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Copyright of Kadim is the property of Kadim and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The pioneers of sustainable architecture began to question the international style of modernity with regard to its ecological qualities in the 1970s. In the decades that followed, the environmental issue was treated as a crisis. Today, there is no doubt about understanding our time as a major turning point in climate change. Since half of the energy used by humans worldwide is consumed in buildings, the topic of green architecture is essential. In the history of architecture, we find numerous examples that can be inspiring for solutions to today's problems. This work intends to investigate the sustainability aspects of mosque architecture from its beginning to the present day. In the introduction, the development of Islamic architecture in relation to environmental awareness is discussed. This is followed by supraregional aspects of sustainable Islamic architecture, which are analyzed under the following focal points: multifunctionality, natural materials, natural lighting and ventilation, sustainable design strategies, cultural sustainability, and finally, environmentally friendly and energy-conscious design in modern times. [ABSTRACT FROM AUTHOR]

Aceh, located on the island of Sumatra in Indonesia, is an autonomous region. While initially Hindu and Buddhist kingdoms were present, the first state in Aceh was established by Muslims. Its location on the west coast of the Indian Ocean led to a significant influx of Muslim traders to the region. Structures in the area that became acquainted with Islam through Indian and Arab Muslims exhibit a blend of Arab, Indian, and local architectural elements. This study focuses on the mosque architecture of the Aceh region in terms of Islamic architecture. The mosques discussed in the article are significant structures in their respective regions. Acting as centers where the sultan meets with the people, educational activities are conducted, resembling a sort of madrasa, while also serving as hubs for various social activities. Although each region has a central mosque, the most prominent one is the Beytürrahman Mosque. Subsequently built mosques often bear similarities to it. The historical development of structures influenced by different cultures is examined architecturally. The main focus of the study is the notable feature of mihrabs resembling the Kaaba Door, known as "Serambi Mekkah," found in Aceh. [ABSTRACT FROM AUTHOR]

Copyright of Mediarts: The Journal of Media & Arts Studies / Medya ve Sanat Çalışmaları Dergisi is the property of Mediarts: The Journal of Media & Arts Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Lorenz Korn’un araştırma-inceleme niteliğindeki bu eseri, İslam sanatının mahiyeti, farklı coğrafyalardaki gelişimi, Antik Çağ ile ilişkisi gibi temel meselelere değinmektedir. İslam’da tasvir yasağı ve bu yasağın ikonoklazm hareketinden ayrışan yönleri üzerinde durmaktadır. Bunun sonucunda hat sanatı, kitap sanatları ve diğer dekoratif sanatlara kadar pek çok alandaki yansımasına dikkat çekmektedir. Eserin tartışma odaklı noktalarından birisi çini ve minyatür sanatlarında köken-kaynak fikrini Uzak Doğu- Çin medeniyeti üzerine kurmasıdır. Çalışma; mimari, süsleme sanatları ve modern dönem İslam sanatına varıncaya kadar pek çok alanda ve coğrafyada icra edilen Müslüman sanatını farklı yönleriyle ele almaktadır.

Lorenz Korn's research-examination work touches upon fundamental issues such as the nature of Islamic art, its development in different geographies, and its relationship with Antiquity. It focuses on the prohibition of depiction in Islam and its aspects that differ from the iconoclasm movement. As a result, it draws attention to its reflection in many fields from calligraphy to book arts and other decorative arts. One of the discussion-focused points of the work is that it establishes the idea of the original source of tile and miniature arts on the Far East-Chinese civilization. The work deals with the different aspects of Muslim art, which is performed in many fields and geographies, including architecture, decorative arts and modern Islamic art. [ABSTRACT FROM AUTHOR]

Copyright of ARTS: Artuklu Journal of Art & Humanities is the property of Mardin Artuklu University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims to discuss the architectural and decorative characteristics of the Sharafiyya Complex in Bidlis in its historical and geographical context. The complex was commissioned by Emîr Sharaf ibn Emîr Shams al-Dîn al-Roşkî, a member of the Kurdish Bidlis dynasty, in 935/1528-29. Emîr Sharaf Beg ruled Bidlis from 909/1504 to 940/1533. His son Shams al-Dîn Beg completed the complex by constructing a mausoleum for his father in 940/1533 after his death. The monumental complex was built during his alliance with the Ottomans when he governed his territory without the interference of the Ottoman Empire. The complex is formed of a mosque, a mausoleum, a zawiya, a fountain, a madrasa with a covered market, a qaysâriyya (bazaar) and a bath-house. Emîr Sharaf Beg endowed villages, arable lands, several shops, markets, a hammam and a flourishing mill to fund the complex. The article will first provide a brief historical background to the Bidlis dynasty during the reign of Emîr Sharaf Beg (909/1504-940/1533). Then it will describe and analyze the monuments forming the complex, and examine main features of the architecture of Sharafiyya Complex. [ABSTRACT FROM AUTHOR]

Titus Burckhardt, was one of the most famous Traditionalist philosopher in the last century. He devoted his life to the study and exposition of the different aspects of Wisdom and Tradition. Burckhardt was one of the most remarkable exponents of universal truth, in the realm of metaphysics as well as in the realm of cosmology and of traditional art. This article aims to explain some aspects of his approach to the architecture in general and the Islamic architecture especially. The 'unity' is the principal dimension of the Islamic architecture. According to Burckhardt, the Ka'ba is the very primordial architecture on the earth that has an cosmologic symbolism. It has literally central importance for its architecture. Every Muslim faces the Ka'ba to recite the canonical prayers, and every mosque is accordingly orientated in this direction. For Burckhardt, the non using of image or as he says the 'aniconism' is also one of the most exeptional part of Islamic art and architecture. According to him, the aniconism preserves the primordial dignity of man, whose form, 'made in the image of God'; on the other hand, nothing that could possibly be an idol, may interpose itself between man and the invisible presence of God. [ABSTRACT FROM AUTHOR]

Copyright of Conservative Thought / Muhafazakar Düşünce is the property of Muhafazakar Dusunce Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article reflects on the use of limestone in the construction of Islamic monuments in Istanbul, Turkey and Turkish Thrace. It mentions that limestone is used in the construction of monuments due to its abundance and quality as its can be molded into any shape. It discusses the reasons of deterioration in monument which include air pollution, deteriorated limestone and weathering forms on limestone monuments.