The document discusses Islamic architecture during the Mamluk Sultanate period in Egypt from 1250-1517 CE. It describes the two main Mamluk dynasties, the Bahri and Burji, and their patronage of art and architecture. Specific architectural complexes discussed include the Madrasa and Mausoleum of Sultan Hassan from 1356-1363 CE and the funerary complex of Sultan al-Ashraf Qaytbay from 1472-1474 CE, considered one of the finest examples of late Mamluk architecture.

1. Jordan University of Science and Technology
College of Architecture and Design
Department of Architecture
Islamic Architecture
Mamluks
Islamic Architecture
Dr. Raed Al Tal

2. The Mamluk Sultanate (1250–1517) emerged from the
weakening of the Ayyubid realm in Egypt and Syria (1250–60).
Ayyubid sultans depended on slave (Arabic: mamluk, literally
"owned," or slave) soldiers for military organization, yet
mamluks of Qipchaq Turkic origin eventually overthrew the last
Ayyubid sultan in Egypt, al-Malik al-Ashraf (r. 1249–50) and
established their own rule.

3. Mamluk history is divided into two periods based on
different dynastic lines: the Bahri Mamluks (1250–1382) of
Qipchaq Turkic origin from southern Russia, named after
the location of their barracks on the Nile (al-bahr, literally
"the sea," a name given to this great river),
and the Burji Mamluks (1382–1517) of Caucasian
Circassian origin, who were quartered in the citadel (al-
burj, literally "the tower"). After receiving instruction in
Arabic, the fundamentals of Islam, and the art of warfare,
slaves in the royal barracks were manumitted and given
responsibilities in the Mamluk hierarchy

4. Art and Architecture under the Bahri Mamluks (1250–1382)
The Bahri reign defined the art and architecture of the entire
Mamluk period.
Prosperity generated by the east-west trade in silks and spices
supported the Mamluks' generous patronage.
Despite periods of internal struggle, there was tremendous artistic
and architectural activity, developing techniques established by
the Ayyubids and integrating influences from different parts of the
Islamic world.
Refugees from east and west contributed to the momentum

5. Mamluk decorative arts
especially enameled and gilded glass,
inlaid metalwork, woodwork,
and textiles
were prized around the Mediterranean as well as in Europe,
where they had a profound impact on local production.
The influence of Mamluk glassware on the Venetian glass
industry is only one such example.

6. Glass oil lamp from Mamluk Caliphate.

8. inlaid metalwork

9. Art of Swords

11. Madrasa & Mausoleum Complex of Sultan Hassan
1356-63
The founder of this monument was Sultan Hassan, the son of
the great Mamluk Sultan, Al Nasser Mohamed Ibn (son of)
Qalawoun.
Sultan Hassan actually ruled Egypt twice. The first time was in
1347 when he was only 13 years old, but he was dethroned by
the other Mamluk princes and generals.
His second rule of Egypt began in 1356 and lasted until 1361.
He was not a glorious and impressive sultan, but more of a
puppet manipulated by powerful amirs, such as Amir
Sarghatmish.

12. Plan of the Sultan Hassan Mosque and Madrasa
This mosque is also considered one of the largest mosques
at the time.
It is a massive structure measuring some 150 meters long
and 36 meters high.
It's tallest minaret is 68 meters tall.
It was meant to house some four hundred students.
Work was begun on the Mosque in 1356,

13. The mosque is free standing and has three facades. The fourth,
western side has a large commercial complex and other
dependencies belonging to the waqf (foundation) of Sultan
Hassan which financed the foundation.
Originally, the dome, which is not the original one, was
described as spherical, built of wood and covered with lead as
in the dome of Imam Shafi'i.
The current dome is more recent and is considered a
misinterpretation of the original design.

25. Art and Architecture under the Burji Mamluks (1382–
1517)
The Burji Mamluk sultans followed the artistic traditions
established by their Bahri predecessors.
Although the state was faced with its greatest external and
internal threats in the early fifteenth century, including the
devastation of the eastern Mediterranean provinces by the
Central Asian conqueror Timur (Tamerlane; r. 1370–1405),
as well as famine, plague, and civil strife in Egypt, patronage
of art and architecture resumed.

26. n the second half of the fifteenth century, the arts thrived under
the patronage of Qa’itbay (r. 1468–96), the greatest of the later
Mamluk sultans.
During his reign,
The shrines of Mecca and Medina were extensively restored.
Major cities were endowed with commercial buildings, religious
foundations, and bridges.
In Cairo, the complex of Qa’itbay in the Northern Cemetery
(1472–74) is the best known and admired structure of this
period.
Apart from his own patronage, Qa’itbay encouraged high-
ranking officials and influential emirs to build as well.

27. Mamluk textiles and carpets were prized in international trade.
In architecture, endowed public and pious foundations continued
to be favored.
Major commissions in the early Burji period in Egypt included
the complexes built by Barquq (r. 1382–99), Faraj (r. 1399–
1412), Mu’ayyad Shaykh (r. 1412–21), and Barsbay (r. 1422–
38).

28. Complex of Sultan al-Ashraf Qaytbay
The funerary complex of Sultan al-Ashraf Qaytbay is an
architectural complex built by Sultan al-Ashraf Qaytbay in
Cairo's Northern Cemetery, completed in 1474.
It is often considered one of the most beautiful and
accomplished monuments of late Egyptian Mamluk
architecture, and is pictured on the Egyptian one pound note

29. The central floor also features elaborate polychrome patterned marble but is
usually covered by carpets
The hall is richly decorated in stone-carving, painted wooden ceilings and coloured
windows.
The mihrab is relatively modest but the wooden minbar is richly carved with
geometric patterns and inlaid with ivory and mother-of-pearl.
The wooden lantern ceiling above the central space is notable for its carving and
painted pattern but is a restoration work and not the original

32. The minaret stands above the entrance on the western side and is exquisitely carved
in stone, divided into three stories with elaborately carved balconies.

33. The outer dome of the mausoleum demonstrates an evolution from the stone
domes built earlier and nearby by Sultan Barsbay and others: it is often cited as
the apogee of Mamluk dome design in Cairo due to its complex stone-carved
decorative pattern

37. the entrance portal is enhanced by a high
elaborate groin-vaulted recess with
muqarnas squinches.

40. http://www.islamic-architecture.info/NA-EG/NA-EG-007.htm