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The Sudano-Sahelian architectural style itself can be broken down into four smaller sub-styles that are typical of different ethnic groups in the region. [28] The examples used here illustrate the construction of mosques as well as palaces, as the architectural style is concentrated around inland Muslim populations. As with the people, many of ...
There are two main substyles of West African mosques: Sudanese [5] and Sudano-Sahelian. [6]Sudanese architecture is defined by its use of pilasters (rectangular pillars on the sides of walls used for decoration), wooden beams known as toron, [7] buttresses with cone-shaped summits, mihrabs, flat roofs, courtyards, sand floors with mats, arches, decorated exteriors, and Tata Tamberma [8] (a ...
Songhai villages exemplify the Sudano-Sahelian architectural style prevalent in West Africa, characterized by mud bricks and adobe plaster construction. The dwellings are marked by arched entrances adorned with intricate, symbolic patterns, crafted using mud mixed with natural pigments.
It is a relatively simple and plain style, used for everyday writing and often used for signs. [1] The Ottoman calligraphers Mumtaz Efendi [ 2 ] (1810–1872) and Mustafa Izzet Efendi (1801–1876) are credited with standardizing the writing style which has existed in slightly different styles as everyday handwriting.
Many of the most significant architectural wonders seen in Mali today were built in the style of Sudano-Sahelian architecture, most importantly the Great Mosque of Djenné. [3] This style comprises mudbrick, known as ferey in the region, and adobe plaster in conjunction with wooden support beams, materials derived from Mali's natural ...
Calligraphy was a valued art form, and was regarded as both an aesthetic and moral pursuit. An ancient Arabic proverb illustrates this point by emphatically stating that "Purity of writing is purity of the soul." [6] Beyond religious contexts, Islamic calligraphy is widely used in secular art, architecture, and decoration. [7]
The earliest examples of epigraphic inscriptions in Islamic art demonstrate a more unplanned approach in which calligraphy is not integrated with other decoration. [43] In the 10th century, a new approach to writing emerged. Ibn Muqla is known as the originator of the khatt al-mansub, or proportioned script style. [44] "Khatt," meaning the ...
The traditional box-house style was seen at its most complete in Omdurman, the city built by the khalifa ῾Abdallahi (r. 1885–98) in 1885, which was the country's capital for 13 years. — The Grove Encyclopedia of Islamic Art and Architecture [ 23 ]