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Chapter 2

Plan and levels

In this chapter a tour of the Faisal Mosque from its entrance courtyard to the area

around the sanctuary will be offered. Then the special features of the mosque will be

enumerated and related to earlier prototype from Islamic lands. A tour of the interior of

the sanctuary is given in the following chapter.

From the ground plan we can imagine that the Faisal Mosque complex is all on

one level but actually it is built on a mount with the sanctuary at the highest point

(drawing figure 17). The double storied rectangular plan of the mosque complex has four

main areas, the entrance courtyard, the ablution area, the main courtyard and the

sanctuary.

According to its architect, the mosque is the house of God, it should be open for

worshippers at all times.1 So the architect did not include any huge monumental gates.

The entrances to the Faisal Mosque complex are built in simple manner (drawing figure

18). The south entrance is the one commonly used by the public. It is approached across

an area left for landscaping. From the north, worshippers can enter the mosque in two

ways, through the administrative block and from stairs outside the administrative block.

It can also be approached from the north courtyard by a flight of twenty-seven steps. The

east entrance through the ablution area is used by the faculty and students of the

university. The members of local and foreign political delegations usually entered from

the western side. On the north-west is a ramp to facilitate the entry of handicapped

people. These modest entrance ways are much different from the grand projecting

entrances of the historical mosques. The Entrance Courtyard is on an axis with the

mosque and courtyard and has two modest entrances (drawing figure 19).

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Drawing figure 17. Map of the mosque. Source: Administration Office, Faisal Mosque.

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Drawing figure 18. Plan showing entrances to the Faisal Mosque.

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32

Drawing figure 19. Ground plan of the Faisal Mosque

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33

Drawing figure 20. The plan of the first floor of the Faisal Mosque.

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The lowest level of the mosque is the entrance courtyard on the south, up a flight

of three stairs about one foot, six inches front ground level. The worshippers can enter

from the two side corners of the entrance courtyard (plate 22). Shoe racks are placed at

both east and west sides and are covered. The entrance courtyard area has two small

rooms. The eastern room houses a model of the mosque (plate 23), and the western room

is used as a gift shop (plate 25). The main feature of entrance courtyard is a large circular

pool with a circular fountain (plate 26).

The pool is not exactly in the center of the area (Drawing figure 21). The

architect push it one side. Slightly more space is left on the north side. Its unusual

spacing signals to visitors immediately that this is not an ordinary mosque.

Drawing figure 21. The off-center pool in the entrance court.

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One step up from the rectangular open court, leads to the covered area. It is

supported by the square piers made of poured concrete with no capital and base. The

center third of each side of the pier is recessed and giving the effect of three vertical

sections. There are seven further divisions of the piers into horizontal units. The

colonnade is three aisles wide and five bays long. Its beautiful floor is made of polished

black and white striated marble. A shoe rack is placed next to each square pier. The

white coffered ceiling of poured concrete is in square designs (plate 31). On the east side

of the colonnade there is a library, the west side has a book shop and the north side opens

to the ablution area. The ablution area stands on a marble plinth four steps high. Each of

the white marble steps is six and a half inches high.

The most prominent feature of the ground plan of the mosque is the spacious

ablution area built below the main courtyard. The university area faces the ablution area

on the east side, and an administrative block with auditorium is on the north and west

side. The administrative block has a grilled entrance (plate 32).

Both the east and north entrances are usually closed; the worshippers use only

the two staircases on the north-west and the south-west corners.

The ablution area is square in plan and is surrounded by colonnades on all sides.

The coffered ceiling is divided into triangles and is supported by square piers. The piers

of this area have recessed center sections like the piers of the covered area. But further

divisions of the piers of the ablution area into horizontal units are in six in sections and

they have faceted edges. Each square concrete pier in this area has a stylized square

capital composed of four triangular pieces (plate 33). The floor is paved with different

shades of brown and white marble. Every brown marble tile measuring thirty-two by six

and a half inches is set in groups of twenty resulting in several large squares. The squares

are separated by white marble slabs, measuring thirty two by seventeen inches. The

white ceiling of the colonnade is coffered in triangular designs echoed by the small

triangular glazed tiles on the side walls (plate 34).

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The central pool has two levels both made of in light blue tiles (plate 35). The

lower level is an articulated square with chamfered corners, forming an octagon. Its long

side is sixty feet three inches and each chamfered side is twenty-eight feet two inches in

length. The water is three feet nine inches deep. The fountain is made of rods four inches

in diameter. There are twenty-eight circular fountains each two feet three inches high in

this lower pool (plate 36). A shallow square basin is set in the center of the fountain

(plate 37), carried on an octagonal pedestal. It is seven feet and four inches above the

bottom of the pool and its top is twenty-nine feet square. It has four straight rods for the

cascade along the side and several rods are arranged vertically.

From the chamfered corners of the double fountain area stairs lead to the main

courtyard (plate 38). Each staircase has thirty six steps made of marble (drawing figure

22). The center fountain and basin do not function as an ablution area. The requirement

for ablution is fulfilled by fixed taps on the side walls of the covered ablution area (the

colonnade). There are 177 taps set on the walls, twenty-eight on the south, forty-five on

west, fifty-two on north and fifty-two on east. A marble stool one foot three inches high

is placed in front of each tap allowing the worshipers to avoid the impure water on the

floor.

The total height of the walls of the ablution area is fourteen feet. The walls are

divided into two parts. The upper nine feet are decorated with glazed triangular ceramic

tiles measuring three inches on a side. The tile decoration is a major attraction of the

ablution area and western staircases. In the ablution area cerulean and cobalt blue are

major colours on the walls but magenta, red, yellow and orange are also used. The lower

part of the walls is covered with white marble design in vertical lines. The side walls of

the two western staircases leading to the main courtyard from the ablution zone are

covered with ceramic glazed tiles with dissimilar designs.

The western staircases are divided into three banks (plate 39). The lower bank

has eight steps; and the middle sixteen steps. The ceiling above them is sloping. A third

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bank of stairs has thirty-one steps but is uncovered. After these steps, one arrives at the

western ending the main courtyard. The stair passages are covered with square coffered

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39

Drawing figure 22. Pool and fountain in the ablution area.

ceilings and have earth coloured marble floor. The walls are entirely covered with tiles

and here the pseudo-knottedKficis readable as the word Allah. The tiles which are set

on the side walls of the staircases areseven inches on a side. On these walls cerulean and

cobalt blue ceramic tiles are used. In cerulean blue the name of Allah is repeated 112

times in pseudo-knottedKficcalligraphy, a tenth century Persian calligraphy (plate 40).

It will be discussed in the fifth chapter entitled Calligraphy. The pattern is slightly

raised (about .8 inches) and stands out against the prominently cobalt blue tiles of the

background. In comparison to the side walls of the ablution area, the cerulean and cobalt

blue triangular ceramic tiles have small touches of yellow, orange, red and magenta to

break the monotony of blue (plate 42). All these ceramic tiles on the walls have been

imported from Turkey but the tiles used in the fountains and reflection pools of the

mosque are locally made.

On the east wall of the ablution area wooden lattice work is used for ventilation and

replaces the ceramic tiles (plate 43). The design of the lattice work is similar with the

design of stone lattice work at theJamiMosque at Bijapur, in the Deccan, India, built in

1551 and decorated in 1636 (plate 44).2The northern wall of the area has a grilled gate

that opens to the administration block. After six steps, there is an approach to the

auditorium, several offices and store area. It is an open and covered area with two

staircases, of ten steps, on the north side leading to offices.

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40

The first floor can be entered through eleven entrances, eight from the main courtyard of

these entrances two are from the west and one is from the administrative block on the

north (drawing figure 23). The main courtyard is approximately seventeen feet seven

inches above the outer grassy ground of the southern side. It is a bold expression of

vastness, modernity and abstractions. The first floor is dominated by two major portions.

One is the main courtyard and open exterior court area surrounding the sanctuary and the

other is the sanctuary itself. The main courtyard can accommodate 40,000 persons at a

time.3The area is 200,000 square feet paved with grey granite imported from Italy.

4 In

its centre a vast square chamfered open space gives light to the fountain below. Under

the roof of the main courtyard on the east side is the Islamic Research Institute, the

printing press, cafeteria, library, book shop, and the offices of the administration. In the

main courtyard there are three other small openings besides the large openings for the

ablution fountain and the basin. These are to provide access the Islamic Institute below.

The main courtyard is surrounded by the porticos, one bay deep supported on

square piers except on the center of the south side (plate 45). These piers are like those

described above but each one has four light fixtures attached three feet from the ceiling.

In every pier vertical units are created by recessed horizontal lines in the concrete. Every

square pier has a stylized capital made up of four triangular shapes. At the joining point

of these capitals, an abstract impression of a series of triangular arch is created, which is

visible from a distance (drawing figure 24). The portico is built according to trabeat

system. The white ceiling is made of concrete shell structure. The floor is paved with

grey granite. Its ceiling is built according to the principles of shell construction.5 The

structural design of the ceiling is made in several square units. These squares are divided

into four triangular shapes. As note when seen from the courtyard they make a geometric

pattern of diagonal-lines resting on elegant square piers.

The center of the eastern portico has a small covered area used as a respondent

platform, raised two steps up from the porticos floor level (plate 51). It is built for the

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Drawing figure 23. Entrances to the first floor of the mosque.

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42

Drawing figure 24.Porticos in the main courtyard with triangular arches.

imms assistant, to repeat the words and action of the imm in view of the outside

congregation. An abstract triangular mihrb indicates the direction of the Kabah

(drawing figure 25).

The ceiling of the platform for naib i-immis built in the form of lattice work.

The lattice work is based on the arrangement of diagonal lines forming several triangles

constructed of steel structure and concrete and is perforated (plate 53). The design

harmonizes with the symmetrical diagonal line treatment of the porticos capitals. Its

white colour gives an impression of vastness to the heavy structure. Four pairs of

rectangular piers are set at the four corners of the respondent platform bear the weight of

the ceiling.

Across the main courtyard from the respondent platform there is another small

structural area for the muadhdhincalled the muqbil platform (plate 55). It is used by

the assistant of immto lead prayers in the main courtyard area (drawing figure 26). This

raised platform is in front of the entrance veranda, and is made of white Thassos marble.

It is rectangular in plan and is designed into three parts in which central part is bigger

than the other two. Its central part is three steps above from the floor of the entrance

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Drawing figure 25. Triangular arch on theplatform for the naib i-imm.

Drawing figure 26. A view of the muqbilplatform from the east.

Drawing figure 27. A view of the muqbilplatform from the west.

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veranda, and other two (small) parts are two steps up from the floor (drawing figure 27).

On east, north and south sides low walls are separate the muqbilplatform from the main

courtyard. The east wall has perforated design of crescents (plate 56).

The entrance veranda of the sanctuary is three feet above the main courtyard,

with a flight of six steps (plate 57). The level of the entrance veranda, the upper level of

the sanctuary, and the court surrounding the sanctuary are all the same.

The floor of the entrance veranda is dressed with grey granite, and ochre and

white marble. Its cantilever ceiling is supported by a series of rectangular piers, with

light fittings. The ceiling is designed with triangular forms similar to those on the side

porticos but supported by rectangular piers rather than square piers. The ceiling is built

according to the bases of shell construction, and is twenty eight feet high from the floor.

The entrance veranda stands as an independent facade of the sanctuary. Round electric

bulbs are attached with the ceiling in the form of rows (plate 58). These rows are six in

number and every row has twelve bulbs.

The floor of the entrance veranda on the north and the south sides is made of

squares and rectangles of coloured marble. Every yellow marble tile is eleven inches

square and nine tiles are arranged to form a large square. The large units are separated by

a band of white marble tiles measuring thirty-two by eighteen inches. The main

courtyard is in grey granite slab measuring two feet eight inches square.

Along the south, north and west walls of the sanctuary there are open court areas

smaller then the main courtyard. The south court is fully paved with yellow ocher colour

marble slabs. The level of the south floor is seventeen feet seven inches above the

ground. The floor of the north and west side court area is in grey granite.

Fountains have been constructed next to the north and west sides of the

sanctuary. On the west, half of the reflection pool is constructed inside the sanctuary the

other half outside. It is built in blue tiles. Fresh cool air enters the sanctuary through the

water of the pool. Both north and west pools have a series of round rod fountains (plate

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59). The water of the pools give beautiful reflections of the surroundings and external

images of the sanctuary and the minarets. At day time the scene reflects the white of the

sanctuary and the minarets, the blue of sky and the green of the landscape. At night

artificial lights with dark background reflect in the pools (plate 60). Benches of white

marble are arranged independently in a semi circle around the north reflection pool. The

fountains add beauty to the reflection of the external features in the water. The

harmonious composition of the line and colour creates a beautiful design. Mass and

value are balanced in the overall construction.

Decorative brass bowls for plants are placed near the south-east and north-east

entrance doors of the sanctuary (plate 61). The bowls are filled with earth and soil for

fresh plants. Its top is ornamented with a hadith in floriated Kfic calligraphy reading

Heaven is below the feet of mothers. It is placed on a seven inches broad metallic

semi-circular sheet.The hadithis selected for this place because these doors are the only

entrances to the womens gallery. The importance of the calligraphy of this inscription

will be discussed in Chapter Five. The calligraphy and planter are suspended in a circular

frame attached to the floor and ceiling. The bowl is seven feet in diameter and hung three

feet two inches from the ground. The circular surrounding rod is eight feet in diameter

and has a copper gold colour. The planter is surrounded by a low octagonal white marble

partition ten inches high.

The structure and various decorations used at the Faisal Mosque come from

different sources within the decorative vocabulary of Roman and Islamic art. For

example the plan of the Faisal Mosque is itself a hybrid of two mosques types. An open

plan is the primary Islamic plan for mosques. The mosque of Ibn Tuln, Cairo begun in

876 A.D. and completed in 879 A.D. and the Great Mosque of Cordoba first built in 784-

786 A.D, are admirable examples of such kind of plan.6 They are large rectangular

structures based on two distinct parts, a prayer hall and open court area. In open plan

mosque the prayer hall is usually in the form of hypostyle hall or uses piers supports. The

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bays and aisles allow growth in any direction.7A rhythmical relationship is established

between the courtyard and the covered area. The court area can be elaborated by

introducing colonnades along its sides and can be either longitudinal or lateral in

orientation. Large archway openings are inserted at the mid-point of the courtyard in the

mosques constructed in Iran, Afghanistan and Central Asia creating axial or cross-axial

structure.8 The cross axial type has four iwans, one in the centre of each side. The

seventeenth century royal mosque at Isfahan is a good example of a four iwanplan.9

A second type of mosques has a more unifies forms. It is designed in two sections,

a composed facade and monumental porch for entrance in to the prayer hall and the

prayer hall itself which composed of more than one unit. The units are defined by walls

or four piers and are usually covered by a dome. As compared to an open-plan mosque

sanctuary, this plan gives the impression of interior vastness. In an open plan mosque the

prayer hall can be expanded from all sides by extending the numbers of bays and aisles,

but in a close-plan the unity of space does not allow for extensions. The porch section of

the closed-plan serves as an atrium, with colonnades on all four sides. Ottoman mosques

such as the Sulaymaniah Mosque and Shahzadi Mosque in Istanbul are examples of

closed-plan.

Besides open and close plan, some mosques are constructed without a courtyard.

The Main Road Blue Area Mosque in Islamabad and KrishanNagar Mosque in Lahore

are examples of this kind of architecture. Architects have abbreviated the designs of

these mosques due to the lack of space. They are based on covered area only and have

two or more stories. Kalan Masjid (Tughlaq period 1320-1414) was built on a double

storied plan.10

The Mosque of Chini ka burj another two storied mosque, was also

constructed in the Tughlaq period.11

The plan of the Faisal Mosque does not resemble the plan of any other

monumental mosque plan. It has both open and closed plan architectural construction.

The critic Hasan-Uddin Khan is wrong to say that it is a concrete structure of an open-

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plan.12

An open plan mosque does not have a separate faade for the entrance to the

prayer hall as the Faisal Mosque does. It has aisles and bays in the prayer hall. The

Faisal Mosque has faade, portico, frieze and entablature but in an abstract form and its

hall is constructed without aisles and bays. These are not the qualities of an open-plan

mosque. So the Faisal Mosque has both characters in its construction (open and closed

plan): open in the court area and close in the individual and independent sanctuary with

faade. Ottoman mosques have small side chambers, extension of the sanctuary.

Comparatively, the Faisal Mosques sanctuary is free from any such divisions. In addition

all sides of the Faisal Mosque also have open court areas, and the sanctuary is

constructed within those areas.

Large Ottoman mosques have several levels. Jose Pereira writes that the Ottoman

two-level mosques are of two kinds. The simple structures, with only two levels; and the

complex structures, with levels further divided into tiers and layers.13

The aesthetic

quality of the Mughal gardens too is reflected through multilayered terraces, for example,

at Shalimar Garden, in Lahore.14 Likewise in the Faisal Mosque levels have been laid

out at different heights. The layers are created to enhance the beauty of the mosque. The

two-storey structure of the Faisal Mosque has been inspired from Ottoman and early

Tughlaq mosque architecture.

Traditional mosques have different designs on their floors, paved with different

kind of solid materials or covered by carpets. In the Faisal Mosque, the floor of the

entrance courtyard is paved with pebbles as was first used in mosques during the life of

the Prophet (peace be upon him). At first the Prophets Mosque at Madina had a floor

made of mud. Later, companions of the Prophet (peace be upon him), brought pebbles

and paved the floor with pebbles.

For the floor of the colonnaded area (before the ablution zone of the Faisal

Mosque), black and white marble is selected. Black marble was used for the first time in

the Islamic architecture of India in the decorations of Alai Darwaza in Delhi built in

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1191-1526.15

The coffered ceiling of the colonnaded area is designed with square shapes

recesses that rest on square piers. The coffered ceiling has no Islamic prototype but

recalls the ceiling of the dome of the Pantheon in Rome, built in 118-125 A.D. (plate

63).16

The design and way of construction of its coffered ceiling is not similar with the

ceiling of the Faisal Mosque. The coffered ceiling of the audience hall of Aula Palatina

Basilica, in Germany built in early fourth century, has similarity with the square coffered

design of the ceiling of the Faisal Mosque. But the ceiling of the audience hall was in

wood instead of concrete structure (plate 64).17

Ablution means cleaning with clean water or the washing of ones body or specific

parts of it, as in a religious rite. It is an essential part of the prayer. The worshipper has to

be in a ritually purifying state before beginning prayers. A central fountain for ablution

seems to make its first appearance in the Abbasid period.18

Yemeni mosques had large

pools for ablution.19

Historically the requirement of ablution was fulfilled by fountains or

marble jars with basin and taps. Fountains either in the centre of the courtyard of the

mosque or at the side, were often sheltered by a dome. In the mosque of Ibn Tul n Cairo

begun in 876 and completed in 879, a fountain has been set in the centre of the

courtyard.20

Mughal mosques usually have the fountain pool in the centre of the courtyard

too. As in case of the Mughal mosques, the Faisal Mosque has its fountain in the center

of the courtyard. It is constructed on the ground floor rather than in front of the sanctuary

or in the main courtyard of the first floor. The area of the fountain is not covered rather it

is open to the sky. The fountain of the Faisal Mosque serves as a decorative attraction

and maintains the tradition of the early Muslim architectural trends but is no longer used

for ablution.

Architectural decoration of glazed tiles was first used by the ancient Egyptians and

Mesopotamians, for both plain and relief surfaces. In both civilizations, glaze was used

not only in pottery but also in the architectural decoration and was usually blue. R. Nath

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writes that in the Egyptian civilization glazes were well known before 4777 B.C. The

interior of the step pyramid at Sakkarah near Cairo, dating from 4155 B.C. has mural

mosaics. A building at Tell-i-Amaraha, dated 1550 to 1400 B.C. has beautiful murals

composed of brilliant coloured glazed tiles.21

The coloured glazing was printed over the

surface for durability. Brilliant examples of glazed tiling have been discovered from

Assyria, Babylonia and Persia. Glazed bricks and tiles both were a part of the

architectural decoration of the region.

The Assyrians introduced polychrome glazed brickwork, which was later on

popularized by the Neo-Babylonians.22

The tower of Babel at Babylon was constructed

by Nebuchadnezzar-II (605-562 B.C) and decorated with enameled bricks.23The Ishtar

gate of Babylon constructed by Nebuchadnezzar-II was first decorated with polychrome

glazed brick relief, with a dark blue background for the profile figures; yellow, white and

turquoise coloured animals and dragons were found. These glazes were opaque and

hard.24

The palace of Sargon-II (722-702 B.C.) at Khorsabad was characterized with the

decoration of coloured glazed bricks.25

In Persian architecture, glazed brick panel was used during the period of

Shalaneser III (859-824 B.C), which is a fine example of Assyrian art.26

In Greek and Roman civilization, mosaic work in tesserae (an individual tile

usually in the shape of a cube) and pebbles were famous.Opus tessllatum a style was

popular during late Roman period in Italy.27

In this method tesseraeof marble or stone

were cut into three fourth of an inch in various colours and combined in geometrical

designs. 28

In Opus figlium style encaustic tiles or terracotta pieces were arranged in

geometrical mosaic rather than marble.29

The Faisal Mosques tile mosaic work has some

similarity with this style because of the use of tiles and geometrical designs.

The way the material has been used in the Faisal Mosque is different from the

way it was used earlier. In the Faisal Mosque, for the sake of modernity triangular shape

tiles of ablution area are three inches on a side, and tiles of the staircases are seven inches

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on the other side. The size of the tiles of the ablution area is too much bigger then the

size of tesseraeof Opus tessllatum.But the tiles in the western staircases are larger then

the Opus tessllatum style. The geometric designs with mosaic work are influenced by

earlier Roman ones but in a stylized form.

This technique was developed in the Islamic world and varieties of design and

format are found. Dome of the Rock at Jerusalem, was the first Islamic building that was

embellished with glass tiles, used as mosaics with geometrical designs.

The proper use of glazed tiles began in the later Abbasid period. In the thirteenth

century hexagonal and star shaped luster tiles and small pieces of tiles were used in Iran

to sheet the surface of architectural monuments. Turkey and Iran produced brilliant

examples of grandiose mosques with glazed tile decorations. Such as the Mosque of

Gauhar Shad, Mashad, built during the Timurid period in 1419, the Blue Mosque,

Tabriz, built in 1465,Masjid-i-Shah, Isfahan built by Shah Abbas in 1612- 1637 and the

Friday Mosque, Thatta in the province of Sind, built in 1644- 1647.30

The tile work of

these countries was renowned for its beauty and symmetry, throughout the world.31Tile

work found in the South Asian architectural monuments was influenced by early Iranian

style. The tomb of Shah Yusuf Gardizi, built in 1150 at Multan, is the first building of

the region where enameled tiles in indigo and turquoise blue on white base were used.32

The tiles of Islamic world are classified by different techniques, for example, simple

technique, luster tile, over glaze, under glaze and Cuerda Seca. But in the Faisal Mosque

the latest Turkish industrial method of tile making has been adopted. Traditionally the

glazed tile decoration adorned the lower part of the walls (dados). In the Faisal Mosque

the upper part of the walls are covered with decorative tiles instead of the lower, yet

other innovative features of the Islamabad mosque.

In the ablution area and on the west staircases of the Faisal Mosque, geometry is

applied to a degree of complexity and sophistication. These patterns exemplify the

Islamic concern for symmetry and continuous generation of pattern. Here we see a very

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judicious and harmonious combination of diagonal, horizontal and vertical lines. The

name Allah is producing a rhythmic series here placed in a cerulean blue against cobalt

blue background of the walls.

In the Faisal Mosque the tile decoration of the ablution areas and the west

staircases has beauty through harmony of colours, lines and complexity of design.But

the question can be raised as to what is the historical importance of these colours? Why

have these colours been selected for the area? And what is the philosophy behind it?

Colours are powerful tools to express feelings and also convey philosophic and

symbolic implications. Each colour has its own symbolic significance and logic which

can add dimensions to evoke moods and make overall view of the place more powerful

and aesthetically strong. This is true in the case of the ablution area of the Faisal

Mosque.

Cobalt and cerulean blue with few touches of red, yellow, orange and magenta have

great prominence in ablution area decoration. As an architectural expression cobalt blue

has historical importance. It was an essential part of the architectural decoration of

Babylonians famous Ishtar Gate of 575 B.C. here it is used as a blue background of

glazed bricks with green, yellow, white and black glazed bricks for religious subject

matter. Later on it increasingly became a part of brilliant colour schemes for the surface

decoration of ancient architectural monuments. In Muslim art the use of cobalt blue was

introduced in the twelfth century. Muslim tiles are sheathed in the seven colours of the

spectrum in which the blue colour has a fundamental role. In Muslim art cobalt blue was

frequently used for the decoration of mihrbs and domes. The dome of the Madian

Mosque in Kashan, built in 1226 is sheeted with blue tiles and is one of the earliest

examples in coloured mosque decoration.33

The potters of Kashan developed a technique called minaior haft-rangthat was

commonly used in the late twelfth century. During the second half of the thirteenth

century the technique of lajvardina was used in Persia, in which a few colours and

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angular shapes of gold leaf were applied against a cobalt blue or turquoise ground.34

Coloured hues produced elegant and sumptuous effects. Most of the religious

monuments of the Islamic world especially in Central Asia, Iran, Turkey and Pakistan

have polychromatic tiles in marvelous colour scheme. But blue and turquoise are

dominating among other colours.

Helen Varley writes that, Vast expanses of sky and ocean accommodate the

spirit carving release through a sense of infinity; their loftiness and depth have endowed

their colour with a noble character.35

The blue colour of the sky has a variety of tones at

different times during the day and night. In the Faisal Mosque cobalt blue is an abstract

representation of the sky. The logic behind its use is that it creates a spacious and

unlimited sky. The cerulean blue tiles of the pseudo-knottedKfic are the source of grace

and gives an effect of vastness to the ablution area and the staircases. Streaks of yellow,

red, magenta and orange in the blue are clearly set between the hexagons squares in an

abstract linear design, symbolizing the different time periods of the five prayers in a day

offered by Muslims.

Ablution is a major obligatory act prior to performing prayer. Its ritual

importance is reflected in the design of the tile decoration of the ablution area walls.

Cerulean and cobalt blue create an unlimited space of sky during most of the time at the

day and night, and represent the timings of the dawn and night prayers (salat-al Fajar

and salat-al sh). Yellow represents the bright sunlight and relates to the warm

temperature at the time of the afternoon prayer (salat-al Dhohar). Magenta, the colour of

dignity and spirituality, is a fusion of red and blue. It relates to the cool evenings as the

sky with blue and streaked red (salat-al Asr). During the evening, sunset shows an

arrangement of orange and light magenta with a pinkish tint, this corresponds to that of

the light at the time of the evening prayer (salat-al Maghrb). As Varley suggests, red is

the colour of the nobility of the royal livery and has various connotations of blood.36

Manning writes that red is reflective of the strongest and basest emotions, such as lust,

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power, life, vitality and energy.37

Red is also associated with energy and shows the desire

and love to perform the ritual prayer and the warm feelings and the spiritual link with the

Almighty. All these colours present the semiotic language of the five times of prayers.

The yellow ocher and brownish shades of the marble flooring of the ablution

area of the mosque create a contrast with the white of its ceiling and lower part of walls.

Brown is the colour of earth and relates to nature. The earth colour shows somber,

natural, authentic, woodiness and utility symbolism.38

In this area brown colour does not

harmonize with entire colour scheme and is applied as a contrast and creates natural

earthiness. Every brown square has twenty rectangular marble tiles of different

intensities of brown. These square shapes are outlined with one foot wide marble slabs to

emphasis their colours.

The use of consciously composed designs and the selection of colours are the

basic characteristics that create aesthetic value for the Faisal Mosque. In the ablution area

polychrome colours are only applied on the upper part of the walls. The colours of the

ablution area are divided into three groups. First, the entire colour harmony of the floor is

in earth colours; second, light soft pastel colours with white are found on lower part of

the side walls and third, the rich hues of ultramarine and cerulean blues with orange, red,

yellow and magenta on the upper wall. One might wish that the architect has linked each

area by intermingle more colours.

Lattice work is used for ventilation from the eastern wall of the ablution area. A

row of small wooden windows, designed with perforated lattice work and a circular

opening, is constructed in the upper area of the eastern wall. Below is a ventilated grilled

entrance for the university staff and students.

Lattice work refers to an open framework made of stone, metal, wood or similar

material and its design should be overlapped or overlaid continuously. It forms a regular

or periodic pattern in two or three dimensions.39

In the Great mosque of Damascus, the

arched openings, which form the upper tier next to the courtyard, were filled with stucco

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lattices, and were regarded as windows.40

Lattice work in stone and wood were also

done by Muslims. This art was created for windows, ventilations and upper parts of

doors.

In South Asia lattice work was used for the Alai Darwazabuilt by Alul-Din

Khiljin 1311 as an extension of the Quwat ul-Islam Mosque.41Screens with perforated

lattice work are set in the windows on both sides of the entrance. In Pakistan the tomb

monuments of Uchch have wooden screens of lattice work in a variety of geometrical

designs.42

During the Sultanate and Mughal periods, the technique was used for similar

architectural purposes and it continues today at the Faisal Mosque.

A madrsah attached to a mosque is an old association in Muslim architecture.

Initially the mosque was used for both prayer and education. Gradually separate areas

constructed for Islamic education, were attached to mosque. An International Islamic

University andDawah andShariahAcademies with hostels, classrooms, printing press

and university offices were part in the original plan of the Faisal Mosque. However,

because ofthe increase in the number of students, there arose need for additional rooms,

and in 2003 the University was shifted to H-10 Sector, Islamabad. But the management

of the University and some classes of the Islamic Research Institute of Dawahare still

housed at the Faisal comprise. TheIslamic Research Institute is concerned with the study

of Islam and promoting research in all branches of Muslim thought and learning. The

Institute prepares and publishes books, translations and commentaries on Islamic legal

text used in the field of law. TheDawahAcademy is engaged in planning educational

training and research programs for the benefit of Muslim communities within and

outside Pakistan. They also organized training of community leaders, professionals and

workers. The National Training Program of the ShariahAcademy is based on Shariah

lessons linked with the Islamic studies for junior lawyers and police training courses. For

its international training programs, the council of the academy has decided to extend its

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training facilities to judges and law offices from other countries engaged in the process

of administration of justice.

The larger courtyard of the Faisal Mosque conveys the usual tectonic character of

the South Asian mosque. But the concept of court area surrounding the south, north and

west of the sanctuary is new for this region.

Usually mosques of the Mughal period were constructed on raised platforms. The

Mosque of Wazir Khan in Lahore, built in 1634, Jahan Ara Mosque in Agra built in

1648, and Badshahi Mosque in Lahore built in 1673 are examples of mosques built on

the raised platforms. Comparatively, the Faisal Mosque is built on a natural mount with

some parts on a raised platform.

The vastness and porticos around the courtyard of the Faisal Mosque was inspired

by the courtyard of the Mosque of the Prophet (peace be upon him) at Madina. Later on

the courtyard was adopted by the Ottomans, the Safavids and especially the Mughals.43

Historically a mosque plan had one sanctuary and one courtyard. But at the Faisal

Mosque, an open area is designed all around the sanctuary and more space has been

given at the eastern side for the main courtyard (drawing figure 20).

An ablution tank was usually set in the courtyard in front of sanctuary. At the

Faisal Mosque the concept is the same but ablution tanks and spigots are built on ground

floor and are not visible. In the summer, the floors of the ground and first floor are

covered with long rectangular pieces of green carpet. The boundary walls of the

courtyard on the east, north and south sides are open space rather than the historical

massive walls.

In the Faisal Mosque, the center of the main courtyard is chamfered and is lower

by two steps, and the side porticos are up by two steps, from the level of the sanctuary.

Badshahi Mosque Lahore, built in 1673, has a vast courtyard with a large fountain in its

center. Its courtyard is constructed on three levels, and serves as a prototype for the

Faisal Mosque, but with differences. The courtyard of the Badshahi Mosque is two steps

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up from the west side only (plate 65), but in the Faisal Mosque two steps are designed all

around the main courtyard.

At the Faisal Mosque a bold triangular arch representing a mihrb marks the

respondent platform. Such triangular arches are found on the facade of the Garrison

Mosque, Cantt, Lahore built in 1983. Its exterior has blind triangular arches on the side

walls of the sanctuary and open triangular arches on the faade (plate 67). The functions

of these triangular arches are not similar with the triangular arch of the Faisal Mosque,

only the basic appearance resembles the Faisal Mosque.

In the Faisal Mosque, eight piers in paired form bear the weight of the perforated

ceiling of the respondent platform. The method of constructing piers or columns in pairs

was used in the Mughal period (especially in Shahjahani style). But in the Faisal

Mosque, the piers do not truly follow the Mughal style. The piers are influenced by

Mughal style of construction but are stylized with the new concept dominant.

The Faisal Mosques plan is not an exact copy of any traditional design. Effective

and pleasing features and elements from many sources were adopted according to the

requirement of weather and location. Ottomans and Mughal mosques also were

constructed with several floor levels. But the architectural character of the levels of the

Faisal Mosque is not similar to any one. Its treatment is well organized, systematic and

modern. An abstract realism has been observed in the representation of arches, arcades,

and east faade of the sanctuary.

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Notes

1Interview with Ahmad Rafiq, civil engineer of the Faisal Mosque, July 14, 2004.

2Ahmad Nabi Khan,Islamic Architecture in South Asia(New York: Oxford University Press, 2003),

168.

3Information by director administration of Faisal Mosque Ishrat Warsi.

4Information by director administration of Faisal Mosque Ishrat Warsi.

5The shell construction is the modern construction introduced in 19

thcentury.

6http://archnet.org/library/dictionary/entry.jsp?entry_id=DIA0150 (accessed Feb 5, 2008);

http://www.islamicity.com/Culture/MOSQUES/Europe/TMp105b.htm (accessed Feb 5, 2008);

J.G. Davies, Temples Churches and Mosque(England: Basil Blackwell Oxford, 1982), 121.

7Davies, Temples Churches and Mosque, 121.

8Ibid., 123.

9Ibid. 123.

10Khan,Islamic Architecture in South Asia, 80.

11Ibid., 83.

12Martin Frishman and Hasan-Uddin Khan, eds., The Mosque (London: Thames and Hudson, 1994), 262.

13Jose Pereira,Islamic Sacred Architecture a Stylish History(New Delhi: Janakpuri District Centre,

1994), 302.

14Ahmad Nabi Khan,Development of Mosque Architecture in Pakistan (Islamabad: Lok Virsa

Publishing House, 1970), 150.

15Khan,Islamic Architecture in South Asia,33.

16Richatd G.Tansey and Fred S. Kleiner, GardnersArt Through the Ages,10

thed. (New York: Harcourt

Brace College Publisher, 1996), 234.

17Tansey and Kleiner,Gardners Art Through the Ages,254.

18Andrew Petersen,Dictionary of Islamic Architecture (London: Routledge, 1996), 197.

19Frishman and Khan, The Mosque, 99

20K. A. C. Creswell,A Short Account of Early Muslim Architecture (Baltimore: Penguin Books, 1958),

314.

21R. Nath, Color and Decoration in Mughal Architecture in India and Pakistan(Jaipur: The Historical

Research Documentation Program Jaipur, 1989), 9.

22Banister Fletcher, The History of Architecture, 17

thed. (London: The Athlone Press University of

London, 1963), 70.

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23

R. Nath, Color and Decoration in Mughal Architecture in India and Pakistan,10.

24Tansey and Kleiner, Gardners Art Through the Ages,58.

25Fletcher,History of Architecture, 17

thed. 73.

26

Fletcher,History of Architecture,

19th

ed. (London: Butterworths, 1987), 74.

27Encyclopedia of World Art(New York: Toronto: London: McGraw, Hill, 1968), 330.

28R. Nath, Color and Decoration in Mughal Architecture in India and Pakistan, 50.

29Ibid., 82.

30Frishman and Khan, The Mosque,129,142, 168.

31George Michell, ed., Architecture of the Islamic World(London: Thames and Hudson, 1984),

139.

32

Sajjad Haider, Tile Making in Pakistan(Islamabad: National Institute of Folk and Traditional Heritage

Islamabad, 1987), 51.

33Alexandre Papadoupoulo,Islam and Muslim Art(London: Thames and Hudson, 1976), 264.

34Venetia Porter,Islamic Tiles(London: British Museum Publication, 1995), 17

35Helen Varley, ed., Color (London: Marshall Editions, 1980), 212.

36Ibid., 186.

37 http://color-of-truth.com (accessed Sep 27, 2006).

38http://www.logotree.com/html/color_logo_graphic_design.htm (accessed July 27, 2006).

39http://www.thefreedictionary.com/lattice (accessed May 13, 2007).

40Creswell,A Short Account of Early Muslim Architecture, 5I.

41http://www.delhigate.com@delhi/sites1d.htm (accessed May 13, 2007).

42Ahmad Nabi Khan,Islamic Architecture of Pakistan(Islamabad: National Hijra Council, 1990), 39-43.

43Michell, Architectureof Islamic World,21.