Architectural Features of Mosques: Maqsura, Mimbar, and Hypostyle Halls
Inside the Mosque: Key Architectural Features
Inside mosques, particularly on Fridays, the Maqsura is a notable feature. It is an enclosed space within the mosque, situated before the Mihrab, designed to house the caliph and his family. Initially separated by a wooden lattice, it evolved into a more defined architectural enclosure. This separation from the main prayer area was implemented because some caliphs had been attacked in the past.
The Mimbar: The Pulpit of the Mosque
The Mimbar (or Minbar) is an element placed near the Mihrab. It serves as the official pulpit from which the Imam leads prayers and delivers the Friday sermon. It can be either a piece of furniture or an architectural structure. Typically, it features seven steps surmounted by a chair. The Imam, however, stands on the top step below the chair, never occupying the chair itself. This is an allusion to the Prophet Muhammad.
Sometimes, a Dikke appears, especially in the late Middle Ages. This was a platform used when the Mimbar did not provide sufficient sound projection. A person would stand on the Dikke and repeat the Imam’s words, acting as a speaker.
Hypostyle Halls: A Defining Feature
One of the most characteristic types of mosque architecture is the hypostyle hall. This is a prayer hall covered with a light, flat timber roof that rests on columns or pillars, creating aisles or “ships.” This style emerged in the East during the Umayyad period in the 7th century.
The supports of the columns have bases, shafts, and capitals. These are often salvaged pieces from Roman or Christian buildings, although new parts can also be used, or a mixture of both. Sometimes, shafts are attached to the sides. The building grows by adding more “ships,” making it an easy and inexpensive construction method that facilitates expansion.
Two Models of Hypostyle Halls
- Ships along the Quibla wall: Most established in North Africa.
- Ships perpendicular to the Quibla wall: Most established in Spain.
Some scholars relate this style to Egyptian temples, Persian apadanas, or Roman forums that sheltered large crowds. Records suggest that the hypostyle system originated in the organization of Muhammad’s house in Medina. The original plan of Muhammad’s house was a large open courtyard with a lean-to on one side where he preached, supported by palm trunks and a thatched roof. There were bedrooms for the Prophet’s wives on the side. When Muhammad died, he was buried in one of the bedrooms, and the place became a sanctuary, undergoing changes until it evolved into a more formal structure.
When the first Muslims needed a covered space to house the faithful, they adopted this hypostyle system. Initially, there were no fences or exterior walls. However, in the 7th century, during the Umayyad period, enclosed mosques began to be built. According to some scholars, this should be considered a uniquely Muslim creation.
T-Shaped Hypostyle
The T-shaped hypostyle plan emerged from the Mosque of Damascus. Before this, there was no spatial differentiation. However, a hierarchy developed, where the area in front of the Mihrab has a higher and wider nave (axial nave), and another nave along the Quibla wall is also wider and taller than the rest. Vaults are placed at the intersection of the “T” to emphasize these areas, one just before the Mihrab and the other at the entrance of the axial nave.
Decorative Concepts in Islamic Architecture
Islamic decoration is highly identifiable and has a very specific terminology. It is one of the defining elements of Islam, as significant as language or religion. It provides insights into the origins of Islamic culture. The difference between Islamic decoration and other forms is its intellectual character, which implies a clear trend towards abstraction rather than figuration. These decorative elements are fueled by ideas from the Quran.
This often forced builders to make buildings appear more luxurious than they were, striving to create a sumptuous effect without using expensive materials. In many areas, high-quality materials were not readily available. Therefore, the architecture and interior form an indissoluble whole in palatial, civil, and religious buildings.