Fatimid Dynasty (909 – 1171)

The dynasty of the Fatimid caliphs, which ruled over a part of the Maghreb (909 – 969) and then over Egypt (969 – 1171), left its mark both architecturally and artistically on these regions. The development of a court society in the Egyptian capital Cairo as well as the role of Egypt in international trade encouraged the generosity of patrons of the arts and increased the export of this work towards Europe. It is difficult to find an equal to the level of creativity of the artists from this period either within the Muslim world or around the Mediterranean in general.

The history of this dynasty did not however begin in Egypt but further to the west in Ifriqiya, today known as Tunisia. The period spent in the Maghreb undoubtedly served as an important phase of learning and experimentation with numerous visual symbols that would be used later. From this period, the only surviving edifice is the Mahdiya (capital at the time) mosque. Its layout, while including many local elements, introduced several typically Fatimid architectural characteristics, in particular a monumental entrance door. This, the first of the Fatimid mosques, would have a noteworthy influence on the mosques to follow.

From 969, Egypt became the seat of the caliphate and a major centre of the arts. The local craftsmen were obliged to come to terms with the imported political and Shiite religious references that the Fatimids had brought to an Egypt profoundly marked by Sunni Islam. The arrival of the dynasty was accompanied by the construction of a new capital, Cairo, a few kilometres north of the former capital Fustat.

Two palaces, which have today disappeared, were constructed as well as a mosque and two great mosques: al-Azhar (969 – 973) and the mosque known as al-Hakim (990 – 1013). The local influence of the Ibn Tulun mosque can be felt in these two edifices. The naves perpendicular to the qibla wall follow the example of Ibn Tulun, while drawing inspiration from the al-Mahdiya mosque through the accentuation of the nave in the mirhab’s (prayer niche) axis. The al-Hakim mosque draws even further inspiration from Mahdiya through the inclusion, on the orders of caliph al-Hakim – known for his religious zeal – of a monumental door and two towers at the angles of the façade.

Constructed by two viziers, the al-Aqmar mosque (1125) and the al-Salih mosque (1160) are private oratories, which bear witness to the increase in private patronage in the construction of religious edifices in Fatimid Egypt and the inclusion of Shiite symbols such as the monumental doors so precious to the dynasty. In Egypt, the Fatimids wished to include all their subjects, who in the majority were Sunnis, in a common act of worship around the descendants of Muhammad and were at the origin of a new type of structure, the mashhad or mausoleum. Undoubtedly the most famous of these is the Sayyida Ruqayya (1133). In fact it constitutes a visual memorial or mashhad ru’ya. Its outstanding characteristics include a mirhab decorated in sumptuous stucco, which includes typically Shiite themes and a fluted dome.

The vizier Badr al-Jamal al-Jayush (d. 1096), who was master of Egypt during the absence of the caliph from 1073, had a mashhad built, which was known as the “al-Juyushi” (1085). This structure celebrated his military victories and in its turn is distinguished by its mirhab and honeycomb stuccos (muqarnas), which are probably the oldest in Egypt. This type of decoration was much appreciated by local craftsmen and constituted an entirely new form of ornamentation in Egypt. Badr al-Jamal al-Jayush ordered the building of the first stone fortifications, of which little remains except for the monumental gates: Bab al-Futah, Bab al-Nasr in the north, Bab Zuwayla in the south and the recently excavated Bab al-Tawfiq in the east. The walls were made of cut stone and square or circular towers that stood out from the walls flanked the gates.

The ram’s heads carved into the Bab al-Futah represent the name of the city and the interest the dynasty had in astrology. The ram is the symbol for the planet Mars (al-Qahir) that is the origin of the city’s name Cairo (al-Qahira). All of these edifices as well as the various palaces and private residences, constituted a marvellous opportunity for the local artists and craftsmen to show their talent.

Fatimid art is known for the remarkable richness of its decoration. Floral decoration with sinuous stalks, complex tracery and branches was associated with figurative and animal decors. Scenes depicting dancing and hunting, unknown elsewhere became almost systematic in their use under the Fatimids. The realism of the figures stands out in contrast to the abstract geometry of the tracery in the sculpted wooden friezes from the palaces. 

Such decorative style fits into the both the Hellenistic and Mesopotamian traditions. The influence of Coptic art should not however be dismissed especially in the field of sculpted wood, such as the wooden iconostases in Coptic churches like Saint Barbara (1072 – 1073), which are directly comparable with the wooden panels from the Fatimid Palaces. The Fatimid decorative style seems to be a skilled mix of these different elements and can be seen on a wide variety of objects.

Ceramic objects with metallic tints (lusterware) from the Fatimid era are considered to be amongst the best examples of medieval Islamic ceramics.  These objects again use motifs depicting dancing and hunting, but one particular scene showing Christ giving blessings, bears witness to the role played by Christians in Fatimid art.

The taste for pomp and luxury shown by the Fatimids, surfaces once again in the nobility’s desire for clothes made from linen and silk tiraz, which were made in workshops belonging to the Copts in the Nile Delta town such as Damietta or Tinnis. These Tiraz were in bright colours and often decorated with animals. The bolts of cloth served to make ceremonial clothes for important occasions worn by the caliphs and perhaps passed on to important personalities. This type of clothing again served to glorify the Fatimid dynasty and was produced in quantity.

Many of these objects were lost when cities were pillaged or burned. Some however were bought by or given to European traders and pilgrims, who brought them back to Europe and contributed to the diffusion of Fatimid art even after the Dynasty was eliminated by Saladin in 1171.

F.B.