How Islamic influence shaped medieval Europe’s architecture
Islamic craftsmanship profoundly influenced Europe’s iconic medieval architecture
EUROPE (MNTV) — Research suggests that Islamic craftsmanship played a crucial role in the construction of some of Europe’s most renowned religious structures, including Mont Saint-Michel, Durham Cathedral, the Basilica of Santiago de Compostela, the Leaning Tower of Pisa, and Sicily’s Cappella Palatina.
Author Diana Darke, in her book Islamesque, argues that medieval architecture in Europe was deeply influenced by the advanced skills and knowledge of Muslim craftsmen.
She suggests replacing the term “Romanesque” with “Islamesque” to reflect these contributions, as reported by Religion Unplugged.
Her research, spanning sites across Europe, North Africa, Turkey, and the Middle East, highlights a rich history of cultural exchange that shaped religion, art, and society during the medieval period.
Darke points out that Muslim cities during this era were technologically advanced, with systems like running water, efficient drainage, libraries, and public services that were far ahead of Europe.
Islamic artisans were masters of engineering, mathematics, and ornamental design, skills that were critical in transforming European architecture.
“All the innovations attributed to Romanesque—vaulting, intricate framing, interlace patterns, and sculptural motifs—can be traced to origins in the East,” Darke writes.
She emphasizes that Christianity itself is an Eastern religion, born in a region influenced by various cultures, including those of the Islamic world.
This blending of traditions is particularly evident in Sicily’s Cappella Palatina, where Norman King Roger II employed Byzantine mosaicists and Muslim craftsmen from Cairo.
The ceiling features exquisite wooden carvings with floral patterns, eight-pointed stars, and lively scenes of music and dance.
Roger’s coronation robes bore Arabic inscriptions and a Hijra date.
Examples of this cultural interplay exist across Europe. Wells Cathedral in England features Arabic numerals on sculptures, while Peterborough Cathedral’s ceiling reflects Islamic design.
In France, anti-Pope Benedict XIII hired Muslim artisans to build churches, while Christian craftsmen contributed to mosaics at the Umayyad Mosque in Damascus.
These exchanges were facilitated by trade routes and Europe’s growing wealth in the Middle Ages, which allowed churches and cathedrals to commission the most innovative craftsmen. Techniques flowed in both directions, with Muslim and Christian artisans working together on significant projects.
Darke also highlights the continuity of these influences.
The restoration of Notre-Dame de Paris involved Muslim craftsmen, such as those from Atelier de la Grande Oye.
Founder Paul Muhsin Zahnd described their work as a spiritual journey, combining their faith and artistry to celebrate beauty and creativity.
Darke’s findings challenge traditional narratives, showcasing the profound impact of Muslim-Christian collaboration on Europe’s architectural heritage.
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