The sources of Ibn Tulun's soffit decoration

The mosque of Ahmad ibn Tulun is one of the most important

mosques in Egypt. It is the second largest mosque in Cairo, the third congregational

mosque; it was built in 876 by Ahmad ibn Tulun. The most striking feature of the

mosque is its stucco decoration. There is no evidence of the presence of this style of

stucco, which was strongly influenced from Samarra, in any other monuments in

Egypt; the mosque of Ibn Tulun is the only monument standing today in Cairo which

has this style of stucco apart from the remains of a small Tulunid hammam that was

discovered in 1932 and was decorated with stucco.1 The stucco designs on the soffits

while being strongly influenced by Samarra, arguably display also Roman and

Byzantine influences. The soffits are carved with intricate abstract floral designs very

similar to Samarra stucco, but in a geometric framework that shows Roman and

Byzantine influence as well. Both geometric and vegetal patterns are found which

when combined lead to countless varieties of ornamental patterns are of late antique

times.2 Samarra styles A and B (explained in chapter two) represent an evolutionary

process that underwent a development from Sasanian stucco until it was employed at

Ibn Tulun; for example the vine scroll transformed gradually from a naturalistic

pattern into an abstract pattern.3 The analysis of Roman and Byzantine mosaics will

indicate a connection to the patterns used in Ibn Tulun. This has been noticed by

earlier scholars. According to Ernst Diez, the geometric patterns of Ibn Tulun mosque

show the influence of Roman mosaics from late antique times as well as that of

Sasanian stucco.4 According to Doris Behrens-Abouseif, the decoration of Ibn

Tulun’s mosque shows a strong influence of Byzantine and Samarran works of art.5

She also mentions that Sasanian culture inspired the works of the Abbasids and that

both the Byzantine and Sasanian cultures contributed to the evolution of the

naturalistic floral and abstract decorative patterns.6 Some of the motifs like the

herringbone border, pearls and spiral are Byzantine and were used later by

Mesopotamian and Coptic artists.7 The geometric patterns can be generated by using

some fundamentals of mathematics. For example by using circles and connecting the

centers with straight lines a triangular grid with a symmetrical pattern can be

achieved, and by connecting the centers in a triangular grid, a rhombic or a hexagonal

grid can be achieved.8

The sources of Ibn Tuluns soffit decoration.pdf