned, he
recalled earlier experience of stone sculpture, gilding,
forming, painting, etc.. Here comes out Egyptian Mishkas, as
though formed out of the light of rare gems.
In addition to its ancient art of sunken or embossed
engraving, filigree, enamel coating, Islamic Egypt introduced
the art of inlaying that was adapted but never matched by
Europe and Italy in particular.
In the Fatimid era, deemed by historians to be a
turning-point in the history of Egypt in terms of religion,
the art of deep engraving, earlier created by ancient
Egyptians, re-emerged. This exquisite formation can be seen in
the double minbar (pulpit) at the Goos mosque, the mihrab of
Sayyda Roqayya and panels of the minor Fatimid palace in
display at the Islamic Museum.
Geometric Ornamentation
With its geometric and star-shaped ornamentation Egypt had
outrun the most famous Islamic antiquities in the world. This
is evidenced in the mausoleums of Imam al-Hussein and Imam
al-Shafi’ie and in Tolon’s mosque minbar.
Decoration is indeed an ancient Egyptian art as reflected
in its antiquities and inscriptions. The magnitude of such
decorations indicates that they were not simply created with
the sole purpose of adornment but rather inspired by the
Egyptian vitality and intimate desire to express deep rhythms
of life in a visible way.
Arabesque
Thanks to Egypt, wooden lattice work, wood assembly and
lathe-turning have spread all over the world. These styles,
commonly known as Arabesque had been adapted by the Arabs and
later copied by Europe through Andalusia.
Egypt had presented to Islamic art, al-Jamie’ al-Aqmar
whose facade is a genuine piece of fine art. In this mosque,
there appeared for the first time stalactites(Muqarnasat) that
later became a unique product of Islamic art.
Gilted Mosaic
Another Egyptian innovation was gilted mosaic used as
coating for the dome of King as-Saleh Najm-Eddin Ayyoub. Egypt
was the first to use vaulted ceiling and upgraded the
“dome” that later became one of the most significant
features of Islamic art. This art rose to a peak during the
Mameluk era. In Egypt, the dome was the pyramid’s cap. In
the hand of the Muslim Egyptian artist, lines became more
curved and softer as a side-effect of the new lenient
religion.
Egypt also introduced glazed ceramic and roof tiles. It
further developed mosque architecture, particularly minarets
that were a natural extension of Pharaonic obelisks.
Hence, it affirmed the importance of both the cultural and religious
dimensions in urban architecture and construction.
Undoubtedly, the pre-Islamic cultural heritage had a clear
impact on Islamic urban architecture, particularly in view of
the fact that Islam as a religion was highly responsive to
generally acknowledged, beneficial practice.
Religious Architecture
Islamic traditional and particularly religious monuments
are still extant and functioning, while civil and military
monuments such as gatehouses, walls, towers and castles are
now deserted and unpopulated remains.
Fatimid Cairo
Fatimid Cairo houses such a great number of gorgeous
Islamic monuments that it deserves to be called an open
museum. Egypt has always been keen to maintain and safeguard
its wealth of Islamic heritage. However, an overall,
unprecedented face lifting scheme for the Fatimid Cairo area
is underway, in a bid to restore the beauty of the once
prosperous district of Cairo.
Mishkah A Marvelous, Dazzling Islamic Art
With the help of a rich heritage of well-established
traditions of craftsmanship and artisanship dating back to
millennia, the handicraft of painting on glass flourished in
general during
 Mameluke
era. Glazing industry in Egypt prospered during the 16th
Century BC and further progressed over time. Muslim
contributions to this industry had added many experiences in
both art and application. However, glazing industry reached
particularly high peaks in the Mameluke era, where Egyptian
artisans developed a variety of processing techniques such as
blowing, printing, gilding and coloring.
Through the Ayyobid and Mameluk eras, Egyptian artisans
inherited and further advanced these artistic and technical
tradition. Particularly in the Mameluke era, artisans beat the
limit in the art of Mishkah-making.
 Mishkah-making
Mishkah is a glass housing for lanterns used both to
protect candle or torch light against air currents and to
diffuse light evenly over the place. The lantern is fixed
inside the light housing with wires pegged to the edges.
Mishkah itself was hung from the ceiling of mosques with
chains of silver or brass tied to handles around the body of
Mishkah.
There still exist intact about 300 Mishkahs, of which a
collection of the largest in number and finest in value and
artistic beauty are kept at the Cairo Museum of Islamic Art.
Almost all Mishkahs in display belong to the Mameluke state,
where Mishkahs-making reached its peak particularly in the 8th
Century AH (14th Century AD).
Value of Mishkah
This art flourished because it was badly needed to light
and adorn huge religious facilities. Mameluke Sultans, princes
and gentry vied for acquiring Mishkahs in an attempt to gain
Allah Almighty’s favor.
As a matter of fact, most of Islamic buildings that still
exist in plenty in the older parts of Cairo date back to the
Mameluke era. These include inter alia mosques of all types,
Bimarstans (hospitals) for medical treatment and study of
medicine, khanegas and zawayas ( prayer and accommodation
rooms for sufists and ascetics), mausoleums, vaults etc.
Due to pressing need for Mishkahs, they were in high
demand. As a result , this industry highly prospered and there
emerged a large number of artisans.
Mishkahs were adorned with a variety of ornaments, chief of
which was Arabic calligraphy. In terms of content, calligraphy
on Mishkahs ranged from religious to memorial and historical
inscriptions. While religious inscriptions often comprised
some Quranic verses, memorial ones contained historical and
social data often of high importance, such as the name titles,
positions of the principal, who could be a sultan, prince,
employee, etc., followed by some appropriate supplications.
The writings could also indicate the place where Mishkah is
destined to be installed, such as the sacred chamber of
Prophet Mohammad or other mosques or schools. A Mishkah could
also show the name of artisan who made it, such as the
signature of Ali Ibn Mohammad of Makkah that appears on a
Mishkah presently in display at the Cairo Museum of Islamic
Art.
Calligraphy on Mishkahs
Passages of calligraphy often circumscribed, in wide bands,
the neck, base or the whole body of a Mishkah. The style most
commonly used in handwritings on Mishkahs was one known to
scholars of arts and antiquities as the “Mameluke style of
calligraphy”, characterized with elegant curvature and
flowing proportionate letters.
Since the 12th Century AD, the Neskhi calligraphic style
(the common Arabic cursive script) was used as a substitute
for the Kufic style as a monumental one. Naskhi-style
handwritings on Mishkahs were in many cases inscribed against
a back- ground of floral ornaments consisting of harmonious
clusters of plant stems from which leaflets and flowers
branched.
This is a common style of ornamental Arabic calligraphy. It
reflected a happy harmony between Kufic calligraphy with its
curved and straight lines and floral decorations with clusters
and arches. However, using the same background together with
Neskhi style sometimes led to interlocking between letters and
ornamental plant stems, unless enamel colors were different
for both elements. Nevertheless, Egyptian Muslim artists
could, in many instances, achieve a fine harmony between
Neskhi calligraphy and its floral background.
In most cases, a decorator had to offset the horizontal
extension of the arrangement of calligraphy bands around
Mishkah by placing, in-between, at equal intervals, round
decorative elements containing, in addition to floral
ornaments, supplications in favor of the Sultan. Mishkah often
showed the owner’s name and logo, drawn in a gorgeous
decorative style.
Mishkas and logos
A logo is a specific sign or emblem a person takes up
exclusively for himself. A logo normally consisted of a
drawing of a specific object or creature such as an animal,
bird or flower or more than one at the same time. Logos were
usually inscribed on all personal property including
buildings, garments, utensils or metal work etc.
Logos were widely used particularly during the Mameluke
era, where they became a formal tradition strictly maintained
and cherished by holders. They ultimately turned into an
exclusive prerogative of the Sultan and princes. Probably, the
logo format was relevant to the vocation or position of owner
upon being appointed and granted his logo. For example, a Saqi
, would be given a logo shaped like a cup or and a keeper of
ink-pot, a logo shaped like an ink-pot or stylo holder.
Sometimes, a logo of a prince reflected the meaning of his
name, as was the case with prince Aqoush (that means a white
bird).
Some people would take up logos in the form of animals or
birds known for their power such as lions, eagles or cocks,
symbolizing their might or greatness.
Art museums abound in many gorgeous Mishkas with their
splendid decorations.
Striking examples of this art can be seen in Mishkas still
existing at Sultan Hassan’s Mosque in Cairo.
Coptic Art
Where all Civilizations Converge
Upon first coming across the phrase “Coptic art”, one
may think it means “Christian art”. However, Christian art
refers to the art of Christians worldwide, while “Coptic
art” means
 “the
Egyptian Christian art”. Originally, the word “Coptic”
is derived from the ancient Egyptian word “Ha-Ka-Petah”
associated to Petah temple at Memphis. The name of the capital
was used figuratively to denote the whole country then called
“Egiptos”. The name was converted into Arabic from Greek
as “Gipt” or Copt as it was later known in English as a
specific denomination for Egyptian Christians.
Influences and Effects
Initially, Coptic art was influenced by some features of
the ancient Egyptian civilization, then by the Greek and Roman
interloping civilizations due to the distinguished location of
Alexandria and finally by the Islamic civilization. However,
Coptic art is characterized by its ability to adapt to
whatever would establish its identity. Despite the brevity of
its evolution, it is an authentic and highly distinct art with
a marked ability to adapt to different creeds, beliefs and
traditions.
Coptic artists were inspired by some Egyptian, Grecized,
Greco- Roman, Persian, Byzantine, and Indian forms. But,
despite these several contributions, Coptic art has remained
Coptic after all. It has never abandoned its indigenous
heritage or the traditional principles of folk arts.
No wonder then to see models of “Coptic arts” adorning
many museums all over the world. For instance, the Louvre
Museum in Paris has a special department for Coptic art, so do
the Berlin, Metropolitan, London, and Brussels museums. These
contain important pieces of sculpture, marble, textile, ivory,
metal and ecclesiastic tools for which Copts were famous since
the Second Century AD up to the Sixth Century AD.
 University
Studies
World-famous universities were deeply interested in such
art. Some of these universities such as Leden, Holland and
Monster, Germany, provide specialist academic and
post-graduate studies in this field.
Worldwide, universities like Warsaw and Paris Universities
send missions to study Coptic art on site.
Moreover, Coptic art was able to respond to the
contemporary artistic concerns. It did not only handle
subjects from its own perspective, but it also attended , in
line with modern trends, to decorations that enhance the
aesthetic value of works.
Themes of Coptic Art
Historians mention many subjects tackled by Coptic art. It
is interesting to note that St. Luke the Apostle was himself
an adept painter. He is believed to have drawn the Virgin Mary
holding infant Jesus Christ. This drawing later became a stereotype
in all churches. Historian Father Vancelip mentioned that he
witnessed during his visit to the Cathedral of Alexandria an
icon of angel Michael drawn by the hands of St.Luke himself.
The Catacombs
One of the witnesses to Coptic art in its early centuries
were the catacombs. These are a series of underground tunnels
used for burying the poor often in engraved boxes. The walls
of these tunnels were full of symbolic drawings like the
picture of a fish that stands for Jesus Christ.
Coffins
Coffins made of marble and carved stones were used for
burying rich people. Since Christianity albeit widespread, was
recognized only in the third Century AD. As a result, pagan
and Coptic arts interlapped as the same artist decorated both
Christian and pagan coffins. Gradually, Coptic coffins were
made in the Coptic style, with inscriptions showing miracles
of Jesus Christ.
Chest Covers
These chests, were used to keep things as a source of
blessing. The chest was covered with drawings of the Virgin
Mary, nativity of Jesus Christ and an icon of baptism. Each
drawing
 expresses
a place of the holy visit. One of these chests, dating back to
the end of the fifth Century AD, is kept at the Vatican
Museum.
Monza Vessels
These vessels were sold in Jerusalem and the holy places
during the Fifth and the Sixth Centuries. They were filled
with the water of the holy river for visitors of the holy
places to take back home. These vessels were adorned with
drawings of the cross on one side and the resurrection and
seven drawings of holy scenes. These vessels were named after
the city of Monza in Italy where a large collection of them
were found.
Evolution of Coptic Art
Evolution of Coptic art can be traced in three stages as
follows:
1- Stage of Awakening
By the end of the third Century AD, Coptic art started to
emerge. During this time, Coptic art derived effective element
for awakening from the history of ancient Egyptian art .
However, Coptic art was much more concerned with the idea
than the contrast between mass and space as it believed this
would overshadow the idea. Coptic art in fact sought after the
spiritual satisfaction and the perception of the invisible
through symbol.
Coptic art had been initially influenced by the Greek and
Roman mythology. Initially unaware of Christian traditions,
Coptic artists drew nude pictures in the style of Greek
mythology. It was only when they grasped the principles of
Christianity that they started to make drawings expressing its
solemn traditions.
2- Stage of Consummation
During the mid-fifth Century, there appeared several
drawings expressing a blend of pagan and Christian beliefs.
Then, gradually pagan drawings disappeared and only the
Christian ones with their purely Coptic symbols persisted.
During this period also Coptic decoration, unlike the Greek
and Roman art had no longer an architectural function. Coptic
sculptors chose decorations specifically for ornamentation and
beautification purposes. During this period, Coptic art could
create great works expressive of innermost feelings, tending
to idealism. It also translated reality into levels more
elevated than realism and expression is stage of wide dissemination
from the eighth to the twelfth Century.
3- Stage of Proliferation
As Coptic works of art continued to adhere to Grecized
trends, researchers came to the conclusion that Coptic art
will remain unchanged. Thus, they arbitrarily disregarded the
bulk of great Coptic productions made after the Islamic
conquest. However, they later came to realize that Coptic art
was able to grow and evolve even under the Islamic reign.
Thus, Coptic art had progressed from a folk art to an
ornamental art in its stages of boom, associating itself with
traditions of the Pharaonic art. Despite the Hellenistic
occupation, it emerged as the real heir to Pharaonic art and
could inspire Nubian art with some elements and to lend
Islamic art some of its main distinct features inside and
outside Egypt.
In sum, Coptic art is a beautiful icon consummated by all
civilizations, but with the characteristics of Coptic art.
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