The Madrasa- Mausoleum of Amir Sunqur Al-Saidi

Introduction

The Madrasa- Mausoleum of Amir Sunqur Al-Saidi was initially built in 1315 and 1321 CE by Amir Sunqur Sa’di, who was forced to leave Egypt in his lifetime.

Figure 1. The Madrasa- Mausoleum of Amir Sunqur Al-Saidi design ^1[1]

Although Amir was not buried in the mosque, sheik Hasan Sadaqa was buried in the building and was therefore known after his initials. The complex has derived meaning throughout the 13th century to the later part of the seventeenth century and is now known as at the Museum..

Figure 2: 14th-century madrasa courtyard, now the Mevlevi lodge [2]

History

            As the secretary of na’ib al-jaysh, the army, Amir Sunqur Sa’di served as the commander under the then leader Sultan al-Nasir Muhammad[3]. Between 1315 and 1321 CE, a period that is also known as the era of the rein of Sunqur Sa’di, saw the construction of madrasa. It is mentioned that the design was possibly intended to be designed as a convent for women. He, as the leader, designed his mausoleum. However, over the period, Sunqur Sa’di became involved in an inner conflict with one of the equally influential leaders of the time, Amir Qawsun, who coincidentally had a monumental Palace that was located within proxy of Sunqur madrasa house. It documented to have left Egypt for Tripoli in 1323 and later died and was never buried home. However, contemporary sheik Sadaqa Hassan was laid to rest in his place.

            However, most researchers acknowledge that it is still a debate as to whether the mausoleum was particularly opposed for Hasan Sadaqa’s tomb from the initial stages or it was meant for the general used as a shrine for the founders of the entire architectural design [4]. Hassan Sadaqa himself acknowledged the intended to have the building used as a shrine and mainly as a religious complex. Historically sources suggest that the merchants who were the stakeholders in supporting and sponsoring the building acknowledge that Hassan Sadaqa was a Sufi, also known as a Muslim mystic, who served as a sheik.

Significance of the period

            The period during the construction of the mosque is marked by the introduction of the stone dome, which was the first in Cairo. Most researchers note that the stone domes were probably introduced to Cairo from Syria, and the new architectural model in a design inspired several other constructions across the region. These are also linked to the increased complexity in architectural designs over the 18th century. The stone designs inspired the introduction of hexagonal chain modeling. The mosque is recognized as one of the places that the most initially monumental stone bombs were used in the design of big Coliseum.

Figure 3; Dome-Madrasa of Amir Sunqur Sa’ di[5]

The Building

The later histories of the mosque, now known as the Mevlevi Sufi Lodge has been ordered as a donation to the Yemeni Ottoman Pasha. The transaction is described as one of the three significant allocations that were donated as part of the broader Nile delta region[6].  The documentation for the donations is mostly intact and now serves as a theatre and as a ceremonial hall for performances such as sama’ (whirling dervish), which started in 1810.

Development and analysis

Continued development of Bahri mamluks mausoleum represents an evolutionary content of mamluk Monuments that document artifacts and graphical pictorial and typographical format of the chronological religion. The sequence of developments is well detailed by authors such as Doris Behrens-Abouseif, who record events regarding mamalukes mausoleum. Development plans and architectural features represent distinctive supplementary historical writing that describes the madrassa mausoleum of Sultan Hasan depicting geometric and ornamental detail. The incorporation of these designs represents visual description and is backed by detailed documentation that uniquely enables the continued formulation of an informed and balanced understanding of Bahri mamluks architecture.

Figure 4:Exterior design [7]

The correlation between documentation of history and representation of a well-designed provide patronage of the look-alikes. Development focuses on representing a single

Adaptor design, which represents a historical, literary source of studies relating to new architectural designs. The ideological attitude and manifestation, in combination with the aesthetic, cultural association, represent the sultan’s agenda and interpret his power and ideology. The developmental approach focuses on the concept of epigraphic experience, the documentation that details different ideas regarding graphics.

Figure 5: Interior Deco[8]

Quran verses are also represented detailing instructions, which then provide cultural meaning. The structure can capture symbolic dimensions that represent the sultan’s complex funerary as semiotic tools that include signs connotations. Developmental works that are also reviewed by scholars portray political and social introduce that dominated the era. The analysis serves as a sharp reminder with the real political event as well as personal ambition that determined the urban forms at the time. Bahri mamluks mausoleum portrays the maker’s point of view that covers several studies, which include stylistic and Urban complexes.

Analysis into mamluks architecture reveals encryption of message in design and outlines the importance of casted street building designs. All changes represent a variation in test overtime and progressive termination of mamluks aesthetic appearance. Analytical description of the shape gives insight into the interpretative nature of research that guides on understanding fundamental impacts of richness and multiplicity of layers regarding design concepts. It provides a unique dynamic morphology of the educational memorial complex that portrays a variation in factors that shape temporal and spatial perspective

Exterior Design

Bahri mamluks mausoleum represents a tall structure that is 113 feet above the street parade. It has a freestanding three individual façades. Each façade can be appreciated from the citadel that is seen as a dome over the messaging. A minaret and either side flank the dome. Although the dome collapse collapsed in 1661, a more modern serves as a representation of the original design. Of the two towers, the highest is that of the medieval Cairo it is at about 275feet.

Figure 6: Bahri Mamluk muqarnas portals in Egypt[9]

The second one, which collapsed in 1659, was replaced by an interior structure but served as a support to portal structures. The portal construction of the mosque, which towered above 66 feet above the floor, covered the muqarnas, a stalactite type vault. The portal is seated at an angle from the rest of the building. It faces the citadel, corresponding to the street parade located in the former palace at the epicenter of the panoramic view. It is an enormous, gigantic work that was left incomplete.

Interior Discussion

Figure 7: Design Plans[10]

The interior design has textiles and carpet that covers the floor. The interior is considered as one of the most beautiful accomplishments with the floor featuring elaborate polychrome pattern mobile across the hallway. Walls are fully decorated and characterized by stone cravings painted wood ceiling and colored windows. The wall is modestly made by wooden that is richly covered by geometric patterns, which are further inlaid with ivory. A wooden Lantern covers the ceiling board, and the central pillar is full of curving and painted patterns. The design represents our restoration of work and original art with deliberate decoration.

Figure 8: Mosque Plans[11]

Conclusion

In conclusion, it is essential to note that the artistic nature of Bahri mamluks mausoleum represents Islamic art during the reign of Mamluk sultan between the years 1250 to 1517. The structures located in Cairo and as a representation of different contributors during the 15^th century. The role of the actual patronage depicts belief and position by the people at the time. It is a representation of cultural understanding and awareness that traverses generations. It is generally characterized by exterior designing composed of large structures and pillars. The interior design is full of decorations and paintings bring out the Islamic culture. It serves as an essential reference to a point on time. Depicted history portrays belief during the second half of the 15th century.

Bibliography

Abou-Khatwa, Noha. “Calligraphers, Illuminators and Patrons: Mamluk Qur’an Manuscripts from 1341-1412 AD in light of the collection of the National Library of Egypt.” Ph.D. diss., 2020.

Abdelhamid, Tarek Galal, and Heba El-Toudy, eds. Selections from Subh al-A’shā by al-Qalqashandi, Clerk of the Mamluk Court: Egypt: “Seats of Government” and “Regulations of the Kingdom,” From Early Islam to the Mamluks. Taylor & Francis, 2017.

Abu-Lughod, Janet L. Cairo: 1001 years of the city victorious. Vol. 5222. Princeton University Press, 2018.

Gallin, Pauli. “Mamluk Art Objects in Their Architectural Context.” Ph.D. diss., Boston College, 2017.

Juvin, Carine. “A Mamluk Qurʾānic Ǧuzʾ and Its Connection with Amīr ʿAbd al-Qādir al-Ǧazāʾirī.” Journal of Islamic Manuscripts 10, no. 1 (2019): 105-135.

Kashef, Mohamad. “Bahri Mamluk muqarnas portals in Egypt: Survey and analysis.” Frontiers of Architectural Research 6, no. 4 (2017): 487-503.

Kłosowska, Anna. “Muhammad ibn al‐Zain’s basin (baptistère de Saint Louis).” Literature Compass 16, no. 9-10 (2019): e12546.

Majeed, Tehnyat. “The Chār Muḥammad Inscription, Shafāʿa, and the Mamluk Qubbat al-Manṣūriyya.” In Roads to Paradise: Eschatology and Concepts of the Hereafter in Islam (2 vols.), pp. 1010-1032. BRILL, 2017.

Malhis, S. (2016). Narratives in Mamluk architecture: Spatial and perceptual analyses of the madrassas and their mausoleums. Frontiers of Architectural Research, 5(1), 74-90.

Mathis, Shatha. “The Spatial Logic of Mamluk Madrassas: Readings in the Geometric and Genotypical Compositions.” Nexus Network Journal 19, no. 1 (2017): 45-72.

van Nieuwkerk, Karin, Mark LeVine, and Martin Stokes, eds. Islam and Popular Culture. University of Texas Press, 2016.

[1] Gallin, Pauli. “Mamluk Art Objects in Their Architectural Context.” Ph.D. diss., Boston College, 2017

[2] Kłosowska, Anna. “Muhammad ibn al‐Zain’s basin (baptistère de Saint Louis).” Literature Compass 16, no. 9-10 (2019): e12546.

[3] Anna  226+

[4] Abdelhamid, Tarek Galal, and Heba El-Toudy, eds. Selections from Subh al-A’shā by al-Qalqashandi, Clerk of the Mamluk Court: Egypt: “Seats of Government” and “Regulations of the Kingdom,” From Early Islam to the Mamluks. Taylor & Francis, 2017.

[5] van Nieuwkerk, Karin, Mark LeVine, and Martin Stokes, eds. Islam and Popular Culture. University of Texas Press, 2016.

[6] Karin and Stokes Islam and Popular Culture. University of Texas Press, 2016.

[7] Juvin, Carine. “A Mamluk Qurʾānic Ǧuzʾ and Its Connection with Amīr ʿAbd al-Qādir al-Ǧazāʾirī.” Journal of Islamic Manuscripts 10, no. 1 (2019): 105-135.

[8] Gallin, Pauli. “Mamluk Art Objects in Their Architectural Context.” Ph.D. diss., Boston College, 2017.

[9] Kashef, Mohamad. “Bahri Mamluk muqarnas portals in Egypt: Survey and analysis.” Frontiers of Architectural Research 6, no. 4 (2017): 487-503.

[10]Majeed, Tehnyat. “The Chār Muḥammad Inscription, Shafāʿa, and the Mamluk Qubbat al-Manṣūriyya.” In Roads to Paradise: Eschatology and Concepts of the Hereafter in Islam (2 vols.), pp. 1010-1032. BRILL, 2017.

[11] Abu-Lughod, Janet L. Cairo: 1001 years of the city victorious. Vol. 5222. Princeton University Press, 2018.