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68-648: Although not the first Ottoman building in Damascus (that is considered to have been the Salimiyya Takiyya in as-Salihiyya ), the Sulaymaniyya Takiyya is considered to have marked the introduction of the Ottoman architectural style to Damascus. In the centuries following its construction, the Sulaymaniyya Takiyya became an important stop on the "Syrian route" of pilgrims to Mecca , and it

136-507: A Sufi convent) in as-Salihiyya , Damascus . The complex was built over and in the surroundings of Ibn Arabi 's tomb in 924/1518 by the Ottoman sultan Selim I upon his return from the conquest of Egypt . The Salimiyya Takiyya is considered to have been "the first Ottoman building in Syria". However, its construction is considered to have followed "a local architectural idiom ", which

204-634: A new mosque , a palace, and a grand domed throne hall known as the Great Iwan . After al-Nasir Muhammad's death (1341), Cairo was hit by the Black Death (1348) and the sultanate underwent prolonged political instability up until the early 15th century. Despite this, the largest and most ambitious Mamluk religious building, the Madrasa-Mosque of Sultan Hasan , was constructed during this period. Craftsmen were recruited from many regions of

272-576: A roundel which contained a calligraphic rendition of the sultan's name and title. Wood was used throughout the Mamluk era, although it became harder to procure in the late period. Wooden ceilings had painted and gilded decoration that resembled book illumination of the same period. Minbars (pulpits), the only major furniture in mosques, were also usually ornate works of wood-carving and inlaid decoration featuring geometric motifs. The doors of religious monuments were typically sheeted with bronze that

340-433: A wikala or khan (a caravanserai to house merchants and their goods) or a rabʿ (a Cairene apartment complex for renters). Among other developments, during the Mamluk period the cruciform or four-iwan floor plan was adopted for madrasas and became more common for new monumental complexes than the traditional hypostyle mosque, although the vaulted iwans of the early period were replaced with flat-roofed iwans in

408-593: A Sufi retreat and mosque complex at the tomb of the Sufi master Muhyi al-Din Ibn al-ʿArabi (d. 1240) in the Salihiyya suburb north of Damascus proper. According to historians of the period, it was the center of educational life in Salihiyya, which itself was filled with Ayyubid- and Mamluk-era madrasa s and was home to many of the city’s most prominent scholars. In fact, in the eighteenth century, al-Salimiyya ranked only behind

476-534: A bulbous or bulging profile which resembles that of later Timurid domes. Examples of this include the dome of the Mausoleum of Sarghitmish (which was rebuilt in the 19th century), the twin domes of the Sultaniyya Mausoleum , and the original dome of Sultan Hasan's mausoleum (which later collapsed and was rebuilt in a different shape). These domes may have been inspired by Iranian domes of either

544-566: A common element of religious complexes. In the late Mamluk period new complexes were generally more restrained in size and were given increasingly complicated and irregular layouts, as architects had to contend with the limited spaces available to build in crowded cities. After al-Nasir Muhammad, Qaytbay was one of the most prolific patrons of art and architecture of the Mamluk era. He built or restored numerous monuments in Cairo, in addition to commissioning projects beyond Egypt. During his reign,

612-444: A different design than the others, a characteristic which was generally unique to Cairo. Early Bahri minarets were more often built in brick, but some, like the minarets of Qalawun's complex and of al-Nasir Muhammad's mosque, were built in stone. From the 1340s onward stone minarets became more common and eventually were the standard. In Mamluk constructions the masons who built the minarets were – at least in some cases – different from

680-534: A dome with a short drum whose curvature begins immediately at its base and whose surface was usually plain (e.g. like the Khanqah of Baybars al-Jashankir ), or a tall dome whose curvature begins closer to the top and is frequently ribbed (e.g. the Mausoleum of Salar and Sanjar ). Many of these Mamluk wooden and brick domes collapsed and/or were rebuilt in subsequent centuries due to neglect, structural instability, or earthquakes. Some examples of reconstruction include

748-492: A lantern structure – known as a mabkhara ("incense burner") – topped by a fluted dome. This is evident in the large minaret of Qalawun's complex (1285), although the top of this minaret was rebuilt later and no longer preserves its summit. The minarets of the Mausoleum of Salar and Sanjar al-Jawli (1303) and of the Madrasa of Sunqur Sa'di (circa 1315), are better-preserved and have a similar style, except that their shape

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816-493: A major reorganization and reconstruction of the Khan al-Khalili district. This last period also saw renewed experimentation in the shape of minarets, sometimes returning to prototypes used in earlier monuments. In 1517 the Ottoman conquest of Egypt formally brought Mamluk rule to an end, although Mamluks themselves continued to play a prominent role in local politics. In architecture, some new structures were subsequently built in

884-626: A military corps recruited from slaves that served under the Ayyubid dynasty and eventually took over from that dynasty in 1250, ruling over Egypt, the Levant , and the Hijaz until the Ottoman conquest of 1517 . Mamluk rule is traditionally divided into two periods: the Bahri Mamluks (1250–1382) of Kipchak origin from southern Russia , named after the location of their barracks on the sea, and

952-433: A mosque for the salvation of his soul, so he chose the site of his father Selim I 's former palace in Damascus. The construction of the western building was commissioned in 1554–55 during the reign of governor Şemsi Pasha , until it was completed in 1558–59. This building was masterminded by Mimar Sinan and built by local craftsmen, on the location of Baibars ' Ablaq Palace which was destroyed by Tamerlane forces during

1020-496: A slower pace. Mamluk domes transitioned over time from wooden or brick structures to stone masonry structures. On the interior, the transition between the base of the round dome and the walls of the square chamber below were initially accomplished through multi-tiered squinches and later with muqarnas-carved pendentives . Early domes in the Bahri period were hemispherical but slightly pointed and can be sorted into two general types:

1088-459: A small charitable building (e.g. a public drinking fountain), while larger architectural complexes typically combined many functions into one or more buildings. These could include charitable functions and social services, such as a mosque , khanqah (Sufi lodge), madrasa , bimaristan (hospital), maktab or kuttab (elementary school), sabil (kiosk for dispensing free water), or hod (drinking trough for animals); or commercial functions, such as

1156-419: Is considered to this day "as the most important Ottoman cultural building" in Damascus. In the cemetery of the complex, the last Ottoman sultan is buried, Mehmed VI , who was forced into exile upon the abolition of the Ottoman sultanate in 1922. Sultan Suleiman I who had recently lost two sons, as he executed his son Şehzade Mustafa , followed by Şehzade Cihangir who died of grief, wanted to establish

1224-404: Is more slender and the shaft of the second tier is octagonal, prefiguring later changes. The minaret of the al-Maridani Mosque (circa 1340) is the first one to have an entirely octagonal shaft and the first one to end with a narrow lantern structure consisting of eight slender columns topped by a bulbous stone finial . This style of minaret later became the basic standard form of minarets, while

1292-470: Is strongly reminiscent of Anatolian Seljuk portals like the 13th-century Gök Medrese in Sivas . The portal's decoration, which was left unfinished in parts, also includes motifs of Chinese origin (which had also been present in earlier Mamluk art objects). It has a grand muqarnas canopy. Other portals around the same period or shortly after, such as the entrance of the Madrasa of Sarghitmish (1356) and

1360-589: The Burji (1382–1517) of Circassian origin, who were quartered in the Citadel . However, Mamluk architecture is oftentimes categorized more by the reigns of major sultans , than a specific design. Caroline Williams, in her guide to the historic monuments of Cairo, suggests dividing the history of Mamluk architecture in the city in three approximate phases: Early Mamluk (1250–1350), Middle Mamluk (1350–1430), and Late Mamluk (1430–1517). Despite their military character,

1428-473: The Madrasa of Umm al-Sultan Sha'ban . The Burji Mamluk sultans followed the artistic traditions established by their Bahri predecessors. The architecture of the early Burji period continued the style of the late Bahri period. Though the plagues returned frequently throughout the 15th century, Cairo remained a major metropolis and its population recovered in part through rural migration . More conscious efforts were conducted by rulers and city officials to redress

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1496-585: The Sinan Pasha Mosque ). Some building types from the late Mamluk period, such as sabil-kuttabs (a combination of sabil and kuttab ) and multi-storied caravanserais ( wikala s or khan s), actually grew in number during the Ottoman period. Changes in the Ottoman architecture in Egypt include the introduction of pencil-shaped minarets from the Ottomans and domed mosques which gained dominance over

1564-473: The Umayyad Mosque and al-Sulaymaniyya al-Bar[r]aniyya as the third most important teaching institution in the city. In the sixteenth and seventeenth centuries, those who held the position of mudarris at the al-Salimiyya were closely tied to imperial power. The original nazir of the waqf was Turkish and a commission established to oversee construction was made up of the chief judge in Damascus and

1632-498: The classical Ottoman architectural style. The Sulayman Pasha Mosque from 1528 is an example of this. However, many new buildings were still built in the Mamluk style up until the 18th century (e.g. the Sabil-Kuttab of Abd ar-Rahman Katkhuda ), albeit with some elements borrowed from Ottoman architecture, and, conversely, new buildings constructed with an overall Ottoman form often borrowed details from Mamluk architecture (e.g.

1700-415: The funerary dome and minaret were constant themes. These attributes are prominent features in a Mamluk mosque's profile and were significant in the beautification of the city skyline. In Cairo, the funerary dome and minaret were respected as symbols of commemoration and worship. One aspect of Mamluk design was the intentional juxtaposition of the round dome, the vertical minaret, and the tall façade walls of

1768-638: The funerary complex of Faraj ibn Barquq (his son), is one of the most accomplished monuments of this period. This foundation also kickstarted the development of the Northern Cemetery of Cairo as a Mamluk necropolis. In the late 14th and early 15th centuries, stone-built minarets became increasingly refined and stone domes (instead of wood or brick domes) became widespread. The domes also started to be carved with simple decorative motifs. The "sabil-kuttab" (a combination of sabil at ground level and primary school on an upper level) started to appear as

1836-416: The hypostyle mosques of the Mamluk period. In the late 19th century and early 20th century, a "Neo-Mamluk" style was also used in Egypt, which emulated the forms and motifs of Mamluk architecture but adapted them to modern architecture. Patrons and governments favoured it partly as a nationalist response against Ottoman and European styles and a concordant effort to promote local "Egyptian" styles (though

1904-499: The makhbara -style minaret disappeared in the second half of the 14th century. Later Mamluk minarets in the Burji period most typically had an octagonal shaft for the first tier, a round shaft on the second, and a lantern structure with finial on the third level. The stone-carved decoration of the minaret also became very extensive and varied from minaret to minaret. Minarets with completely square or rectangular shafts reappeared at

1972-408: The mihrab (a concave wall niche symbolizing the direction of prayer ) was often the focus of internal decoration. The "conch" (concave part) of the mihrab niche was frequently decorated with a radiating "sunrise" motif. The " blazon " of the founder was sometimes included in varying locations amongst the decoration, but this was not a consistent feature of all buildings. A Mamluk blazon was typically

2040-603: The siege of Damascus . It is composed of a large mosque on the southwest side of a courtyard, flanked by a single line of stone arcading, and a soup kitchen (known in Turkish as imaret ) across the courtyard to the northwest, flanked by hospice buildings. The mosque has two minarets and Ottoman-style domes. It also has walls with alternating light and dark stripes, an architectural feature known as ablaq and of Syrian origin. The mosque has been described as "the finest example of Ottoman architecture in Damascus". In addition to

2108-509: The Citadel. These two complexes were the first in Cairo to combine a founder's mausoleum with a religious and charitable complex, which would come to characterize the nature of most Mamluk royal foundations afterward. The early Mamluk period that followed became an era of architectural experimentation, during which some trends of later Mamluk architecture began to develop. For example, by the late Bahri period entrance portals had developed into

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2176-674: The Ilkhanid or Jalayirid periods. However, it is difficult to establish a chronological line of influences due to the lack of surviving precedents in other regions. Doris Behrens-Abouseif has argued that the bulbous dome shape may be a local Cairene innovation which was combined with the tradition of Iranian double-shelled domes. Later domes in the Burji period were more strongly pointed and had tall drums. Stone domes were progressively given more detailed surface decoration, starting with simple motifs like " chevron " patterns and eventually culminating with complex geometric or arabesque motifs in

2244-547: The Madrasa-Mosque of Sultan Hasan in the mid-14th century, but was not repeated until this late period. (Unfortunately, the original minaret of Sultan Hasan collapsed in the 17th century and the top of al-Ghuri's quadruple-lantern minaret collapsed in the 19th century; both were reconstructed in slightly simpler styles, as they appear today. ) According to scholar Doris Behrens-Abouseif, the evolution of Mamluk domes followed similar trends to that of minarets but happened at

2312-414: The Mamluk empire to work on the highly costly project, which may account for the apparent influence of Iranian ( Ilkhanid ) and Anatolian Seljuk architecture in some elements of the building. The complex was left partly unfinished after the death of the founder, al-Nasir Hasan , in 1361. After this, other notable Mamluk complexes from the late Bahri period in Cairo include the Sultaniyya Mausoleum and

2380-612: The Mamluk period progressed. In the Bahri Mamluk period, carved stucco was widely used in interiors and on the exterior of brick domes and minarets. Glass mosaics, while present in early Mamluk monuments, were discontinued in the late Bahri period. Ablaq masonry (alternating layers of coloured stone) was also commonly used and is recorded in some of Baybars' early monuments, such as the Qasr Ablaq (Ablaq Palace) that he built for himself in Damascus (no longer extant). Some of

2448-618: The Mamluks pushed the city outward while also bringing new infrastructure to the centre of the city. The end of the Ayyubid period and the start of the Mamluk period were marked by creation of the first multi-purpose funerary complexes in Cairo. The last Ayyubid sultan, al-Salih Ayyub , founded the Madrasa al-Salihiyya in 1242. His wife, Shajar ad-Durr , added his mausoleum to it after his death in 1249, and then built her own mausoleum and madrasa complex in 1250 at another location south of

2516-474: The Mamluks were also prolific builders and left a rich architectural legacy throughout Cairo and in other major cities of their empire. Continuing a practice started by the Ayyubids, much of the land occupied by former Fatimid palaces in Cairo was sold and replaced by newer buildings, becoming a prestigious site for the construction of Mamluk religious and funerary complexes. Construction projects initiated by

2584-461: The annual Hajj . The cemetery next to the mosque is the burial place of the last Ottoman Sultan Mehmed VI , who was dethroned and forced into exile when the Ottoman sultanate was abolished in 1922. He died on May 16, 1926, in Sanremo , Italy and was buried at the cemetery of the Sulaymaniyya Takiyya. The mosque was chosen because it was located in the closest Muslim-majority country to Turkey and

2652-617: The architects were sometimes Europeans). Examples of this style are the Museum of Islamic Arts in Cairo, the Al-Rifa'i Mosque , the Abu al-Abbas al-Mursi Mosque in Alexandria , and numerous private and public buildings such as those of Heliopolis . Mamluk architecture is distinguished by the construction of multi-functional buildings whose floor plans became increasingly complex due to

2720-419: The building, which architects placed in differing arrangements in order to maximize the visual impact of a building in its specific urban environment. Patrons also prioritized the placement of their mausoleum next to both the prayer hall inside and the street outside, so that those walking by or offering prayers could easily see the tomb through the windows. Mamluk buildings could include a single mausoleum or

2788-408: The carved stone domes of the late Mamluk period. While the Mamluk empire was conquered by the Ottomans in 1517, Mamluk-style architecture continued as a local tradition in Cairo which was blended with new Ottoman architectural elements. In the late 19th century, "Neo-Mamluk" or Mamluk Revival buildings began to be built to represent a form of national architecture in Egypt. The Mamluks were

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2856-492: The city's infrastructure and cleanliness. Some Mamluk sultans in this period, such as Barbsay (r. 1422–1438) and Qaytbay (r. 1468–1496), had relatively long and successful reigns. At the beginning of the Burji period, Barquq (r. 1382–1399, with interruption) built his own major funerary complex at Bayn al-Qasrayn, which resembled the Mosque-Madrasa of Sultan Hasan in many ways, although much smaller. After him,

2924-462: The distinctive tall, recessed portals with muqarnas ("stalactite" sculpting) canopies that remained common until the end of the Mamluk sultanate. Architects also experimented with the placement of different elements of a building complex (like the domed mausoleum chamber or the minaret) in order to enhance the visual impact of their monuments in an urban setting. The defeat of the Mongols and of

2992-568: The domes of the Mausoleum of Sultan Hasan, the Mausoleum of Sultan Barquq, the mausoleum in the Madrasa of al-Nasir Muhammad, the dome of the al-Nasir Muhammad Mosque at the Citadel, and even the much later brick dome of the Mausoleum of al-Ghuri (which was finally demolished in the 19th century and never rebuilt). A number of wood or brick domes in the Bahri period were double-shelled domes (meaning an outer dome built over an inner dome) and had

3060-627: The first building and eastwards from it, a madrasa was built in 1566–67. It was possibly ordered by Süleyman right before his death in 1566 as it was called the Sulaymaniyya Madrasa in some sources upon completion, but over time it became known as the Salimiyya Madrasa (after Süleyman's son Selim II ), and was subject to the Hanafi school . The complex later served as a gathering point for pilgrims who wanted to prepare for

3128-485: The heart of the city. The enormous complex included his monumental mausoleum, a madrasa , and a large hospital ( maristan ). The hospital, one of the most important medical centres in the Islamic world of this era, continued to operate until the late Ottoman period . During the reign of al-Nasir Muhammad (1293–1341, with interregnums ), Qalawun's grandson, Cairo reached its apogee in terms of population and wealth. He

3196-498: The last Crusader states in the Levant in the second half of the 13th century resulted in a relatively long period of peace within the Mamluk empire, which in turn brought economic prosperity. One of the most important architectural achievements of this period is the funerary complex of al-Mansur Qalawun (who reigned between 1279 and 1290), which was built in 1284–1285 over the remains of a former Fatimid palace at Bayn al-Qasrayn , in

3264-501: The late Mamluk period. The large stone domes of the twin mausoleums in the Khanqah of Faraj ibn Barquq (built between 1400 and 1411) were an important step in the development of stone domes and a high point of Mamluk engineering. They are the first large domes in Cairo to be built in stone and they remain the largest stone domes of the Mamluk period in Cairo, with a diameter of 14.3 meters. The peak of ornamental stone dome architecture

3332-537: The later period. Monumental decorated entrance portals became common compared to earlier periods, often carved with muqarnas and covered in other decorative schemes. Vestibule chambers behind these were sometimes covered with ornate vaulted ceilings in stone. The vestibule of the Madrasa of Uljay al-Yusufi (circa 1373) features the first ornate groin vault ceiling of its kind in Mamluk architecture and variations of this feature were repeated in later monuments. The decoration of monuments also became more elaborate as

3400-411: The limited available space in cities and the desire to make monuments visually dominant in their urban surroundings. Expanding on Fatimid architecture 's development of street-adjusted mosque façades, the Mamluks developed their architecture to enhance street vistas, positioning major elements in a deliberate way to be clearly visible by passersby. While the organization of Mamluk-era monuments varied,

3468-409: The masons who built the rest of the building, as evidenced by the signatures of the masons on certain monuments. As a result, the builders of minarets were probably specialized in this task and were able to experiment on their own more than the builders of the main structure. Minarets in the Bahri period initially continued the trend of earlier Fatimid and Ayyubid minarets, with square shafts ending in

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3536-403: The most monumental and impressive portal of the Bahri era belongs to the Khanqah of Baybars al-Jashankir (1310). Portals were often recessed into the façade and ended in an ornate stone-carved canopy above. Among other variations, a common design for the canopy in the mid-14th century was muqarnas vaulting, or a semi-dome above a muqarnas zone. The use of muqarnas canopies in portals

3604-434: The need to accommodate limited urban space as well as a desire to visually dominate their urban environment. Their architectural style was also distinguished by increasingly elaborate decoration, which began with pre-existing traditions like stucco and glass mosaics but eventually favoured carved stone and marble mosaic paneling. Among the most distinguished achievements of Mamluk architecture were their ornate minarets and

3672-683: The other hand, appears to include Andalusi or Maghrebi craftsmanship alongside local Fatimid motifs. Over time, especially as stone construction replaced brick, stone carving and multi-color marble mosaics became the dominant decorative methods. The latter technique was used on walls and for the pavement of floors. Influences from the Syrian region and possibly even Venice were evident in these trends. The motifs themselves include geometric patterns and vegetal arabesques , along with bands and panels of calligraphy in floriated Kufic , Square Kufic, and Thuluth scripts. In religious structures,

3740-561: The peak of Cairo's power and prosperity. Their architecture also appears in cities such as Damascus , Jerusalem , Aleppo , Tripoli , and Medina . Major Mamluk monuments typically consisted of multi-functional complexes which could combine various elements such as a patron's mausoleum, a madrasa , a khanqah ( Sufi lodge), a mosque , a sabil , or other charitable functions found in Islamic architecture . These complexes were built with increasingly complicated floor plans which reflected

3808-467: The preserve of the Hanafi mufti of Damascus. Mamluk architecture Features Types Types Features Clothing Genres Art music Folk Prose Islamic Poetry Genres Forms Arabic prosody National literatures of Arab States Concepts Texts Fictional Arab people South Arabian deities Mamluk architecture

3876-426: The prominence of the entrance portal in comparison to other architectural styles like those of Syria. The portals of the Bahri period were varied in their designs. Some, like that of Qalawun's complex (1285) and Sanjar and Salar's Mausoleum (1303), were decorated with features like marble paneling but were not architecturally emphasized in their proportions or position in the overall façade of the building. By contrast,

3944-537: The shrines of Mecca and Medina were extensively restored and new monuments were built in Jerusalem. In Cairo, the funerary complex of Qaytbay was one of the most celebrated monuments of Mamluk architecture. His reign also saw the peak of artistic quality in the decorative arts, such as the stone-carved decoration of domes. Building continued under the last Mamluk sultan, Al-Ashraf Qansuh al-Ghuri (r. 1501–17), who commissioned his own complex (1503–5) and conducted

4012-467: The stucco decoration in early monuments appears to be influenced by the stucco decoration of other regions and may have involved craftsmen recruited or imported from these regions. The fine stucco mihrab of the Madrasa of al-Nasir Muhammad , for example, resembles contemporary Iranian stuccowork under the Ilkhanids in artistic centers like Tabriz . The rich stuccowork on that same building's minaret, on

4080-495: The sultan’s tutor. Yusuf Abi al-Fatah (d. 1646–47), for example, was imam to two sultans before returning to his home of Damascus and teaching at al-Salimiyya. During the eighteenth century, the teaching position was practically the preserve of two families, the Nabulusi and Mahasini families. Both were also prominent in the Salihiyya neighborhood. By this time, al-Salimiyya was eclipsed by al-Sulaymaniyya al-Bar[r]aniyya which became

4148-462: The very end of the Mamluk period during the reign of Sultan al-Ghuri (r. 1501–1516). During al-Ghuri's reign the lantern summits were also doubled – as with the minaret of the Mosque of Qanibay Qara or al-Ghuri's minaret at the al-Azhar Mosque – or even quadrupled – as with the original minaret of al-Ghuri's madrasa . A double lantern summit had previously appeared in one of the original minarets of

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4216-432: Was "neither Mamluk , nor Ottoman " (unlike the later Sulaymaniyya Takiyya , which marked the introduction of the Ottoman architectural style to Damascus ). The Salimiyya Takiyya consists of a mosque (Ibn Arabi Mosque) and an imaret facing it. Quoting Steve Tamari: After returning from the conquest of Egypt in 1518, Selim I (r. 1512–20) commissioned the first Ottoman building in Syria, al-Takiyya al-Salimiyya,

4284-504: Was achieved under the reign of Qaytbay in the late 15th century, as seen at his funerary complex in the Northern Cemetery. Mamluk entrance portals were a prominent part of the façade and were heavily decorated, similar to other architectural traditions in the Islamic era. However, the overall façade of a building was often composed of other elements such as windows, a sabil and maktab, and general decoration, which attenuated

4352-456: Was built by his ancestors. There are almost thirty other graves of the Ottoman dynasty who died in exile and were not allowed to be buried in the Republic of Turkey at the time. Salimiyya Takiyya The Salimiyya Takiyya ( Arabic : التكية السليمية , romanized :  at-Takiyya as-Salīmiyya ) is a takiyya ( Ottoman-era Arabic name for a mosque complex which served as

4420-456: Was fashioned into geometric patterns as well. The richest examples are the doors of the Mosque-Madrasa of Sultan Hasan; those of its entrance were appropriated and moved to al-Mu'ayyad's mosque afterwards, but the doors of the mausoleum, which are also inlaid with floral patterns in silver and gold, remain in their original place. Mamluk minarets became very ornate and usually consisted of three tiers separated by balconies, with each tier having

4488-460: Was initially a feature more characteristic of Damascus, where it was common in Ayyubid monuments, but it spread to Cairo in the 14th century. An unusual flat muqarnas canopy was used in several monuments around the 1330s such as the Mosque of Amir Ulmas (1330) and the Palace of Bashtak (1339). The massive entrance portal of the Madrasa-Mosque of Sultan Hasan (1356-1361) has an overall design that

4556-416: Was one of the most prolific patrons of architecture in Mamluk history. Under his reign Cairo expanded in multiple directions and new districts, such al-Darb al-Ahmar and the area below and west of the Citadel, filled up with palaces and religious foundations built by his emirs (Mamluk commanders and officials). Al-Nasir Muhammad also carried out some of the most significant works inside the Citadel, erecting

4624-466: Was the architectural style that developed under the Mamluk Sultanate (1250–1517), which ruled over Egypt , the Levant , and the Hijaz from their capital, Cairo . Despite their often tumultuous internal politics, the Mamluk sultans were prolific patrons of architecture and contributed enormously to the fabric of historic Cairo . The Mamluk period, particularly in the 14th century, oversaw

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