765 Sentences With "mihrab" | Random Sentence Generator

A mihrab niche was carved in the direction of Mecca and Ottoman inscriptions decorate its walls.

It disrupts the building's near perfect symmetry only so that its mihrab could face precisely toward Mecca.

The mihrab is a white razor of light vertically cleaving the point where the two outer walls meet.

While only the foundations remain, the building's outline is well preserved, with a mihrab (prayer niche) facing south, toward Mecca.

This history was visible in the mihrab (the niche marking the direction of prayer) on the south wall of the cella.

He acquired at least a half-dozen haitis, which are sumptuous, pierced, and appliquéd textiles that often bear a mihrab motif — the arch shapes and latticework found in the niches of mosques.

The film begins at dawn, according to English and Arabic titles on the leftmost screen, with a short young man in a light jacket crossing a room with dirty white walls, a dark blue mihrab, and a floor covered in carpets to bang on a metal door with a large key.

Mihrab and Mimber The Hadum Mosque features a mihrab facing the entrance. Mihrab is positioned in the center of the south-eastern wall, towards Mecca. This element is nicked into the wall forming a niche which ends in the upper part in form of the semi-cone. On the right side of mihrab is mimber, which is used for preaching.

This style of mihrab set a standard for other mihrab construction in the region. The use of the horseshoe arch, carved stucco, and glass mosaics made an impression for the aesthetic of mihrabs, "although no other extant mihrab in Spain or western North Africa is as elaborate." The Great Mosque of Damascus: The Great Mosque of Damascus was started by al-Walid in 706. It was built as a hypostyle mosque, built with a prayer hall leading to the mihrab, "on the back wall of the sanctuary are four mihrabs, two of which are the mihrab of the Companions of the Prophet in the eastern half and the great mihrab at the end of the transept".

Mihrab in the Mosque–Cathedral of Córdoba Mihrab (, ', pl. '), (, '), is a semicircular niche in the wall of a mosque that indicates the qibla, that is, the direction of the Kaaba in Mecca and hence the direction that Muslims should face when praying. The wall in which a mihrab appears is thus the "qibla wall". The minbar, which is the raised platform from which an imam (leader of prayer) addresses the congregation, is located to the right of the mihrab.

The western wall accommodates inside three mihrab –the central one semi –octagonal and the side ones rectangular. The central doorway and central mihrab are larger than their flanking counterparts. The mosque has four axially projected frontones, each corresponding to the centrally located doorways and the central mihrab. The parapets and cornices are horizontal in the usual Mughal fashion.

The mihrab is surrounded by a border of Iznik tiles.

When this is known, sometimes the direction of the mosque's mihrab is still observed, and sometimes a marker is added (such as lines drawn in the mosque) that can be followed instead of the mihrab.

The windows over the marble-made mihrab are of stained glass.

Additionally, Abd ar- Rahman I used the mosque (originally called Aljama Mosque) as an adjunct to his palace and named it to honor his wife. Traditionally, the mihrab of a mosque faces in the direction of Mecca; by facing the mihrab, worshipers pray towards Mecca. Mecca is east-southeast of the mosque, but the mihrab points south. The mosque underwent numerous subsequent changes: Abd ar-Rahman III ordered a new minaret, while Al-Hakam II, in 961, enlarged the building and enriched the mihrab.

On the western side of the room is a mihrab flanked by two smaller rooms on its north and south. The mihrab measures . It is tall on the east side and tall on the west side.

View of the sanctuary (prayer hall). The mosque's mihrab. Damage is visible.

The mihrab itself consists of an alcove covered by a muqarnas cupola behind a horseshoe arch, while the wall around the mihrab is covered in typical stucco-carved decoration with arabesque, calligraphic, and geometric motifs. Three stucco-grilled windows are set in the wall above the mihrab, as is also common in other mosques. There is a door on either side of the mihrab; the right one leads to the storage room for the minbar, while the left one leads to the imam's chamber and the jama' al-gnaiz, an oratory dedicated to funerary rites.

The dome in front of the mihrab rests on an octagonal drum with slightly concave sides. After the ninth century, mosques in North Africa often have a small decorative dome over the mihrab. Additional domes are sometimes used at the corners of the mihrab wall and at the entrance bay. The square tower minarets of two or more stories are capped by small domes.

Inside of the mosque at western wall upon Mihrab written لا إله إلا الله محمد رسول الله by calligraphy with glass and stone flowing Mughal style . The design of Mihrab was made pieces of glass and minimum five colours precious stone. The architecture of the Asrafia Jame Masjid is defined by a combination of embellishments and proportional adjustment among elements such as arches, domes, mihrab etc.

The mihrab also has a semi-dome which is also decorated with marble.

The stucco decoration of the mihrab was altered during the Il-Khanid period.

The emblem depicted the mihrab, the minbar and the shahada, an Islamic creed.

Mihrab with polychrome tiles The exceptionally large rectangular mihrab is formed of moulded polychrome tiles. A tiled inscription on the outer cavetto moulding runs up one side, across the top and down the other side of the mihrab. The cuerda seca cavetto tiles have raised white naskh characters which contrast with the cobalt blue background. Running through the shafts of the naskh characters is a second inscription in yellow Kufic characters.

Fatimid mihrab of the mosque. This area has been modified and restored many times, but the stucco patterns in the half-dome (conch) of the niche are believed to be original. The original mihrab, uncovered in 1933, has a semi-dome above it with a marble column on either side. Intricate stucco decorations were a prominent feature of the mosque, with the mihrab and the walls ornately decorated.

Mihrab of the Nine Dome Mosque The Nine Dome Mosque is located to the west of the takur dighi tank and built in the 15th century. It is located near Khan Jahan Ali's tomb. Its western wall conventionally faces west towards Mecca, where the mihrab is inset; terracotta floral scrolls and flower motifs are the decorations seen around the mihrab. Circular towers are provided in the four corners.

The mihrab itself is an arched alcove with a small muqarnas cupola. The wall around it is covered in stucco-carved decoration featuring arabesque, geometric, and calligraphic motifs. The space between the arches in front of the mihrab is also covered above by a large square cupola of fine muqarnas. The lower part of the mihrab is also decorated by eight engaged columns in a symmetrical arrangement around the mihrab's opening.

The west gallery is separated by the space for the mihrab which protrudes outward, right at the center of the long porch. The entrance is located on the east side of the mihrab, marked by a verandah which extends outward and measures 7.5 × 5 meters. A minaret known locally as put is located to the east of the mosque, parallel with the mihrab. The minaret is separated from the main building.

Qazi Tabatabaei in the Iranian political literature named him the first martyr of mihrab.

Close view of the mihrab, whose current state dates from the ninth century The mihrab, which indicates the Qibla (direction of Mecca), in front of which stands the imam during the prayer, is located in the middle of the southern wall of the prayer hall. It is formed by an oven-shaped niche framed by two marble columns and topped by a painted wooden half-cupola. The niche of the mihrab is two metres long, 4.5 metres high and 1.6 metres deep.Mihrab of the Great Mosque of Kairouan (Qantara) The mosque's mihrab, whose decor is a remarkable witness of Muslim art in the early centuries of Islam, is distinguished by its harmonious composition and the quality of its ornaments. Considered as the oldest example of concave mihrab, it dates in its present state to 862–863 AD.Titus Burckhardt, Art of Islam, Language and Meaning, ed. World Wisdom, Bloomington (Indiana), 2009, page 130 Upper part of the mihrab Luster tiles of the mihrab It is surrounded at its upper part by 139 lusterware tiles (with a metallic sheen), each one is 21.1 centimetres square and they are arranged on the diagonal in a chessboard pattern.

The decoration of the mihrab, for example, is consistent with a late 14th-century style.

Congregants pray in rows parallel to the qiblah wall and thus arrange themselves so they face Mecca. In the qiblah wall, usually at its center, is the mihrab, a niche or depression indicating the direction of Mecca. Usually the mihrab is not occupied by furniture either. A raised minbar or pulpit is located to the right side of the mihrab for a Khaṭīb, or some other speaker, to offer a Khuṭbah (Sermon) during Friday prayers.

Worshippers pray in rows parallel to the qibla wall and thus arrange themselves so they face Mecca. In the qibla wall, usually at its center, is the mihrab, a niche or depression indicating the'qibla wall. Usually the mihrab is not occupied by furniture either. Sometimes, especially during Friday prayers, a raised minbar or pulpit is located to the side of the mihrab for a khatib or some other speaker to offer a sermon (khutbah).

Qaitbay's minbar, built in the late 15th century is still in use at the Masjid an-Nabawi There are two mihrabs or niches indicating the qibla () in the mosque, one was built by Muhammad and another was built by the third Rashidun caliph Uthman. The one built by the latter was larger than that of Muhammad's and acts as the functional mihrab, whereas Muhammad's mihrab is a "commemorative" mihrab. Besides the mihrab, the mosque also has other niches which act as indicators for praying. This includes the Miḥrâb Fâṭimah () or Miḥrāb aṫ-Ṫahajjud (), which was built by Muhammad for the Ṫahajjud (late- night) prayer ().

The building in the mosque is filled with ornaments of various Islamic calligraphies. The original pulpit stands majestically on the right side of the mihrab. The striking feature of this mosque is the number of paired windows which surround the mosque. Only the mihrab wall is windowless.

This included the replacement of al-Salimi's mihrab with a new marble mihrab and the reconstruction of the southern half of the exterior facade by replicating the preserved northern half. This renovation has been criticized for sacrificing some historic elements of the mosque, especially in its interior.

The niche of the mihrab is wide and deep. On each side of the niche stands a high porphyry column. Above the columns are impost blocks decorated with colored geometrical designs. The semi-dome at the top of the mihrab is set within an outer arch.

London: I. B. Tauris, 2007. Print Inside the Madrasa of Sarghatmish is the mosque. An architecturally intriguing spot within the mosque is the mihrab wall. The mihrab is a semi-circular niche in the wall that signifies the location of the qibla, or direction of the Kaaba.

A specific Islamic pattern is the mihrab pattern which defines the Prayer rug. A prayer rug is characterized by a niche at one end, representing the mihrab in every mosque, a directional point to direct the worshipper towards Mecca. The mihrab pattern in Turkish carpets is often modified and may consist of a single, double, or vertically or horizontally multiplied niche. Thus the niche pattern can range from a concrete, architectural to a more ornamental understanding of the design.

On either side of the mihrab is a door that leads to a small annex behind the mosque, which may have served as a storage room for the minbar (mosque pulpit) and as the imam's chamber. The decoration of the mosque is relatively austere, as with many Almohad mosques. Both the mihrab and the minbar were redone after the Almohad period. The mihrab features some carved decoration and the usual small cupola of muqarnas sculpting inside its niche.

The imam conducts the prayers from the mihrab in the larger central tower. A narrow opening in the ceiling of the central mihrab connects with a small room situated above roof level in the tower. In earlier times, a crier would repeat the words of the imam to people in the town. To the right of the mihrab in the central tower is a second niche, the pulpit or minbar, from which the imam preaches his Friday sermon.

In the main prayer hall, there is a beautiful Mihrab built into the back wall of the mosque. The beautifully decorated Mihrab of the mosque indicates the direction to the Holy Mosque of Mecca in Saudi Arabia, where all Muslims are required to face when they perform their prayers.

The tomb of the constructor Piali Pasha is located on the mihrab side. The mihrab tiles are considered as art pieces. The mosque of the complex is built on an area of 55 x 45 meters. The complex is walled partly by ashlar limestone and partly by rubble stone.

The precise calculation of the direction from New York to Mecca was based on the great circle that produces the shortest distance between the two cities. As with many mosques, the direction of Mecca is marked inside by a niche on the wall, known as the mihrab. Placed in the center of the large room, the mihrab is ornamented with a large design. Additionally, next to the mihrab is the minbar, which is a staircase from which the imam leads prayer.

The interior of the mosque consists of pavements made of marble mosaic, a center aisle with raised iwans on both sides, arcades with classical capitals, and two rows of windows. The southeast wall of the mosque is where the mihrab and minbar are located. The minbar is decorated while the mihrab is less ornamented in comparison to the other features of the mosque. The simpler mihrab during this period may have served as a reflection of the modesty of the Sufi brotherhoods.

The other mihrabs are set, on either side of the main mihrab, in the walls with grilled windows.

105 This old chair of the ninth century is still in its original location, next to the mihrab.

The main building material is cut stone. Bluish marble has been used in the construction of mimber and mihrab.

The room to the south of the portico was a mosque with a mihrab built into the outer wall.

' It is said to have been converted from a Zoroastrian fire temple that existed before the Arab conquest of Iran. In the book Merat ol-Boldan, it is written about the mosque as follows: ::::"The mosque, which is known in Kashan as Jameh mosque , has one mihrab with a right qibla and a mihrab with a wrong qibla. The founder of the mosque was Safie Khatun, Malik al-Ashtar's daughter." The large old mihrab of the mosque like minaret seems to belongs to the Seljuq era.

The mihrab is a narrow, corbelled niche in the center of the qibla wall, and is defined by a similar niche with three built-in stone steps to its right. The mihrab, the minbar, and the lower part of the qibla wall are plastered with white wash. Viewed from the outside, one sees that the mihrab and minbar protrude slightly out of the qibla wall. Also visible is an exposed stone staircase constructed along the qibla wall from the street side that reaches the roof.

Mihrab extruded from wall in simple grauful arc. Minaret accessible, concrete steps, stone exterior. Two pitched concrete porch on exterior.

A copy of the mosque Mihrab (prayer niche) made with iron reinforced concrete has been re-erected near the minaret.

The interlaced mihrab motif, echoing a mosque's arch-shaped niche, makes this wall hanging a magnificent backdrop for special occasions.

Two stories in height, it is constructed in a semi-circular shape, with abutting qibla wall and the mihrab section.

These recesses, in turn, contain four-centred arches. The western wall has the main mihrab (a semi-circular niche in the wall which indicates the direction of Mecca, the direction in which Muslims pray). The mihrab is four centred and bordered by Quranic verses. The southern wall includes the main entrance to the building.

The kiblah wall contains three semicircular mihrab niches with cusped arches, each set within an ornamented rectangular frame. The central mihrab is the largest of the three, and is of stone. The brick walls are faced with stone slab from within and the outside surfaces have some evidence of rich carving work of terracotta.

From the top, the building is rectangular shaped and covered with the roof of tiled slopes which are parallel to one another. The central roof is slightly wider and ends with a cross vault above the mihrab. Horseshoe arch rests on the pillars which divide the naves. The mihrab does not contain any decorations.

Abd al-Rahman I and his descendants reworked the building over the next two centuries to fashion it as a mosque, starting in 785. Additionally, Abd al-Rahman I used the mosque (originally called Aljama Mosque) as an adjunct to his palace and named it in honour of his wife. Traditionally, the mihrab (or apse) of a mosque faces in the direction of Mecca; by facing the mihrab, worshipers pray towards Mecca. Mecca is east- southeast of the mosque, but the mihrab of this mosque unusually points south.

The only surviving piece from the original is the qibla wall and its polychrome mihrab. Al- Maqrizi reported that the madrasa was used only for studying the Shāfi‘ī while the historian Ibn Duqmaq reported that one of the liwans in the madrasa was reserved for Shāfi‘ī teachings while the other was for Maliki teachings. The madrasa was completely rebuilt by Abd al-Rahman Katkhuda, leaving only the southeastern wall and its mihrab untouched. The mihrab was described by K. A. C. Creswell as being "one of the finest in Cairo".

The wall around the mihrab is decorated with stucco carving and topped by windows with intricate stucco screens. The square space formed by the rows of arches intersecting in front of the mihrab is distinguished by more elaborate arches with lobed or serpentine outlines (a type seen elsewhere in Moroccan and Nasrid architecture) and decorated spandrels. The arch directly in front of the mihrab and across from it has muqarnas-carved intrados. This square space is covered by an ornate wooden cupola carved with geometric patterns and outlined with more muqarnas.

A small mosque is also located within the palace, as discerned from a mihrab in a niche on the west wall.

Materials like marble were used to build the mihrab and minbar, pink mosaics were also used to decorate the Mihrab. The reconstructed dome was built from concrete, while stone was used to build the two, slim minarets. There are also several panels of calligraphy executed by Abdülmecid I himself, as he was a calligrapher along with being a sultan.

Jameh Mosque of Marand is located in the center of Marand, which was built in the year of 731 AH in the reign of Abu Sa'id Bahadur Khan, according to the Mihrab of the mosque. The Mihrab is located in the southern part of the mosque and is emblazoned with filled with Quran Āyah And Kufic and Stucco.

The latter's renovations likely involved the refacing of the mihrab with marble. In 1561, under the Ottoman sultan Suleiman the Magnificent, the tiles of the mihrab were glazed and later in 1760, more tile work was done. The last major restoration undertaken at the Dome of the Chain was commissioned by the Islamic waqf of Jerusalem in 1975-76.

The mihrab of the mosque is decorated with ceramics decoration. The mihrab is shaped like the paduraksa, another influence from earlier Hindu period. Reliefs showing a candi bentar and paduraksa have been discovered in 13th-century Candi Jago in East Java. In the Javanese Hindu architecture, the paduraksa marks the sacred-most area of a temple.

The mosque is special because Mihrab appears from the wall, but of course very modest in feature. It has historic and artistic values.

The mosque is square shaped in the plan and has a central dome. On the south wall there is a stalactic tiered mihrab.

A rare and unusual detail are the mihrab-shaped marble mosaics lining the floor at the foot of the qibla wall. The main mihrab itself is covered in multicolored marble mosaics and flanked by four decorative columns (once again, similar to the mihrab of the Sultan Hassan madrassa). The windows around the complex feature the usual stucco frames with colored glass, though the roundels above the mihrabs have wooden frames. At the back of the building (on the western side) were most of the cells and rooms for the resident students and Sufis, but today this section is in ruins.

The conch (semi-dome) of the mihrab niche is covered with more conventional geometric star patterns, with the name Allah appearing at the middle of some of the stars. Just below the conch is a Qur'anic inscription (part of verse 2:144, in the Surah al-Baqarah) in Kufic script. The voussoirs around the arch of the mihrab are in turn inlaid with arabesque patterns similar to those of the mihrab of the Mosque of al-Mu'ayyad. The surfaces of the wooden minbar (pulpit) of the mosque are decorated with geometric sixteen-pointed star patterns emanating from round bosses.

A prominent inscription in kufic Arabic features the basmala and a passage from the Qur'anic surah An-Nur. Below the level of the stucco decoration, twelve engaged columns of jasper and marble with Umayyad-style capitals are incorporated into the mihrab area. On either side of the mihrab are two doors giving access to small chambers, one of which was used to store the wooden minbar (a ceremonial pulpit). Above and right in front of the mihrab is a large square cupola filled with a dome of finely- carved and painted muqarnas (stalactite or honeycomb-like geometric sculpture).

The word mihrab originally had a non-religious meaning and simply denoted a special room in a house; a throne room in a palace, for example. The Fath al-Bari (p. 458), on the authority of others, suggests the mihrab is "the most honorable location of kings" and "the master of locations, the front and the most honorable." The Mosques in Islam (p.

The prayer hall has nine casement windows – two on each wall with an additional window on the southeast wall. Each casement is topped by an arched window with a different coloured glass composition, and a circular window is placed above the mihrab. The simple marble mihrab has a muqarnas hood. Muqarnas carvings were also used to highlight the springing of the squinch arches.

Baitul Makmur Great Mosque . www.duniamasjid.com. Retrieved 23 July 2012 This mosque will be equipped with two new towers which is still under construction as of 2012. The inspiration of the Middle Eastern architectural style is also evident from the form of mihrab. The mihrab is dominated by brown color and shades of gold typical of bronze material with Islamic special ornaments.

The original portico was built in front of the qibla ("direction towards Kaaba"). The northern and southern porticoes contain pointed arches carried by square pillars. Consisting of a semi-circular niche topped by a dome, the mihrab ("prayer niche" directed towards Kaaba) of Emir Sanjar is a "unique masterpiece" according to Islamic architecture expert Mu'en Sadeq. The mihrab is inlaid with marble plating.

The interior is divided into two long cross-vaulted bays resting on six large piers. There are four windows in west wall facing the sea. The mihrab is placed in the centre of the south wall and can be seen on the exterior as a rectangular projection. To the west of the mihrab are the remains of a minbar (now destroyed).

The mihrab serves as the location where the imam leads the five daily prayers on a regular basis. Kursu in in Zenica Left to the mihrab, in the front left corner of the mosque, sometimes there is a kursu (Turkish , Bosnian '), a small elevated plateau (rarely with a chair or other type of seat) used for less formal preaching and speeches.

The platform edge has grape vine decoration, and there are rosettes on the spandrels of the arches supporting the platform, as well as on the mihrab wall. The central Mihrab is designed in the west. Opposite the central and southeastern entrances, the interior west wall has two mihrabs. There is division in the two mihrabs and they had different platforms.

The dome over the mihrab (9th century) The Mosque has several domes, the largest being over the mihrab and the entrance to the prayer hall from the courtyard. The dome of the mihrab is based on an octagonal drum with slightly concave sides, raised on a square base, decorated on each of its three southern, Easter and western faces with five flat-bottomed niches surmounted by five semi-circular arches, Coupole du mihrab de la Grande Mosquée de Kairouan the niche in the middle is cut by a lobed oculus enrolled in a circular frame. This dome, whose construction goes back to the first half of the ninth century (towards 836), is one of the oldest and most remarkable domes in the western Islamic world.Georges Marçais, Coupole et plafonds de la Grande Mosquée de Kairouan, éd.

Built by local masons, the structure is of Indo-Saracenic and Indo-Islamic blend. It has four minarets in four corners of the structure, a hallway, the Mihrab in the main prayer room (musallah). The Mihrab has a Minbar for regional khatibs to deliver sermons (khutbah) The exterior has a corridor by the pond for ritual purification (Wudu). The stairs lead to the top of the mosque.

Rasini contains a number of monuments. Among these structures is a small mosque, whose mihrab Grottanelli suggests is among the best examples of Islamic art in the wider region. The wall niche has a short arch and a very high capital. A tomb lies above the mihrab, which is adorned with a clover leaf design that also appears on another tomb in Koyama and again at Barawa.

A mihrab indicates the direction of the qibla for prayer. Towards the right of the mihrab stands the minbar or pulpit from where the Imam presides over the proceedings. An elevated platform, usually a minaret from where the Faithful are summoned to attend prayers is an invariable part of a mosque. Large mosques where the faithful assemble for the Friday prayers are called the Jama Masjids.

The qibla wall and the mihrab recess are decorated with Iznik tiles. A pair of matched arched tiled panels on the side walls on either side of the mihrab depict spring blossoms and flowers. Above the windows under the portico on the north facade are ten rectangular calligraphic lunette panels. Four panels, two panels at each end, were added when the mosque was extended.

The flowers are mainly blue with turquoise, red and black but green is not used. On either side of the mihrab are large Iznik tile calligraphic roundels with text from the Al-Fatiha surah of the Quran (1:1–7). The white marble mihrab and mimbar are also simple in design, and woodwork is restrained, with simple designs in ivory and mother of pearl.

It is from this period that the development of the mihrab begun. Decorated with Zirid- style motifs, the mihrab consists of a semicylindrical niche with a rib-shaped vault. It is decorated with Kufic inscriptions and floral moldings. In the Hafsid era, expansion work continued with the construction of a square-based minaret and the addition of two naves in the north-western part.

It is close to Khan Jahan Ali's Tomb. Its western wall conventionally faces west towards Mecca, where the mihrab is inset on the western wall; terra cotta floral scrolls and flower motifs are the decorations seen around the mihrab. Circular towers are provided in the four corners. The walls of the mosque support a large central dome which has eight smaller domes around it.

Inside a mosque, the qibla is usually indicated by a mihrab, a niche in its qibla-facing wall. In a congregational prayer, the imam stands in it or close to it, in front of the rest of the congregation. The mihrab became a part of the mosque during the Umayyad period and its form was standardised during the Abbasid period; before that, the qibla of a mosque was known from the orientation of one of its walls, called the qibla wall. The term mihrab itself is attested only once in the Quran, but it refers to a place of prayer of the Israelites rather than a part of a mosque.

The Small Khan Mosque () is located in the main building and was designed for members of the Khan's family and important dignitaries. Construction of the small mosque dates back to the 16th century, and paintings in the mosque are from the 17th and 18th centuries Mihrab in the Small Mosque In the south wall is the mihrab, the upper part of which is cut seven ornamented belts, symbolizing the seven levels of heaven. Above the mihrab is a stained glass window, which shows the seal of Suleiman (hexagram). On the walls of the small mosque are scratched images of boats with sails, horses and horsemen.

V, 1969, pp. 1–38 Above the marble cladding, the mihrab niche is crowned with a half dome-shaped vault made of manchineel bentwood. Covered with a thick coating completely painted, the concavity of the arch is decorated with intertwined scrolls enveloping stylised five-lobed vine leaves, three-lobed florets and sharp clusters, all in yellow on midnight blue background. Mihrab de la Grande Mosquée de Kairouan The minbar, situated on the right of the mihrab, is used by the imam during the Friday or Eids sermons, is a staircase-shaped pulpit with an upper seat, reached by eleven steps, and measuring 3.93 metres' length to 3.31 metres in height.

The Madrassa of Al-Nasir Muhammad is one of only three madrassas in Cairo that housed all four of the Sunni schools of jurisprudence. The madrassa is home to the last stucco mihrab (niche indicating the direction of prayer) in Egypt, unique for its raised, egg-shaped stucco bosses in high relief with punched ornament decorating the hood of the mihrab. The style is highly reminiscent of stucco carving produced in Tabriz, Iran under Mongol Ilkhanid rule and historians have suggested that it was crafted by artists from Mongol Iran or Tabriz. Aside from the mihrab, relatively little decoration has survived overall in the interior of al-Nasir Muhammad's building.

Already inside the oratory there is a reduced space of square plant but with chamfered corners, that turns it into a false octagonal plant. In the southeast sector, oriented towards Mecca, is located the niche of the mihrab. The front of the mihrab is conformed by a very traditional horseshoe arch, with Cordoban shapes and alternating camouflage threads, some decorated with vegetal reliefs and other smooth ones (although originally they were decorated with pictorial decoration), reminiscent of the mihrab thread of the Mosque of Córdoba, only what were rich materials (mosaics and Byzantine bricklayers) in Zaragoza, with greater material poverty than the Caliphian Córdoba, are plaster stucco and polychrome, the latter having been lost in almost the entire Palace. Continuing with the arch of the portal, an alfiz framed its back, in whose curved triangles two mirrored rosettes are recessed, as is the dome of the interior of the mihrab.

Detail of the marble cladding The wall of the mihrab is covered with 28 panels of white marble, carved and pierced, which have a wide variety of plant and geometric patterns including the stylised grape leaf, the flower and the shell. Behind the openwork hint, there is an oldest niche on which several assumptions were formulated. If one refers to the story of Al-Bakri, an Andalusian historian and geographer of the eleventh century, it is the mihrab which would be done by Uqba Ibn Nafi, the founder of Kairouan, whereas Lucien Golvin shares the view that it is not an old mihrab but hardly a begun construction which may serve to support marble panels and either goes back to work of Ziadet Allah I (817–838) or to those of Abul Ibrahim around the years 862–863.Lucien Golvin, « Le mihrab de Kairouan », Kunst des Orients, vol.

The mihrab is made of marble with a pointed dome roof. This mosque gate flat-roofed square. While the ornate minaret blend between Egyptian, Iranian and Arabian.

A deep mihrab ("Islamic prayer niche") is located inside, in the middle of the south side. By the north wall is the elongated cenotaph of Shaykh Rabi.

Other features of this gigantic mosque include the entrance into the high and large rooms of the mosque and its mihrab which is the largest in Indonesia.

In 1235 he added a large room, supported by forty-two columns, to the east of the mihrab. The minaret, the marble mihrab (1891), and the eastern door, through which most visitors enter the mosque, date from the Ottoman period. The eastern wing of the mosque, constructed with re-used Byzantine and Hellenistic columns, has a unique openness and spaciousness.Architecture, The Grove Encyclopedia of Islamic Art and Architecture, Vol.

The other more noticeable feature is the dome above the main prayer hall allowing natural light into the building. Inside the mosque is a recess which is called the Mihrab where the Imam stands. The Mihrab points in the direction of Mecca. Enclosed in a walled garden and with a separate minaret, the mosque combines Islamic architecture with the characteristic Old Red Sandstone material used to build many of Glasgow's buildings.

In Menorca and Mallorca, the placename Sa Mesquida indicates the places where mosques used to be located. The mosque located in Sanitja is the first one found in the Balearic Islands. It consists of a rectangular room with a semicircular projection (mihrab) at the center of its southern wall. Even though the entrance has not been recorded, it could have been opposite the mihrab, at the center of the northern wall.

A mosque was built atop the courtyard of the former synagogue. It featured a mihrab in the southern wall, a second mihrab between two columns in the southern portico, and "crude" stone benches along the walls. Magness, assessing the evidence uncovered by the several archaeologists who dug at the site, which includes an inscription, dates the mosque to the reign of Caliph Al-Walid I, in the early eighth century.

It has a very simple plan but is still very beautiful. The mosque contains a central rectangular courtyard that is surrounded with hypostyles on three sides. At one of these hypostyles the mihrab of the mosque is located. The mihrab at Islamic mosque is a niche at wall that shows the direction of "Qebleh" that is the direction of Mecca the holy city that Muslims prays towards it five times daily.

Sejarah dan Latarbelakang Masjid (in Malay). Masjid Tuanku Mizan Zainal Abidin. Accessed 12 June 2010 There is a mihrab wall made of 13-meter- high glass panel imported from Germany inscribed with two verses from Sura Al- Baqarah on the right and Sura Ibrahim on the left. The mihrab wall is designed so that no light will be reflected, creating an illusion that the verses are floating on air.

The Mosque considered an architectural masterpiece (see pictures in the gallery) has three gates, one in each of the three covered passages, in North, East (main gate) and South directions. The west wall which has the Mihrab, has Toghluqi style tapering minarets flanking the central high opening covered by a big dome. The entire passageway of the west wall has twenty-five arched openings. The Mihrab wall depicts five projections.

102 The mihrab niche to the right of the entrance is covered with a semi-dome that is supported on marble colonettes. The entire portico façade is built with alternating strips of yellow, white and gray stones. The mihrab is situated on the southern wall facing the entrance. Its niche is covered with stone mosaics and its semi-dome displays an intricate zigzag layering of black and white stones.

The aisle that runs through the middle arches, aligned with the mihrab, is wider than the others, as is the last transverse nave directly in front of the southeast wall, thus corresponding to the traditional "T-plan" layout of medieval Moroccan mosques. The mihrab, a niche with a horseshoe arch opening symbolizing the qibla (direction of prayer), is highlighted with stucco-carved decoration on the surrounding wall and marble engaged columns. On either side of the mihrab is a door, the one on the right opening onto the storage space of the minbar while the one on the left opens to the imam's chamber and, beyond it, a private passage which connected the mosque with the palace of Moulay Isma'il. This allowed the sultan to enter the mosque separately with his entourage and join prayers directly next to the imam's position in front of the mihrab, a feature shared with other Moroccan royal mosques like the first Kutubiyya Mosque or the Grand Mosque of Fes el-Jdid.

The style of the polychrome cuerda seca tilework of the mihrab is strikingly similar to that of the mihrab in the Yeşil Mosque (built 1419-21) in Bursa and it is therefore considered likely that the tiles were produced by the same team of craftsmen. In Bursa the craftsmen signed the mihrab as "the work of the masters of Tabriz". After completing the tiles of the Muradiye mosque it is believed that the "Masters of Tabriz" also produced the underglaze painted lunette panels of the Üç Şerefeli Mosque (completed in 1447) in Edirne. The blue-and-white hexagonal tiles of the Muradiye Mosque are the earliest example of underglaze painted tiles produced in Ottoman Turkey.

The most decorated area is that around the mihrab (a niche in the qibla wall symbolizing the direction of prayer). This section, which was rebuilt/restored in the late 16th century (Saadian period), likely still preserves the model and layout from the Almohad era and resembles the mihrab of important Almohad mosques like the one at Tin Mal. However, the stucco decoration that covers the wall around the mihrab is very similar to the decoration of mihrabs of Saadian buildings like the Ben Youssef Madrasa and the Bab Doukkala Mosque, and thus likely dates from the Saadian restoration. This decoration features elaborate arabesques in high relief, with pinecones and seashells featured among the decorative repertoire.

Above the doorway was a marble lintel, while on each side of the door were the above-mentioned inscriptions. Opposite, on the south wall, was a deep concave mihrab.

Northeast to the Kum Pavilion Hammam, a prayer platform is situated, which was built in the second half of the 16th century. Behind the mihrab there is a fountain.

The Cenotophs were the first of its kind to be built in India and since then these have been replicated in several other monuments, even in the Deccan. There are three impressive domes inside the prayer hall with the Mihrab located on the west qibla wall of the central dome, which is the largest of the three domes. The Mihrab depicts Quranic inscriptions in flora Nakashi in Iranian design. Turrets project out of the qibla.

After the ninth century, mosques in North Africa often have a small decorative dome over the mihrab. Additional domes are sometimes used at the corners of the mihrab wall, at the entrance bay, or on the square tower minarets. Egypt, along with north-eastern Iran, was one of two areas notable for early developments in Islamic mausoleums, beginning in the 10th century. Fatimid mausoleums were mostly simple square buildings covered by a dome.

The mosque consists of a prayer hall and a sahn. The prayer hall is quadrilateral shaped and adorns two domes in the middle and a mihrab in the center wall. Dome of the mosque is one of the few domes to be built in front of the mihrab during the Umayyad and Abbasid periods, the others being Al-Aqsa Mosque in Jerusalem (705) and the Umayyad Mosque in Damascus (715).Necipogulu, 1998, p.14.

This is in contrast to the mihrab of the madrasa, which is less grand in size and general esthetics. With a horse-shoe profile the mihrab is flanked by three columns made of marble. The Mausoleum later on, and under the mamluks included a Museum for Royal Clothes of those buried in it. The Mausoleum of Qalawun is significant in that its dome served as a ceremonial center for the investing of new emirs.

The Muradiye Mosque () is a 15th-century Ottoman mosque in Edirne, Turkey. The building is noted for the tiles that decorate the mihrab and the walls of the prayer hall.

The marble mosaics seen throughout the complex and the large canopy dome are stylistic tendencies also seen in Norman Sicilian architecture, though numerous differences still exist. Mihrab of Qalawun's mausoleum.

The Mosque of Amr ibn al-As in Fustat, Egypt, one of the oldest mosques, is known to have been built originally without a mihrab, though one has since been added.

Featured decor included floral motifs, depictions of mountains and clouds, and ornamentation inspired by Chinese art. A preserved example of glazed tilework mihrab exists in the mosque of Hauz-i Karboz.

The Central Mihrab on the western wall is inscribed with lines from the Quran. This inscription was completed in 1676 by Malik Yakut, under the orders from Sultan Muhammad Adil Shah.

Burckhardt, 1822, p. 54 The courtyard was flanked by circular basalt towers. Inside the khan was a small prayer room with mihrab niche which indicated the direction of Mecca.Constable, 2004, p.

Both mausoleum chambers are decorated with marble paneling, their own mihrab (niche indicating the direction of prayer), and a large inscription band along the wall. The dome ceilings are also painted.

The minaret is a rectangular shaft with a second receding story. On this, there is a dome similar to the one above the mihrab. The Minaret is embellished with muqarnas cornice.

Like other standard Moroccan mosques, the prayer hall is a vast interior hypostyle space split only by rows of arches running perpendicular to the southern wall, except for an extra row of arches running close to the southern wall and parallel to it. The southern wall is also the qibla wall (the direction of prayer), and is marked by a mihrab (niche symbolizing the qibla) in the middle. Of the aisles between the rows of arches, the center one, aligned with the mihrab, is slightly wider than the others and is emphasized with added stucco decoration on the walls between the arches. The mihrab itself is an alcove in the wall, inside of which is a small cupola of muqarnas (stalactite-like carving).

The mihrab is located in the middle of the wall of the qiblah at the northern hallway. It is a simple cavity of about 85cm deep, and topped by a tapered lace on two poles with floral and geometric motifs. The mihrab is surrounded by kufic inscriptions, which reads as follows: "In the name of God the Most Gracious the Most Merciful I accept your Lord and be among the worshipers and not of the ignorant and worship your Lord until there comes to you the certainty (death)", and decoration of niche from the inside and variety of plant decorations which includes leaves of grapes. On the side of the mihrab there is an inscription written in kufic of script from Surah At-Taubah 18.

The Dome of the Chain's mihrab The building consists of a domed structure with two concentric open arcades, that is: with no lateral walls closing it in. The dome, resting on a hexagonal drum, is made of timber and is supported by six columns which together create the inner arcade. The second, outer row of eleven columns creates an eleven-sided outer arcade. The qibla wall contains the mihrab or prayer niche and is flanked by two smaller columns.

The central mihrab is an exceptionally fine work of stucco decoration. It is often considered a masterpiece of stucco carving in Egypt's architectural history. The overall design of the mihrab is reminiscent of the main portal of the Fatimid-era Aqmar Mosque, but elaborates it further and arguably represents a culmination of this design. Like the other two mihrabs, it consists of a "keel"-shaped niche with radiating ribs, beyond which are elaborate arabesque and calligraphic carvings.

The highest roof tier is supported by four main pillars, called soko guru. In several of the oldest mosques, one of these pillars is made of wooden splinters held together by metal bands (the significant of which is unknown). Inside the mosque there is a mihrab in the qibla wall and a wooden minbar. The mihrab niche is made of brick and are highly decorated with deep wood-carving derived from the pre- Islamic art of the area.

The tomb of Sultana Pertevniyal is also located in the central mosque. The interior also features a plain, marble mihrab and minbar. The building is also stylized with a bold Oriental inclination.

Instead, there is a hidden passageway from the Mihrab or prayer niche that leads to a balcony that extends out. The Khatib or prayer leader delivers the Khutba or sermon from here.

There is a double clerestory in one of the domes. Other interior features include an arcuate maqsurah screen, trabeate hypostyle lwan, double square side wings, zanana enclosure, and screened off northern mihrab.

The remaining wall sections, around the west and south entrances, are plain and windowless. The main wall is buttressed by the mihrab, as it protrudes slightly into an otherwise thin outer wall.

The southern part contains a mihrab and is covered with a barrel vault. The northern end is covered with a dome, and has two large cenotaphs. According to Petersen, the buildings appear medieval.

Walls of the praying hall are plastered and plant and geometric ornaments colored with various bright colors are carved on them. Margin of mihrab and curb with the frieze inscription also attracts attention.

Tomb in front of the mosque The interior is divided into three bays by two lateral arches. Each bay contains a mihrab that is marked by multi-cusped arch within a rectangular panel.

Mihzar b. Ahmad al-Kasadi. The masjid has three rows of transverse, east-west piers, and a foliate mihrab. It also has attached chambers, with the Sheikh's tomb situated in an adjacent room.

All the windows are enclosed in hand-carved decorations colored with white on blue. The mihrab is made of soft limestone. It is decorated with a muqarnas. The minbar was renewed in wood.

The qibla wall is in the prayer room and marble mihrab can be found on the center of it. The mosque was renovated in 2015 by the grandson of Suleiman Agha al- Silahdar.

In addition to his many works in both Aleppo and Damascus, Nur ad-Din rebuilt the Aleppo city walls and fortified the citadel. Arab sources report that he also made several other improvements, such as a high, brick-walled entrance ramp, a palace, and a racecourse likely covered with grass. Nur ad-Din additionally restored or rebuilt the two mosque and donated an elaborate wooden mihrab (prayer niche) to the Mosque of Abraham. The mihrab disappeared during the French Mandate.

Along the northern and southern walls of the synagogue were built two benches, one on top of the other, of which only remnants remain. After the Muslim conquest, the synagogue was converted into a mosque and a mihrab was added. The mihrab was built in place of the bench that ran along its southern wall. According to a local tradition, this addition was made during the conquest of Salah a-Din, rather than during the early Muslim conquest of the Levant.

This chamber, under a squat tiled dome, is exquisitely decorated with tile mosaic: its tall tiled Mihrab, dated 1365, is one of the finest of its kind in existence. On two star-shaped sgraffito tiles are the name of the craftsman and the date of construction of the Mihrab. One of the amazing attributes of the Jame Mosque of Yazd is that the lighting system is obtained indirectly by the reflection of light from the white plaster of the dome and the walls.

The mihrab (niche symbolizing the direction of prayer), carved with a canopy of muqarnas, dates from 1572 by a craftsman named Mehmed and was commissioned by a patron named Zeyni Çelebi. Its painted and gilded decoration dates from 1905. The wooden minbar, next to the mihrab, is made in the traditional Anatolian Seljuk style using the kundekari technique (using interlocking pieces of wood held together without nails or glue). The surfaces of the minbar are carved with geometric patterns and arabesque floral patterns.

The most important element in the interior of the mosque is the mihrab, which is made of finely carved and sculptured marble, with a stalactite niche and a double inscriptive panel above it. It is surrounded by many windows. The adjacent walls are sheathed in ceramic tiles. To the right of the mihrab is the richly decorated minber, or pulpit, where the imam stands when he is delivering his sermon at the time of noon prayer on Fridays or on holy days.

Mihrab in Al-Masjid an-Nabawi, Medina, Saudi Arabia A miḥrāb, also spelled as mehrab is a semicircular niche in the wall of a mosque that indicates the qiblah (the direction of the Kaaba) in Mecca, and hence the direction that Muslims should face when praying. The wall in which a mihrab appears is thus the "qibla wall." Mihrabs should not be confused with the minbar, which is the raised platform from which an Imam (leader of prayer) addresses the congregation.

The sanctuary (prayer hall) of the mosque. The mihrab, covered in black and white marble compositions, and the wooden minbar (right). The sanctuary of the mosque was one of the most richly decorated of its time; wall decoration was limited to the prayer hall, which was decorated with polychromatic marble high enough to include window and mihrab recesses. The marble columns are pre- Islamic and have diverse sizes and shapes, since they were drawn from structures across Cairo and the surrounding territories.

His chamber is adjoined by two other rooms, the largest of which was originally a prayer room, equipped with a mihrab, which was later repurposed as a mausoleum for members of the Alaouite dynasty.

Surrounding this arch is a molding that forms a rectangular outer frame. This is the first mihrab in Egypt to have this type of frame. Inside the frame are glass mosaics depicting pomegranate trees.

The praying room is square with dimensions 13.5 x 13.5 m2. (44.4 x 44.4 ft2 ). Both the mimbar and the mihrab are luxuriously decorated. There is a tughra of Selim III on the mimbar.

1211–1220) in the Sultanate of Rum. During the reign of Kayqubad I (r. 1220–1237) of Seljuıks the mosque was enlarged. The ceramic-tiled mihrab was added later, probably in the 15th century.

Pringle, Denys. (1993). The Churches of the Crusader Kingdom of Jerusalem: A Corpus, Vol. III Cambridge University Press, pp.182-184. There are a total of seventeen columns in the structure, excluding the mihrab.

His chamber is adjoined by two other rooms, the largest of which was originally a prayer room, equipped with a mihrab, which was later repurposed as a mausoleum for members of the Alaouite dynasty.

Sayyida Ruqayya, a descendant of Ali, never visited Egypt, but the mashhad was built to commemorate her. It is similar to al-Juyushi, but with a larger, fluted dome and with an elegantly decorated mihrab.

Atop the mihrab, his name is engraved along with the Shahada commonly recited by the public in Fatimid era ending with the phrase 'Ali-un-Wali-ul-lah', meaning Ali is the Custodian of God.

Sayyida Ruqayya, a descendant of Ali, never visited Egypt, but the mashhad was built to commemorate her. It is similar to al-Juyushi, but with a larger, fluted dome and with an elegantly decorated mihrab.

On September 11, 1981, at the end of the Friday prayer, Madani was approached by an unknown man. The man then detonated a grenade that was hidden under his clothes, which led to the death of Mir Asadollah Madani and three others, as well as leaving 50 people injured. Madani was killed in a mihrab and hence acquired the title "the second martyr of Mihrab," the first one being Ali ibn Abi Talib who was also assassinated while praying. MEK claimed responsibility for the assassination.

The buildings discovered include three mosques, with their Qibla and Mihrab. In the first area, there are the remains of a mosque with another adjoining mosque. In the second area are further structures of unknown use.

With a triple-domed portico, the central area is also covered with a dome set on squinches. Decoration is restricted to the mihrab and doorway which are covered in inlaid marble and inscriptions.Petersen, 2002, p. 232.

The interior of the mosque. The mihrab and minbar.Although the exterior walls of the building are in stone, much of the interior is brick, with facades covered in stucco and finished with stonework for decorative details.

The main mosque was centrally placed on the avenue. It measured approximately 46 m east to west and 23 m north to south. The western end was probably open to the sky. The mihrab faced due east.

The second, false dome is linked to the first by a small cross-vault to symbolise the transition from one qibla to another. Below it, a replica of the mihrab found in the lower chamber of the Dome of the Rock in Jerusalem reminds onlookers of the oldest extant mihrab of Islam. Externally, the architectural vocabulary is inspired by traditional elements and motifs in a deliberate effort to offer an authentic image for the historic site. The mosque is located on the north-west of the city of Medina, on Khalid ibn al- Walid Road.

It has four minarets (or manārah مناره) in four corners of the structure, a hall way, the Mihrab (محراب) in the main prayer room (musallah). The Mihrab also has a Minbar (منبر) for regional khatibs (خطيب) to deliver sermons (khutbah; خطبة) The exterior has a corridor by the pond for ritual purification (Wudu; الوضوء). The stairs lead to the top of the mosque. The structure also houses a living quarter for the Islamic scholars, and carved in library in the main hall for scriptures used during Madrasah (مدرسة) lessons.

It is used as a place of convergence in the mosque, where visitors could be amazed by its beauty and gilded designs. The entrance is covered in mosaics "which links to the Byzantium tradition, produced by the craftsmen sent by Emperor Nicephorus II. These mosaics extend along the voussoirs with a geometric and plant-based design, but also in the inscriptions which record verses from the Koran". This mihrab is also a bit different from a normal mihrab due to its scale. It takes up a whole room instead of just a niche.

The main prayer hall, which extends from the courtyard towards the qibla (direction of prayer) and the mihrab (niche symbolizing the direction of prayer), is three aisles deep. Behind the mihrab wall at the far end are a few rooms that were historically used, or are still used, as a library, imam's chamber, and funeral mosque (for conducting funerary rites before the burial of a body), all accessed from within the mosque. A newer extension to the mosque, likely from 1962, appears to extend from this main historic building towards the southwest.

The structure between the dome and the octagon is decorated with 16 shallow niches. Their form is not lancet-like as those commonly found in the Islamic architecture of Central Asia, but rather semicircular. This is a motif that can be found in the marble 8th-century mihrab at the Baghdad Museum, and has seldom been used in Central Asia: another comparable case that can be found in Turkmenistan is that of the mihrab of Muhammad Ibn Zayd's 11th-century mosque, from Merv. However, the two are located too far away to be considered prototypes.

The spaces around the arch are decorated with carved stucco and crowned by a carved and painted wooden canopy. The arch itself is occupied by an ornate wooden screen known as an anaza; an outdoor or "summer" mihrab for those prayers taking place in the courtyard. The anaza has two doors, between which, in the middle, is a decorative composition with a mihrab shape containing a carved inscription in Arabic calligraphy. This feature is reminiscent of an equivalent creation added by the Marinids to the courtyard of the Qarawiyyin Mosque.

The main prayer hall is a hypostyle hall with more than 100 pillars which support horseshoe-shaped arches along the parallel naves. The hall is large, to the south, and abuts the courtyard at its northern end. It is also a "T"-shape prayer hall, in that the nave along the qibla wall and the perpendicular central nave leading towards the mihrab are wider than other naves. The mihrab niche is on the qibla wall in the prayer hall along the widened central nave, for which entry is from the courtyard.

A mihrab, which surrounds a chain of small, ornamented rosettes, is located in a shell-like multifoil conch in the southern end arch of the mausoleum. Strictness of the arch’s interior is underlined by filigree ligature of the ornament of the biggest rosette located opposite the entry. An Arabic ligature on aperture of the upper cell indicates a name of a buried man, construction date – the year 1314 – and a name of the architect – Shahbenzer. The mihrab and content of the ligature confirms that a “customer” was Muslim.

Baba Ghassem mausoleum () is a historical mausoleum in Isfahan, Iran. It dates back to the 14th century. It is well known for its beautiful mihrab and dome. It is located to the north of Jameh Mosque of Isfahan.

Main mihrab of Ibn Tulun mosque in the centre of qibla wall. Made of marble, stucco, brick, and different colored mosaics. The muslim profession of faith is inscripted in Kufic calligraphy. The columns are made of gray marble.

The dome is in diameter and high on an octagonal drum of eight arches, with semi-domes at the corner arches and larger semi-domes joining the arches above the mihrab and the central bay of the narthex.

The interior of the mosque and the porch are decorated with rich, in polychrome painted ornaments with floral motifs and quotations from Quran. Mihrab, mimber and mahvil abound in ornaments made in stalactites and in customary Turkish perforations.

"A whisper from the Babri Masjid mihrab could be heard clearly at the other end, 200 feet [60 m] away and through the length and breadth of the central court" according to Graham Pickford, architect to Lord William Bentinck (1828–33). The mosque's acoustics were mentioned by him in his book Historic Structures of Oudhe where he says "for a 16th-century building the deployment and projection of voice from the pulpit is considerably advanced, the unique deployment of sound in this structure will astonish the visitor". Modern architects have attributed this intriguing acoustic feature to a large recess in the wall of the mihrab and several recesses in the surrounding walls which functioned as resonators; this design helped everyone to hear the speaker at the mihrab. The sandstone used in building the Babri Mosque also had resonant qualities which contributed to the unique acoustics.

As with the near- contemporary Bab Doukkala Mosque, the Mouassine Mosque generally follows the layout and form of the 12th-century Kutubiyya Mosque which, along with other Almohad mosques of that era, more or less set the style of Moroccan mosques. This layout is often referred to as the "T-plan" model, by which the aisle or nave leading towards the mihrab and the transverse aisle running along the mihrab or qibla wall of the mosque are larger or wider than the other aisles of the hypostyle prayer hall. Like in Almohad mosques, the principal decoration was concentrated around the mihrab area and along these emphasized aisles. However, the courtyard (sahn) of the Saadian mosque was larger than in previous Almohad mosques, being nearly equal or even slightly larger than the interior prayer hall (unlike in Almohad mosques where the courtyards were proportionally much smaller).

Many madrasas also included a prayer hall with a mihrab, though only the Bou Inania Madrasa of Fes officially functioned as a full mosque and featured its own minaret. In the Marinid era, madrasas also evolved to be lavishly decorated.

The building is currently composed of a rectangular prayer room with four naves with a marble decorated a mihrab for the imam to lead the prayers. It has also its own minaret in the northern entrance with a maghrebin style.

The mosque is a part of Shirvan Shah complex. According to an Arabic inscription the mosque was built by Haji Bani in the XVI century. The large multi-tiered mihrab is located opposite the entrance. The mosque has a dome.

It is noted for its elaborate wooden interior. Tahtani Mosque, a wooden mosque located in Şahinbey, that was built in 1557. The mosque has a unique red marble mihrab. Alaüddevle Mosque (Ali Dola Mosque), built by Dulkadir bey Alaüddevle Bozkurt.

The Green Mosque dates back to 12th century AD, and is distinguished for its beautiful dome and elaborately wrought mihrab. It is also known as the Al-Khidr Mosque. On 26 February 2015 the mosque was destroyed by explosives by ISIL.

It was once a closed space walled with glass windows. The column capitals were taken from a Byzanyine work. However, they lost their originality due to chipping during repair works. On the left side of the portico, a mihrab is situated.

The Great Mosque of Kairouan and the Great Mosque of Cordoba, in particular, were models of mosque architecture. Accordingly, most mosques in Morocco have roughly rectangular floor plans and follow the hypostyle format: they consist of a large prayer hall upheld and divided by rows of horseshoe arches running either parallel or perpendicular to the qibla wall (the wall towards which prayers faced). The qibla (direction of prayer) was always symbolized by a decorative niche or alcove in the qibla wall, known as a mihrab. Next to the mihrab there was usually a symbolic pulpit known as a minbar.

The shrine's interior is square shaped measuring 24 feet on each side, with entrance on each side that open to vaulted galleries, and rectangular shaped chambers on the east and west side of the shrine. The interior space is divided into a series of galleries The shrine's interior walls are decorated with cut-brick designs. The shrine is notable for its exceptional mihrab made of cut and molded brick, decorated with Kufic calligraphy, capped with a hood similar to a baldachin. Decorative cut-brick patterns on the ornate mihrab differ from patterns on the rest of the shrine.

Its interior compares favourably with that of others dating to the second half of the 17th century. The central mihrab has two rows of cusping, and its surface is embellished with moulded plaster relief, recalling the ornateness of the mihrab in the mosque of Haji Khwaja Shahbaz.Michell, George, The Islamic Heritage of Bengal, pg 61, UNESCO, , published in 1984 It used forms shapes—octagon, square, rectangle and circle—all beautifully juxtaposed. Besides the typical three domes on the main prayer hall, there are four hollow double-storey domed corner towers that gave rise to its name (Seven-Domed Mosque).

Like most Moroccan mosques, the mosque's interior is a hypostyle space with rows of Moorish arches running perpendicular to the southern qibla wall. Another row of arches runs close and parallel to the southern wall, forming a transverse nave or aisle in front of the mihrab and the qibla wall. The square space directly in front of the mihrab is decorated with stucco-carved surfaces and is covered by a wood-frame dome forming a geometric star patterns and highlighted with painted decoration. The dome's transition to the square space below is formed by muqarnas carving.

The mihrab is set in a niche with a flat floor. Adjoining the mihrab on either side there are two door openings which lead to small oblong rooms, one of which housed the minbar which used to be shifted on rails to the prayer hall for the Imam to say the daily prayers and give sermons. While the rails that were used to shift the minbar are still embedded in the floor, the minbar itself is now preserved in the National Museum of Antiquities and Islamic Arts in Algiers. It is one of the finest sculpted minbars of its type in Algeria.

The courtyard of the mosque is the earliest extant in a riwaq mosque to be paved with polychrome marble. Most of the mosque’s original work has gone under restoration, however, the mihrab contains remains of the polychrome marble of the era. The lower segment of the mihrab displays eighteenth century Tunisian tiles. Maqrizi also made the claim that “no previous mosque and khanqah, in the area of Saliba, has thrived to this extent, nor was there ever created in the Bahri Mamluk state the equal to their pious endowments and the excellence of their incomes” (Smith).

Each mausoleum chamber has its own simple stone mihrab (niche symbolizing the direction of prayer). Between the two domes and tomb chambers is a large iwan (a vaulted chamber open to one side), with an inscription running along its walls. This iwan has a stone mihrab whose upper section is carved with muqarnas in a style similar to the lateral (side) niches of the entrance portal of the Madrasa-Mosque of Sultan Hassan, possibly of Anatolian (Turkish) inspiration. This iwan was probably used for prayers and most likely faced a large courtyard which was adjoined to the mausoleum structure.

This is a prayer chamber, and has a mihrab (prayer niche) set into the south wall. The next chamber has two cenotaphs, one which belong to the founder of the al-Hija villages of the Galillee.Petersen, 2001, pp. 196-197Slyomovics, 1998, pp.

The niche in which the lantern motif was found has also been compared to the mihrab niche of Al Azhar mosque, the same also now found in Al-Hakim mosque, which has a central motif that resembles a large lamp or lantern.

The square-plan building with area has one minaret. Its wooden roof is supported by 24 large wood columns. It has 3 gates and 12 windows The mihrab is decorated with Seljuk tiles. The building material is mostly spolia from earlier buildings.

Ecless com page The mihrab is in a niche. The mosque has been repaired in 1901, 1943 and 2008.Travel quide estanbul The fountain, unlike most other mosques, is not in the yard: It faces Uray street to the south of the mosque.

The niche in which the lantern motif was found has also been compared to the mihrab niche of Al Azhar mosque, the same also now found in Al-Hakim mosque, which has a central motif that resembles a large lamp or lantern.

The mosque has a garden, three main entrances, four minarets, and a blue main dome. It also integrates wood in its design. The interior of the mosque is intricate with subtle colors. The Mihrab is beautifully tiled in a turquoise and gold palette.

Seljukid architecture page In the original praying area there was no minbar or mihrab. The original dome was demolished during a storm. It was replaced by a wooden roof. But in 2007 during the restoration a modern dome was added to the mosque.

In 1881, a new mihrab was added. In 1895, a new saqayya (Arabic public fountain) and entrance gate were built. In 1901 some new decorations and inscriptions were added to the wall in front of the tomb. In 1903, a place for ziyarat was built.

Interior of the Oratory. Front of mihrab. The rest of the walls of the mosque are decorated with blind mixtilineal arches linked and decorated throughout the surface with vegetable arabesques of Caliph's inspiration. These arches lean on columns topped with capitals of slender basket.

The minaret was added at the area around the north door of the church, which was turned into a mosque after the Ottoman conquest in 1461. The stone mihrab (altar niche) is of baroque style, and the mimber (pulpit) is of wood with no ornamentation.

A hemispherical dome rests on a drum. There is no mihrab (a niche in a wall indicating the direction in which Muslims pray) inside the building. It also contains semi-octagonal angled alcoves. Each side of the facade contains decorative arches marked with plaster.

Mack, p.77 Some of the prayer carpets represented in Christian religious paintings are Islamic prayer rugs, with such motifs as the mihrab or the Kaaba (the so-called re- entrant carpets, later called the "Bellini" type).Mack, p.84. King & Sylvester, p. 58.

The prayer hall is illuminated by 16 windows, arranged in two rows. The windows are framed by plaster frames on the interior. The mihrab is decorated with plain muqarnas. A wooden gallery once existed above the entrance, and a wooden porch stood before the gateway.

Through this gate lies the courtyard of the prayer hall. The mihrab has recently been changed to a plain marble facing with gold patterns, replacing some of the Mamluk marble facing, but the stucco carvings in the semi-dome are likely from the Fatimid era.

Floor plan of the mosque, showing the arrangement of the courtyards (some of them with central fountains or circular water basins) and interior spaces. The square structure at the top left is the minaret, and the niche in the bottom middle is the mihrab.

Six monolithic columns decorated the interior, which they divided into two naves. Capitals are lying about on the ground, apparently of Byzantine style. This church was used for a mosque, for the traces of a mihrab are to be seen at the south end.

The tile panels placed high in the prayer hall are inscribed with ayats (verses) from the Quran. The mosque has only one minaret with one gallery. There are 247 windows including the 24 of the central dome. The mihrab is in a square projecting apse.

The mihrab is now on display at the Museum of Islamic Art in Cairo.O'Kane, Bernard (with contributions by Mohamed Abbas and Iman R. Abdulfattah). 2012. The Illustrated Guide to the Museum of Islamic Art in Cairo. Cairo, New York: The American University in Cairo Press.

Each turret is supported by eight lofty pillars high and in girth. The mihrab too has a similar turret over it. The remaining interior of the Mosque has 346 columns high and in girth. Initially the roof was covered with birch bark and clay.

Zechariah went into the mihrab and found that she had summer fruit in the winter and winter fruit in the summer. He asked "From whence is this?" She said, "It is from Allah. Indeed, Allah provides for whom He wills without account"[3:37].

Sultan Qalawun replaced the burnt out mihrab (niche indicating the qibla, or direction to Mecca) in 1285. Later, Sultan al-Nasir Muhammad (1293–1341) had the new minbar ("preacher's pulpit") constructed during his reign. The courtyard and minaret of the mosque were renovated in 2003.

The mosque is in quadrangle form. It is covered with a stone dome. Mihrab is not on the side wall as traditionally, but on the long wall. In the nineteenth century, surface of the facade wall of the mosque was divided into three quadrangular frames.

102 The rooms on the second floor and the inscription now placed opposite the mihrab were added.Taragan, p.102 The minaret was destroyed by naval bombardment in World War I and since rebuilt. Major repair work was done in 1926, the 1950s and 1991–1992.

The art historian John Carswell has argued that although the date of 1435-6 above the entrance fits with the dedication to Murad II on the mihrab, it is probable that the tiles were transferred to the mosque from an imperial building. As supporting evidence he points to the lack of a coherent pattern to the arrangement of hexagonal tiles and the mixing of the two different styles of rectangular border tiles. The mihrab is also unusually large for the size of the building. Carswell suggests that it is likely that the tiles were original made for a building in the palace complex on the plain below.

It has an exquisite stucco, on which there are verses from Quran about the virtue of Friday prayer. It seems that this large mihrab has been destroyed intentionally because of its false direction of qibla. Instead of this mihrab a smaller one has been built in the true direction of qibla during the reign of Tahmasp I. The plan of the mosque is simple. There is a howz in the courtyard in front of the iwan, which leads to the inner space of the dome and also two shabestans at grade of the courtyard and a winter shabestan below the surface of the courtyard.

There is Mihrab at the Western wall. Although the mosque was built in the British Raj period, the structure followed the prior period Mughal Renovations. It was built as an extremely tall single-storied mosque with great emphasis of the vertical qualities where the one Mihrab is located in the western wall, stood from the base of the ground floor to one-third the height of the first floor. There are small four domes in the four sides of the roof seems to be part of Mughal Architectural Style which all but jeopardized the structural beauty defined by the relationship between the domes and Minar.

The prayer hall is aligned below the first five of the nine bays that run parallel to the qibla wall. Great Mosque of Algiers (1899) Great Mosque of Algiers in modern times The mihrab, which was originally built as an integral part of the mosque in 1097, was destroyed in bombing in AD 1682 (AH 1093). The reconstructed mihrab is a typical design followed in 18th-century Algiers in the form of indented lobed arches at the end of the central and much wider nave. It is a simple fresco façade with two small spiral columns flanking it on either side with an ogive stucco arch seen in relief.

The mosque occupies a rectangular area (50.35 x 50.24 m) and contains an open sahn measuring 11 x 5 square meters. Surrounded by four corridors, the qibla can be accessed through the main gate located on the south side or through the other doors distributed on the walls of the mosque, which are open directly to the qibla hallway. It is worth mentioning that the mihrab is not in the middle of the qibla wall. This is due to the repeated additions to the mosque, for example a wooden platform inside the wall to the east of the mihrab, a pulpit dating back to the year 1542.

Interior The mosque was initially built as a small complex, with a hexagonal plan designed by the architect Mimar Sinan. Principally, the mosque was built in two sections, the central prayer hall of size of , and the mihrab yeri (chancel) of size of . The pillars are built into the walls and between the pillars there are four small semicircular domes in the east-west direction and the central dome, which is the central prayer section. This section is also covered by semicircular dome of diameter and covered with six arches built between the six embedded columns; the rectangular apse in which the mihrab is built projects out.

The current size and architectural form of the building is attributed to Shaykh's works.Sharon, 2009, p. 134 Emir Alam al-Din Sanjar oversaw the final building stage in 1430-31. He had the northern and southern porticoes as well as the main mihrab and its dome constructed.

Mihrab of the mosque. It has a prayer room for each of the winter and the summer. The first is located inside the cubic building, with an iwan outside and richly decorated interior mosaics inside. The winter room is adorned with frescoes, mosaics, gilding with floral themes.

The dome and vaults are covered with bricks. The mihrab and minbar of the mosque are of plain design. The minaret, which is situated to the right of the entrance, is made of brick and has one balcony. There is no information about the old mosque.

The main hall of the mosque has four main pillars similar to the Javanese saka guru. The pillars are rectangular in shape and are plastered in the middle. The mihrab has four pillars, the pulpit is built out of concrete. The mosque is surrounded with a gallery.

The mihrab (niche) is also embellished in the same style as the minbar. There is a slim minaret built at the arcaded entrance, which has four domes. The mosque facing the street, has the minaret to its right corner. The minaret has a sherefe (minaret balcony).

The mosque is quadrangular. It consists of a single small-sized hall. On the southern wall a simple mihrab, low shaped stone dome with crowns on sides, are installed. Its asymmetrical facade is finished with precisely profiled entrance and two windows, which were added in later period.

The prayer room can accommodate up to 1,500 people and has a mihrab which indicates the qibla (direction) of Mecca. The building features soft natural light to create a tranquil space for worshipers. The mosque's minaret is 17 meters tall and the dome is 14 meters tall.

The mosque has three main entrances: one to the north, aligned with the major central axis of the building, which opens into the courtyard, and two symmetrical side entrances to the west and east that open to the north edge of the prayer hall. The outer portal of the entrances are often highlighted with more stucco decoration, while the space just inside each entrance is covered by a copula of muqarnas (stalactite-like sculpting). The central archway on the south side of the courtyard is covered in part by a wooden screen called the anaza which covers the entrance to the aisle leading to the central mihrab (niche symbolizing the direction of prayer) and also acts as an "auxiliary mihrab" for those carrying out their prayers in the courtyard. The transverse aisle running along the qibla (southeastern) wall is demarcated from the rest of the prayer hall by another row of arches running perpendicular to the others, while the arches next to the mihrab have a "lambrequin" profile (a dented and lobed outline common in Moroccan and Moorish architecture) with muqarnas-carved intrados.

The haram reaches and capable of accommodating 1,000 worshipers. The haram has old mihrab and minbar, with the inscriptions of the Qur'anic verses over the wall. دليل الجوامع والمساجد التراثية والأثرية - ديوان الوقف السني في العراق. p.36. The mosque is a place where Said Sultan Ali was buried.

The mihrab and dome of the mosque made of marble, while decorative elements of the mosque, the tops of minarets and labels are made of gold. The dome, on which 6 times written La ilaha ilallah from Muslim proclamation of faith or Shahada, made from Qızılqaya (Gyzylgaya) stone.

It has a qibla wall on the south east. This section is slightly bigger than the others and is where the mihrab is located. There is a small garden next to the building with a small fountain in the center. On the outside there are horse-shoe shaped aches.

When a great fire burned down most of al-Fustat in 1168 the mosque was almost completed destroyed, with only its green mihrab being preserved. It was later rebuilt as the Jami' al-Awliyya, but was little used after al-Qarafa became depopulated following a crisis in 1403.

The largest preserved buildings have a layout of three rooms. There is what appears to be a mosque with traces of a mihrab at the south of the site. The site was once much larger, but has been destroyed by agriculture and erosion. Today the site is very arid.

In 1149, Nur al-Din converted the building into a madrasah; an Islamic-religious school for the followers of the Hanafi madhab.Halawiyya Mosque and Madrasa Archnet Digital Library. Parts of the 5th century Christian construction were turned into an Islamic school. It is also known for its fine mihrab.

The size of arches increases towards the central arch, which is the largest of the five arches embellished with beautiful ornamentation. The spandrels of the arch are decorated with medallions and ornamentation. Fluted pilasters exquisitely decorate the central arch. The prayer wall on the west has niches with mihrab.

It was followed by the restoration of a tomb, place of wudu, minbar, mihrab, pond, and installation of lightning arrestor on the minaret, environmental arrangement, and construction of gate. Pusat Peradaban di Kaki Gunung Merapi . Lembaga Kantor Berita Nasional Antara Biro Sumatera Barat. Retrieved March 26, Maret 2012.

This mihrab has an amazingly beautiful stucco work decoration, created probably during the 9th or 10th century. Also right beside it, there as an altar made of wood with delicate wooden inlay work. The Mosque also has a 28-meter-high minaret belonging to the Seljuk era,10th century.

A staircase in the south bay leads to an ambulatory. Plaster muqarnas cover the ceiling and alcoves. The dado is composed of buff hexagonal tiles and blue and black mosaic faience, broken up by narrow borders of four pointed stars. The mihrab is a simple inscribed marble slate.

Similar cupolas stand above either end of the qibla aisle (i.e. at the southwestern and southeastern corners of the building). Inside the mihrab niche itself is another small dome of muqarnas. The wooden ceilings elsewhere in the mosque are in an artesonado style typical of Moroccan and Moorish architecture.

Roof Mihrab Mahmutbey Mosque is a historical mosque in Kasaba village in Kastamonu Province, Turkey Kasaba was once an important settlement in Kastamonu Province. Now it is a small village about to Kastamonu. But the historical mosque of the village at is an important cultural building of the province.

Their doors are framed with kaddal. Small windows over the doors are used for ventilation and lighting. The founder of Madrasa Ennakhla, Al-Husayn I ibn Ali, decorated the prayer hall's walls with richly carved plaster as well as its mihrab. Its facade is the largest on the patio.

Interior showing twinned columns The great hypostyle hall, dotted with Corinthian columns, consists of nine aisles perpendicular to the qibla and four bays. The central nave, much higher and wider than the others, is flanked by a row of thick twin arches, supported by groups of four columns instead of the twin columns used in the aisles. The central nave thus defines an axis within the hypostyle structure that leads to the mihrab. The intersection with the transept, of equal magnitude and parallel to the qibla wall, results in a T-shaped plan, an architectural feature whose central point is the intersection of transept and nave in front of the mihrab niche.

The earlier axis is represented in the structure by the niche still known as the "mihrab of 'Umar." In placing emphasis on the Dome of the Rock, Abd al-Malik had his architects align his new al-Aqsa Mosque according to the position of the Rock, thus shifting the main north–south axis of the Noble Sanctuary, a line running through the Dome of the Chain and the Mihrab of Umar.Grafman and Ayalon, 1998, pp. 1–15. In contrast, Creswell, while referring to the Aphrodito Papyri, claims that Abd al-Malik's son, al-Walid I, reconstructed the Aqsa Mosque over a period of six months to a year, using workers from Damascus.

The central axis of the prayer hall, perpendicular to the qibla wall, is marked by a central "nave" running between two extra lines of arches along this axis, perpendicular to the other arches. This nave leads towards the mihrab: a niche in the qibla wall which symbolizes the direction of prayer, and in front of which the imam usually leads prayers and delivers sermons. This overall layout (a hypostyle hall with a central nave emphasized against the others) is a familiar layout for North African mosques generally. The mihrab area, which dates from the Almoravid (12th-century) expansion, is decorated with carved and painted stucco, as well as several windows of coloured glass.

The oldest and extremely valuable decorations of the first layer date from the 16th century (in the dome, on the cornice and pendentives, the base of the corner calottes, the mihrab and the lunettes of the lower row of windows), belonging to the group known as Rumi ornament, which were also to be seen in the Aladža mosque in Foča. The next layers (on the calottes, central part of the mihrab, and surface of the dome) consists of purely floral decorations with the features of 18th-century style. The third and fourth layers date from the late 19th century (1878), and the first quarter of the 20th. The mosque was damaged during the Bosnian War in 1992-1995.

The mosque today consists of a square room with an area of 11 x 10 meters. In the middle of the mosque there are three large muqarnases, and directly above them it has a large oval dome with sixteen small openings, eight of which are open as windows and the other eight are blocked as an ornament. The qibla wall contains a large mihrab on the left side of it, which is a compartment made of wood, and then there is mausoleum of Sheikh al-Demerdash nearby. The mihrab is topped with a window filled with wood ornament, and on each side of the four dome there is also a small square window filled with wood ornament.

The preserved maqsura of the Great Mosque of Cordoba, although no longer part of a functioning mosque, is even older but represents a very different example. It dates from 965 during Caliph al-Hakam II's expansion of the mosque. Rather than being situated to the side of the mihrab, the maqsura here occupied a rectangular area directly in front of and around the mihrab. Although no physical screen (if there was one) has survived, the area is marked off by the architecture of the arches around it, which differ from the rest of the mosque's arches and present an elaborate interlacing pattern which was highly influential in subsequent Moorish and Moroccan architecture.

The Mausoleum of Shah Abbas I () is the burial place of Abbas I, the Safavid king of Persia. The mausoleum is located in Kashan, Iran. According to the dates on the mihrab of the tomb, the primary structure was built before 12th century. The structure was expanded in the Safavid era.

Each prt of the mosque has separate mihrab and aperture for entrance. Juma Mosque is called three-hall mosque because of a such plan. Such kind of planning reminds of planning organization of the well-known Great mosque of Umayyads in Damask, which was built in 708.Салимова А.Т, Аз.ГУСиА.

The double-minaret mosque is a typical 16th century Ottoman mosque and it resembles Fatih Mosque in İstanbul. The praying area is roofed by a big dome. There are seven small domes over the portico. The mihrab is made of blue marble and the minbar is made of white marble.

The double-lighted hall is covered with a dome on spherical sails. Mihrab mosque is located at the southern end of the hall. Above the one-woman women's chapel there is also a domed room. It is inferior in size to the dome of the hall and repeats its outlines.

There is a single gallery inside the structure, and a two-story gallery outside. The interior decoration is restrained with stained-glass windows restricted to the qibla wall. Iznik tile revetments are only used around the mihrab. The repeating rectangular tiles have a stencil- like floral pattern on a white ground.

Close to the centre of the settlement, and the fort, the village's second largest structure has been excavated. The architecture and alignment suggests that this building was a mosque. Elements such as a mihrab, minbar, a well for washing, and an open courtyard all mirror closely other later Qatari mosques.

A wooden staircase leads to the women's section in the upper floor. The dome's interior is adorned with Quran verses at its border. The mihrab is placed in a niche in the south of the mosque, and features late Ottoman architectural style. The mosque is brightened by big rectangular windows.

The ancient mihrab is made of a white marble slab embedded in the floor and surrounded by red-colored stones and subsequently delimited by a low wall, that traditionally opened in the north to allow entrance of Muslim believers heading southward to Mecca in Muslim prayers.Prophet's Dome Archnet Digital Library.

The western mausoleum building is divided into three chambers: the Chamber of the Mihrab, the Chamber of the Twelve Columns, and the Chamber of the Three Niches. It is believed to date entirely from the reign of Ahmad al-Mansur, though it contains many tombs from after his time as well.

Both external and internal walls as well as the mihrab, minbar, columns, and balcony, bear original elaborate incised woodwork. The mosque does not have a full dome but a recess with an inset carved medallion. The mosque was renovated in 2013 and is functional, reserved for Friday or holiday services.

The completion of the mosque took place during the 18th century with the addition of a hallway along one of the exterior facades. One of the peculiarities of the Great Mosque of Monastir consists in the absence of a dome surmounting the mihrab, which is rather rare in medieval Ifriqiyan architecture.

The Mosque of Amir al-Maridani is built with both hypostyle and riwaq plans, similar to the sultan's mosque in the Citadel, with a dome above the mihrab and three axial entrances. The mosque is not rectangular, however, because of the constraints of urban construction.Behrens-Abouseif, Doris. "Cairo of the Mamluks".

The entirety is constructed of brick. There are three doorways in the east, and one each in the north and south. The central doorway in the east is higher and wider than the others. The exterior of the west wall has a mihrab projection from the ground to the cornice.

The mosque has a rectangular plan in the northeast-southwest orientation. The front northern façade is supported by six sharp arches, whereas the western façade is supported by four. The mihrab and minbar show baroque characteristics. There is a wooden mezzanine in the northeast that serves as the women's section.

Above its frame of tile and stone bands is a Quranic inscription. The ensemble is topped by two arched windows and a rosette made of stained glass. The minbar, to the left of the mihrab, is made of marble carved with floral motifs and inscriptions and roofed by a conical dome.

The roofed interior bays are covered with low domes, faceted by pendentives. The front yard in front of the mihrab has nine bays with a single large dome. Trefoil interiors and elongated lobes are seen on sloping arches of the drum. The main roof drum is mounted on a cubic clerestory.

Pringle, 1993, pp.112-113. It was transformed as a mosque in 1290 by the Mamluks during the reign of Sultan Qalawun as attested to by a foundation inscription.Dumper, Stanley and Abu-Lughod (2007) p 266 Most of the structure resembles Mamluk architecture and a mihrab was added to the mosque.

Mohammad Sadoughi () known as "Sevomin-Shahide-Mehrab" (the 3rd martyr of Mihrab)Going to the biography of the third martyr of Ayatollah Sadoughi's altar yjc.ir is an Iranian Twelver ShiaWhy did the hypocrites martyr Sadoughi? snn.irThe film of the assassination of Shahid Sadoughi aparat.comMartyr Sadoughi according to the narration of Imam Khomeini mizanonline.

Pendentives springing from four thick piers support wide arches and the dome. In the middle of the south wall there is a mihrab, next to a simple minbar, made of four stone steps. The site of Khirbet Masub was immediately to the east of Bassa, in which was found the Phoenician Masub inscription.

55, 2012, pp. 57–77. JSTOR, JSTOR, www.jstor.org/stable/43489715. The prayer hall was symmetrical and airy, with a still-extant courtyard, the Patio de los Naranjos, or "Courtyard of Orange Trees." Its interior had a stucco- carved dome over the mihrab, as well as several matching carvings over the arched doorways.

Built on a promontory, Hanassa contains ruins of houses with archways and courtyards. It also features sites with pillar tombs, including a rare octagonal tomb. Additionally, excavations here have retrieved sherds of celadon and undecorated pottery. Amongst the ruins is a small mosque, with a well-preserved mihrab overlooking the Indian Ocean.

The Zarnigar Khanah is two hundred meters from the shrine. The entrance portal faces north and is covered by two semi-domes. A large dome span of about ten meters (9.70 m) covers the central hall. A niched mihrab is present on the west wall, and the other four walls have a door.

All the mihrabs are enriched with terracotta decoration. The mihrabs are arched having cuspings in their outer faces. The pilasters, supporting the mihrab arches, show a series of decorated bands topped by a frieze of petals. The spandrels of these arches, though now plain must have been originally enriched with terracotta plaques.

It is a large bright space, carpeted with gold coloured lines on a red background (indicating where each male should stand). The ceiling is wood panelled. On the south wall is the Mihrab, semi-circular space, with a pulpit for the Imams. The walls are bare but painted white showing uniform ashlar bricks.

The latest restoration work was conducted during 1997–1999. In 2001, the new mosque was built next to the mausoleum, and the area reached approximately . The architectural design is considered to be based on Seljuk architecture, including the columns, mihrab, and conical dome.دليل الجوامع والمساجد التراثية والأثرية - ديوان الوقف السني. p.140.

Turk Press. Retrieved January 8, 2018. The mosque was among the 21 other mosques in the casbah whose features had been modified or transformed, for example by eliminating the wudu place and altering the mihrab. It was consecrated back to the mosque after the independence, with the Christian cross removed from the minaret.

Kimaryo points out that the distinctive tattoo marks are common among the Makonde. Architecture included arches, courtyards, isolated women's quarters, the mihrab, towers, and decorative elements on the buildings themselves. Many ruins may still be observed near the southern Kenyan port of Malindi in the Gede ruins (the lost city of Gede/Gedi).

The larger pieces were patinated to white, appearing to represent different periods. Three Levallois flakes were found in 1966 by Lorraine Copeland. The Qubbat Duris was built in 1243 ( 641) during the Ayyubid era. Its sarcophagus was raised or left standing to serve as a mihrab, helping to direct prayer towards Mecca.

Architecture Mosque was designed in local architecture style. Interior of the mosque consists of a prayer hall, lobby, two rows, and a dome. The decorated mihrab is located at the end of hall. Windows were included in tholobate (or drum) of the dome, so believers could see the “Sacred light of being”.

The cornice has two bands decorated with terracotta. The mosque's walls are thick. The interior has a single mihrab in the qibla wall, on axis with the central entrance in the east. It is flanked by two decorated octagonal pilasters from which springs a multifoil arch with terracotta rosettes in the spandrels.

The mihrab niche itself is a small alcove which is covered by a small dome of muqarnas (stalactite or honeycomb- like sculpting). The central nave that runs along the axis of the mihrab is distinguished from the rest of the mosque by a number of architectural embellishments. The arches that run along it are of varying shapes, including both horseshoe arches and multi-lobed arches. Instead of the plain timber ceilings, most sections of the nave are covered by a series of intricate muqarnas ceilings and cupolas, each slightly different from the other, as well as two "ribbed" dome cupolas (similar to the domes of the Great Mosque of Cordoba and Cristo de la Luz Mosque in Toledo) dating from the Almoravid and Alaouite periods.

Dome supporting elements and all the openings on the building end in characteristic ogee oriental arches. Minaret - a thin tower with conical roof, with a circular terrace at the top, from which the faithful are called to prayer by the muezzin - is located on the northwest exterior side. Opposite the entrance, in the interior of the mosque, there is the most sacred space - the mihrab, a shallow niche with elaborate vault decoration, set in the direction of the holy city of Mecca to the southeast, while the raised wooden pulpit (minber or mimbar) is set to the right of the mihrab, in the south-west corner. Above the entrance, there is a wooden gallery (mahfil) from which one can come to the serefa, terrace on the minaret.

An example of Ablaq design on a portal at Baybars's mosque The mosque's maqsura is an enclosed area in front of the mihrab reserved for the monarch, and so is especially large under the dome, "almost like an autonomous sanctuary within the mosque." The dome was painted, and the qibla wall was decorated as well with marble and glass mosaics representing trees and other greenery. This mosque is the first example of the use of ablaq in Cairo, a striped pattern seen here in stone, which later became a popular decoration for Mamluk architecture throughout the city. Instead of running around the entire exterior, inscriptions on the exterior of the mosque are carved in tablets placed above the mihrab and entrances.

One can also credit Ismail with the restoration of the Masjed-e Jameh de Saveh, in 1520, of which the exterior decoration has disappeared, but of which the mihrab combines a use of ancient stucco and a delicate decor of arabesques in ceramic mosaic. Another mosque of Saveh, the Masjed-e meydan, received a similar mihrab, dated by inscriptions to between 1510 and 1518. Dormish Khan Shamlu, brother-in-law of Ismail, partially compensated for this lack of construction beginning in 1503. This governor of Isfahan, who lived more often at the court of Tabriz than in his city, left the reins to Mirza Shah Hussein Isfahani, the greatest architect of the period, who built there in particular the tomb of Harun-e Vilayat in 1512-1513.

On the cliff top of Ponta da Atalaia is the site of a Moorish archaeological site.SIPA website What remains here is part of the Castle Arrifana site, which is split into two areas. The archaeologist discovered on this site the ruins of several buildings include three mosques, with their Qibla and Mihrab (Information Leaflet).

The mosque consists of a rectangle worshipping hall and a corridor in front of it. Originally on the center of the hall, there used to be 4 columns to hold the dome. A portal was adjacent to the hall along with vestibule. On the southern wall of the hall there used to be a mihrab.

The masjid is one of the oldest Islamic places of worship in the Mogadishu capital. It was built circa 667 (1260/1 CE), concurrently with the Fakr ad-Din Mosque. Arba'a Rukun's mihrab contains an inscription dated from the same year, which commemorates the masjid's late founder, Khusra ibn Mubarak al-Shirazi (Khusrau ibn Muhammed).

The walls of the iwans are surrounded by 1.5 meters marble mantle above the madrasa floor, topped with a strip inscribed with verses from Surah al-Fath. The mihrab is in the middle of the southern wall and is surrounded by two smaller rings. These three girders occupy the whole area of the southern iwan.

The dome is carried on squinches that spring from the tops of stone pilasters, two on each wall. The qibla wall has three mihrabs. The use of black basalt for the central mihrab was a common practice during the sixteenth century. It is decorated with beautiful, intricate patterns composed of an ornamental hanging lamp motif.

The tomb was relocated by the Iraqi Heritage Conservation to the Museum of Arabic Heritage in Baghdad. Mihrab existed to the south of the tomb, and it was also made of blue marbles and adorned with the Qur'anic verses. The prayer hall was topped by the dome. The mosque had a steel minaret as well.

The cover of the LP release of the album features a photograph of Abbado.Mozart, W. A.: Mass K. 139, Waisenhaus-Messe, cond. Claudio Abbado, Deutsche Grammophon LP, 2530 777, 1976 The cover of the CD release, designed under the art direction of Hartmut Pfeiffer, features Norbert Attard's painting "Mihrab XIV", courtesy of CCA Galleries.

The Great Mosque of Monastir () is a historical Tunisian mosque in Monastir. Located on the outskirts of the city overlooking the sea, near the Ribat of Monastir, the mosque is characterized by the high exterior facades built of stone, frames surrounding the windows and doors, as well as arches that extend along the mihrab.

Although its appearance evokes that of a mosque, its purpose and uses remained secular. The Missiri does not include a wall directed to Mecca, a mihrab or a covered prayer area, which are important architectural elements of a proper place of worship for Muslims. Muslim Senegalese tirailleurs prayed in an open area (musalla) outside Missiri.

Interior of the Suleiman Pasha mosque, shows mihrab in the center. In the outside of the mosque, the building is in the shape of a rectangle. It depicts 9 smaller domes on the rest of the building. The front door brings the person in the center of the rectangle, which shows the prayer hall.

The dome, over the mihrab area, is slightly smaller than the dome of the Al-Nasir Muhammad Mosque, and has similar gilded and painted wooden pendentives. The windows in the transitional zone between ceiling and dome are of one oculus over two bays, and are decorated with stucco arabesque grills filled with colored glass.

Velázquez undertook restoration/conservation works at the Cathedral–Mosque of Córdoba. The building had been declared a national monument in 1882; the works involved the reversal of accretions, for example, removing an altarpiece from the mihrab and a lean-to structure from the west façade. He worked on León Cathedral and the La Rábida Monastery.

The ceiling and the western part of the prayer hall are 12th-century additions made by Saladin, who also had a new mihrab (prayer niche) built. Much of the mosque was built in white marble with cypress and cedar wood used for the doors. Of its four facades, the eastern one is in disrepair.

Glazed tiles were also used in the decoration of the mihrab, one of which bears a dated inscription. Photographs of the Fakr ad-Din mosque feature in drawings and images of central Mogadishu from the late 19th century onwards. The mosque can be identified amidst other buildings by its two cones, one round and the other hexagonal.

The foundation and most of the building was constructed from bricks, although the outer walls, some interior walls, side screens and columns are of stone. The central Mihrab is designed in the west. Opposite the central and southeastern entrances, the interior west wall has two mihrabs. There is division in the two mihrabs and they had different platforms.

The shrine's layout is typical of Suhrawadi tombs, with three entrances, a western-facing mihrab, and an original main entrance on the southern axis that featured a small vestibule. The main entrance has since been shifted to the east, in an attempt to align the shrine's axises with Mecca, in accordance with orthodox interpretations of Islam.

The carved wooden mihrab is considered to be one of the earliest examples of its genre. The sarcophagus of Rukn-e-Alam is slightly off-centre, and is surrounded by the graves of 72 of his relatives, which allude to the 72 martyred companions of the Prophet Muhammad's grandson, Imam Hussein, at the Battle of Karbala in 680 CE.

Safa Masjid adjacent to which, on the South, is a masonry tank measuring 30 by 30 meters with Mihrab designs. This mosque may indeed be datable to the Adil shah period. The mosque doesnot bear any inscription. This mosque built in 1560 by the Bijapuri ruler Ibrahim Adil Shah I about 2 km from center of Ponda.

The walls are made of boulders and rubble stone, joined together with mud mortar. A shallow niche in the south wall might be a mihrab. The walls are decorated with stencilled friezes of palm tree and palmettes in blue-green. A barely legible inscription above the door gives a 14th-century AH (late 19th-century CE) date.

The mosque has an ornate minaret whose facades are covered with alternating darj- wa-ktaf motifs (similar to the Grand Mosqe of Fes el-Jdid) and whose main shaft is crowned by a wide bad of zellij or mosaic tilework in geometric patterns. The most notable interior decoration is around the mihrab, which has richly-carved stucco decoration.

On the west side of Kenongo Island is another one-storeyed circular structure that forms another artificial island in the past called Gumuling Well (Sumur Gumuling). These one-storeyed building can only be entered via the underwater tunnel. The building was used as a mosque. A niche in the wall of this building was used as a mihrab.

Proportional division of the interior, composition methods and stone elements are clearly expressed with vividly carving, and with mihrab with artistic expression the hall gets an interesting view. Straight profiled windows are installed on the south facade of the mosque. Through the whole perimeter of the mosque, the low-profiled crown expresses the methods of eastern composition.

Several riwaqs were added, including one for the blind students of al-Azhar, as well as refurbished during the Ottoman period. Katkhuda also added an additional prayer hall south of the original Fatimid hall, with an additional mihrab, doubling the total prayer area. His overall work reintegrated the mosque's disparate elements in a relatively unified whole.

The Mughal Eidgah is a monumental structure built during the Mughal Empire. the Eidgah was built by Mir Abul Qasim, a Diwan of Shah Shuja and builder of Boro Katra. The Mughal subehdars and diwans living in this land used to come to the Eidgah for Eid prayers. Mihrab (central prayer-niche) that Emams faced during prayers.

Other items used in trade as a form of currency included salt, cloth, and bars of gold. Trade with the Middle East had begun as early as ancient Egypt. Islam was introduced to the Horn region early on from the Arabian peninsula, shortly after the hijra. Zeila's two-mihrab Masjid al- Qiblatayn dates to the 7th century.

Neither had much power, but they helped solidify the ethnic identity of their respective peoples. The Yemenis built the earliest mosque in the southern hemisphere in Kizimkazi, the southernmost village in Unguja. A kufic inscription on its mihrab bears the date AH 500, i.e. 1107 AD. Villages were also present in which lineage groups were common.

The underglaze painted tiled panels have white thuluth lettering reserved on a dark cobalt blue background. Between the letters are flowers in purple and turquoise. Above the mihrab is a larger lunette panel painted in cobalt blue, turquoise and dark olive green. The purple colouring is characteristic of the 'Damascus' style of Iznik pottery but is unusual on tiles.

An 1878 illustration of the complex, showing its profile from the back (eastern) side. The two large mausoleum domes are visible at the mosque's corners. The smaller dome in the middle stands above the mihrab area. Sultan Faraj's monument is considered by many, including Mamluk historians, to be one of the finest buildings of Mamluk architecture in Cairo.

The inscriptions have been written in white Naskh on a persian blue background. The triangle under the inscriptions have been decorated with designs and shapes. The mihrab of the mosque has been decorated with tiles and has a stucco inscription. On the inscription, some Koran verses have been written in white Thuluth script on the ultramarine background.

There is a Qibla, a niche in the prayer chamber wall which is oriented towards Mecca. This central bay is visible even from the outside through its wide entrance opening. The mihrab here has an epigraph which includes the "Throne Verse from the Quran". The prayer chamber is flanked on either side by "three-bayed triple-aisled side wings".

The uppermost roof- tier is much steeper than the rest of the roof tiers; four hatches provide cross ventilation. The top of the roof is decorated with a pole, symbolizing the Arabic letter alif, which symbolizes Allah. The mosque has a square layout and aligned roughly east–west. An ornate minbar is placed in the mihrab.

Cultural heritage page According to an inscription, the complex was built in 1159, during Zengid dynasty. It consists of a mosque, a medrese (school) and tombs of both Zeynel Abidin and his sister Sitti Zeynep. The building material of the L-plan mosque complex is rough stone. The mimbar, mihrab and the minaret are later additions.

Cairo:AUC Press, 2008. p 244 The mihrab and minbar are both decorated in a typical period style. The minbar is decorated with finely carved wooden doors and panels, and above the minbar is a large rosette of polychrome marble. This is particularly unique because this style is usually used on a floor, rather than upon a wall.

The mihrab, a decorative alcove or niche in the qibla wall that symbolizes the direction of prayer, is a small octagonal space topped by a dome of muqarnas. On either side of the mihrab are two small doors leading to other rooms. The eastern one (on the left) connects to a "mosque of the dead" or funerary mosque (Jama' el-Gnaiz), a space used for funerary rites and prayers around the bodies of the deceased before they are buried. (This space is attached but separate from the rest of the mosque in order to protect the cleanliness and sanctity of the main prayer space.) Both this funerary space and the main prayer hall can also be accessed by smaller secondary entrances from the street on the eastern side of the building.

Its opening is also covered by an ornate wooden screen with mihrab motifs, called the anaza, which acts as an outdoor or "summer" mihrab for prayers taking place in the courtyard. The anaza is richly carved and has a similar form to the anazas of the Marinid era, such as the one at the Qarawiyyin Mosque in Fes completed in 1290, but it is dated to 1715 and was thus fabricated under the reign of Moulay Ismail. The exterior of the mosque is largely obscured by the surrounding buildings and the dense urban fabric of the old city. The mosque has 11 gates, and one of the main entrances to the west, called Bab al-Kutub (Gate of the Books), is framed by rich stucco decoration and a canopy of sculpted and painted wood.

Great Mosque of Córdoba. Much of the Muslim architecture of Al-Andalus was lost as mosques were replaced by churches after the twelfth century, but the use of domes in surviving Mozarabic churches from the tenth century, such as the paneled dome at Santo Tomás de las Ollas and the lobed domes at the Monastery of San Miguel de Escalada, likely reflects their use in contemporary mosque architecture. The Great Mosque of Córdoba, begun in 785 under the last of the Umayyad caliphs, was enlarged by Al-Hakam II between 961 and 976 to include four domes and a remodeled mihrab. The central dome, in front of the mihrab area, transitions from a square bay with decorative squinches to eight overlapping and intersecting arches that surround and support a scalloped dome.

Another older meaning probably refer to "age", the length of time that a person has lived or a thing has existed, or the old age. Also, another meaning refers to "make a law/ legistation about something". The general meaning is "sharpened point/ nib of the spear or lance(t)" which could possibly have a symbolic connotation representing a pointed arch, some referring to the niche of a mihrab, since the mihrab represent the "point, direction" of prayer to the Ka'abah in Islam. In a hadith narrated by Abu Juhaifa in Sahih al-Bukhari, "Once Allah's Messenger went to Al-Batha' at noon, performed the ablution and offered a two rak'at Zuhr prayer and a two- rak'at 'Asr prayer while a spearheaded stick was planted before him and the passersby were passing in front of it".

An inscription dates the fine, ebony minbar to 1155; the minbar is the first dated example of Seljuq art in Anatolia.Scott Redford, The Alâeddin Mosque in Konya Reconsidered, Artibus Asiae, Vol. 51, No. 1/2, 1991:55 The polychrome ceramic frame of the mihrab and the dome above may date to this period. Kaykaus I began a major rebuilding program in 1219.

The madrasa does not contain mihrab but it has a square shaped prayer hall. The large entrance overlooks the northern facade of the sahn, which has unique compositions compared with the other Marinid architectures in Fez. The madrasa had around 140 students from across the country, distributed to the rooms on the ground and second floor. It also had a facility for healthcare.

Petersen, 2002, p. 282 A large square room roofed by a large dome, it has a mihrab in the south wall, next to a modern stone minbar. The mausoleum has an iwan at its north end, and the stone cenotaph beneath it is covered in green cloth. Below a wooden frame in the middle of the room is the entrance to a cave.

Above the white marble band, curving grooves converge at the top to a single point at the top of the arch. The unusual presence of a second and smaller mihrab - a simple undecorated niche - in an eccentric position on the west wall of the prayer hall, is explained by the controversy between Shiism and Sunnism on the correct direction of Mecca.

The original prayer hall, under a high dome is used as the divan hall. The Guru Granth Sahib is seated in the centre in front of the mihrab. Shahabad was divided by the Sikhs into 7 . The Sardars of Shahabad exercised administrative powers in the earlier days of the British regime but they were deprived of these powers by the British in 1850.

The original Gurdwara Mastgarh was on a high ground in the northeastern part of the town. The original prayer hall under a high dome was used as the divan hall. The "Guru Granth Sahib" was seated in the centre in front of the mihrab. Bullet marks on the exterior surface of the domes and the walls document turbulence in the eighteenth century.

According to Petersen, the mosque appears to be a relatively modern construct, probably built in the early 1900s. It consists of a tall square room with a flat roof supported by iron girders. There is a cylindrical minaret at the north-east corner. There are tall pointed windows on all four sides, and a mihrab in the middle of the south wall.

Ruins of the Muslim Adal Sultanate in Zeila. Islam was introduced to the northern Somali coast early on from the Arabian peninsula, shortly after the hijra. Zeila's two-mihrab Masjid al-Qiblatayn dates to the 7th century, and is the oldest mosque in the city. In the late 9th century, Al-Yaqubi wrote that Muslims were living along the northern Somali seaboard.

149 On the eastern side of the church there is the chapel of Mary's tomb. Altars of the Greeks and Armenians also own the east apse. A niche south of the tomb is a mihrab indicating the direction of Mecca, installed when Muslims had joint rights to the church. Currently the Muslims have no more ownership rights to this site.

The tomb of Sidi Taoudi Ben Souda is located along the qibla wall (southeastern wall), marked by a wooden cenotaph. The mosque's mihrab is decorated with carved and painted stucco and is flanked on one side by two Arabic inscriptions on zellij tiles. The minaret's main shaft is 20.3 meters tall, while its secondary shaft or lantern is 4.3 meters tall.

Zafar Khan Ghazi Masjid, Tribeni The silhouette of the successive pointed arches has added to the spaciousness and grandeur of the mosque interior. Corresponding to the five entrances in the east, there are five mihrabs in the west wall contained within multifoil arches. The mihrab wall shows sparse decoration within panels. The cornice and the parapet of the structure are straight.

On either side there are two large rooms with much lover domes; these have large , or hearths, and were used as both kitchens and dormitories. In front of the main hall is another hall of similar size divided into two sections by a great arch; this served as a mescit, as evidenced by the mihrab niche in the south wall.

The mihrab was possibly designed this way so as to allow the flanking windows to be wide enough for Qur'an reciters to sit in them, from where they could be heard by those passing on the street outside. As mentioned above, Barquq himself was not buried here in the end, but the chamber contains the tomb of one of his daughters, Fatima.

Constructed between 1489-1517 CE, the Shish Gumbad is constructed in square shape. Combination of bracket and lintel beams, the architecture is a blend of Islamic and Hindu architectures. Although the Gumbad has an external semblance of spanning in two floors, the structure made only in one floor. The western wall of the Gumbad consists of mihrab which also served as a mosque.

A window over each door and the mihrab is framed by squinch arches. The pavilion, primarily known as the Namakdan, is dodecagonal on its outside and octagonal inside. Four eyvans open the outside of the structure toward four more small octagonal chambers, which further open to the central pavilion. Recently, the vault was split into a first and second story.

A new wooden door was installed during the reign of al-Hakim in 1009. In 1125, al-Amir installed a new wooden mihrab. An additional dome was constructed during the reign of al-Hafiz li-Din Allah. He additionally ordered the creation of a fourth arcade around the courtyard and had a porch built on the western end of the sahn.

The mosque was built by Mahmud Begada probably in the latter years (1430-1440) of Ahmad Shah I's reign. It is named after Rani Rupamati whom Mahmud Begada married after death of Qutubuddin. This mosque measures, 105 feet long, forty-six broad, and thirty- two high. A high central arch, three imposing domes, slim minarets, carved galleries and an exquisite mihrab are there.

In the 14th century, a zawiya was instituted by the Awlad Mourat. During Ottoman Algeria, another renovation was conducted by the wali Mohamed ben Omar al-Tunisi, and this is inscribed on the mihrab as the year 1789. There are other inscriptions designating the dates of renovations as well, including the decoration of the painting on the wall which designates the year 1800.

The mosque is a two-storey wooden structure, set in a rectangular ground plan and measuring 8.8 x 9.3 m. The first floor acts as a cellar and the second floor is a prayer room with two tiers of windows. The building is roofed with ceramic tiles. On the south there is an arched toothed mihrab with an Arabic inscription.

It has three mihrabs with the central mihrab being the largest in size and projecting outwards. It has a hemispherical dome with frontal arches. There are also squinches and half domes. It is distinctly different from the Khan Jahan style mosque in its exterior decorations, particularly the east façade, which depicts four rectangular panels bordered by foliated scrolls with merlons having plant motifs.

Here is the main gate and an outer mihrab flanked by rwo windows. Above the main gate, a construction inscription with a three-line text in Ottoman language, is attached. On each of the other three sides of the building, there are four windows, two in line. The lower windows, in rectangular form, are placed inside niches, and have arched gables.

The latter project was completed in 1331. A few months after, in 1332, Tankiz had the mihrab of the Ibrahimi Mosque in Hebron restored. Glass mosaics that previously existed in those structures (most dated from the Umayyad period) and had since worn down were given specific attention by Tankiz. Additionally, new mosaic decorations were added to the prayer niches of the mosques.

The semi-pointed arches are decorated with stalactite and flower motifs. The main prayer hall occupies the width of the rectangular plan and consists of two aisles of five bays separated by columns supporting semi-pointed arches. The mihrab is decorated with Iznik tiles and framed by black marble panels. Iznik tiles, which also decorate the qibla wall, were added after 1552.

Four main posts (Javanese soko guru) supported the roof of the main prayer hall. This roof is a pyramidal tajug-styled roof, a type of roof traditionally reserved for sacred buildings in Javanese architectural principle. The roof is three-tiered, topped with a mustaka (rooftop ornament). As a royal mosque, there is a maksura to the left of the mihrab.

All these are bordered by two rectangular frames, the space between which is filled with a four-petalled mesh in terracotta. To each side of the mihrab is a multifoil arched niche in a rectangular recess. The north and south walls each have two similar, but smaller niches. Squinches spring from brick pilasters to support the base of the dome.

It was commissioned by Mahmut Bey, a member of Candarid house in 1366. The mosque is unique in its building style for no cement is used in the construction (except for the mihrab). The roof too was constructed without using any metal element. (In fact it is also known as Çivisiz camii meaning "mosque without nail")The plan of the mosque is rectangular.

Closeup of some of the details. The fountain is a large square block built with five small domes. Mihrab-shaped niches decorated in low relief with foliate and floral designs in each of the four façades, each containing a drinking fountain (çeşme). The water is supplied from an octagonal pool inside the kiosk, with circulation space around it for kiosk attendants.

The mosque is in rectangular shape in the plan. It forms single-cell worshipping hall covered with pointed stone dome. The five- tiered corbelled mihrab carved into muqarnas is framed with a rectangle on the southern wall of the interior and forms certain motifs of architectural school of Shirvan-Absheron as a whole. Small niches were placed at the edges.

At its center is the main door of the prayer hall, which is rectangular in shape and covered with arches. The upper part of the walls are decorated with gypsum carving making an eight-pointed star on either sides of a pine tree. The center of the room's back wall has a hollow mihrab, with a covered half dome of carved stucco decoration.

The extensions on the sides are covered by semi domes as it provides better continuity for both the cover system and the interior. the mihrab is for the first time is located in an apse that projects from the middle portion of the qibla wall. This interior layout design compensates for the lack of depth on the north-south axis.

The Roman Wall is a rectangular structure of straight rows of bricks and stones. It exhibits a characteristic Ottoman construction method of surrounding the large cut stones with sets of bricks. The wall is situated with an east–west orientation and features two windows, with a mihrab niche in between. A notched brick cornice decorates the top of the wall.

This mosque has two minaret with a peak elevation of approximately 40 meter above the ground. With a large dome surrounded by 8 small dome. The mosque 2 only have 1 pulpit preaching, 1 mihrab, 4 main pillars buffer. 2 where Wudu, 2 MCK, 3 office managers, 1 library and the mosque as the front page of parks and parking places.

Bergama prayer rug, late 19th century. The niche at the top represents the mihrab and the direction of prayer. A prayer rug or prayer mat is a piece of fabric, sometimes a pile carpet, used by Muslims and some Christians during prayer. In Islam, it placed between the ground and the worshipper for cleanliness during the various positions of Islamic prayer.

The courtyard (sahn) of the Qarawiyyin Mosque, including the central fountain and Saadian-era pavilions at either end The courtyard (sahn) is rectangular, surrounded by the prayer hall on three sides and by a gallery to the north. The floor is paved with typical Moroccan mosaic tiles (zellij) and at the center is a fountain. From outside the mosque, the courtyard is accessed by the main northern gate, called Bab al-Ward, whose vestibule is covered by a Marinid-era white dome which is fluted on the outside and covered in painted and carved stucco on the inside. Opposite this gate, situated on the mihrab axis, is the central entrance to the interior prayer hall, guarded by a carved and painted wooden screen called the anaza which also acted as a symbolic "outdoor" or "summer" mihrab for prayers taking place in the courtyard.

The mihrab (niche symbolizing the qibla) of a mosque was almost invariably in the shape of horseshoe arch. Starting in the Almoravid period, the first pointed or "broken" horseshoe arches began to appear in the region and became more widespread during the Almohad period. This arch is likely of North African origin, since pointed arches were already present in earlier Fatimid architecture further east.

It belongs to the Khalwati Sufi order. It is composed of the prayer hall with a square plan, a small ambience for special religious services and a gracious portico in front of the entrance to the prayer hall. In the prayer hall is a mafil carved in wood and decorated. On the eastern side of the prayer hall is the mihrab decorated with stone stalactites.

Later developments of this feature would include additional domes oriented axially to the mihrab dome. Byzantine workmen built the Umayyad Mosque of Damascus and its hemispherical dome for al Walid in 705. The dome rests upon an octagonal base formed by squinches. The dome, called the "Dome of the Eagle" or "Dome of the Gable", was originally made of wood but nothing remains of it.

Other than the small brick domes used over the bay in front of a mihrab or over tombs, Fatimid domes were rare. An exception in size was the large dome over the Fatimid palace dynastic tomb. Literary sources describe royal domes as part of ceremonial processions and royal recreation. Examples of Fatimid palace architecture, however, described by travelers' accounts as their greatest achievement, have not survived.

The walls are thick. Nine doors lead into the interior of the building, where the many pillars and arches create a spacious, light, cool and calm environment. Beside the mihrab there is a recessed niche for the minbar, where the prayer leader stands. Mosques in Arabia and East Africa have similar minbar niches, which may indicate that the mosque builders followed the Ibadi school of Islam.

This building has a prayer hall covered with cross- vaults, with a dome resting on squinches over the area in front of the mihrab. It has a courtyard with a tall square minaret. It is not clear whom the mashhad commemorates. Two other important mashads from the Fatimid era in Cairo are those of Sayyida Ruqayya and Yayha al-Shabib, in the Southern Cemetery.

At the time of the inspection, 1992, the building was used as a sheep pen. The maqam in 2008 The maqam is located about 20 meters east of the mosque. It consists of two parts: a walled courtyard, and a domed prayer room. In the courtyard there is a mihrab in the south wall, and a doorway in the east wall leads into the main prayer room.

Bearing walls were used as vertical supports. Cross vaults covered most spaces from prayer halls to closed rectangular rooms, to galleries around courtyards. Domes were constructed over conspicuous and important spaces like tomb chambers, mihrab, and covered courtyards. Typical construction details in Mamluk Tripoli included cross vaults with concave grooves meeting in octagonal openings or concave rosettes as well as simple cupolas or ribbed domes.

Islam was introduced to the Horn region early on from the Arabian peninsula, shortly after the hijra. Zeila's two-mihrab Masjid al-Qiblatayn dates to about the 7th century, and is the oldest mosque in Africa. In the late 9th century, Al-Yaqubi wrote that Muslims were living along the northern Somali seaboard. Yusuf bin Ahmad al-Kawneyn was born in Zeila during the Adal Kingdom period.

The minbar is located to the right of the mihrab, a niche in the far wall of the mosque which symbolizes the direction of prayer (i.e. towards Mecca). It is usually shaped like a small tower with a seat or kiosk-like structure at its top and a staircase leading up to it. The bottom of the staircase often had a doorway or portal.

In Syria, churches were converted to mosques by blocking up the west door and making entrances in the north wall. The direction of prayer was south towards Mecca, so the long axis of the building was at right angles to the direction of prayer. The Umayyads introduced a transept that divided the prayer room along its shorter axis. They also added the mihrab to mosque design.

The interior space is divided by four square-piers into a central square, which served as the main prayer area, and four elongated spaces around it. The mihrab is located on the southern wall, with a fresco depicting a heavenly city above it. The other walls are decorated with quotes from the Quran, prayers and invocations. The minaret is located on the south-eastern corner.

The main space is covered by a central dome of diameter supported on six arches arranged in a hexagon with two free-standing columns. The space is expanded by five exedral semi-domes, one of which contains the mihrab. The arch on the north side is filled with a flat wall which contains the entrance portal. The interior is surrounded on three sides by galleries.

By the end of the century, a complete mosque was built. The central mihrab in the mosque contains an inscription indicating the completion date of the mosque. It is dated Jumada II 595 AH (April 1199 CE). This makes the mosque one of the oldest in India, and the second mosque to be built by the Mamluks of Delhi (the first being the Quwwat- ul-Islam mosque).

Tradition states that it was first built during the period of the Islamic Caliphate under the second Caliph, Omar (hence its name), which would make it the oldest known mosque in Gaziantep. The modern mosque was restored at the site in 1850. It is known for its black and red marble mihrab. Şeyh Fethullah Mosque, a historic mosque built in 1563 and located in Kepenek.

One-celled mosques with dome also have such an architectural planning. But there is not any trace of mihrab. General view of the mausoleum gives a cause that it was either a mausoleum or a mosque. The mausoleum is similar to Khanegah on the coast of the Alinjachay River because it also was built of burned brick, has a cupola and a square foundation of the cupola.

Zeila attracted merchants from around the world, contributing to the wealth of the city. Zeila is an ancient city and it was one of the earliest cities in the world to embrace Islam, shortly after the hijra. Zeila's two- mihrab Masjid al-Qiblatayn dates to the 7th century, and is the oldest mosque.M. H. Mukhtar, 'Adal Sultanate', in The Encyclopedia of Empire (Wiley, 2016), ; .

The mihrab of the Madrasa al-Taybarsiyya. The Madrasa al-Taybarsiyya, which contains the tomb of Amir Taybars, was built in 1309. Originally intended to function as a complementary mosque to al-Azhar it has since been integrated with the rest of the mosque. The Maliki and Shāfi‘ī madh'hab were studied in this madrasa, though it now is used to hold manuscripts from the library.

The eastern dome is built of finely cut stones, while the western dome is built of small rough field- stones, but both kinds are of local origin. The northern wall is 85 centimeters thick and is constructed of small stones, mortar and rubble. The eastern room of the sanctuary contains a mihrab ("prayer niche") with the typical orientation to Mecca as required in Islamic doctrine.Taha, Hamdan.

Above the rectangular frame of the central mihrab there is a row of arched-niches filled with varieties of small trees containing flowers. The mosque should specially be noted for its four axially projected frontons with bordering ornamental turrets, a device which must have been borrowed from the four axial iwan-type gateways of the Persian influenced north Indian Mughal standard mosques of Fathpur,Agra and Delhi.

Sultan of Adal (right) and his troops battling King Yagbea-Sion and his men. Islam was introduced to the area early on from the Arabian peninsula, shortly after the hijra. Zeila's two-mihrab Masjid al-Qiblatayn dates to the 7th century, and is the oldest mosque in the city. In the late 9th century, Al-Yaqubi wrote that Muslims were living along the northern Horn seaboard.

The mosque is irregularly shaped with 60 meters length and 37 meters width. It consists of three hallways and the main door at the south. The mihrab is decorated with simple interlace pattern and irregular layout, and it is covered by the semi-dome. The cavern which covers the prayer hall has two domes, one above the mausoleum and the other facing the qibla wall.

In 1861 merchant İ. Ğ. Yunısov donated the addition of stairs, and in 1863 he donated the extension of mihrab and the breaching of new window. In that period the mosque was called Yunısovs' mosque after his family. In 1885 merchant Z. Ğosmanov donated the renovation of the minaret. In 1887 merchants W. Ğizzätullin and M. Wälişin added the tracery balcony to the minaret.

The mihrab east of the second alcove remains. In the room are a made bed, several photos, improvised tombs, and ritual items such as three swords, a pair of handcuffs, and a flag. The khanqah was built from stone, adobe, wood, and mud mortar, topped with a four-layer clay tile roof extending over the porticos. The stone yard wall was renovated after the Kosovo War.

Even though the roof has been modified and some aisles have been suppressed in the 16th century, the labyrinthic interior with its "forest" of pillars clearly relates to other contemporary mosques in Spain and Maghreb. The inner wall still has a mihrab, a decorated niche that indicates the direction of Mecca. In addition the church has three horseshoe arches with an alfiz, a typical Islamic decorative feature.

The corners of the dome transition into the square space of the walls with the help of muqarnas-carved squinches. The mosque's main chandelier, according to one source, was installed in 1280, weighs 715 pounds, and has 287 candlesticks. It hangs in the central aisle in front of the mihrab, and is considered by some to be one of the best Marinid-era examples of its kind.

Islam was introduced to the Horn region early on from the Arabian peninsula, shortly after the hijra. Zeila's two-mihrab Masjid al- Qiblatayn dates to about the 7th century, and is the oldest mosque in Africa. In the late 9th century, Al-Yaqubi wrote that Muslims were living along the northern Somali seaboard. The polity was governed by local Somali dynasties established by the Adelites.

This building has a prayer hall covered with cross-vaults, with a dome resting on squinches over the area in front of the mihrab. It has a courtyard with a tall square minaret. It is not clear whom the mashhad commemorates. Two other important mashads from the Fatimid era in Cairo are those of Sayyida Ruqayya and of Yayha al-Shabib, in the Fustat cemetery.

The prayer hall. The mosque area is comparatively plain, but is also characterized by its uncommon stonework. Instead of the usual wooden ceiling found elsewhere in most Mamluk (or Cairene) mosques, the ceiling is composed of stone vaults, with a small higher dome rising right in front of the mihrab. A stone dikka (reading platform) also stands at the edge of the prayer hall.

The mihrab serves as the location where the imam leads the five daily prayers on a regular basis. Mosques often have ablution fountains or other facilities for washing in their entryways or courtyards. However, worshippers at much smaller mosques often have to use restrooms to perform their ablutions. In traditional mosques, this function is often elaborated into a freestanding building in the center of a courtyard.

Glass windows provide light into the interior between the lowest and second-lowest tier. On the upper terrace situated above the second-lowest tier, four rooms or gardu topped with cupolas acted as a kind of finials on the upper ridges of the second roof-tier. A six-sided cupola roofed the mihrab of the mosque. The roof is covered in shingles made of belian pieces.

The mosque has two entrances for men and women respectively, leading to ablution rooms on the first floor. Stairways for each gender lead to the second floor prayer room, which can hold roughly 150 people. Above the rear half of the prayer room is a dome situated over the women's section. The Mihrab (Niche) The niche at the front of the mosque indicates the direction for prayer.

Gazi Mehmet Pasha's Mosque is one of the oldest monuments of Islamic art in Prizren. The inscription above the entrance states it was built in 1561. This mosque has a square base and numerous windows, while the main mihrab and the mimber are made of marble. A hexagonal mausoleum (madrasa) has been built in the courtyard of the mosque which Mehmet Pasha earmarked as his grave.

Two tier windowed prayer room is covered with cupola with spherical sails. Mihrab is located in the southern end of the palace. Cupola area over one a tier women prayer room ceding to cupola of the hall with its dimensions and replacing its outlines. Aperture of the mosque’s portal is clearly described on severe background of prismatic volume, ended with two cupolas with slightly sharpening calottes.

They are sometimes even decorated with images. These images are usually important Islamic landmarks, such as the Kaaba, but they are never animate objects. This is because the drawing of animate objects on Islamic prayer mats is forbidden. For Muslims, when praying, a niche, representing the mihrab of a mosque, at the top of the mat must be pointed to the Islamic center for prayer, Mecca.

All this, reflected also in the cistern, enhanced the royal area, which is corroborated by the presence at the eastern end of the northern border of a small private mosque with mihrab. In the center of the northern wall of the interior of the Golden Hall was a blind arch – where the king stood – in whose thread was a very traditional geometric pattern imitating the latticework of the mihrab façade of the Mosque of Córdoba, building to which it was sought to emulate. In this way, from the courtyard, it appeared half-hidden by the plots of columns of both the archway of access to the Golden Hall and those of the immediate portico, which gave an appearance of latticework, an illusion of depth, which admired the visitor and lent splendor to the figure of the monarch. Remains of the polychrome of a panel of geometric decoration of yeserias.

Safa Masjid adjacent to which, on the South, is a masonry tank measuring 30 by 30 meters with Mihrab designs. There are many Hindu temples in and around Ponda. The Gram Daivat (root deity) of Ponda is Shri Kapleshwar, whose temple is in Kapileshwari, Kavlem. The famous Temples of Shri Manguesh (Shiva), Shri Nagesh, Shri Ganapati, Shri Ramnath and the Goddesses Shri Shantadurga, Shri Mahalasa, Shri Mahalaxmi are all located nearby.

The prayer hall has a tiled frieze around three walls and a large tiled mihrab set between two windows. The frieze is formed of eight rows of blue-and-white hexagonal tiles that are set on their points. Some of the tiles were stolen in 2001 and the gaps have been filled with plaster. The tiles have a creamy white fritware body and cobalt blue designs under a clear transparent glaze.

The church is the oldest Byzantine building in the region, and has protected status. It is of the typical Byzantine cross-in-square style and has Byzantine column headings at the entrance and a dome high. The mosque is entered thorough a portico covered with a wooden roof which is standing on four columns that have ornamented metal headings. The building has a mihrab that is covered with a half-dome.

The Gar mosque and minaret are historical structures located in Gar village in the Isfahan province. The minaret dates back to Seljuq era, but the mosque belongs to the Ilkhanid age. The only remained part of the mosque is its mihrab, which has been decorated with stuccoes, but the minaret is relatively in a good condition and according to its inscription, it was built in 1121 by Abolghassem ebn-e Ahmad.

Encyclopaedia Iranica, Online Edition. Retrieved 28 November 2010. Northern shabistan dome Responding to the functional needs of the space, political ambition, religious developments, and changes in taste, further additions and modifications took place incorporating elements from the Mongols, Muzzafarids, Timurids and Safavids. Of note is the elaborately carved stucco mihrab commissioned in 1310 by Mongol ruler Oljaytu, located in a side prayer hall built within the western arcade.

The second stone mosque was built on a bluff in the thirteenth century. It was later enlarged and possibly remained standing until the site was abandoned. In the fourteenth century the first mosque was demolished and the third was built at the site. This mosque was much larger and more elegant than the first. An elaborate mihrab and vaulted ceilings were sophisticated for a town of Chwaka’s size.

The mosque was built in 969 by Sultan Fakr ad-Din, the first Sultan of the Sultanate of Mogadishu. This ruling house was succeeded by the Muzaffar dynasty, and the kingdom subsequently became closely linked with the Ajuran Sultanate. Stone, including Indian marble and coral, were the primary materials used in the construction of the masjid. The structure displays a compact rectangular plan, with a domed mihrab axis.

The mosque is an irregular rectangle with four arcades that surround the courtyard. As with the Ibn Tulun mosque, the arches are pointed and rest on brick piers. It resembles the al-Azhar mosque in having three domes along the qibla wall, one at each corner and one over the mihrab. Also like al-Azhar, the prayer hall is crossed by a transept at right angles to the qibla.

The restorations have significantly changed the buildings from their prior state. Helwan marble has been used extensively on both interior and exterior surfaces, and inscriptions in the interior have been gilded. Motifs and designs have been copied from one mosque to another. The qibla bay of the al-Hakim mosque, which had been irreparably damaged, was replaced by a version in marble and gilt of the mihrab of al-Azhar mosque.

The mihrab for the imam to lead prayers and preach was given Chinese-style carvings. In 1921 Abdul Karim Amrullah established the Thawalib Schools in Padang mosques, including Ganting, to better educate the local populace in Islam. The alumni later established the Persatuan Muslim Indonesia (Permi), under the Masyumi Party. The mosque was the location of the first national jamboree of Muhammadiyah's scouting organisation, Hizbul Wathan, in 1932.

Ganting Grand Mosque is built on land measuring ; the mosque itself is . The building has verandas on its front and sites, a mihrab, and a central area. The extra land can hold more people during the Eid prayers, on both Eid ul-Fitr and Eid al-Adha. The courtyard is surrounded by an iron fence, separating it from the busy streets on the eastern and northern sides of the mosque.

To the west of the village under an oak tree lay the ruins of a Maqam (shrine) for Sheikh Abu Hasan among the remains of other old drystone enclosures. To the north of the maqam was a rock-cut tomb, "with three loculi under arcosolia." Tombs also lay to the northeast and southwest with well-cut arched doors. In the valley to the northwest was a modern vault with a mihrab.

The decoration belongs to the period of High Ottoman Classicism (16th-17th century). The structure of the mihrab (niche) is considered to be one of the most beautiful in Bosnia and Herzegovina with carved stone decoration in seven layers of stone. The minaret height was 29,70 mStructural Studies, Repairs and Maintenance of Heritage, C. A. Brebbia,L. Binda, page 437 The Handanija mosque was damaged during the war in 1993.

In later years a Mudejar semi-circular apse was added. In the process of the addition the qibla wall and mihrab were lost. The use of the mudejar style provided a smooth transition from the original structure to the apse, as the addition uses the same style of decoration and materials as the original. The continuation of the arch motif isanimportant link between the two sections of the building.

Seligman and Abu Raya date the upper building to the medieval period, and hold an Ayyubid date to be the most likely, not excluding a Crusader date until further research is done. However, Denys Pringle suggests a Crusader date, based on features such as the western entrance which could indicate an east-west orientation of the structure, and the fact that the mihrab is set into an older window niche.

Front entrance on the left Although designed like a grand Mughal fort, it is actually meant for Eid prayers. There are 3 gates to enter through and 15 domes. Through the large gate, there is a large pond, known locally as "fukoir" or "fukri", which is designated as a wudu khana. The ground contains a large mihrab in the center of the wall, with other smaller mihrabs scattered throughout.

Jinjue Mosque is elaborately styled in a Sino-Islamic fashion. The three-entry gate has an imitation imperial tablet in the top center that reads "bestowed by imperial order" and below that it reads "Jingjuesi" (the name of the mosque). The mosque has several courtyards, a reception room, an ablutions chamber, an antechamber, guest quarters, a prayer hall, a kitchen, and a mihrab located at the western end of the mosque.

In the description of Evlia Celebi's travels through the Balkans in the 17th century, this mosque was considered as one of the most beautifully decorated. Study of the remains show that the Haydar-Kadi Mosque was the only mosque in Bitola with two minarets. Marble decorations adorn the mihrab and the triangle-shaped tromps. A stone bas-relief can be seen on the portal, capitals and on the mimbar.

The church is the oldest Byzantine building in the region, and has protected status. It is of the typical Byzantine cross-in-square style and has Byzantine column headings at the entrance and a dome high. The mosque is entuered thorough a portico covered with a wooden roof which is standing on four columns that have ornamented metal headings. The building has a mihrab that is covered with a half-dome.

Its vaulted, decorated ceiling is indented in steps. Local master carpenters, known as maavadikaleyge, fashioned the mosque's woodwork, roof and interior, and its wall panels and ceilings have many culturally-significant examples of traditional Maldivian woodcarving and lacquerwork.Xavier Romero-Frias, The Maldive Islanders, A Study of the Popular Culture of an Ancient Ocean Kingdom. Barcelona 1999, The mihrab, with a mimbar (pulpit) at one end, is a large chamber.

According to the German archaeologist Christian Ewert, the special arrangement of reused columns and capitals surrounding the mihrab obeys to a well-defined program and would draw symbolically the plan of the Dome of the Rock.Christian Ewert and Jens-Peter Wisshak, Forschungen zur almohadischen Moschee, ed. Philipp von Zabern, Mainz, 1980, pp. 15–20 (figure 20) The shafts of the columns are carved in marble of different colors and different backgrounds.

Marble is extensively used for the interior ornamentation and in the construction of the cenotaph. The western side of the mausoleum contains a marble-wrought mihrab (niche in the wall of a mosque that indicates the direction towards which the Muslims pray). The entrance, located at the southern side, is also made of marble. The entire sandstone structure was originally covered by polished stucco, a portion of which is still extant.

The mihrab (niche or altar) was moved to another mosque, due to a door opened there. There is an octagonal Seljuk türbe made of stone and bricks, with a pyramid shaped roof, right next to the mosque. By 1829, the mosque was in ruins and by 1842 the minaret had fallen down.Michael Greenhalgh, From the Romans to the Railways: The Fate of Antiquities in Asia Minor, (Brill, 2013), 90.

Mosque The mosque is located to the left of the entrance. It is a large room supported by several columns with shelves in the walls for placing mushafs of the Quran. A mihrab can be found in the mosque, and there are holes in the walls to provide ventilation. Majlis It is located directly ahead of the entrance and is a room in the shape of a rectangle.

There existed a minaret next to the mosque the top of which was brought down in 1753. Its lower part was also demolished in 1766 and only its basement remained intact. In the inner wall, by the current main entrance, there is a mihrab that indicates the qibla; that is, the direction of the Kaaba in Mecca. The building took its current form during the reconstruction in 1939.

One of these is dated to the construction of the mosque in 1826. The other, dated to 1899, was inscribed by the Cypriot calligrapher Kutubul El Hac Mehmet Arif in the talik script. It details the reconstruction of the mosque and various other benefactions by Muhammed Sadık Bey. In the southeastern wall of the men's prayer area lies a simple mihrab and a wooden minbar with exquisite floral woodwork.

The entrance to the prayer area (harim) is through another pointed arch, above which is an inscription dated 1827 that praises Ali Ruhi Efendi. To the east of the prayer area lies the apse of the former chapel. The painted mihrab has decorations of flowers and leaves. A wooden women's area (kadınlar mahfili) is accessed via a door and a wooden staircase in the western part of the mosque.

Current mihrab and alt=A niche made of multiple types of decorative stone is embedded in a wall, facing a red carpeted area. The niche is flanked by stone columns, and surmounted by a stone arch. The wall at the back of the niche is a semi-circular curve, with a geometric design covering most of it. The wall beside the niche also has patterned stone on it.

Any Egyptian caught by French troops was imprisoned or, if caught bearing weapons, beheaded. The French troops intentionally desecrated the mosque, walking in with their shoes on and guns displayed. The troops tied their horses to the mihrab and ransacked the student quarters and libraries, throwing copies of the Quran on the floor. The leaders of the revolt then attempted to negotiate a settlement with Napoleon, but were rebuffed.

Abbas II then appointed the Georgian ghulam ("military slave") Mihrab Khan as the governor of the city. The Mughals attempted to retake the city in 1651 but the arrival of winter forced them to suspend their siege. The Mughal ruler Shah Jahan then sent his son Aurangzeb with an army of 50,000 soldiers to recapture Kandahar. Although Aurangzeb defeated Abbas II outside the city, he was unable to take it.

The mosque has three entrances arranged symmetrically on the central axes of the courtyard. On the mosque's northeast side is a long triangular courtyard which held a madrasa. The madrasa had sleeping cells for students and its own small square prayer hall at its eastern end. Aside from the mihrab, the mosque has very little decoration, possibly a reflection of the sultan's Wahhabist tendencies in his later life.

The mosque is attached with the mausoleum of Mahmud Pasha which is accessible through the door on the mihrab wall. Mahmud Pasha was shot dead near the mosque after being accused of oppressing the Egyptian people. The design of the mosque is unique in its architectural style which follows the Mamluk tradition for the main building and partly based on the Ottoman architecture for the minaret in particular.Masjid al-Mahmudiya. Archnet.

Joshi believes that Sher Shah built the upper part of the mosque which included the dome. The marble works of the exterior walls could be attributed to his son Akbar, because the geometric works are of his time and not of pre-Akbar era. The use of half-dome, pointed arches represents "A strong Mughal association". Humayun is credited with "introducing pietra dura" works in the liwan and mihrab.

The mihrab dates back to the Zirid period, judging by the style of its decorations and Kufic inscriptions. There's also a Kufic inscription above the facade mentioning the name of Mudam, a freed slave of the amir, who supervised the construction and acted as a master-builder. The mosque has no minaret thus adhan was conducted from the domed kiosk on the northeast corner, accessible from the sahn.

By contast, the walls and the mihrab (niche symbolizing the direction of prayer) are very plain; something seemingly common to Sufi khanqahs but not to regular mosques of the time. The mosque interior receives much light compared to other mosques of the period thanks to the structure's layout and its many windows, which include modern stucco windows carved in traditional patterns. The mosque's painted ceiling is also a later restoration.

The Laleli Mosque is an octagon inscribed within a rectangle, with a gallery on its western end. The walls make use of colorful variegated marbles in red, blue, yellow and browns, further decorated with medallions in opus sectile using also semi-precious onyx and jaspers. The mihrab and mimbar are likewise richly decorated with precious marbles. The interior is well lit, with numerous windows in combinations of white and stained glass.

At the middle of the eastern wall, there exists mihrab and a marble platform. The western wall leads to the second section. The second section is an open middle sahn whose floor is decorated with colored marble. It is surrounded by four arches covered by semi-domes, which are mounted on its shoulders, and on the western side of the courtyard is a small dome with several tombs with marble structures.

The sanctuary, while richly decorated at one point is "currently in bad shape". The qibla wall is decorated with the remains of gilded stucco and epigraphic bands, with trees at their center. These trees are one of the only extant naturalistic features in Mamluk architectural decoration. The mihrab is made of polychrome marble and has friezes of small niches with blue-glass colonettes on the side framing its upper edge.

One of the most popular patterns consists of four Paisleys on the corners and a toranj at the center. Sometimes flower bouquets are being used instead of paisley. Another common design is called mihrab in which an arch is being made on the top of the pateh. However, one of the essential parts in a design for pateh is margin which is typically filled with flowers or different kinds of paisley.

The small, irregularly-positioned windows on the north and south walls allow little natural light to reach the interior of the hall. The floor is composed of sandy earth. rodier palm sticks embedded in the walls of the Great Mosque are used for decoration and serve as scaffolding for annual repairs. In the prayer hall, each of the three towers in the qibla wall has a niche or mihrab.

The interior of the Sokollu Mehmed Pasha Mosque is famous for the İznik tiles, decorated with a wide variety of blue, red and green floral designs, with panels of calligraphy in white thuluth letters on a blue ground. The interior columns make use of polychrome marble. The minbar is made of white marble with a conical cap, sheathed in Iznik tiles. The windows above the mihrab have stained glass.

Construction under the Seljuqs included the addition of two brick domed chambers, for which the mosque is renowned. The south dome was built to house the mihrab in 1086–87 by Nizam al- Mulk, the famous vizier of Malik Shah, and was larger than any dome known at its time. The north dome was constructed a year later by Nizam al-Mulk's rival Taj al-Mulk. The function of this domed chamber is uncertain.

Islam was introduced to the Horn of Africa early on from the Arabian peninsula, shortly after the hijra. Zeila's Masjid al-Qiblatayn (Two-mihrab Mosque) dates to the 7th century, and is the oldest mosque in the city. In the late 9th century, Al-Yaqubi wrote that Muslims were living along the northern Somali seaboard. Among these early migrants was Abdirahman bin Isma'il al-Jabarti, the forefather of the Darod clan family.

The building of the mosque has an angle of approximately 45 degrees with Krasnovodskaya Street, so that the building could be better appreciated. For the same purpose, it was built on the slope of the hill. The architecture is simple; there is big domed prayer room and a minaret next to it. An iwan is from the east of the prayer room, and a mihrab is from the south and the west.

Along with the maqamat of al-Rifa'i or al-Majdoub, Maqam al-Khawwas was a shrine of major importance for the Bani Zeid villages, collectively. The maqam honored what was locally considered to be the meditation site of al-Khawass, believed to be a Sufi holy man () from Egypt who often visited the residents of the area. It contained a mihrab ("niche indicating direction towards Mecca.") The maqam was noted by Guérin in 1863.

A short distance to the south of the Shiva temple is a mosque with an inscription recording its construction in the time of Islam Shah of the Sur Dynasty in 1549. The inscription is placed directly over the mihrab. The shows the continued importance of Udaypur on the north-south route to the Deccan in the time of the Suri rulers. Despite its importance and uniqueness, the authorities have let the monument fall into ruins.

The mosque consists of three arcades with intersecting vaults supported by large stone columns. Each of the arched passageways is covered by a dome. A stone dome with corners decorated by muqarnas design and mosaic windows is situated atop the middle of the prayer hall. The qibla wall's mihrab in the southeastern part of al-Jawali Mosque is carved into the rock of the mosque's walls and tiled with marble slabs decorated with tinted engravings.

Zeila's two-mihrab Masjid al- Qiblatayn dates to the 7th century, and is the oldest mosque in the city. In the late 9th century, Al-Yaqubi wrote that Muslims were already living along this northern littoral. He also mentioned that the Adal kingdom had its capital in the city. Ibn al-Mujawir later wrote that, due to various battles in the Arabian peninsula, Banu Majid people from Yemen settled in the central Mogadishu area.

The watchtower shaped like a mihrab was reconstructed in 2008. Two parts of Skopje that have symbolised its urban contrasts of "Ottoman" or "modern", the "historic" or "socialist", "Albanian" or "Macedonian" are split by the river Vardar and linked by the Stone Bridge. In the twenty first century, members of the majority and minority groups of the capital city view the stone bridge as representing the split between two parts of Skopje.

75 The chapel was converted to a mosque, and a mihrab installed in it. Because the vast majority of pilgrims to the site were Christian, as a gesture of compromise and goodwill Salah ad-Din ordered the construction, two years later, of a second mosque nearby for Muslim worship while Christians continued to visit the main chapel. Also around this time the complex was fortified with towers, walls, and guarded by watchman.Pringle, 2007, p.

The main structure of the chapel is from the Crusader era; the stone dome and the octagonal drum it stands on are Muslim additions. The exterior walls are decorated with arches and marble columns. The entrance is from the west, the interior of the chapel consists of a mihrab indicating the direction of Mecca in the south wall. On the floor, inside a stone frame, is a slab of stone called the "Ascension Rock".

Interior of the Mosque Mihrab of the Mosque Minbar of the Mosque The Mosque has one main dome in the centre facing the entrance supported by eight large pillars along with three large domes on either side. There are three smaller domes at the back of the top. The courtyard has a series of seven domes on the sides. There is a şadırvanı (fountain used for Islamic ritual washing) overlooking the courtyard.

Masjid Jamae, showing the minarets which are octagonal at the base Worshippers enter the mosque through a gateway framed by two minarets topped by onion domes and a miniature four-storey palace façade. Rising out of solid bases, each minaret comprises seven levels embellished with a miniature mihrab motif and deep recesses. The palace façade sits on top of the gate, between the minarets. Intricately designed, it features tiny doors and cross-shaped windows.

Today, mihrabs vary in size, are usually ornately decorated and often designed to give the impression of an arched doorway or a passage to Mecca. In exceptional cases, the mihrab does not follow the qibla direction. One example is the Mezquita of Córdoba, Spain that points south instead of southeast. Among the proposed explanations, there is the localization of the ancient Roman cardo street besides the old temple the Mezquita was built upon.

Ibrahim Agha built his mausoleum, which was also decorated with marble tiles, in the southern hall. It was constructed using the typical Mamluk architectural style and included a mihrab ("prayer niche") resembling the mausoleums of Mamluk emirs also located in the mosque complex. In line with Ottoman tradition at the time, the Aqsunqur Mosque was officially renamed after its restorer as the "Ibrahim Agha Mosque." The latter name was not used frequently.

The Bahla Fort is called Hisn Tammah, and is said to take its name from an Iranian ruler of the town before the Islamic period. There are probably some pre-Islamic structural elements, but most of the buildings date from the Nabhani period. Buildings include the Friday Mosque, which probably dates from the 14th century and has an elegantly carved mihrab. The most recent buildings appear to date to the start of the 16th century.

March 2006 earthquake. This mosque has two entrances, on its eastern and western sides. The interior façade of the dome-covered space, beside the architectural adjunction made in various periods, incorporates refined decorations, including an exquisite epigraph on the southern wall, above the mihrab. Beside the majesty and importance of this building and the delicacy of its architectural fabric, note must be made of the mosque's nine-stepped minbar, of particular importance.

From here, even a softly spoken voice resounds throughout the entire mosque, which consists of three halls, each with an area of more than . Each room has a spot identifying which direction is west, with a pilastered niche (mihrab) towards Mecca. Windows high up in the wall admit light and air to the building. The mosque is also called Ali Khan's mosque (or Alif Khan's mosque) and was built around the 11th century.

The innovation however, comes not in the size of the building, but from the organization of its interior. The mihrab is pushed back into an apse- like alcove with a space with enough depth to allow for window illumination from three sides. This has the effect of making the tile panels of its lower walls sparkle with natural light. The amalgamation of the main hall forms a fused octagon with the dome-covered square.

Mubarak Shah's tomb is an impressive structure, which was built with an octagonal plan, enclosed in an octagonal compound with south and west gates exist while the compound walls and other gates have disappeared. The Sultan personally planned its construction during his lifetime. It has a southern entrance into the octagonal hall, which has arched openings on three sides, except in the west, which has the Mihrab, in the prayer direction.Sharma p.

This mosque has a large courtyard and shabestan and a big brick dome. Having several brick inscriptions and many decorations are distinctive features of this mosque. The name of Mohammad ebn-e Malek Shah has been mentioned on the kufic inscription of the dome. Around the big mihrab below the dome, there is an inscription, in which the name of the mosque's founder, Abou Nasr ebn-e Mohammad ebn-e Ebrahim, has been written.

On his march to Amber, Shah visited the tomb of Salim Chishti. After ascending the throne, Shah made plans to annex Rajput kingdoms who declared independence after Aurangzeb's death. On 10 November Shah began his march to Amber (in Rajputana, present day Rajasthan state of India), visiting the tomb of Salim Chishti in Fatehpur Sikri on 21 November. In the meantime, Shah's aid Mihrab Khan was ordered to take possession of Jodhpur.

The main entrance of the mosque leads into this courtyard. The southernmost aisle includes the mihrab (niche symbolizing the direction of prayer), located in the middle of the mosque's back wall. The ablutions chamber, adjoined to the east side of the mosque, is reached by a passage which branches off from the vestibule of the main entrance. The chamber consists of a courtyard with rectangular water basin and flanked by smaller rooms for latrines.

The monastery was surrounded by a moat and the walls with towers, as was the usual for the monasteries in Hungary at the time. After the Ottoman conquest, the monastery was converted to a mosque in the 16th century. Some of the Ottoman adaptations still remain, like the south wall's mihrab - a niche in the wall that indicates the direction of Mecca. With the withdrawal of the Ottomans, the Franciscans returned in the 17th century.

The Jamaat Khana is distinguished from the masjid in only a few ways: it lacks a mihrab and a tiled dado. The second story is composed of a room and the two galleries that lead to it from the staircase of either of the masjid or the Jamaat Khana. Its windows face over the entrance facade and the courtyard. The courtyard is enclosed on the north and south by two long facades.

Mihrab Khan (died 1649) was a military commander in Safavid Iran. A member of the Mirimanidze clan, he is first mentioned as serving as the governor of Bost during an unknown date. Later, he was appointed as the governor of Astarabad, and in 1649 was appointed as the governor of the newly captured city of Qandahar, where he died during the same year. In Qandahar, he was succeeded by his Georgian kinsman Otar Beg.

The Crusaders built a cathedral in the first half on the 12th century, converted into a mosque when the Mamluks conquered Ramla in the second half of the 13th century, when they added a round minaret, an entrance from the north, and a mihrab. The Great Mosque of Ramla, also known as the El-Omari Mosque, it is in architectural terms Israel's largest and best-preserved Crusader church.Ramla Tourism Sites at the official website .

The apse became a mihrab,Hollis 2009, p. 33. the tower previously constructed during the Roman Catholic occupation of the Parthenon was extended upwards to become a minaret, a minbar was installed, the Christian altar and iconostasis were removed, and the walls were whitewashed to cover icons of Christian saints and other Christian imagery.D'Ooge 1909, p. 317. Illustration by French artist Jacques Carrey of Athens and the Parthenon (still completely intact) in 1674.

It is a simple square structure, with a dome of diameter, supported by a dodecagonal drum. In the interior, however, the drum is not visible, and the dome seems to rest directly on the walls of the main hall. The dome was sheathed in bronze, and its interior was decorated with floral motifs typical of Islamic art and Quranic verses. The mihrab also survives, although damaged, retaining traces of its richly coloured decoration.

The main dome has a diameter of , and is flanked on both sides by three smaller domes. The stone-carved mihrab widely lost its originality after it was decorated in the Ottoman Imperial architectural style. Some parts of the original minbar were affixed to the new one. Although a unique building, Uşak Grand Mosque has interesting similarities of architectural plan with Old Mosque, Edirne, Great Mosque of Sofia and Dzhumaya Mosque in Plovdiv.

Momin Uddin himself lived in a simple village house and practiced a simple life. He employed twenty two artisans mainly from the Swarupkati area in Barisal district, and collected fine woods from Chittagong and Myanmar. All of the plans, layouts, designs, colors and calligraphy were solely directed by Momin Uddin Akon. One of two inscriptions with calligraphic designs is placed over the main entrance, and the other one is fixed over the mihrab.

The mosque covers roughly by and is square in shape. It has one large dome and another smaller half-dome that covers the mihrab, which is painted and has a stalactite hood. The mosque's walls are thick and its minaret, which is topped by a conical structure covered by lead, is in height. The walls and dome inside Sinan Pasha Mosque were painted in the 19th century, mostly of floral patterns and Qur'an verses.

It has an ornamental rectilinear frame. The turrets flanking the southern and northern gates are circular in shape; the articulation on these gives them a three storied appearance. The main gate, which leads to the qibla on the western wall, has a projecting mihrab. Above the vaulted first floor cells, ubiquitous arch windows (carved out of stone guard) with perforated screens or jalis or tracery, known as "Khirkis", are seen on the second floor.

Equally colorful vegetal arabesques, composed of square and rectangular black-line tiles, decorate the spandrels. The mihrab niche's twelve rows of muqarnas and two ribbed columns feature similarly intricate and colorful tilework. In the sultan's loge, the walls and ceiling are covered in gilded black-line tiles that depict motifs of stars and polygons. In contrast to these geometric motifs, the black-tile border around the opening into the mosque is decorated with vegetal motifs.

It is octagonal-shaped, and contains twelve rooms, eleven of which are distributed into three groups over seven sides surrounding the yard. One of the rooms is set up as a prayer room and contains mihrab without any decorations. Above these rooms is surface with barricades which have porthole in them. The wall is built from large stones, and the height of the fort reaches around nine meters measuring from the bottom of the moat.

This tomb is close to the Mukam of Neby Samit—a domed chamber, with an outer chamber to the west, and a door to the north, on which side is a courtyard, with a palm tree. The chamber has a mihrab, and by it are green rags, said to be the Prophet's clothes. In the court are two Arab graves. To the west are several kokim tombs (stone carved sepulchres) full of bones and skulls.

The most popular type of maqams is a single chamber square building topped with a dome, in the middle of which there is a stone cenotaph,McCown, 1921, p. 50 though the bodies of holy men themselves were buried below the ground level. In the south wall of the maqam, facing Mecca, there is usually a small mihrab decorated with inscriptions and floral ornament. The entrance to the chamber is mostly at the north wall.

The mausoleum has the shape of a rectangle measuring 15.10 m long (North-South) and 12.20 m wide (East-West). Originally, it consisted of a rectangular prayer room and by an open courtyard. With the transformation of the building into a zaouïa, the courtyard got annexed to the prayer room, in which, next to the mihrab, stands the burial chamber of Sidi Saada. Next to the main entrance there is a small room for ablutions.

The synagogue was decorated according to their design in 1882–1893. The disposition of the synagogue is reform – the reading platform, bimah, is situated at the eastern wall, not in the central space as in older synagogues. Benches (not original, but from synagogue in Zruč nad Sázavou) stand in rows (as in a church), not around the walls. The aron ha-kodesh is designed in the style of mihrab, and has no curtain (parochet) today.

This mosque has been completely rebuilt and repaired in the Safavid era. The tiling of marble mihrab in its Shabestan is one of the parts, which belongs to the Safavid age. Its tomb, portico and yard date back to Safavid time and there are some relics in them from the famous kings like Abbas I, Safi and Sultan Husayn. The portal of Emamzadeh Esmaeil's yard is under an interesting dome from the Turkmen age.

Historian Dror Ze'evi described Musa as a "weak and unimpressive governor." After the deaths of his niece Shaqra Khatun and her husband Assaf Pasha, custody of their children Muhammad Bey, Ali Bey and Mahmanud Khanim was transferred to Musa who was put in charge of their inheritance.Ze'evi, p.46. In 1663 Musa commissioned a restoration of the Great Mosque of Gaza and had his name inscribed on the mantle of its mihrab.

The old part has a cruciform-dome composition. arms of the cruciform are deep domes; at the corners small rooms are placed. The Mihrab with accurate proportion, profiled and decorated with architectural elements and details enriches the interior of the worshipping hall, which differs with its rigidness and tectonics of voluminous masses. The new section built in the XIX century does not affect the integrity of the scheme, but expanding the convenience.

According to archaeological studies conducted in the 1980s, the building was a church, built around year 1300, and was named after St. Steven. The studies base the construction year on typical construction techniques of the era. The transformation into a mosque occurred in 1479 and the object was renamed after Mehmed the Conqueror, or Fatih Sultan Mehmet. The ruins of this church-mosque feature a Dikka, a Mihrab, and the remains of a large Minaret.

On the exterior of mihrab is inscription of verses 24:11, 24:36, 24:37 and 10:23. > Those who brought forward the lie are a body among yourselves, think it not > to be an evil to you, On the contrary, it is good for you. To every man > among them of the sin that he earned. And to him who took on himself the > lead among them, will be a penalty grievous.

The maqsura is a wooden screen which surrounded an area near the mihrab where the sultan and his immediate entourage prayed. It served to separate the sultan from the rest of the public and to protect him during prayers. The maqsura was installed in the mosque in 1677 (1088 AH) by order of Sultan Moulay Isma'il. Today, only the main central section of the maqsura has been preserved and is on display at the Dar Jamai Museum.

Arba'a Rukun Mosque is one of the oldest Islamic places of worship in the capital. It was built circa 667 (1268/9 AD), concurrently with the Fakr ad-Din Mosque. Arba'a Rukun's mihrab contains an inscription dated from the same year, which commemorates the masjid's late founder, Khusra ibn Mubarak al-Shirazi (Khusrau ibn Muhammed). The Mosque of Islamic Solidarity was constructed in 1987 with financial support from the Saudi Fahd bin Abdul Aziz Al Saud Foundation.

On the left or north side of the entrance resides the khanqah, though no living units were attached to it. The waqf deed says that Sufis had their meetings there, but there are no living accommodations provided for them. however, there are a few living units attached to the madrasa across the street. The khanqah is a T shaped hall with a mihrab, decorated like the mausoleum and the Mosque with a polychrome marble dado and pavement.

The minaret of the mosque, seen from the rooftops of the medina. The mosque is adjacent to the palace complex of the kasbah (now a museum), directly to its south. The mosque's interior is relatively plain, with white walls and rows of white Moorish arches (like many Moroccan mosques). It has a nearly plain mihrab (niche or arched alcove symbolizing the direction of prayer), and its small rectangular courtyard is not open to the sky but is roofed over.

The gallery has a mihrab in front. Stone carving, brick-setting, terracotta, gilding, and glazed tiles were used in decorating the building, and of them the former played the dominant role. The subject matters of the stone carving were chosen according to the demand of the spaces, e.g., the borders of the panels with creepers and their interior with various forms of stylised hanging patterns adapted from the chain-and-bell of the Bauddha and Jaina period.

It is 34 m high. Its bottom part has simple bricks, but the upper parts have been decorated by decorative bricks.' The Barsian mosque has masterly brickworks, notable mihrab and beautiful stuccoes. The brick decorations of the mosque and the cover of its dome are very similar to the Taj ol-molk dome in the Jameh Mosque of Isfahan and some believe that the Barsian mosque had the same architect as the Jame mosque of Isfahan.

Mukadassi (10th century) reported than an earthquake in the days of the Abbasid Caliphate (750-1258) threw down the sanctuary, with the exception of the part surrounding the mihrab. His narrative has been connected to the 750 earthquake event. In 750, Marwan II of the Umayyad Caliphate died and the Abbasid dynasty succeeded him. The Commemoratium de Casis Dei (808) mentions that the Church of Maria Nea was still in ruins following its destruction in an earthquake.

The mosque has been described as "the finest Islamic complex in Kashan and one of the best of the mid-19th century". Noted for its symmetrical design, it consists of two large iwans, one in front of the mihrab and the other by the entrance. The courtyard has a second court in the middle which comprises a garden with trees and a fountain. The iwan in front of mehrab has two minarets with a brick dome.

Smaller tombs may have a mihrab, although larger mausoleums have a separate mosque located at a distance from the main tomb. Normally the whole tomb complex or rauza is surrounded by an enclosure. The tomb of a Muslim saint is called a dargah. Almost all Islamic monuments were subjected to free use of verses from the Quran and a great amount of time was spent in carving out minute details on walls, ceilings, pillars and domes.

The minaret has no stories. Inside, the spiraling internal support serves as a winding 72-step staircase to the top. The Emin Minaret is on the northeast corner of the Uyghur Mosque, a rectangular structure with an iwan or mihrab, a pointed-arch niche enclosed on three sides but open to a large covered courtyard on the fourth. The mosque is divided into an inner hall for use in colder months and larger outer halls for warmer months.

Harlino has often played alongside Naysila Mirdad as lovers, leading to the two being called the "Dunay Lover"; at the time the two were also reported to be dating, although both denied it. , Harlino is dating Asmirandah, with whom he costarred in Dalam Mihrab Cinta. But the relationship ended in December 2011 shortly after announcing their engagement because she left him for Jonas Rivanno. Harlino is known as a devout Muslim, who often prays on set while filming.

Noted by Yaqut al-Hamawi, see le Strange, 1890, p. 531 Innovations he introduced to the palace structure at al-Sinnabra include the maqṣura, "a columned bay ... enclosed by a railing or screen" against which the caliph would lean to hear petitions from his subjects, and a mihrab associated with the apsidal form.Whitcomb in Schuzman, 2009, p. 245. According to Whitcomb, the qasr is likely the earliest Umayyad complex of this type yet to be discovered.

The spiraling steps of the minaret are accessed from the northwest arcade. The mosque is made of baked bricks, covered with clay on the exterior and plastered white on the interior. The courtyard façade of the great iwan is simply ornamented with polychrome tiles composed into geometric patterns. Inside, the decorative effort is focused on the mihrab niche on the qibla wall, which is framed with multiple bands of ornate arabesques and inscriptions carved in relief out of stucco.

These medallions are curved on the horizontal axis and taper to points on the vertical axis. Hereke prayer rugs feature patterns of geometric motifs, tendrils and lamps as background designs within the representation of a mihrab (prayer niche). Once referring solely to carpets woven at Hereke, the term "Hereke carpet" now refers to any high quality carpet woven using similar techniques. Hereke carpets remain among the finest and most valuable examples of woven carpets in the world.

While most mosques have one mihrab oriented towards Mecca, the Shirazi Mosque is distinguished by having two mihrabs. The town's Friday mosque has the tallest minaret on the island, which is rectangular in shape.The middle section of the town, known as Hari ya Muzhi, was the centre of activity from the 16th century onwards. It is the zone where the main plaza, the Friday mosque and a large number of mansions of the town are located.

Between the windows are eight mihrab-like hooded niches. The ceiling is now whitewashed but was probably once painted in bright colours. The much larger octagonal mausoleum of Suleiman the Magnificent bears the date of 1566, the year of his death, but it was probably not completed until the following year. The mausoleum is surrounded by a peristyle with a roof supported by 24 columns and has the entrance facing east rather than the usual north.

The mosque is rectangular shaped, and made of two parts, which are entrance door and prayer room. The entrance door is also rectangular shaped and has a length of 26 meters and width of 4 meters, and has five dome-shaped circles drawn on facade. Prayer room has a length of 30 meters and width of 15 meters, and has six domes in the shape of a circle. The largest dome is at the top of the mihrab.

86 ;Chote Khan ka gumbad This tomb considered to be built in "classic proportions" is located next to the Bade Khan's tomb, which has a wonderful well maintained interior. The exterior walls of the tomb, particularly at the entry, has carved plasterwork. ;Kale Khan ka gumbad This tomb is dated to 1481 AD as per an inscription on the Mihrab inside the tomb. Kale Khan was a courtier in the Lodi period during the reign of Bahlol Lodi.

The marble mihrab also has inscriptions from the Quran. The front elevation of this west wall has a marble facade, dated to Feroze Shah's rule (1351–88). The prayer chamber in front of the qibla depicts a yoni-patta (the base slab of a Linga. The entire tomb depicts a trabeate or corbel arch construction, which was common in India before the true arch design of the Romans was introduced, which are seen in subsequent Islamic monuments.

The domed room behind the window at right of the main gate conyains a mihrab, and it is assumed that the room was used as a masjid. The room behind the left window in the facade is reserved for the tomb, which contains the sarcophagi of the endower and his children. The entire walls of the tomb were initially covered with rich hexagonal tiles in blue and black. The tiles on the walls survived partly today.

Between them, in the southeastern wall, is a mihrab. The cenotaphs have a distinctive red and white horizontal striped pattern to their stonework but are usually covered by decorative cloth. Under the present arrangements, Jews are restricted to entering by the southwestern side, and limited to the southwestern corridor and the corridors that run between the cenotaphs, while Muslims may enter only by the northeastern side but are allowed free rein of the remainder of the enclosure.

At the middle of the southeastern facade, a mihrab takes place, which is supposed to be added in a later time. A two story annex with a big dome is sitıated at the southeastern side of the medrese. It has two rectangular barred windows in the ground floor and three arched windows on the fşoor above. It is believed that the chamber at the southern corner was a bath or a kitches due to its different type of roof.

The architecture of the mosque combines western, eastern and local architectural traditions. It has a lobby, a prayer hall, and a decorated mihrab. The prayer hall is three-naved, which is characteristic for the mosques of Azerbaijan, which were built since the second half of the XIX century, and is found not only at the mosques of Baku and Absheron, but also of Shirvan, Karabakh, Guba, Sheki and Zagatala. Similar structures have Turkic peoples in the era of feudalism.

The mosque was built on the walls of Roman drinking water tanks for distribution of drinking water throughout the city. The great unevenness of the terrain makes its layout in two floors possible, which is unique. The ground floor, which is accessed from the street of the Tornerías, opens to the Roman water tanks with granite half-point arches. The upper floor houses the place of worship, retaining remains of the mihrab and the wall of the qibla.

Geometric, arabesque, and calligraphic patterns ornamenting the Mihrab at the Jama Masjid, Fatehpur Sikri Islamic ornament is the use of decorative patterns in Islamic art. They can be broadly divided into the arabesque, using curving plant-based elements, geometric patterns with straight lines or regular curves, and calligraphy, consisting of religious texts with stylised appearance, used both decoratively and to convey meaning. All three often involve elaborate interlacing. The three types of ornament are often used together.

The side entrances have mere decoration applied to their external faces some of which may not be original. All these elements emphasize the symmetrical and axial arrangement along with the central dome and the mihrab. The style is very common among most of the surviving historic mosques of Dhaka. Built on a spacious and solid podium, it has many elements resembling those in Khwaja Shahbaz Mosque, Khan Muhammad Mirdha's Mosque, and the mosque inside the Lalbagh Fort.

All mosques are supposed to be designed to be oriented towards the qibla. A niche known as the mihrab is built into the wall of a mosque that faces Mecca so that Muslims know in which direction to pray. The determination of qibla has been an important problem for Muslim communities throughout history. Muslims are required to know the qibla to perform their daily prayers, and it is also needed to determine the orientation of mosques.

The first Friday Prayer was held before the completion in 1154, as Mujahid completed the building of musholla (prayer room) first. When the mosque was completed, it was larger than it had been today. Mujahid took care of the mosque well with maintenance and providing decorations of Islamic calligraphy with a font which was unseen on the other mosques. The other decorations were done by plaster and some of the finest examples were decorations on top of the mihrab.

The mosque was founded in 1296 by the emir Abi Ibrahim ibn Yahya during the Zayyanid era as inscribed on the plank of the western wall in the prayer hall, as well as the two groves made of gypsum on top of the mihrab. The current name of the mosque is considered derived from the name of the local qadi and ulama Abi al-Hassan who served under the rule of the Sultan Abi Sayeed Uthman (1283-1303).

The western wall is internally recessed with five semi-octagonal mihrabs, all showing outward projections with bordering turrets. There is a three-stepped masonry pulpit beside the central mihrab. Plan view of Begum Bazar Mosque The interior of the mosque, forming a large elongated hall (25.60m by 5.18m), is divided into five bays by four transverse arches of plain four-centred design. The central bay is square and bigger than a couple of smaller rectangular ones on either side.

The building does not orient to the qibla (direction to Kaaba). As a result, the direction of the prayer hall is oriented around 45 degree relative to the building's orientation. As a result of this orientation, both the mihrab and the minbar of the mosque are located in the middle of the prayer hall, as opposed to the usual front of the prayer hall. The central flight of stairs were removed to make way for the prayer hall.

General layout of the Saadian Tombs today. The eastern building is the older mausoleum, consisting of a central square chamber, the Chamber of Lalla Mas'uda (1), and a larger rectangular tomb chamber, the so-called Grand Chamber (2). Two loggias are located on either side of it. The larger western building (on the left) is composed of the Chamber of the Mihrab (3), the Chamber of the Twelve Columns (4), and the Chamber of the Three Niches (5).

The door to the shrine was made by blue marbles, and the ledges made of marble had the Throne Verse of the Qur'an inscribed on it. A mihrab existed to the south of the tomb, and it was also made of blue marbles and adorned with the Qur'anic verses. The prayer hall was topped by a green 17 meters dome. In 2014, the mosque was destroyed by the Islamic State of Iraq and Levant by explosives.

Saladin ordered all the inner walls and pillars of the Dome of the Rock to be covered in marble and he initiated the renovation of the mosaics on the dome's drum. The mihrab of the al-Aqsa Mosque was repaired and in 1217, al- Mu'azzam Isa built the northern porch of the mosque with three gates. The Dome of the Ascension was also built and restoration work was done to the existing free-standing domes of the Temple Mount.

Mary is believed to have been buried at the Tomb of the Virgin Mary in the Kidron Valley, at the foot of the Mount of Olives, in Jerusalem. The Christian church on the site has been destroyed several times but the crypt has remained intact. The site is run by the Greek Orthodox Church of Jerusalem who share it with the Armenian Apostolic Church. A mihrab was built on the site to aid Muslim pilgrims in prayer.

The mosque was built in 1312. It is an example of a typical Seljukid mosque. The most notable sections of the mosque are the fine woodworking mimbar which has no metallic nail Visitİzmir page and the mihrab which is made of dark cyan marble.İzmir periodical The lion statue in the south eastern corner of the building is also interesting for statues are rare in Islamic architecture and this statue is a spolia from a Lydian building.

He had been killed in a battle close by the village, and he and twelve of his men were buried here. The shrine, named Shaykh Muawiya, is a domed square building, with the entrance to the north. The floor of the shrine is about 0,3 meters below the surface, and contain a cenotaph, incorporating marble columns. There is a mihrab in the wall to the south, just behind the cenotaph, and the west wall has a window.

In the prayer hall, a new mimbar (sermon podium) was built into the mihrab (niche area that shows the direction of the qibla'). The simple and bare rectangular prayer hall remains the same which reflects the core function of the mosque which is a place for prayer. From an aerial view, the mosque was built oriented to the direction of the qibla. Other features like a minaret and dome are common for old-style kampung mosques.

One of the most significant expansions and renovations was carried out between 1135 and 1143 under the patronage of the Almoravid ruler Ali Ibn Yusuf, and the current form of the mosque owes much to this work. The prayer hall was extended by dismantling the existing southern (qibla) wall and adding three more transverse aisles, bringing the number of these from 7 to 10, while essentially replicating the format of the existing arches of the mosque. This expansion required the purchase and demolition of a number of neighbouring houses and structures, including some that were apparently part of the nearby Jewish neighbourhood (before the existence of the later Mellah of Fes). The new expansion of the mosque involved not only a new mihrab (niche symbolizing the direction of prayer) in the middle of the new southern wall, but also the reconstruction or embellishment of the prayer hall's central "nave" (the arches along its central axis, in a line perpendicular to the southern wall and to the other rows of arches) leading from the courtyard to the mihrab.

This overall layout is similar to other Moroccan mosques. The mihrab is also very traditional, consisting of an alcove with a horseshoe arch resting on engaged columns of marble (reused from Saadian monuments), surrounded by carved stucco decoration of typical Moroccan arabesque motifs and calligraphic inscriptions, highlighted with painted colours. In addition to being a Friday mosque (i.e. a large mosque that accommodates Friday prayers and hosts a khutba), it also hosted a small library of books for use in the mosque.

He changed the main entrance from the west to the north, opposite the mihrab. He added a monumental façade on the north side, overlooking the city and facing the Seljuq palace. A marble tomb was begun in the courtyard. Kaykaus’ building was cut short by his death in the same year, only to be resumed thereafter by his brother and successor Kayqubad I. Kayqubad had several of his brother's inscriptions altered and claimed the improvements to the mosque for himself.

On the main wall on qibla there is a mihrab and minbar in the center. On the main wall, there is a large metalwork in Arabic calligraphy, spelling the name of Allah on the right side and Muhammad on the left side, and also calligraphy of Surah Thaha 14th verse in the center. The metalworks, stainless steel covers and ornaments were imported from Germany. Originally, as in the National Monument nearby, the white marbles were planned to be imported from Italy.

To the right (southeast) is a shallower, but ornately decorated, prayer niche dedicated to Prophet Suleiman (Solomon). This 'mihrab is certainly one of the oldest in the world, considered to date at least back to the late 9th century, with some even suggesting that it dates back to the 7th century and to the time of Abd al-Malik, builder of the Dome of the Rock — making it the oldest in the world — but this is disputed.Goldhill, Op. cit. , p.

These techniques are a reflection of both the local building tradition as well as the influence from the caliphate in Córdoba. The influence of the caliphate can be seen in the brickwork on the facade of the building which resembles those seen at the Cathedral–Mosque of Córdoba. Originally the Eastern wall was a continuous stretch of brick and served as the qibla wall for the mosque. Also located along this side would have been a mihrab used for worship.

The mihrab is a masterpiece of architectural art, with geometric and flowing designs of plants. Other prominent features were an open court (sahn) surrounded by arcades, screens of wood, minarets, colourful mosaics, and windows of coloured glass. The walls of the mosque had Quranic inscriptions written on them. As many adherents of Islam reject sculptural or pictorial representations of people or of God within religious contexts, all decoration of the cathedral is accomplished through tile work, calligraphy and architectural forms.

He was born in 1952, the son of Grand Ayatollah Muhsin Al-Hakim. Raised in Najaf and then received his theological education through the religious school there, known as the Hawza. He was married to the daughter of Mohammed Hadi al-Sadr and he was the father of two girls and two boys. His son Muhsin Abdul Aziz al-Hakim was a political adviser for him, and his other son Ammar al-Hakim became the Secretary General of Al-Mihrab Martyr Foundation.

The calligraphy decoration on the mihrabs are usually from the Qur'an and are devotions to God so that God's word reaches the people. Common designs amongst mihrabs are geometric foliage that are close together so that there is no empty space in-between the art. Mosque–Cathedral of Córdoba: The mihrab in the Mosque of Cordoba is a highly decorated piece of art that draws one's attention. It is a contribution made by Al-Hakam II that is not just used for prayer.

The mosque in Medina built by al-Walid I had the first mihrab, a niche on the qibla wall, which seems to have represented the place where the Prophet stood when leading prayer. This almost immediately became a standard feature of all mosques. The minbar also began appearing in mosques in cities or administrative centers, a throne-like structure with regal rather than religious connotations. The Great Mosque of Damascus was built by the caliph al-Walid I around 706–715.

The wooden rods, which usually sink to the base of the transom, connect the columns together and maintain the spacing of the arches, thus enhancing the stability of all structures which support the ceiling of the prayer hall.Néji Djelloul, op. cit., p. 35 Ancient Corinthian capitals The covering of the prayer hall consists of painted ceilings decorated with vegetal motifs and two domes: one raised at the beginning of the central nave and the other in front of the mihrab.

The dome was renovated during the reign of Fatimid caliph al-Hafez, after some cracks were occurred. The mihrab was also covered with marble in 1138. The mausoleum was renewed in the Ottoman era during the reign of Prince Abd al-Rahman Katkhuda, which he built the shrine on the form existing until today.حياء الميت بفضائل اهل البيت - السيوطيخطط المقريزي There are entrances for male and female, and the entrances were renovated in the modern era with marbles and extravagant carpets.

The minaret in Erd was built in 17th century as part of a Turkish mosque in Erd. The mosque no longer exists but descriptions survive. The historian Molnár József gives features of the mosque as a rectangular ornate building with colorful windows, carpets and a Mihrab (prayer niche) opposite the entrance of a stone-framed door. There was a balcony protected by wooden bars, where the muezzin (crier who makes the Islamic call to prayer) made his way to the minaret.

The mihrab (niche symbolizing the direction of prayer) has the same form as most traditional Moroccan mihrabs but is relatively simple and undecorated. In the corner between the prayer hall, the courtyard, and the minaret is an ablutions room which can be entered directly from the street but which was also once accessible by a passage from the main courtyard as well. The room is centered around a rectangular water basin and is flanked by seven smaller rooms which served as latrines.

In addition to stripping al-Azhar of its status as congregational mosque, Saladin also ordered the removal from the mihrab of the mosque a silver band on which the names of the Fatimid caliphs had been inscribed. This and similar silver bands removed from other mosques totaled 5,000 dirhems. Saladin did not completely disregard the upkeep of the mosque and according to al-Mufaddal one of the mosque's minarets was raised during Saladin's rule. The teaching center at the mosque also suffered.

Among the rooms there is a small mosque, recognisable by the concave mihrab on its southern wall, facing Mecca. The large central courtyard had a rectangular pond at its centre. The reception hall wing, called by Creswell the "Main Building", placed at the centre of the northern part of the enclosure, was the only fully built section of the palace. It consists of a basilica-shaped hall (a vaulted hallway with three aisles separated by columns), leading up to the throne room.

On the south elevation is the Mihrab, a semi-circular projection from the wall, with a dome on top. Each elevation has groups of 2 to 4 full length plain windows, arched but in a rectangular frame. To the south-east of the Mosque, at the other end of the car park is the Mosque community centre Entrance to the Mosque is gained by the northern elevation where shoe shelves line the wall. The Male Prayer Room is located on the ground floor.

Recent studies have argued that the preference between polychrome and monochrome has to do with the price of materials and or the availability.This leads to more monochrome wares being produced over polychrome. Early Islamic lustreware ceramics were predominately produced in lower Mesopotamia during the ninth and tenth centuries. In the Great Mosque of Kairouan, Tunisia, the upper part of the mihrab is adorned with polychrome and monochrome lustreware tiles; dating from 862 to 863, these tiles were most probably imported from Mesopotamia.

From around 1300, no alterations were made to the fortifications apart from repairs such as Sultan Barkuk's restoration of the moat in preparation for Timur's arrival. Material from the ruins is incorporated into a ruined mosque north of downtown and probably also in the Qubbat Duris on the road to Damascus. In the 19th century, a "shell-topped canopy" from the ruins was used nearby as a mihrab, propped up to show locals the direction of Mecca for their daily prayers.

The main cenotaph, in white marble, is placed on a raised platform in the centre of the chamber. The facade is known for its ornate carving, both at the entrance and the interior walls. The interior west wall has a prayer niche (mihrab) decorated with marble, and a rich amalgamation of Hindu motifs into Islamic architecture, such as bell-and- chain, tassel, lotus, diamond emblems. In 1914, during excavations by Archaeological Survey of India's (ASI) Gordon Sanderson, the grave chamber was discovered.

The ceiling above the columns is supported by wooden beam lintels which are carved with arch-like and arabesque motifs as well as Arabic inscriptions. Both levels of the gallery give access to the student accommodations, a total of 23 sleeping rooms plus 3 office rooms. On the ground floor, at the far end of the courtyard and across from the entrance, is a small prayer hall which is undecorated (or has lost its former decoration) and has a simple mihrab.

Mihrab in Chuna Khola Mosque The Chuna Khola Mosque, built in the 15th century, is located in the midst of rice fields in the village of Chuna Khola (named after the limestone extraction that was in vogue here in the past). It has been identified as representing a transition from the Khan Jahan style monuments. It is a square building with thick walls. It has three entrances on the east and one each on the northern and southern sides also.

The south entrance is entirely undecorated. The facade of the main wall, which corresponds to the interior mihrab wall, is panelled with recessed windows. The lower windows are rectangular while the upper are double arched with single arched qamariyyas, multicolored stained glass windows, mirroring them on the interior. The northern, eastern and part of the southern facades are the only ones with these windows, as they would have lined the busiest streets and as such been the most visible walls.

The Mosque of Kudus (Masjid Menara) which dates from this period, remains a local landmark to this day. It is notable for both its perseverance of pre-Islamic architectural forms such as Old Javanese split doorways and Hindu-Buddhist influenced Majapahit-style brickwork,Schoppert, P., Damais, S., Java Style, 1997, Didier Millet, Paris, 207 pages, and for its name al-Manar or al-Aqsa. The date AH 956 (AD 1549) is inscribed over the mihrab (niche indicating the direction of Mecca).

Above the main entrance, framed by a gilded brass bezel, is a fragment of the Kaaba in Mecca; other fragments of this black stone are above the minbar and mihrab. As well as the tilework, parts of the mosque were originally painted. Most of the paintwork has been renovated but some of the original paintwork survives above the vestibule of the north entrance, on the brackets supporting the balcony above the entrance, and under the ceilings of the side galleries.

Later on, in 1618-1619, he became prefect (darugha) of New Julfa in Isfahan, and was made governor (beglarbeg) of Hamadan shortly after, in 1619-1620. Following king Abbas I's recapture of Baghdad in 1624 during the Ottoman-Safavid War of 1623-1639, which ended many decades of Ottoman rule, Safiqoli was appointed as its new beglarbeg. In addition, he was made the local qurchi-bashi of the shrine city of Najaf. His two close relatives included Mihrab Khan (d.

The eastern tower's interior appears to have been fully decorated with frescoes, but only a few survive. There are paintings of mosque lamps in the niches, of pomegranate trees and peacocks in the piers alternating between them, and of a medallion surrounding peacocks and geometrical ornament near the top of the niches. There is also a band of Kufic calligraphy just below the beginning of the dome. The western tower's interior contains no plaster decoration; instead, there are a mihrab and additional brick ornament.

The Chinguetti Mosque () is a mosque in Chinguetti, Mauritania. It was an ancient center of worship created by the founders of the oasis city of Chinguetti in the Adrar region of Mauritania in the thirteenth or fourteenth century. The minaret of this ancient structure is supposed to be the second oldest in continuous use anywhere in the Muslim world. Architecturally, the structure features a prayer room with four aisles as well as a double-niched symbolic door, or mihrab pointing towards Mecca and an open courtyard.

The plaster is carved in a variety of decorative designs, including geometric patterns; floral motifs in high relief; simulated brick bond, and brick end-plugs – in some areas arranged to configure rectangular kufic inscriptions. On the sanctuary walls and dome, traces indicate that plaster was painted in a vivid array of colors. The lofty stucco mihrab describes an uncommon proportion, reaching the zone of transition. Across the interior of the dome, decorative terracotta elements form eight radial ribs; diverse painted plaster patterns fill the interstices.

The Great Mosque of Kufa has previously underwent sporadic renovations. One historical account, for instance, noted enlargement of section as well as a raised flooring for the main building in comparison to earlier level. In 1998, head of Dawoodi Bohra community, Late Dr. Syedna Mohammed Burhanuddin started renovating the mosque, which was then completed in early 2010. The renovation included decorations with gold and silver, the Mihrab being made with a gold zari, and the whole interior being surrounded with verse of the Quran.

The golden mosaics in the mihrab and the central dome of the Great Mosque in Corduba have a decidedly Byzantine character. They were made between 965 and 970 by local craftsmen, supervised by a master mosaicist from Constantinople, who was sent by the Byzantine Emperor to the Umayyad Caliph of Spain. The decoration is composed of colorful floral arabesques and wide bands of Arab calligraphy. The mosaics were purported to evoke the glamour of the Great Mosque in Damascus, which was lost for the Umayyad family.

Intervention in the 1950s resulted in drastically changing the appearance of the building, with an entirely new eastern façade being built and the hexagonal Mihrab being demolished and replaced with a rectangular one. This, along with later restorations, were of poor quality and used inappropriate materials. In 2014, UNESCO and the Afghanistan government coordinated to attempt to preserve and replicate the tile work on the exterior dome. UNESCO is presently considering the nomination of Herat (in which the mausoleum is specifically mentioned) as a World Heritage Site.

A domed gateway from the south east provides entry into three rooms of size x whose utility is not traced. A "C"-shaped layout of a double row of pillars on a raised podium forms the prayer hall, which is open to the sky. The qibla wall seen clearly from the reservoir side has five mihrabs. The avant-garde setting of the central mihrab with a domed chhatri (cupola) with open sides is seen in the form of a pavilion projecting into the reservoir.

As prototypical court designs were passed on to smaller workshops, and from one generation to the next, the design underwent a process termed stylization, comprising series of small, incremental changes either in the overall design, or in details of smaller patterns and ornaments, over time. As a result, the prototype may be modified to an extent as to barely being recognizable. A mihrab column may change into a detached row of ornaments, a Chinese dragon may undergo stylization until it becomes unrecognizable in a Caucasian dragon carpet.

The mosque looks like a temple from outside and inside, but does not have any idol carving on the pillars or walls. There is the Mihrab on the wall like all mosques for identifying the direction of prayer, which is the only proof that it is a mosque. Elaborate carvings are present on the surfaces of the walls of the mosque and lofty beams are also present in the 'pallavasal' of the mosque. The mosque bears a Tamil architectural look, which implies a distinctive architectural pattern.

522 With the gradual increase of the population of Kairouan and the consequent increase in the number of faithful, Hisham ibn Abd al-Malik, Umayyad Caliph in Damascus, charged his governor Bishr ibn Safwan to carry out development work in the city, which included the renovation and expansion of the mosque around the years 724–728.Paul Sebag, La Grande Mosquée de Kairouan, éd. Robert Delpire, Paris, 1963, p. 25 During this expansion, he pulled down the mosque and rebuilt it with the exception of the mihrab.

His rule lasted for 60 years, the longest of all the caliphs, either in Egypt or elsewhere in Islamic states. However, Fatimid power was confined to Egypt due to conquests of Seljuks in the Levant and Normans in Sicily and Malta. Al-Mustansir was considered incapable and as such his court was dominated by military strongmen and his mother's favourite officials, while the treasury was exhausted by factional infighting. He had constructed a special mihrab at one of a pillar in the Mosque of Ibn Tulun.

In 1316, the Mamluks intervened into Makurian affairs once more, intending to install prince Barshambu on the throne. In contrast to the kings before him, he was a Muslim. On May 29, 1317 he converted the Throne Hall into a mosque, as is confirmed by a marble inscription. Alterations to the building, especially in the central hall on the upper floor, were made according to its new function, such as the inclusion of a mihrab and the application of plaster over the Christian wall paintings.

Dayan eventually found a slim 12-year-old girl named Michal to assist and sent her into the chamber with a camera.Joseph Free and Howard F. Vos (1992) Archaeology and Bible History Zondervan, p. 62 Michal explored the round chamber, but failed to find the square stone in the floor that led to the caves. Michal did, however, explore the passage and find steps leading up to the surface, though the exit was blocked by a large stone (this is the entrance near the mihrab).

139 The mosque was either largely demolished or destroyed prior to 1418 according to an inscription placed above the mihrab in the courtyard. Sultan Mu'ayyad Shaykh commissioned the mosque's second stage of construction on 13 September 1418.Sharon, 2009, p. 155 In addition to restoring the original mosque, this project, which was supervised by Shaykh's emir, Abu Bakr al-Yaghmuri, the head of the sultan's guard in Gaza, saw the construction of the courtyard and the portico positioned in front of the qibla wall.

Arc windows are set in two rows on the façades of the southeastern, southwestern, and northeastern sides of the building; 3–3 and 4-4 pieces. Inside, some Ottoman decoration and inscriptions from the Qur'an are clearly visible in the remaining plaster parts. The Turkish pulpit and the women's balcony have been destroyed, and the mihrab is not the original. The two Turkish bathing basins before the sacristies (today, holy water) were taken from the former bath of the pasha next to the church.

125-261 Islam was introduced to the Horn of Africa early on from the Arabian peninsula, shortly after the hijra. At Muhammad's urging, a group of persecuted Muslims were received at the court of the Ethiopian Christian King Aṣḥama ibn Abjar, a migration known as the first Hijarat.Rafiq Zakaria (1991) Muhammad and The Quran, New Delhi: Penguin Books, pp. 403–04. Zeila's two- mihrab Masjid al-Qiblatayn was built during this period in the 7th century, and is the oldest mosque in the city.

Stalactic mihrab, which consists of five tiers framed with a rectangle on the southern wall of the interior, forms certain motifs of Shirvan-Absheron architectural school as a whole. At edges small niches are placed. The main facade of the mosque is asymmetrical and its rigid, voluminous composition is emphasized with classic- type portal-entrance. Accurately profiled rectangular frame of the portal, profiled cavity and epigraphic heading of Arabic are represented in classic form, in the background of the entire wall of the facade.

In the early centuries of Islam, domes were closely associated with royalty. A dome built in front of the mihrab of a mosque, for example, was at least initially meant to emphasize the place of a prince during royal ceremonies. Over time such domes became primarily focal points for decoration or the direction of prayer. The use of domes in mausoleums can likewise reflect royal patronage or be seen as representing the honor and prestige that domes symbolized, rather than having any specific funerary meaning.

Initially appointed vizier by the last Fatimid Caliph Al-'Āḍid (who incorrectly thought he could be easily manipulated), Saladin consolidated power in Egypt, allying that country with the Sunni Abbasid Caliphate in Baghdad. Distrusting al-Azhar for its Shi'a history, the mosque lost prestige during his rule. However, the succeeding Mamluk dynasty made restorations and additions to the mosque, overseeing a rapid expansion of its educational programs. Among the restorations was a modification of the mihrab, with the installation of a polychrome marble facing.

In Muslim architecture, the exedra becomes a mihrab and invariably retains religious associations, wherever it is seen, even on the smallest scale, as a prayer niche. Both Baroque and Neoclassical architecture used exedrae. Baroque architects, (for example, Pietro da Cortona in his Villa Pigneto), used them to enrich the play of light and shade and give rein to expressive volumes; Neoclassical architects, to articulate the rhythmic pacing of a wall elevation. The interior exedra was richly exploited by Scottish neoclassical architect Robert Adam and his followers.

One of the walls The mosque is located in the far right of the southern side and it has four columns 1.5 meters high and, as mentioned by Iranica, it probably was built in the place of the Sasanian fire temple. There are no decorations in the mosque. In the middle of the southern side which is directed to the Qibla, there is a place for a mihrab. The bathroom is located in the left corner of the southern side and is as wide as the mosque.

Another structure of Egarosindur, is one of the best-conserved monuments in the country. A pertain inscription tablet, fixed over the central mihrab, record that the mosque was built in 1062 AH (1652 AD) by one Sadi, son of Shaikh Shiroo, during the reign of Shahjahan. Measuring 25 ft a side, the single-domed square mosque was built on a raised piece of land. There are three arched entrances in the east, and one each in the middle of the north and the south sides.

Islam was introduced to the area early on from the Arabian peninsula, shortly after the hijra. Zeila's two-mihrab Masjid al-Qiblatayn dates to the 7th century, and is the oldest mosque in the city. In the late 9th century, Al-Yaqubi wrote that Muslims were living along the northern Somali seaboard. He also mentioned that the Adal kingdom had its capital in the city, suggesting that the Adal Sultanate with Zeila as its headquarters dates back to at least the 9th or 10th centuries.

A narrow floral black-line band surrounds these tiles, topped by a larger black-line band featuring a white and gold inscription upon a blue background. In the prayer hall itself, dark green hexagonal and triangular tiles (including some nineteenth and thirteenth century replacements) cover the lower portions of the walls. The mihrab and its moulded tile frame feature a wide array of tile styles, shapes, and colors. Square black-line tiles, glazed in blue, purple, white, and yellow, cover the mihrab's interior with geometric motifs.

The small, square structure has an area of and was built from materials available in the area, primarily stones of various sizes and mud bricks coated in many layers of whitewashed plaster. The roof has four squats, helical domes that are supported by only one centrally placed pillar that also forms the ceiling. Entrance to the mosque is through double-winged wooden doors. The prayer hall has a small mihrab (the niche in the wall that indicates the direction of Mecca), a simple pulpit, arches, and openings.

The Mihrab, the sign indicating the direction to Mecca, is covered in blue ceramic tiles with engraved Al Qursi Qur'anic verse. The library consists of over 50,000 books and manuscripts in three languages – Arabic, English and French – that are mostly on Islam. The institute does specialise in Islamic art, and many of the reference books have international importance. The library and its reading rooms are open to the public during working hours with internet access available, as well as providing individual rooms for researchers and specialists.

A house on one of the properties was temporarily used as a place of worship, while the mosque was being constructed. Ismael Jeewa led the prayers at the temporary prayer house. In 1853, a small mosque was built and consecrated. Bacosse Sobedar, imam of the Camp des Lascars Mosque, outlined the mihrab (prayer niche) of the new mosque, which came to be known for many years as the Mosquée des Arabes ("Mosque of the Arabs") – after its founders, whom the general public mistook for Arabs.

To the right, the monument encompasses a tomb facade and a small dome, which is constructed from brick and decorated with a lozenge-like pattern made of stucco. The side street facing the mosque's second facade has a view of a large round window over the mihrab of the mosque. The sahn remains open and covered by an awning and wire mesh, an inscription is carved around it. Wooden ceilings decorate the qibla and lateral iwans, while the interior is circled with an inlaid marble dado.

The main courtyard (sahn) occupied roughly the northern half of the mosque, measuring 24 by 18.6 meters. Like in other mosques, it has a central water bassin (formerly linked to two other fountains on either side) and is surrounded by arched galleries. The floor is paved with mosaic tiles (zellij). The central arch on the south side of the courtyard, which leads into the central "nave" of the prayer hall on the axis of the mihrab, is framed and surmounted by a tall and ornate portal.

Murphy-O'Connor, Jerome. (2008). The Holy Land: An Oxford > Archaeological Guide from Earliest Times to 1700 Oxford University Press, > p.97. . The building in Islamic tradition is the spot where Judgment Day will occur in the "end of days" and where a chain will stop the sinful and let the just pass through. Notably, the mihrab in the al-Aqsa Mosque is located exactly in the middle of the qibla wall of the Temple Mount on north-south axis with the Dome of the Chain.

The mosque is a small and unique three-domed structure made of white marble. Its construction is also credited to Bahadur Shah. The austere mosque has the mihrab on the west direction of prayer but is unusually not embellished, except for little border of floral carving on the south at the top edge of a dado. The Chhatta Chawk or vaulted arcade design of the Lahore gate at the Red Fort in Delhi has provided the basic design that was replicated for the Zafar gate.

A slightly horseshoe arched portal leads into a passage separating the mausoleum from the madrasah. The tomb is on the right, and the Madrasah, on a cruciform plan, is to the left of the entrance. Inside the four Iwans once contained the four different law schools, on the east side is a fine stucco Mihrab. The interior was in a poor condition until 2000, when a massive Historic Cairo Rehabilitation Project (HCRP) plan was made for the entire Muizz Street, planned to be completed by October 2008.

Then the British brought their labor force from India, including some Muslim-Indian nationals, to their colonies in Africa towards the end of the nineteenth and beginning of the twentieth century. The Mosque of Islamic Solidarity in Mogadishu, Somalia is the largest mosque in the Horn of Africa Islam was introduced to the northern Somali coast early on from the Arabian peninsula, shortly after the hijra. Zeila's two-mihrab Masjid al-Qiblatayn dates to the 7th century, and is the oldest mosque in the city.

The roof is built in a typical Javanese mosque architecture with three-tiers, supported by four main posts (saka guru) and topped with a terracota mustaka (roof top decoration). The main prayer hall's interior is constructed of white-washed brick. Two doors provide entrance to the north and south of the hall. The mihrab is located to the west of the main prayer hall and contains motifs of false columns and plant-like arabesque on top, reminiscent of the kala makara motif of classical candi architecture.

The western wall of the cloister has a mihrab made of black Kashmiri marble which is adorned with beautiful calligraphic work and has engraved on it ninety-nine attributes of Almighty Allah. The Mosque can hold 33,333 persons besides the Imam at a single prayer congregation. Plaque of Jamia Masjid To reach the Mosque roof, the walls of the four turrets have interior stairs in the circular form that end in the lounges of each turret. The city of Srinagar can be viewed from these high turrets.

The Rüstem Pasha Mosque is famous for its large quantities of İznik tiles, set in a very wide variety of floral and geometric designs, which cover not only the façade of the porch but also the mihrab, minbar and walls. There are around 80 different patterns. These tiles exhibit the early use of Armenian bole, a tomato-red pigment that would become characteristic of İznik pottery. The bright emerald green colour is only used in a panel added above an exterior doorway at a later date.

National Museum in Warsaw A prayer rug is characterized by a niche at one end, representing the mihrab in every mosque, a directional point to direct the worshipper towards Mecca. Many rugs also show one or more mosque lamps, a reference to the Verse of Light in the Qur'an. Specific mosques are sometimes shown; some of the most popular examples include the mosques in Mecca, Medina, and especially Jerusalem. Decorations not only play a role in imagery but serve the worshipper as aids to memory.

On 13 September 1980, Bart van Kampen started the "Black Market": a flea market, housed in the produce and flower auction hall of Beverwijk. With 500 stalls, the first Black Market attracted 14,000 visitors. Initially, the market was open only on Saturdays, but since the addition of the "Turkish Market" in 1982 (renamed to "Oriental Market" in 1984), it is also open on Sundays. In 1986, the "Grand Bazaar" opened its doors, followed by the "Computer Market", "Hall 30" (initially "China Town") in 2007, "Mihrab" in 2014, and the "Gold Souk" in 2015.

The madrasa is entered via a bent passage which leads directly to a large rectangular main courtyard (sahn), at the center of which is a large rectangular water basin. Around this courtyard are a multitude of rooms which serve as sleeping quarters for the students, distributed across two stories. On the courtyard's eastern side, opposite the entrance, is a large high room which acted as a prayer hall (like a small mosque or oratory). The room is covered by a pyramidal roof and contains a mihrab (niche symbolizing the qibla or direction of prayer).

On the south side of the courtyard, across from the main entrance, was a prayer hall with a mihrab. The foundation plaque and inscription of the building is located in this room. The sahn is richly ornamented by zellij tiles, carved wood, and carved stucco, in a style shared with Nasrid architecture of the same era such as that of the Alhambra palaces. A passage between the sahn and the street entrance gives access to the stairs to the upper level and then to another, slightly smaller, courtyard to the west which contains the latrines.

Great Mosque of Kairouan also called the Mosque of Uqba (in Tunisia), the upper part of the mihrab (prayer niche) is decorated with 9th- century lusterware tiles and painted intertwined vegetal motifs. A prohibition against depicting representational images in religious art, as well as the naturally decorative nature of Arabic script, led to the use of calligraphic decorations, which usually involved repeating geometrical patterns and vegetal forms (arabesques) that expressed ideals of order and nature. These were used on religious architecture, carpets, and handwritten documents. Islamic art has reflected this balanced, harmonious world-view.

Mihrab from al-Nuri Mosque in Mosul, Iraq, built by Nur al-Din Zengi, 6th century AH, Iraq Museum Tradition holds that Nur ad-Din Zangi, a Turkoman atabeg of the Great Seljuk Empire and sultan of its Syrian province, built the mosque in 1172–1173, shortly before his death. According to the chronicle of Ibn al- Athir, after Nur ad-Din took control of Mosul he ordered his nephew Fakhr al- Din to build the mosque: In 1511, the mosque was extensively renovated by the Safavid Empire.

Entry to the prayer hall is from the raised courtyard, also to the north, which can be reached by stairs and ramps from the main directions of approach. The prayer hall consists of a series of arches which support barrel-vaults running parallel to the qibla wall. These vaults are interrupted by two domes which establish an axis in the direction of Mecca. The main dome to the south is raised on a drum of clerestory windows which allow light to filter into the interior directly above the mihrab.

Since by tradition the burial site of Ibrahim/Abraham is in Hebron, whose Arabic name is El-Khalil, so the Arabic name for the Jaffa Gate translates as "Hebron Gate". In medieval times the Arabs used to call this gate Bab Mihrab Dawud, or "Gate of David's Chamber or Sanctuary", out of the belief that the room atop the Herodian tower stump represented the "private chamber" or "prayer room" of Prophet Dawud, which is specifically mentioned in the Quran (Surah 38. Sad, Ayah 21). Prophet Dawud is how King David is known in Islam.

These included the nearby Bou Inania Madrasa (built in 1336) and two other madrasas, Madrasa al-Qadi and Madrasa Shuhud, all built by Sultan Abu el-Hassan. Abu el-Hassan also added a library to the mosque and arranged for a number of Islamic scholars to teach at the mosque. Lastly, further restorations and modifications took place under the Alaouite sultans. Moulay Ismail (ruled 1672-1727) remodeled the mihrab area and gifted the mosque with its current minbar, its anaza, and some of the fountains in its courtyard.

These pillars support the flat-form0the-top roof with 3 vaults inside. In the north-west corner of the L-shaped Liwan hall, there is a raised Takht-i-shahi or Muluk khana platform on top of four smaller red stone pillars of Hindu design inside this Liwan hall where the throne of the king used to be, this can be reached by 5 red sandstone steps, under this platform is a dried up well. This platform also has a north-west facing qibla wall (towards Kaaba in Mecca) in the mihrab.

The eight square floor plan produced a unique inner chamber, unlike most conventional mosques. A black, high vaulted roof porch is constructed in each of the four corners of the mosque, and complements the main dome on the roof of the main building of the mosque. Each is equipped with a main door and stairs between the courts of the main floor of the mosque is elevated, except building the porch on the side of the mihrab. The mosque is divided into the main room, ablution, entry gates and towers.

In some of the rugs, Islamic religious inscriptions in Arabic calligraphy are woven into the pile which clearly evokes a religious context. An edict issued by sultan Ahmed I to the town of Kütahya in 1610 demonstrates that the Ottomans were aware of this issue. Referring to a fatwa by the Şeyhülislam, the sultan banned the sale of rugs "with depictions of mihrab, kaaba or hat (calligraphy)" to non-Muslims. In contrast, the term "prayer rug" or any relation to the religious significance of these goods was never found in Transylvanian sources, as yet.

The building consists of a large irregular quadrilateral, about . The south side, which houses the mihrab, is slightly longer than the north side. Seen from the exterior, the mosque looks like a fortress because of its massive walls without openings except in the facade, the extensive use of stone and especially the presence on the facade of the two truncated square towers at the northeast and northwest corners. Since the mosque does not seem to have ever included a minaret, it is likely that the call to prayer was from one of the towers.

The basilica structure of the prayer hall, divided into naves perpendicular to the qibla, with emphasis on the symbolic axis and "nave - mihrab" direction, marked by a dome on the front but already revealed through the focus on the central arch (large, with a combination of pillars and columns instead of the usual double columns, etc..), was successfully tested at the Great Mosque of Kairouan a century earlier. However, the syntax of complex architectural elements - exceptional in the case of the portal and covered corridor - is unique to the Great Mosque of Mahdia.

The al-Hakim Mosque in Cairo, started in 990 and completed between 1003 and 1013, borrows from the Mahdiya mosque's design, with the wide and tall central aisle that leads to the mihrab. The al-Azhar mosque in Cairo seems to have had a similar projecting entrance. The mosque built by Baibars in 1266-1269 in Cairo has some external similarities, with its long wall, corner buttresses and projecting gates. The mosque at Ajdabiya in Libya had a similar plan, although it did not have the same monumental entrance.

The rooms flanking the apse have upper stories. There are two story pastophoria which were used to store priestly vestments and altar furniture. The elongated west cross-arm is about three times deeper than the south and north cross-arms. During the conversion of the church into a mosque, a wall was constructed between the west arm and the central bay, the south and west entrances were closed, a mihrab niche facing in the direction of Mecca was constructed within the closed southern entrance, and the northern annex was converted into a prayer hall.

The central mihrab of the mosque The design of the mosque incorporated Bengali, Arab, Persian and Byzantine architecture. Although the mosque is eye-catching from far because of its size, but because of the finely precise executed designed decoration makes it hard to see the characteristics it holds without standing in a good distance from it. It was built with rubble masonry that was covered with brick, stone, coatings of stucco, plaster, concrete, glazing or lime smoothing. Stone flowers were integrated into the arches of the interior and exterior all around the building.

Al-Aqsa Mosque Restoration Archnet Digital Library. Beneath the dome is the Al-Qibli Chapel ( al-Musalla al- Qibli); also known as al-Jami' al-Qibli , a Muslim prayer hall, located in the southern part of the mosque. It was built by the Rashidun caliph Umar ibn Al- Khattab in 637 CE. Al-Aqsa's dome is one of the few domes to be built in front of the mihrab during the Umayyad and Abbasid periods, the others being the Umayyad Mosque in Damascus (715) and the Great Mosque of Sousse (850).Necipogulu, 1998, p. 14.

The kingdom later became one of the earliest states to adopt Christianity, following the conversion of King Ezana II in the 4th century. Engraving of the 13th-century Fakr ad-Din Mosque built by Fakr ad-Din, the first Sultan of Mogadishu Islam was introduced to the northern Somali coast early on from the Arabian peninsula, shortly after the hijra. Zeila's two- mihrab Masjid al-Qiblatayn dates to the 7th century, and is the oldest mosque in Africa. In the late 9th century, Al-Yaqubi wrote that Muslims were living along the northern Somali seaboard.

It occupied the site of the older mosque of the Dome (Masjid al-Qubba), and apparently was very large. The historian al-Maqrizi says it was one of the most beautiful buildings of its day. A possible layout was described by Jonathan Bloom in his "The Mosque of the Qarafa", although Yūsuf Rāghib pointed out problems with this reconstruction in his "La mosquée d'al-Qarāfa." In Bloom's opinion, the mosque had a central aisle, wider than the others and with a higher roof, that led a dome over the spaces before the mihrab.

Leaving his own house on the edge of Córdoba, the Emir came to reside in the city, so that he might personally superintend the operations and offer proposals for the improvement of the designs. Abd al-Rahman moved about among the workers, directing them for several hours of every day. The mosque underwent numerous subsequent changes: Abd al-Rahman II ordered a new minaret, while in 961 Al-Hakam II enlarged the building and enriched the Mihrab. The last of such reforms was carried out by Almanzor in 987.

The famous alternating red and white voussoirs of the arches were inspired by those in the Dome of the Rock and also resemble those of the Aachen Cathedral, which were built almost at the same time. Horseshoe arches were known in the Iberian Peninsula since late Antiquity, as can be seen on the 3rd-century "Estela de los Flavios", now in the archaeological museum of León. A centrally located honeycombed dome has blue tiles decorated with stars. The edifice also has a richly gilded prayer niche or mihrab.

The interior of the mosque is decorated with blue, green and white İznik tiles, which are considered somewhat inferior in quality to tiles in earlier imperial mosques. The mihrab is decorated with gilded stalactites and the minbar had a conical canopy with slender marble columns. A library was built by Ahmed III in 1724-25 to the right of the porch in front of the tomb. The structure, which has stone-brick alternate meshed walls, is square-shaped and covered with a flattened dome with an octagonal rim, which is provided with pendants.

Although rumor has it that the building is a former church, this is not the case given the direction of mihrab in this mosque is following the direction of Qibla. Since its establishment, this mosque was renovated once. The mosque measured 6 × 6 meters when first established, then in the 1980s, there was an overhaul for expansion of the area to 12 × 20 meters. To maintain its historical value, the renovation ensured the building is made the same as the original form, with milestones, walls, , and towers preserved.

For example, the Süleymaniye Mosque had windows in the qibla wall to create continuity with the garden outside. The mihrab had stained glass windows and Iznik tiles that suggest a gate into paradise. The windows looking outwards to the garden to create the effect in which flowers from the garden act as if it would "perfume the minds of the congregation as if they have entered heaven." Also, Rüstem Pasha mosque was known for its usage of Izink tiles, where the decoration design provides a showcase for the Iznik tile industry.

In addition to protection against invaders the ribat was dedicated to prayer, containing eight mosques with qibla and mihrab oratories where warrior monks prayed, as well as a minaret, a madrasa and accommodation. These structures were built in mud on stone foundations, with floors mostly of beaten earth, with wood coverings and straw roof tiles. A building located in the north- eastern part of the necropolis provided a bench, storage for water, and a basin dug in the soil. The floor and walls were well-coated with lime.

Another notable building is the Camarín de la Virgen de la Piedad, from the 17th century, located on Las Tiendas street. These signs of devotion were typical of the city. Another is conserved in the Royal Gate of the Villa, in honor to the Virgin of the Desamparados, named for being the place where during the French invasion occurred several executions of sailors. Also, a small mihrab of Arab origin is preserved in a private house in the neighborhood of La Gloria, as well as remains of some ancient Arab baths in the same area.

A number of annexes are attached around the mosque, serving various functions. The northwestern edge of the building is occupied by latrines. Behind the southern qibla wall, to the west of the mihrab axis, is an area known as the Jama' al-Gnaiz ("Funeral Mosque", or sometimes translated as "Mosque of the Dead"), which served as a separate oratory reserved for funerary rites. This type of facility was not particularly common in the Islamic world but there are several examples in Fez, including at the Chrabliyine and Bab Guissa Mosques.

Those in white marble come from Italy, some shafts located in the area of the mihrab are in red porphyry imported from Egypt,Actualité des religions, n°12–22, 2000, p. 64 while those made of greenish or pink marble are from quarries of Chemtou, in the north-west of current Tunisia. Although the shafts are of varying heights, the columns are ingeniously arranged to support fallen arches harmoniously. The height difference is compensated by the development of variable bases, capitals and crossbeams; a number of these crossbeams are in cedar wood.

Interior looking towards the mihrab The interior of the mosque is almost a square, in length and in width, forming a single vast space. The dome is flanked by semi-domes, and to the north and south arches with tympana-filled windows, supported by enormous porphyry monoliths. Sinan decided to make a radical architectural innovation to mask the huge north-south buttresses needed to support these central piers. He incorporated the buttresses into the walls of the building, with half projecting inside and half projecting outside, and then hid the projections by building colonnaded galleries.

The mosque's prayer room The Sidi El Bahri mosque is composed of a rectangular prayer room measuring 7.5 meters long and 7 meters wide. Its vaulted roof rests on four central columns which divide the space into three longitudinal naves, parallel to the wall of the qibla, and three other naves that are perpendicular to it. There is a local traditional decoration, common to many other monuments of the medina. Its mihrab, of simple style, is very similar to the one in Sidi Ali Ennouri mausoleum's prayer room.

The prayer hall connects to a cluster containing residential areas, offices, ablution facilities, shops and a library. The recent new construction of the Quba Mosque that happened in 1984 include many new additions, such as 7 main entrances, 4 parallel minarets, and the 56 mini domes that surround the perimeter of the mosque from an overhead point of view. The courtyard of this mosque is composed of black, red, and white marble. And majority of the structure and interior structures such as the minbar and mihrab are all composed of white marble.

Its adjacency to the palace may have been one reason why it did not feature a minaret; in order to prevent anyone climbing the minaret from looking down into the caliph's palaces. The Mamluk amir Yalbugha al-Salimi restored the mosque in 1393 or 1397 and added a minaret (which collapsed in 1412 and was later restored) as well as shop stalls to the right of the entrance. Al-Salimi also restored or replaced the minbar, the mihrab, and the ablutions area. In 1993, the mosque was extensively and heavily renovated by the Dawoodi Bohras.

Bada Gumbad was constructed in 1490 CE, and is believed to have the earliest constructed full dome of any building in Delhi. Its construction is generally attributed to Sikandar Lodhi. A mihrab (prayer niche) in the Friday mosque (Jama Masjid) of the Bara Gumbad gives the date of construction as 900 AH (Anno Hegirae) of the Islamic lunar calendar. Including the bada gumbad there are four monuments in the Lodhi Gardens; the other three being Tomb of Sikandar Lodhi, Shisha Gumbad and the tomb of Muhammad Shah (who belonged to the Sayyid dynasty).

Larabangba Mosque in 2011 Like other mosques in Northern and Savannah Regions of Ghana, Larabanga Mosque is built in the traditional Sudanic-Sahelian architectural style, using local materials and construction techniques. The mosque is built with wattle and daub, and measures about by . It has two towers in pyramidal shape, one for the mihrab which faces towards Mecca forming the facade on the east and the other as a minaret in the northeast corner. In addition, 12 buttresses of conical shape on the external walls are strengthened by horizontally-aligned timber elements.

The White Mosque's plan conforms to the > archetype, but its roof is a freely deformed quarter of a cupola, pierced by > five skylights, themselves composed of segments of quarter cupolas. The > effect is one of confrontation between the elementary plan and the > sophisticated hierarchy of roof cones. The principal symbolic elements, > mihrab, minbar, minaret and fountains, have a fresh folk art character > subtly enhanced by the avant-garde geometries of their setting. Zlatko Ugljen has also been commended for "masterfully assimilat[ing] modern influences, especially Le Corbusier's Ronchamp Cathedral, and traditional Ottoman forms and elements".

Initially built as a prayer hall with five aisles and a modest central courtyard, the mosque has since been expanded multiple times with additional installations completely surrounding the original structure. Many of Egypt's rulers have shaped the art and architecture of al-Azhar, from the minarets added by the Mamluks and the gates added during Ottoman rule to more recent renovations such as the installation of a new mihrab. None of the original minarets or domes have survived, with some of the current minarets having been rebuilt several times.

The sultans wished to have a noticeable association with the prestigious al-Azhar. Al-Ghuri may also have rebuilt the dome in front of the original mihrab. Although the mosque-school was the leading university in the Islamic world and had regained royal patronage, it did not overtake the madrasas as the favored place of education among Cairo's elite. Al-Azhar maintained its reputation as an independent place of learning, whereas the madrasas that had first been constructed during Saladin's rule were fully integrated into the state educational system.

The Eidgah for Eid congregating was a platform measuring 148 feet by 137 feet in size raised from the surrounding land by 4–6 feet. It was oblong in plan, with thick brick walls enclosing the courtyard on all side except east. The 15-foot high west wall, the only surviving part of it, has a 5-foot deep four –centred and stilted arched semi-octagonal Mihrab with an inscription on top. It was decorated with multi-cusped arch and flanked by shallow subsidiary niches, three on each side.

Koch Bihar Jelar Purakirti (in Bengali), Data compilation and writing by Dr. Shyamachand Mukhopadhayay, published by the Department of Archaeology, Government of West Bengal, Second edition 1974, Pages 49-51. The temple has a mihrab, normally found in mosques. There are two possibilities for this: an attempt was made to convert it to a mosque during the short Muslim rule in the 18th century or it was included by the Muslim artisans as a matter of regular practice. Muslim architectural influence in Hindu temples is not totally unknown.

Decorative work continued on the mosque after Mehmed I's death. The construction of the Green Mosque was supervised by architect and patron of the arts vizier Hacı İvaz Pasha, who had been a commander under Mehmed I. A calligraphic inscription identifies Nakkas (the Artist) Ali bin Ilyas Ali as the supervisor of the interior tile decorations. Ali bin Ilyas Ali is believed to have brought a diverse group of craftsmen called the “Masters of Tabriz” to assist him. The "Masters of Tabriz" are referenced in a Persian inscription above the mosque's mihrab.

A mosque (; from , ; literally "place of ritual prostration") is a place of worship for Muslims. Any act of worship that follows the Islamic rules of prayer can be said to create a mosque, whether or not it takes place in a special building. Informal and open-air places of worship are called musalla, while mosques used for communal prayer on Fridays are known as jāmiʿ. Mosque buildings typically contain an ornamental niche (mihrab) set into the wall that indicates the direction of Mecca (qiblah), ablution facilities and minarets from which calls to prayer are issued.

The importance of the Mosque of Omar Ibn al - Khattab is in its design because it represents a continuation of the pattern of the first mosques design in Islam. It reminds of the design of the Prophet mosque in Medina in its early stages. The shape of Omar’s mosque is almost rectangular and built of carved stone, and extends from west to east 32.5 meter of length and 18 meters wide. The mosque consists of the corridor of the qiblah, the mihrab, the minbar, the courtyard of the mosque and the prayarea.

The wooden ceilings of the prayer hall are the most beautifully decorated aspect of the mosque. The mosque had three entrances, of which only the northern one was accessible to the common inhabitants outside the palace. The sultan had his own private entrance, accessible from the palace, which opened next to the mihrab inside the mosque. Its minaret is merely a small tower which does not surpass the height of the nearby walls of the palace (possibly an intentional design to avoid providing a view into the restricted grounds of the palace).

Internally the four walls of the room are marked with rectangular and square deep niches, perhaps devised originally as shelves. The curved ridge is exterior crowned with five kalasa finials at intervals. This annex was thought to be a tomb, but probably it was originally meant for the Imam's accommodation since it is still used for that purpose. Decoration on east side In decorating the building greater emphasis was given to architectural elements, such as flanking ornamental turrets of the doorway and mihrab projections, kiosks, cupolas, and lotus and kalasa finials.

On the courtyard's north side is the main entrance, while facing it across the courtyard, to the south, is a prayer hall that is much wider than it is deep. The prayer hall could be entered through three doorways with horseshoe arches: a large central one and two smaller ones on either side. The facades of the courtyard were decorated with niches or blind arches framed by carved wood and stucco decoration. The prayer hall was more heavily decorated, though the mihrab itself has lost any original ornamentation.

The central left The wooden mihrab, dating from 1154-60, which was once used for the Mashhad of Sayyida Ruqayya. (Now on display at the Museum of Islamic Art, Cairo.) The mashhad is an important example of Fatimid architecture, and bears resemblances to the Mashhad of al- Juyushi in its layout. Its entrance is preceded by triple-arched portico, as well as by two mihrabs (niches symbolizing the direction of prayer) on either side. Inside the mausoleum, the space is dominated by the shrine and cenotaph, but of great architectural significance are three more mihrabs.

At the center of the niche is a medallion that contains the name "'Ali" surrounded by five iterations of the name "Muhammad" linked together. The silver zarih (shrine or tomb enclosure) surrounding the cenotaph is a more recent donation from the Dawoodi Bohra, spiritual descendants of the Fatimids. It replaced a richly-crafted wooden zarih that stood there before and originally came from the nearby shrine of Sayyida Nafisa. The mashhad also housed a freestanding wooden mihrab which is considered one of the finest examples of its kind from the Fatimid period.

Much of this decoration has vanished already. Traces of similar decoration in enamel or glazed tile works are also to be scen on the interior of the dome, the walls and the cupolas on the outside. In a small arched recess above the mihrab on the outside wall is an inscription in two lines recording the completion of the tomb by his son and successor Salim or Islam Shah, some three months after the death of Sher Shah who died in A.H. 952 (A.D.1545). It is second largest dome of India.

Walking up to the mosque, visitors will be greeted by a massive gateway, which is the only entrance to the mosque that is protected by a surrounding wall. One can almost imagine the guards outside, still protecting this breathtaking building. The foundation and most of the building was constructed from bricks, although the outer walls, some interior walls, side screens and columns are of stone. Bunches of grapes and vines curve in an almost serpentine manner on the mihrab frames, and kalasas, tendrils, and rosettes are reduced to dots.

There is a fountain with four kiosks in its corners in the centre of the courtyard. The interiors of the western wall have a beautiful mihrab and pulpit in white marble. The Persian inscription in white marble inlaid with black stone on the archway of the central portal is in praise of Jahanara and Shah Jshan. The pristine beauty of the mosque must have been breathtaking as it was compared to the Beaty of the Baitul-Mamur, the fabulous mosque of rubies and pearls situated in the fourth sky.

Just after the conversion to mosque, to the building were added a mihrab, a minbar and a minaret. After the fire of 1919, the building fell into ruin (the roof collapsed and the minaret crashed already in the 1820s), but luckily it was thoroughly studied and surveyed by the German Archaeologist Paul Schatzmann in 1934/1935.Westphalen (1998), p. 5. According to the Greek scholar Alexandros G. Paspates, in the East part of the basement of the Mosque sprung a water source (, , ) dedicated to Saint John the Baptist, abandoned for a long time.

There are four entrances to the mosque, of which three open directly into the prayer hall while one opens into the courtyard. There is also an additional public entrance to the sahn from the north wall, along the central axis. The front elevation faces the street where book shops were located, hence the name "Booksellers' Mosque". There are two other private entrances to the mosque, one for the imam on the left side of the mihrab and the other for the Prince to enter directly into the maqsura.

The wall which encloses the main room of the mosque do not have any structural function; the entire roof was supported by the posts, typical of Javanese architecture. The mihrab of the mosque is a few elements of the building which indicates that the building is a mosque, as well as a couple of Arabic writings on the wall. Chinese plate ceramics are attached to the perimeter wall. It is said that the Chinese plate ceramics were wedding gifts when Sunan Gunung Jati married to Ong Tien Nio.

Aghlabid Dinar (early 9th century) in the collections of the museum. The museum specializes in medieval Islamic art and includes works from Kairouan and Raqqada sites and Al-Mansuriya, a former princely city built in the Fatimid period. Admission is vested in the Great Mosque of Kairouan and presents a reproduction of its mihrab and a model of the monument. Musée des arts islamiques de Kairouan (Musée sans frontières) The next room contains collections of ceramics dating from the times when Raqqada was occupied (9th and 10th centuries).

According to the memorial plaque next to the mihrab, the current mosque is the result of rebuilding an older one. According to some historians, it used to be a Hanafi mosque whose followers in Sfax were a minority and were almost all Turks, hence the name of the mosque. But other researchers suggest that the name of the mosque comes from its builder, Abdallah ben Mohamed ben Yahia Turki Pacha. This plaque dates back to 1706, date of the rise of Al Husayn Ibn Ali to the throne.

According to Oleg Grabar, the domes of the Islamic world, which rejected Christian-style iconography, continued the other traditions. Muslim royalty built palatial pleasure domes in continuation of the Roman and Persian imperial models, although many have not survived, and domed mausoleums from Merv to India developed the form. In the early centuries of Islam, domes were closely associated with royalty. A dome built in front of the mihrab of a mosque, for example, was at least initially meant to emphasize the place of a prince during royal ceremonies.

Those paying Jizya were subjected to insults and humiliation by the tax collectors. Zoroastrians who were captured as slaves in wars were given their freedom if they converted to Islam. Many fire temples, with their four axial arch openings, were usually turned into mosques simply by setting a mihrab (prayer niche) on the place of the arch nearest to qibla (the direction of Mecca). Zoroastrian temples converted into mosques in such a manner could be found in Bukhara, as well as in and near Istakhr and other Persian cities.

The mosque is large and slightly irregular in its floor plan due to multiple expansions and modifications over the centuries. The mosque's mihrab (niche symbolizing direction of prayer) and the ornamental arches near it are believed to date from its original construction, while the current courtyard (sahn) and much of the north-east section of the mosque is of a later construction. Most of the mosque is of a simple construction in the same hypostyle form of other Moroccan mosques. A well-proportioned minaret, 24 meters high and with decorated facades, stands on the mosque's western side.

The mihrab and minbar in main hall The main floor and the four levels of balconies make five floors in all; the number "5" represents the Five Pillars of Islam and also Pancasila, Staircases at the corners of the building give access to all floors. The main hall is reached through an entrance covered by a dome 8 meters in diameter; the number 8 symbolizes August, the month of Indonesian Independence. The interior design is minimalist, simple and clean-cut, with a minimum of stainless steel geometric ornaments. The 12 columns are covered with stainless steel.

214-15) The rising city's layout was organized around it, and together with the neighboring souqs, it formed the center of early Marrakesh's city life. The nearby Koubba Ba'adiyn was one of the monumental ablution fountains connected to it. When the Almohads defeated the Almoravids and captured Marrakesh in April 1147, the original mosque was deemed by the Almohad caliph Abd al-Mu'min to have an orientation error (its mihrab was pointing some six degrees south of Mecca) and was promptly demolished.Messier (2010: p.168) The Almohads erected a new reoriented central mosque on top of it.

The Al Sada Mosque in Djibouti City in the 1940s Islam was introduced to the Horn region early on from the Arabian peninsula, shortly after the hijra. Zeila, in adjacent Somalia's two-mihrab Masjid al-Qiblatayn, dates to the 7th century and is the oldest mosque in the city. In the late 9th century, Al-Yaqubi wrote that Muslims were living along the northern Somali seaboard. He also mentioned that the Adal kingdom had its capital in the city, suggesting that the Adal Sultanate (with Zeila as its headquarters) dates back to at least the 9th or 10th century.

The space between the mechouar courtyard and the mosque itself, The southeast wall of the mechouar courtyard is pierced by several gates. The leftmost gate, near the center of the wall, leads to a passage going towards the mosque. The next door to the right of this leads to small narrow ablutions room, and to the right of this is a larger gate leading to what is now a rectangular prayer hall with a mihrab, measuring 11.09 by 8.19 meters. This prayer hall, however, used to be a madrasa, the remains of which were still present in the early 20th century.

The earliest Fatimid mosque, Al- Azhar, was similar to the earlier Mosque of Ibn Tulun but introduced domed bays at both ends of the qibla wall, in addition to the dome in front of the mihrab, and this feature was later repeated among the mosques of North Africa. Later alterations to the mosque have changed its original form. The use of corner squinches to support domes was widespread in Islamic architecture by the 10th and 11th centuries. Egypt, along with north-eastern Iran, was one of two areas notable for early developments in Islamic mausoleums, beginning in the 10th century.

It also could have served as a caravanserai for merchants travelling along the Sea of Galilee or northeast from the lake shore to the coast. Khirbat al-Minya also served as a winter retreat for the governor of Tiberias or an alternative for the traditional summer retreat for the governor at Baysan. There is evidence that the palace was in use until at least the end of the Umayyad period in 750 CE. A strong earthquake hit the region, probably in 749. This damaged the building, causing a rift to run through the eastern wing, going straight through the mosque's mihrab.

This focal point of the architectural composition is plunged into darkness but bathed in a soft light green (the color of Islam) passing through the windows of the dome. The mihrab has the shape of a horseshoe, in white stone from Keddāl, and is supported by two columns of dark green marble. Inside is a rich sculptural decoration with two separate levels separated by a band of white marble covered with Qur'anic verses in Kufic characters. The lower level has nine vertical grooves ending in shell-shapes at their upper ends, above which are decorations of clover in high relief.

A different type of field design in a specific Islamic design tradition is used in prayer rugs. A prayer rug is characterized by a niche at one end, representing the mihrab, an architectural element in mosques intended to direct the worshippers towards the Qibla. Prayer rugs also show highly symbolic smaller design elements like one or more mosque lamps, a reference to the Verse of Light in the Qur'an, or water jugs, potentially as a reminder towards ritual cleanliness. Sometimes stylized hands or feet appear in the field to indicate where the worshipper should stand, or to represent the praying person's prostration.

A hidden specially designed mechanism integrated into the new mosque allowed for the minbar to advance and retract, seemingly on its own, from its storage room next to the mihrab; a feature at which contemporary observers marvelled. For reasons which are no longer well understood, Abd al- Mu'min decided to rebuild a second Kutubiyya Mosque right next to the first and nearly identical to it. The minbar was then moved to this second mosque while the first mosque was abandoned and eventually demolished. The minbar remained in use here until 1962, when it was moved into storage for protection.

The coating around them is decorated with blue plant motifs dating from the eighteenth century or the first half of the nineteenth century. The horseshoe arch of the mihrab, stilted and broken at the top, rest on two columns of red marble with yellow veins, which surmounted with Byzantine style capitals that carry two crossbeams carved with floral patterns, each one is decorated with a Kufic inscription in relief. View of the minbar; this pulpit, the oldest in existence, is still in its place of origin (in the prayer hall). It is protected by a glass panel.

Due to lack of documentation, the history of this mosque is still unclear. It is mentioned in registers of deeds of habous as well as in the inventory of monuments set by the students of the Military School of Bardo in the middle of the 19th century. The architectural style of the mihrab of this mosque suggests that it was built during the hafsid dynasty's reign. According to an epigraphic inscription that decorates the monument, the construction of the building is attributed to Al Kotti family, known for its famous constructors in the medina of Sfax.

The Istiqlal mosque of Sarajevo demonstrate postmodern interpretation of Islamic architecture as viewed from Indonesian perspective. The mosque built with simple geometric elements and patterns on metal-works made from stainless steel or aluminum and glass blocks applied on facade, windows and arches. The exterior were covered with white tiles, while the interior, especially in mihrab, minbar and window frames were adorned with Indonesian wooden carving of floral ornaments. Built on 2,800 square meters land on Otoka on western side of the city, the mosque is one among the largest mosque in Sarajevo and easily recognizable as the landmark in the neighborhood.

1960 image of the shrine entrance The tomb and the sarcophagus it houses were originally discovered in 1831, and at the time were enclosed by a wall with protective pillars, that have since been replaced by a more modern structure. At the foot of the tomb hill, there is an ancient three-domed mosque, which is believed to date from the time of the Mughal emperor, Aurangzeb (1618–1707). The interior of the mosque is sparsely decorated, while the mihrab on the qibla wall (indicating the direction of Mecca) has an identical projection on its opposite side.

In 1596, Aqir (Amir) appeared in Ottoman tax registers as being in the Nahiya of Ramla of the Liwa of Gaza. It had a population of 31 Muslim households and paid taxes on wheat, barley, and other produce.Hütteroth and Abdulfattah, 1977, p. 153 The mihrab in the mosque had an inscription above it dating it to 1701-1702 CE.The inscription was noted in 1950 by Mayer, but has since "disappeared" according to Sharon, 1997, p. 109 The scholar Edward Robinson passed by the village in 1838, and described it as being surrounded by "well-tilled gardens and fields of the richest soil".

The restoration works have revived the knowledge of adobe maintenance. The mosque has an old Quran, believed by the locals to have been given as a gift from heaven in 1650 to Yidan Barimah Bramah, the Imam at the time, as a result of his prayers. The mosque, built using West African adobe, has two tall towers in pyramidal shape, one for the mihrab which faces towards Mecca forming the facade on the east and the other as a minaret in the northeast corner. These are buttressed by twelve bulbous shaped structures, which are fitted with timber elements.

This resulted in part of the mosque collapsing and during the repair work it caused some distortions of the structural elements and the exterior of the mosque. Owing to the effect of prevailing winds and rains on the walls, the mosque has needed several renovations and restoration work which over the years have altered some of its exterior designs. In September 2002, a severe storm destroyed the mihrab and the minaret. As a result, the World Monuments Fund (WMF) placed the mosque on the 2002 World Monuments Watch, also considering the damage sustained after the inappropriate restoration in the 1970s.

The Ghana Museums and Monuments Board decided to restore the mosque and sought advice from CRAterre, an architectural firm based in Grenoble, France which has expertise in building earthen structures. The renovation work was supported by a WMF, with a grant fund of US$50,000 from American Express. The local community also provided support. The conservation process involved removal of the earlier cement plaster from the surfaces of the mosque, the wooden structural components were replaced, the minaret and the mihrab were reconstructed, the portal was redone, and the interior and exterior surfaces were plastered in the traditional way.

In the construction of three domes of Bibi-Khanym mosque, sophisticated in Timur's time, one important innovation was applied: a two-fold construction, where the internal dome hall neither by the form nor by height corresponds to the dome's shape from outside. There is a hollow space between the inner ceiling and the outer cupola. This dome construction allowed the main hall of the mosque to be committed to the proportions and the aesthetics of the 30 m high interior above the mihrab. Meanwhile, the 40 m high outer dome of the main building could be designed for maximal impression and visibility.

Islam entered the region very early on, shortly after the hijra. The two-mihrab Masjid al-Qiblatayn dates to the 7th century, and is the oldest mosque in the country, in the city of Zeila, which Ibn Battuta described as a Shiite city in the 14th century, and remained as such until Ottoman expansionism attempted to incorporate Horner and/or Cushite Sultans along the Horn African coast in the late 16th century.Nour, Tanq Mohamed. "Ottoman Efforts to Protect Somalia from European Powers." Proceedings of the International Symposium on Islamic Civilisation in Eastern Africa: Kampala, Uganda, 15–17 December 2003.

The Palm Mosque, (Jama’a Al-Nakheel) In 1982, Dr. Basil Al Bayati won the 1st prize in the King Saud Competition to build the main mosque for the university. His design incorporated extensively the motif of the palm trunk, as used in the very first Mosque of the Prophet in Medina. It was highly praised and was even claimed to "mark the beginning of a new era, a new revival in Islamic architecture." The interior calligraphy above the doors and in the mihrab was done by Ghani Alani, :fr:Ghani Alani the last of the Baghdad School of Calligraphy.

The mosque's interior is divided into three bays by two lateral cusped arches supported by stone piers embedded in the east and west walls. Yet the Directorate restored the do-chala roof on the veranda at the south of the tomb and the decorative features like engaged corner turrets. This appears to be the first use of lateral cusped arches in a Bengali mosque's interior, and was doubtless inspired by imperial mughal architecture. The central Mihrab, particularly noteworthy, is highly ornamented with Cyprus- filled kanjuras, ornate arabesque plastic relief in the spandrels, a cusped arch, and engaged colonettes standing on bulbous floral bases.

Remains of a cistern and the mihrab of an open-air prayer place () are registered protected cultural heritage in the park area. In 2000, the soil in the park area, which is one of the most popular recreation places in Istanbul, was loosened up by earth movers since the soil became hardened throughout the years like concrete endangering the trees. It was found that the growth of the tree roots stopped, bacteria and fungi population increased due to lack of oxygen in the soil. Fallen leaves could not merge with the hardened soil to make it nutrient for the vegetation.

The Palm Mosque at King Saud University, Riyadh In 1982, Al Bayati won the 1st prize in the King Saud Competition to build the main mosque for the university. His design incorporated extensively the motif of the palm trunk, as used in the very first Mosque of the Prophet in Medina. It was highly praised and was even claimed to "mark the beginning of a new era, a new revival in Islamic architecture." The interior calligraphy above the doors and in the mihrab was done by Ghani Alani, the last of the Baghdad School of Calligraphy.

The domes, often placed directly above the main prayer hall, may signify the vaults of the heaven and sky. As time progressed, domes grew, from occupying a small part of the roof near the mihrab to encompassing the whole roof above the prayer hall. Although domes normally took on the shape of a hemisphere, the Mughals in India popularized onion-shaped domes in South Asia which has gone on to become characteristic of the Arabic architectural style of dome. Some mosques have multiple, often smaller, domes in addition to the main large dome that resides at the center.

Some of the arches (around the mihrab, for example), are more elaborate polylobed and "lambrequin" (muqarnas-shaped) arches, all commonly found in Moorish architecture. Some of the pillars of the arches also feature small engaged columns with ornate capitals from the Almohad and Saadian periods. Additionally, in the outer aisles of the mosque (including the galleries around the courtyard) the wall-space around the arches is marked by bands and lines of stucco carved with geometric and arabesque patterns, very similar to those found in the Mouassine Mosque and Bab Doukkala Mosque from the Saadian period.

The mosque also had two gates on its eastern side and two more on its western side; on both sides, one gate led into the courtyard and another directly into the prayer hall to the south. On the eastern side of the mosque, the courtyard gate was at some point blocked off by the later construction of houses next to the mosque. Perhaps because of this, the remaining gate was also turned into a double gate with two doorways side by side. The southern wall of the mihrab also has several doorways that lead to an annex space used by the imam.

Worth noting about the interior of the various buildings of the total complex is the evidence that its architecture was influenced by Norman Sicilian qualities. One such instance of this influence is in the triple windows, which are "composed of two arched openings surmounted by an oculus", which reside in the upper level of the mausoleum façade. The same triple window placement can be seen on the madrasa's façade, corresponding to the mihrab. "The entire façade design with its double-framed and pointed recess arches recalls the façade of the Palermo Cathedral as it was before restoration".

The sanctuary of the madrasa "faces the courtyard with a tripartite two-storeyed façade consisting of a central arch flanked by two smaller ones, and surmounted by similar arched openings. These were originally surmounted by three oculi, one above two, and not only one, as is the case today." The mihrab of the madrasa has a horse-shoe arch similar to the mausoleum but is smaller and less elaborate than that of the mausoleum and its conch is marked with glass mosaics and mother-of-pearl, rather than marble mosaics. The deep red color used in the mosaics stands out.

Barsbay's mausoleum is accessed through the mosque. The interior of the mausoleum, unlike the interior of the mosque, has a mihrab and walls that are lavishly decorated with marble paneling and mosaics inlaid with mother-of-pearl, as are the floor and the sultan's cenotaph/tomb. Just below the dome, the pendentives of the chamber (the transition between the square chamber and the round base of the dome) are sculpted with muqarnas, as was common in Mamluk architecture. The exterior of the stone dome of the mausoleum is carved with a remarkable interlacing geometric star pattern.

The Emperor's Mosque (Bosnian: Careva Džamija, Turkish: Hünkâr Camii) is an important landmark in Sarajevo, Bosnia and Herzegovina, being the first mosque to be built (1457) after the Ottoman conquest of Bosnia. It is the largest single-subdome mosque in Bosnia and Herzegovina, built in the classical Ottoman style of the era. It was built by one Isaković-Hranušić who dedicated it to the Sultan, Mehmed the Conqueror, the conqueror of Constantinople. Considered one of the most beautiful mosques of the Ottoman period in the Balkans, the mosque features a roomy interior and high quality decorative details, such as the mihrab.

The Byzantine edifice was also roughly square in plan, with a single nave preceded by an atrium at NE and a projecting room on the east side. Due to its small dimensions, the building can hardly be identified as a church, but rather as an annex belonging to a monastery. The analysis of the brickwork during the restoration showed different construction phases, and revealed that the foundations and the surviving walls were made of brick and stone. Moreover, the surveys show that during the conversion into a mosque in 1506 the atrium and the wall of the Mihrab had to be rebuilt.

Sheikh Lotfollah Mosque, Isfahan, interior This mosque was the first to be constructed in the new Isfahan, before the grand mosque of the Shah. Its construction stretched over sixteen long years, but two dates (1616 on the dome and 1618 in the mihrab) tend to show that it was completed around 1618. The architect was Muhammad Riza ibn Husayn, and the calligrapher possibly Reza Abbasi, a great Persian painter and calligrapher. The plan of this mosque is rather unusual, with a winding, intentionally dim entrance which leads to a prayer room completely covered by a dome and open to a grand portal.

Interior view of the winter mosque, built as a typical hypostyle mosque. Inside, the acoustic properties and reflections at the central point under the dome is an amusing interest for many visitors, as the ingenuity of the architects, when creating the dome, enables the Imam to speak with a subdued voice and still be heard clearly by everyone inside the building. The mihrab, a large marble tablet ten feet tall and three feet wide on the southwestern wall, indicated the direction of Mecca. Above it the Shah's men had placed a gold-encrusted cupboard of allow wood.

Candelabras and lamps are hanging in an active maqam, a cenotaph is covered by a quilt (usually a green one), praying rugs are spread on the floor in front of the mihrab. As a rule, maqams were built on the top of the hills or at the crossroads, and besides their main function — shrine and prayer place, they also served as a guard point and a guiding landmark for travelers and caravans. Over the years, new burial places appeared near maqams; it was considered as honour to be buried next to a saint. Big cemeteries formed around many Muslim sanctuaries.

The domes may have been modeled on earlier wooden double shell domes, such as that of the Dome of the Rock. It is also possible, because the upper portions of both of the outer shells are missing, that some portion of the outer domes may have been wooden. These brick mausoleum domes were built without the use of centering, a technique developed in Persia. The Seljuq Empire introduced the domed enclosure in front of the mosque's mihrab, which would become popular in Persian congregational mosques, although domed rooms may have also been used earlier in small neighborhood mosques.

Two Gothic arches support the vault, consisting of simply crossed ribs. In the apse six ribs, resting on a clustered column, spring forth from the keystone. North of the apse is a sacristy the vaulting of which is supported by corbels with finely carved human heads. Above the sacristy is a lofty chamber, whose lower window looks onto the main church Both the mihrab (direction of Mecca) and minbar (pulpit) are on the right in this mosque It now functions as an art galleryLonely Planet Cyprus, By Lonely Planet, Josephine Quintero, 2012 and was previously a marriage registration office.

The use of this style, combined with the presence of two minarets and multiple half-domes surrounding the central dome -- features reserved for mosques built on the authority of the Sultan -- were a defiant declaration of de facto Egyptian independence. The main material is limestone likely sourced from the Great Pyramids of Giza but the lower storey and forecourt is tiled with alabaster up to 11,3 meters. The external facades are severe and angular and rise about four storeys until the level of the lead-covered domes. The mihrab on the southeastern wall is three storeys high and covered with a semicircular dome.

There is a mosque whose foundation was laid > from the first day on piety; it is more worthy of the standing forth > therein. In it are men who love to be purified; and God loves those who make > themselves pure. The inscription further continues: > The construction of ...Mashad...ordered by...Imam al-Mustansir....may the > blessing of God be upon him ...his Forefathers, the pure Imams.....make his > word prevail and deceive his enemies....as he seeks the good pleasure of > God..Moharram 478. The mihrab is elaborate with stucco carving with spandrels upon the arch.

With the gradual development of the area beginning in the late 1980s and the relocation of the villagers to modern public housing estates, the area was transformed into a suburb of posh private residential buildings and small but exclusive condominiums. As time went by, some renovations to the mosque were undertaken to cater to the needs of the worshippers and activities that were organised. The original asbestos roofing was replaced in the 1990s with metal roofing due to leaks. Still, many other original features of the mosque building like the minaret, dome and mihrab (niche in the wall) are intact.

On Friday night, 14 April 1978 a plastic bomb exploded near the mimbar in Istiqlal Mosque, no casualties in this explosion. More than 20 years later, on 19 April 1999 a second bomb attack exploded in basement of the mosque, breaking the glass of the office rooms. Between May 2019 to July 2020 the mosque undergone major renovation. Among other by polishing and cleaning the marble exterior and stainless steel geometric ornamentation, new mihrab and mimbar, upgrading electrical and plumbing systems, new lighting system using LED lamps, renovation of VIP rooms, new gates and improvements of garden, park and plaza, new kiosk for vendors, and also two storied basement parking space.

Guided by the extant plan, he incorporated a mosque (found 15 meters from the southeast of the main structure), a complicated water system including five cisterns and a considerably large water reservoir, and a bathhouse. Furthermore, situated to the west of the palace remains an enclosed structure probably used for agricultural purposes such as cultivating olive trees and/or grapevines. While only a one-layered stone footprint of the agricultural structure is still standing, three wall sections of the mosque, including the mihrab in the southern wall, remain intact. The main palace is constructed of black basalt and limestone and has a square floor plan with towers at each corner.

The calderia of early Islamic bath complexes at Amra, Sarraj, and Anjar were roofed with stone or brick domes. The caldarium of the early Islamic bath at Qasr Amra contains "the most completely preserved astronomical cupola decoration", a decorative idea for bath domes that would long continue in the Islamic world. The placement of a dome in front of the mihrab of a mosque probably began with the rebuilding of the Prophet's Mosque in Medina by Umayyad Caliph Al-Walid. This was likely to emphasize the place of the ruler, although domes would eventually become focal points of decoration and architectural composition or indicate the direction of prayer.

Buland Gate Jama Masjid The rectangular mosque comprises a central nave with a single dome, two colonnaded halls on either side, with two square chambers crowned with domes. Carved mihrabs adorn the main chamber and the two smaller rooms. The mosque marks the phase of transition in Islamic art, as indigenous architectural elements were blended with Persian elements. The pillared dalan of the facade, the liwan with three arched openings framed by panels and crowned by five chhatris and the central mihrab adorned with an inlaid mosaic of stones that are bordered by glazed tiles, and golden inscriptions on a royal blue background is a tribute to this fusion.

Islamic architectural features were added, such as a minbar (pulpit), four minarets, and a mihrab – a niche indicating the direction of prayer (qibla). From its initial conversion until the construction in 1616 of the nearby Sultan Ahmed Mosque, aka the Blue Mosque, it was the principal mosque of Istanbul. The Byzantine architecture of the Hagia Sophia served as inspiration for many other religious buildings from the Hagia Sophia, Thessaloniki and Panagia Ekatontapiliani to the Blue Mosque, the Şehzade Mosque, the Süleymaniye Mosque, the Rüstem Pasha Mosque and the Kılıç Ali Pasha Complex. The complex remained a mosque until 1931, when it was closed to the public for four years.

Other reputed locations of Jonah's tomb include the Arab village of Mashhad, located on the ancient site of Gath-hepher in Israel; the Palestinian West Bank town of Halhul, north of Hebron; and a sanctuary near the city of Sarafand (Sarepta) in Lebanon. Another tradition places the tomb at a hill now called Giv'at Yonah, "Jonah's Hill", at the northern edge of the Israeli town of Ashdod, at a site covered by a modern lighthouse. A tomb of Jonah can be found in Diyarbakir, Turkey, located behind the mihrab at Fatih Pasha Mosque.Talha Ugurluel, Dünyaya Hükmeden Sultan Kanuni: Gerçeklerin Anlatıldığı Bir Tarih Kitabı, Timas, 2013.

After the collapse of Macrobia, several ancient city-states, such as Opone, Essina, Sarapion, Nikon, Malao, Damo and Mosylon near Cape Guardafui, which competed with the Sabaeans, Parthians and Axumites for the wealthy Indo-Greco-Roman trade, also flourished in Somalia.Oman in history By Peter Vine Page 324 The Ifat Sultanate's realm in the 14th century. Islam was introduced to the area early on by the first Muslims of Mecca fleeing prosecution during the first Hejira with Masjid al-Qiblatayn being built before the Qiblah towards Mecca. The town of Zeila's two-mihrab Masjid al-Qiblatayn dates to the 7th century, and is the oldest mosque in Africa.

The mihrab (left) and minbar (right) of the mosque The mosque's interior also has an irregular layout mostly due to Ibrahim Agha's renovations which replaced most of the original cross-vaulting of the arcades with columns supporting a flat wooden ceiling. The only part of the mosque that continues to employ Aqsunqur's interior design is the qibla wall which uses cross-vaults that rest on octagonal-shaped piers. The technique of cross-vaults is a reflection of Islamic Syrian architectural influence. Along with the Mosque of Amir al-Maridani, the Aqsunqur Mosque has a hypostyle plan which is rare in Cairo and typically associated with Syrian style mosques.

Another key impact of Islamic rule on the architecture in Afghanistan was the introduction of the universal religious building of the mosque, with aspects of the basic structure dictated by the religion itself. A mosque must face Mecca, or qibla, the direction of prayer, and contain a mihrab or prayer niche within the qibla wall. An ablution area allows for the requirement of cleanliness before prayer, and a clean, covered floor allows for the touching of the head on the ground during prayer. With the Qur'an restricting depictions of animals or the human form, decoration of Islamic structures evolved with a more abstract aspect than previous eras.

Horseshoe arches were also used in the Great Mosque of Kairouan (the earliest surviving part being the mihrab of 862–863), the Mosque of Ibn Tulun in Cairo (completed 879), and in a slightly pointed form, in the Mosque of Muhammad ibn Khairun, Tunisia. Mudéjar style, developed from the 12th to the 17th centuries, continued the tradition of horseshoe arches in the Iberian Peninsula, which had been started in the 7th century by the Visigoths. In addition to their use across the Islamic world, horseshoe arches became popular in Western countries at the time of the Moorish Revival. They were widely used in Moorish Revival synagogues.

This layout had the consequence of making the mausoleum project outwards into Rumayla square and towards the Citadel, probably to make it more prominent when seen from the Citadel. The mausoleum chamber is accessed from inside the mosque, through a doorway to the left of the mihrab in the qibla wall. On the same wall, on the right side, there is a large, door-sized window which also opens to the mausoleum chamber. This window is distinguished by a set of doors which are notable for their exceptionally fine craftsmanship, made from copper-niello, inlaid with gold and silver, and featuring geometric star patterns and Thuluth-style Arabic inscriptions.

It, thus, is a combination of an over ground tomb with towers (which is common in most of the tombs) and an underground chamber for the crypt. Architecture on the wall of marble Mehrab at Sultan Ghari The octagonal grave-chamber with the crypt (tomb) in an underground opening is supported on four columns raised with two pillars each that support beams, and depict ancient Indian temple relics both on the columns and on the floor. The roof of the chamber is built in thick lime- concrete. The western qibla (prayer wall) which has the mihrab, is made of marble in exquisite Turkish and Afghan design.

The Minbar is made of wood and mother of pearl with geometric designs which creates a shine from the pearl and more ornament from the mosaics. On the other side of the Minbar is a Dikka, or columns in a mosque for the Imam to stand between to recite Quran from for everyone in the mosque to hea This Dikka also has an inscription band in late Mamluk style. The Mihrab or prayer niche is covered with inlaid marble and blue-glass plates, which is a symbol of the exceptional Mamluk tradition and culture. The walls are made with slabs of polychrome marble with intricate details and mosaics.

The Jameh mosque of Golpayegan was built in 1114 during the reign of the Seljuk Sultan, Abou Shoja Muhammad I. In the past, the exact construction date was unknown, but because of the name of Abou Shoja in the dome inscription, it was estimated that the construction date should be between 1105 and 1118, which was the reign era of Abou Shoja Muhammad I. But later, the archeologists found out by reading the inscription of mihrab that some of inscriptions are under the floor of shabestan. They found the inscriptions in shabestan. The construction date of the mosque was mentioned in the inscriptions and so the exact construction date was revealed.

The construction or foundation of the mosque dates from after that of the nearby al-Hamra Mosque and is thus likely from after the Marinid period. Boris Maslow (20th-century author who documented many of Fez's mosques) believed that the building's layout showed indications that it started out as a small interior space (near the mihrab today) and that it was subsequently expanded to the larger complex seen today. The expansion probably consisted of the courtyard (sahn) and its surrounding gallery, which, unusually, are wider than the main prayer hall itself and thus appear to have been added afterwards. The minaret of the mosque would also date from this expansion.

In 1827, it was enlarged by the addition of a minaret, minbar, mihrab, a new ceiling and a narthex (son cemaat yeri) and thus converted into a full mosque. The construction was financed by Ali Ruhi Efendi, the governor of Cyprus at the time, and the mosque was inscribed amongst the property of the newly founded Ali Ruhi Efendi Foundation on 24 December 1827 for maintenance. The responsibility for the maintenance changed hands over the course of the 19th century, as it was recorded amongst the property of Seyit Mehmet Ağa Foundation in 1906. Ali Ruhi Efendi also had a primary school (sıbyan mektebi) constructed next to the mosque.

However,the foyer in front of the mihrab is not well lighted since light from the latticed windows on the second floor do not penetrate this space. The approach to the roof of the mosque is from the east gate, and the view from the roof leaves a lasting impression of the geometrical design of the Mosque. The mosque's walls are of rubble masonry construction with plastered surface on the outside. The interior walls are bland but provided with traditional carved stone screens. The symmetrically designed admirable mosque is considered as one of “the finest architectural compositions of the Sultanate history.” It was considered Firuz Shah's architectural benefaction.

Within the central hallway, the main hall contains an octagonal, white marble fountain with a pool beneath the central dome—the highest dome in the mosque—which is illuminated by a lantern overhead. On either side of the pool, two further iwans lead to rooms for traveling dervishes, while a higher raised iwan directly behind the water (when seen from the central hall's entrance) leads to the prayer hall itself. In this iwan, there is a mihrab niche on the south (qibla) side of the mosque, as well as two sets of four windows. Immediately past the entrance of the Green Mosque lies a foyer.

Great golden mosque which is the largest of all the monuments in gaur, having an open square in front of 200 feet diameter, with handsome arched gateways in the middle of three of its sides the sanctuary, a rectangular structure of brick faced with stone is 168 feet long by 76 feet wide, its parapet 20 feet high forming a long shallow curve below which is spaced a series of eleven pointed arches between the octagonal turrets at the angles, its interior contains impressive aisles of arches carried in front of the western wall within which is a mihrab opposite each bay.Brown, Percy; Indian architecture; pp. 40.

Overall view of the mosque (circa 1900) Prayer hall and mihrab of the mosque ʻUqbah ibn Nāfiʻ, on his return from the victorious Battle of Vescera in the Atlas Mountains, was killed by the army of the Berber Christian king Kusayla ibn Lamzah in an ambush outside the town of Thouda in 683. His corpse was buried in the current Sidi Okba, and later the mosque was built on top of it for commemoration. It is not exactly recorded who built the mosque. Historians consider that it was the followers of Uqba who were captured during the battle, and later redeemed by the judges in Tunis from the prison.

The central Mihrab The three domes The promenade around the three domed prayer chamber, since there was no separate structure for study purpose, might have been used for open-air classes and the vaulted room with book-shelves on their walls underneath the platform may have been designed to provide residential accommodation for those who used to teach and study here. In that context Chawk Mosque may be regarded as the first known example of Residential Madrasa Mosque. It is an ingenious way of accommodating two structures-a madrasa and a mosque in a single building which not only saved space but also a considerable amount of money.

The tomb chamber is lit by unoriginal colored glass windows and is located on the north side of the mosque. Barsbay's cenotaph is located in front of the mihrab and is made of marble. The Al-Ashraf Mosque maintains a pronounced regional identity due to nature of the building craft and relative immobility of builders in comparison with other craftsmen – the visual exterior is tied to traditions and technique. The main inscription around the vaulted iwans is a rare example of a deed carved in stone, meant to serve as a perpetual reminder to the building's overseers how currency reserved for maintenance and personnel was to be spent.

The wooden maqsura in the alt= Maqsurah (Arabic مقصورة, literally "closed-off space") is an enclosure, box, or wooden screen near the mihrab or the center of the qibla wall in a mosque. It was typically reserved for a Muslim ruler (and his entourage) and was originally designed to shield him from potential assassins during prayer."Maqsurah", Encyclopædia Britannica Online The imam officiating inside the maqsurah typically belonged to the same school of law to which the ruler belonged.Gibbs, H.A.R. The Travels of Ibn Battuta (Munshiram Manoharlal, 1999) p127 There also may have been some spiritual connotation similar to the chancel screen in churches.

214 Hypothetically, the ancient Muslim mosque would correspond with the current transept of the cathedral, the Apostles' gate would be the entrance to the mosque and the Almoina ("alms") gate the mihrab. Stones from neighboring quarries in Burjassot and Godella were used to build the cathedral, but also from other more distant quarries such as those in Benidorm and Xàbia which came by boat. Some reasons for the simplicity and sobriety of Valencia Cathedral are that it was built quickly to mark the Christian territory against the Muslims, and that it was not a work by a king, but by the local bourgeoisie.Guarner Sanchis, Manuel, pp. 96-98.

Details of the mosque's alt= The mosque today also contains a minbar (pulpit next to the mihrab) that is sometimes cited as the most beautiful and accomplished work of its kind in Cairo. Like most Mamluk minbars of the period it is made of wood and inlaid with ivory across a surface decorated with complex geometric star patterns. One detail that differs from other minbars of this type is that the geometric patterns have slightly curved lines instead of straight lines, subtly enhancing their visual effect. The minbar originally belonged to the Mosque of al-Ghamri which was built in 1451 in the Bab al-Shari'a area of Cairo.

Consequently, mosque architects borrowed the shape of the bell tower for their minarets, which were used for essentially the same purpose – calling the faithful to prayer. The Dome of the Rock in Jerusalem is a notable Islamic dome Domes have been a hallmark of Islamic architecture since the 7th century. As time progressed, the sizes of mosque domes grew, from occupying only a small part of the roof near the mihrab to encompassing all of the roof above the prayer hall. Although domes normally took on the shape of a hemisphere, the Mughals in India popularized onion-shaped domes in South Asia and Persia.

The sharp dome of the mausoleum with a polygon rim and the triangle inference is similar to the dome at the mosque's mihrab front. Window with a coloured glass is placed on each of its 12 edges and unlike the mihrab's front dome, black stone is not used. The walls of the mausoleum are as thick as the walls of the mosque (), the difference from the mosque's qibla walls is the yellowish stones. It is also distinctive with being built completely by the fine shaped stones, unlike the mosque walls, which are built with rough stones in the middle and fine shaped stones surrounding.

Late stage: geometric, vegetal, and calligraphic patterns around the Mihrab at the alt=Elaborate late stage Islamic woodwork The beginning of the late stage is marked by the use of simple 16-point patterns at the Hasan Sadaqah mausoleum in Cairo in 1321, and in the Alhambra in Spain in 1338–1390. These patterns are rarely found outside these two regions. More elaborate combined 16-point geometrical patterns are found in the Sultan Hasan complex in Cairo in 1363, but rarely elsewhere. Finally, 14-point patterns appear in the Jama Masjid at Fatehpur Sikri in India in 1571–1596, but in few other places.

The mihrab in the Madrasa of Al-Nasir Muhammad The Madrassa of Al-Nasir Muhammad is located next to the mausoleum complex of his father, Sultan Qalawun, and that of the later Sultan Barquq, in the Bayn al- Qasrayn area. It is made of brick and has stucco designs and inscriptions on the exterior and interior. The inscription along the façade is in the name of Al-Nasir Muhammad, but ends with the original foundation date of 1296. This implies that after regaining the throne in 1299 Al-Nasir Muhammad replaced Al- Adil Kitbugha’s name with his own without altering the second part of the inscription.

The minaret of the Madrasa of Al-Nasir Muhammad The highly stylized and decorated stucco designs on the lower rectangular section of this minaret add another element of uniqueness to the Madrassa of Al-Nasir Muhammad. This is one of the only remaining stucco minarets in Cairo, and includes decorations of medallions, keel-arched niches, and sections filled with geometric and floral patterns. The medallions and keel-arched niches are similar to those of earlier Fatimid and Ayyubid decoration, and the floral patterns are characteristic of stucco carvings from this period. Some of the geometric patterns resemble those used in the mihrab of the al-Azhar Mosque.

Remains of the mihrab area of the first Kutubiyya Mosque, on the exterior northern wall of the current mosque. Abd al- Mu'min began construction of the first Kutubiyya Mosque in 1147, the same year that he had conquered the city. Adjoined to the walls of the former Almoravid kasbah, the mosque may have also been built on top of some of the former Almoravid palace's annexes and maybe even over a royal cemetery or mausoleum. The date of the first mosque's completion is unconfirmed, but is estimated by historians to have been around 1157, when it is known with some certainty that prayers were conducted in the mosque.

Caliph al-Mu'tadid () objected to this state of affairs, and in 893 expanded the Great Mosque by tearing down part of the Palace of the Golden Gate. The wall originally separating the two was left standing, but was now pierced by 17 arched gateways: 13 into the courtyard of the mosque, and four on the side aisles. The commander Badr al- Mu'tadidi was made responsible for the new portions of the mosque, which were named Badriyah after him. The remains of the original structure of Harun al- Rashid's time were cleaned and restored, while special care was given to the restoration and decoration of the mihrab, the minbar, and the maqsurah.

The most monumental entrance portal of the zawiya building is on its north side, at the foot of the minaret and at the end of a lane leading directly off the major souq street of Tala'a Kebira. This entrance leads into the sahn or main courtyard, which includes a central fountain of white marble dating from the reign of Moulay Ismail (18th century) as well as wall fountains used for ablutions (washing and ritual purification). At the south end of the courtyard stands the large mausoleum chamber, where Moulay Idris II's tomb is located. The walls and the mihrab of the chamber are richly decorated with carved and painted stucco, mosaic tiles (zellij), and white and black marble columns.

Some Moroccan minarets have octagonal shafts, though this is more characteristic of the northern parts of the country. Inside the main shaft a staircase, and in other cases a ramp, ascends to the top of the minaret. Medieval Moroccan mosques also frequently followed the "T-type" model established in the Almohad period. In this model the aisle or "nave" between the arches running towards the mihrab (and perpendicular to the qibla wall) was wider than the others, as was also the aisle directly in front of and along the qibla wall (running parallel to the qibla wall); thus forming a "T"-shaped space in the floor plan of the mosque which was often accentuated by greater decoration (e.g.

The nearby minbar (mosque pulpit) dates from this time too. In the northern section of the mosque is a large courtyard (sahn) with a central fountain to assist in ablutions. The courtyard is paved with zellij tiles and is surrounded on three sides by the prayer hall and its arches, while on its northern side is one of the main entrances to the mosque. From the courtyard the prayer hall can be entered through any of the surrounding arches, but the middle arch on the southern side of the courtyard, opposite the mosque entrance and corresponding to the archway of the central nave leading towards the mihrab, is surrounded by rich carved and painted stucco decoration.

Another unusual Spanish example from the late 12th or early 13th century is the dome of the in Torres Del Río, on the Way of St. James. The Way, a major pilgrimage route through northern Spain to the reputed burial place of St. James the Greater, attracted pilgrims from throughout Europe, especially after pilgrimage to Jerusalem was cut off. The difficulty of travel to Jerusalem for pilgrimage prompted some new churches to be built as a form of substitute, evoking the central plan and dome of Jerusalem's Church of the Holy Sepulchre with their own variant. The dome in this case, however, is most evocative of the central mihrab dome of the Great Mosque of Cordoba.

The use of double drums and corner squinches was commonly used to make the transition from square rooms to round domes. Decorations in Mamluk buildings concentrated on the most conspicuous areas of buildings: minarets, portals, windows, on the outside, and mihrab, qiblah wall, and floor on the inside. Decorations at the time may be subdivided into structural decoration (found outside the buildings and incorporate the medium of construction itself such as ablaq walls, plain or zigzag moldings, fishscale motifs, joggled lintels or voussoirs, inscriptions, and muqarnas) and applied decoration (found inside the buildings and include the use of marble marquetry, stucco, and glass mosaic). Mosques evenly spread with major concentration of madrasas around the Mansouri Great Mosque.

Maghsoudbeyk Mosque () is near the northeastern corner of Naqsh-e Jahan Square. It was built in 1601 by the order of Maghsoudbeyk, who was one of the very rich stewards of Abbas I. There is an inscription in the mihrab of this mosque, which is one of artworks of the famous calligrapher of the Safavid era Ali Reza Abbassi. It's said, after that Shah Abbas was very satisfied with this inscription, he ordered Ali Reza Abbassi to work on the inscriptions of Sheikh Lotfollah Mosque. Behind the entrance hall of the mosque in a small chamber, there's a tomb which is the tomb of Mir Emad, the art rival of Ali Reza Abbassi.

The shrine assumes the form of a fortified rectangle measuring 70 by 90 feet, and is capped by a low and sloped dome, with an exterior made of plain brick and inward sloping walls that may derive from Seljuk architecture from Central Asia. The use of wooden bands horizontally across the shrine, and use of both glazed and cut brick also represents the influence of Central Asian Seljuk architecture. The shrine reflects elements of military architecture, with semicircular bastions in each of the shrine's corners, as well as in the middle of 3 of the 4 walls. The western wall of the shrine features a small projection, indicating the location of the mihrab.

Later dynasties continued to embellish the mosque or gift it with new furnishings, though no works as radical as the Almoravid expansion were undertaken again. The Almohads (later 12th century and 13th century) conquered Fes after a long siege in 1145–1146. Historical sources (particularly the Rawd al-Qirtas) report a story claiming that the inhabitants of Fes, fearful that the "puritan" Almohads would resent the lavish decoration placed inside the mosque, hurriedly covered up some of the most ornate carvings and decorations from Ali ibn Yusuf's expansion near the mihrab. Although French scholar Henri Terrasse suggests this operation may have been carried out a few years later by the Almohad authorities themselves.

Also behind the southern wall of the mosque, but to the east of the mihrab axis, is the historic library of the mosque and university. It is sometimes cited as the world's oldest library that has remained open to the present day. (Though the library of Saint Catherine's Monastery in Egypt is also claimed to be older.) The first purpose-built library structure was added to the mosque by the Marinid sultan Abu Inan Faris in 1349 CE, though it was located at the mosque's northeastern corner instead of to the south. This first structure still exists today, embedded near the women's section of the mosque, and consists of a square chamber measuring 5.4 meters per side.

Inside, the chamber is even more lavishly decorated, with multicolored marble mosaic paneling on the lower walls and a large painted inscription of the Throne Verse, carved in wood, running around the entire chamber above this. The marble mihrab is similar to the one in the main qibla iwan of mosque. The square chamber transitions gradually to the round dome (12 meters in diameter) with the use of wooden pendentives, typical of Mamluk architecture, which are sculpted into muqarnas forms and richly painted and gilded. The cenotaph at the middle of the mausoleum chamber is dated to 1384, but Sultan Hasan's body was never found after he was killed, and as such he was never buried here.

Then, they washed the interior of the mosque to make it ready for the first Friday prayer that it would host on 15 September, which was attended by the commander Lala Mustafa Pasha and saw the official conversion of the cathedral into a mosque. During the same year, the two minarets were added, as well as Islamic features such as the mihrab and the minbar. The first imam of the mosque was Moravizade Ahmet Efendi, who hailed from the Morea province of the Ottoman Empire. All imams maintained the tradition of climbing the stairs to the minbar before Friday sermons while leaning on a sword used during the conquest of Nicosia to signify that Nicosia was captured by conquest.

He states his belief that this is the site of ancient Usha and speculates that the ruins of a finely built edifice in which there are the remnants of many columns was a synagogue. He then says a synagogue of Ousha should be constructed if there is not already such a place of worship in the vicinity. Also noting the presence of the domed wali of Neby Houchan consecrated to the prophet Hosea, he cites the Muslim tradition that this prophet is here interred. He describes the shrine as being constructed of what appear to ancient stones, with what seems to be a mihrab at its base, noting there are shreds of clothing strewn and floating about it.

The early mosques in Kerala consequently resemble the traditional building of the region. Arabic style of architecture was introduced to the Malabar area of present-day Kerala, during the period of occupation by Hyder Ali and later by Tipu Sultan during the eighteenth century. A large number of temples were converted to mosques during this period as evidenced by the traditional Kerala style of these structures. Miskal Mosque has three-storeyed gabled roofs with windows which offers an alternative to minarets in traditional Kerala style In plan the mosque comprises a large prayer hall with a mihrab on the western wall (since Mecca is west to Kerala) and covered verandah all around.

Even from behind, however, the mosque was recognizable by its large wooden dome that was above the mihrab in the middle of the qibla wall, marking the direction of Mecca. Each entrance was topped with a minaret, meaning Baybars's mosque had one minaret more than the mosque of al-Hakim. Reportedly, Baybars wanted the portals to the mosque to resemble his madrassa, however they lack the same architecture or decoration, instead also resembling more closely the mosque of al-Hakim as well. Large pointed arches create the walls for the Mosque's courtyard while they also provided the support for the dome, which was the first of its kind to be built anywhere in Egypt.

They rise higher than the verandah roof and support the magnificent and lofty dome which is one of the largest domes in India. Surrounding the main dome are eight pillared cupolas on the corners of the octagon of the chamber walls. The interior of the tomb is sufficiently well ventilated and lighted through large windows on the top portion of the walls fitted with stone jalis in varying patterns. The jambs and spandrils of the arch of the mihrab on the western wall were once profusely adorned with verses from the Quran and inscriptions, with glazed tiles of various colours arranged in geometrical patterns and with floral carvings in stone enclosed in enamel borders.

The Asbät gate is located on the northern wall of the Haram al-Sharif and it is in the double gateway also, it is almost directly opposite Ahwab Mihrab Mariam. The entrance to the gate is impressively decorated. There has the single opening of a semicircular arch with a distinctive 45-degree chamfer and segmental inner arch at the part of the gate that has reached the present time, also the masonry of the wall shows that there are two gates because 1.20 meters of the gate wall reaches to the west side. According to Ratrout, the Early Muslim architecture of Bab al-Asbät and its dimensions coincide with those of Bab al- Hashmi.

The Syria-Lebanon Room Originally a library built in 1782 in a wealthy Damascan merchant's home, the Syria-Lebanon Room was moved intact to its location in the Cathedral of Learning following a six-year effort to fund and install the room by the Syrian and Lebanese communities in Pittsburgh. Because of the fragility and pricelessness of the furnishing, it has been closed for class use and is one of two display rooms. The linden-paneled walls and ceilings are decorated with “gesso painting,” a mixture of chalk and glue applied by brush in intricate relief, then painted and overlaid with silver and gold leaf. The room features a (now improperly oriented) mihrab with a stalactite vault traditionally housing the Koran and prayer rug.

There are some muqarnas domes of the Iraqi type, but most domes are slightly pointed hemispheres on either muqarnas pendentives or double zones of squinches and made of masonry, rather than brick and plaster. The domes cover single bay structures or are just a part of larger constructions. Syrian mausoleums consist of a square stone chamber with a single entrance and a mihrab and a brick lobed dome with two rows of squinches. The dome at the Silvan Mosque, 13.5 meters wide and built from 1152–1157, has an unusual design similar to the dome added to the Friday Mosque of Isfahan in 1086-1087: once surrounded by roofless aisles on three sides, it may have been meant to be an independent structure.

Similar to the first mosque, Al-Azhar Mosque, it had some fourteen gates but was later destroyed by fire, leaving only its "green mihrab". Durzan is also credited with ordering construction of the Qarafa Palace, a public bath, cistern, or pool, and a royal garden and hydraulic pump for the Abu'l-Ma'lum fortress. She also ordered a well to be built in the courtyard of Ibn Tulun Mosque in 995, a pavilion overlooking the Nile called Manazil al-izz, and her own mausoleum in Qarafa. The Armenian vizier Badr al-Jamali was also a noted builder, sponsoring numerous state architectural projects and restoration works during his rule from 1074–1094, particularly with mosques, restoring minarets in Upper Egypt and building mosques in Lower Egypt.

The western building is a mosque and the other is the jawab (answer), thought to have been constructed for architectural balance although it may have been used as a guesthouse. Distinctions between the two buildings include the jawab's lack of a mihrab (a niche in a mosque's wall facing Mecca), and its floors of geometric design whereas the floor of the mosque is laid with outlines of 569 prayer rugs in black marble. The mosque's basic design of a long hall surmounted by three domes is similar to others built by Shah Jahan, particularly the Masjid-i Jahān-Numā, or Jama Masjid, Delhi. The Mughal mosques of this period divide the sanctuary hall into three areas comprising a main sanctuary and slightly smaller sanctuaries on either side.

The Friday mosque of Neyriz was built in at least three phases, spanning Buyid, Seljuk and Il-Khanid rule in the Fars province. An inscription on the great qibla iwan indicates that the mihrab was built in 973, which is probably the date when the qibla iwan and the minaret were constructed and enclosed within the precinct walls. Identified as "iwan-mosque," the pre-Islamic typology of the Masjid-i Jami' in Neyriz, Bamiyan and Nishapur has led some scholars to believe that their mihrabs and minarets may have been appended to Zoroastrian fire temples. At Neyriz, the northwest iwan facing the original sanctuary was erected at a later date, followed by the addition of two rows of lateral arcades along the courtyard and iwan walls.

Albarello with fleur-de-lys decoration, early 14th century, Syria, musée du Louvre By this period the distinctive Islamic tradition of decorated wall tiles had emerged, and continued to develop together with vessel pottery in a way unique to Islamic art. In the account of Ibn Naji (circa 1016) the Caliph sent, in addition to tiles, “a man from Baghdad” to Qairawan to produce lustre tiles for the mihrab of the Great Mosque (still well preserved). Georges Marcais suggested that Iraqi potters indeed came to Quairawan. The arrival of this Baghdadi potter must have led to the establishment of a satellite centre for the production of ceramics in Quairawan, but no information has yet been developed to confirm or deny this suggestion.

In 1497–1498, shortly after the Fall of Constantinople and during the reign of Sultan Beyazid II (1481–1512), the south church was converted into a mescit (a small mosque) by the Ottoman dignitary Fenarizade Alâeddin Ali ben Yusuf Effendi, Qadi 'askerThe Qadi 'asker ("Army-Judge") was the supreme military magistrate, and was one of the most important figures in the State organisation of the Ottoman Empire. of Rumeli, and nephew of Molla Şemseddin Fenari, whose family belonged to the religious class of the ulema. He built a minaret in the southeast angle, and a mihrab in the apse. Since one of the head preachers of the madrasah was named Îsâ ("Jesus" in Arabic and Turkish), his name was added to that of the mosque.

The Islamic heritage of Jerusalem was maintained by the successor to the Prophet, caliphs, begin with, such as Umar and Abd al-Malik, but also by sultans the likes of Salah al-Din, al-Malik al-Nasir Muhammad, and Qayt Bay, and viceroys such as al-Amir al-Nashashibi. Evidence of these rulers' veneration for Quds is found not only in their exploits as recorded by Mujir al-Din but also in the institutions they founded and patronized, the monuments that survive. The one of that is the Fountain of Qayt Bay. Placed on a raised prayer platform, together with a freestanding mihrab, the Fountain of Qayt Bay is a three-tiered structure over 13 metres high, consisting of a base, a transition zone and its dome.

When the enclosure was controlled by crusaders, access was occasionally possible. One account, by Rabbi Benjamin of Tudela dating from 1163 CE, states that after passing through an iron door, and descending, the caves would be encountered. According to Benjamin of Tudela, there was a sequence of three caves, the first two of which were empty; in the third cave were six tombs, arranged to be opposite to one another.International Standard Bible Encyclopedia These caves had been rediscovered only in 1119 CE by a monk named Arnoul, after an unnamed monk at prayer "noticed a draught" in the area near the present location of the mihrab and, with other "brethren", removed the flagstones and found a room lined with Herodian masonry.

Though Durgadas Rathore of the Rathore clan who was ambitious of conquering Jodhpur from the Mughals, took advantage of this opportunity and fought a war to prevent Aurangzeb getting hold of Ajit, he tore through Delhi with his men and successfully escorted the Prince and the widows of Jaswant Singh to Jodhpur. After Aurangzeb's death, during Shah's half brother Muhammad Azam Shah's rule Ajit marched to Jodhpur and took it from Mughal rule. In Amber he announced his intention to march to Jodhpur when Mihrab Khan defeated Ajit Singh at Mairtha, and he reached the town on 21 February 1708. His men were sent to bring Singh to the city for an interview with him, where Singh received "special robes of honour" and a jewelled scarf.

The mosque is > a large roofless building containing twelve square pillars of rude masonry, > and the Mihrab, or prayer niche, is denoted by a circular arch of tolerable > construction. But the voice of the Muezzin is hushed for ever, and creepers > now twine around the ruined fane. The scene was still and dreary as the > grave; for a mile and a half in length all was ruins — ruins — ruins." Richard Francis Burton (1856) also describes when he visited the battlefield: > "Thence we proceeded to the battle-field, a broad sheet of sandstone, > apparently dinted by the hoofs of mules and horses: on this ground, which, > according to my guides, was in olden days soft and yielding, took place the > great action between Aububah and Darbiyah Kola.

However, though the qibla facades of most such buildings remain unadorned, that of the Sat Gambuj Mosque is decorated with recessions within moulded panels, the middle portion delineated by two slender pilasters slightly protruding. These are much bigger than those usually seen at the front. The three central panels have an arch- shape on the lower part. The mosque has three cusped entrance arches, the middle one being taller and edged with multi-foil arch, a late-Mughal refinement, flanked by shallow niches and rectangular panels and echoed by mihrabs on the qibla wall, slender engaged pilasters with bulbous base demarcating the central bay, mihrab surface embellished with moulded plaster relief, corner turret stretched above merlon parapet with pinnacles, single, openings on side walls, etc.

The mihrab of a Umayyad Mosque in Damascus; this niche in the masjid's wall orients Muslims in prayer towards Mecca. In Islam, the direction of prayer is known as the qibla and this direction is towards the Sacred Mosque (al-Masjid al-Ḥarām) of Mecca. Originally the qibla of Muhammad and his followers in Medina was towards Jerusalem, but it was changed to Mecca after the Quranic verses (Al-Bakarah 2:144, 2:145) that Muslims believe was revealed in the second Hijri year (624 CE), about 15 or 16 months after Muhammad's migration to Medina. If a person does not know which direction they are facing, that individual should pray in the direction that he/she feels is towards Mecca.

After the Islamic conquest of Persia, Zoroastrian fire temples, with their four axial arch openings, were usually turned into mosques simply by setting a mihrab (prayer niche) on the place of the arch nearest to qibla (the direction of Mecca). This practice is described by numerous Muslim sources; however, the archaeological evidence confirming it is still scarce. Zoroastrian temples converted into mosques in such a manner could be found in Bukhara, as well as in and near Istakhr and other Iranian cities, such as: Tarikhaneh Temple, Jameh Mosque of Qazvin, Heidarieh Mosque of Qazvin, Jameh Mosque of Isfahan, Jameh Mosque of Kashan, Jameh Mosque of Ardestan, Jameh Mosque of Yazd, Jameh Mosque of Borujerd, Great Mosque of Herat as well as Bibi Shahr Banu Shrine near Tehran.

Compared to other Moroccan mosques, the Barrima Mosque's form and layout are unusual. Rather than a sahn, the mosque's large square courtyard (measuring 35 by 35 meters) was referred to as a mechouar (an official royal square). Between this and the prayer hall was a vestibule alongside two waiting rooms for the sultan and government officials. The prayer hall, measuring 15 by 25 metres, is smaller than the courtyard and does not follow the usual form of prayer halls in Moroccan mosques: instead of a hypostyle space with rows of arches, it is composed of a large square chamber covered by a cupola resting on 12 columns and of another rectangular space in front of the mihrab (niche symbolizing the direction of prayer).

The mosque's main entrance is to the north, aligned with the mihrab (see below) at the opposite end of the building and leading into the courtyard. The entrance is doubled: to the left (east) of the main gate is another gate. This resembles the arrangement of the double northern gate of the Qarawiyyin Mosque (named Bab al-Ward and Bab al-Hafa), whereby one gate featured a water channel which allowed visitors to wash their feet as they entered, while the other gate was a regular entrance. However, it seems likely that in this case the second gate was designed to give direct access to a walled-in gallery section in the northeastern corner of the courtyard which was reserved for women coming to pray.

The Fethiye Mosque is located on the northern side of the ancient Roman Agora in Athens, near the Tower of the Winds, and was built on the ruins of a Christian basilica from the middle Byzantine period (8th/9th centuries). The Christian church was converted into a mosque in 1456/58, soon after the Ottoman conquest of the Duchy of Athens, to coincide with the visit to the city by Sultan Mehmed the Conqueror in 1458.Ottoman mosques cast historic light in Greek capital Only a fragment of the mihrab survives from this mosque, which was demolished and replaced by the present structure between 1668 and 1670. The new mosque comprises a porch and a large rectangular main hall, crowned by a dome supported by four pillars.

Isparta carpets came in a standard quality, which enhanced their commercial value and demand. Their main feature was the cotton weft and the use of asymmetric knotsStone, P., Oriental Rugs: An Illustrated Lexicon of Motifs, Materials, and Origins Many of them belonged to the prayer-rug type, with triangular patterns which remind of a mihrab. The Isparta type rug, considered by Kahramanos, a standardized product of the 19th century, is woven with double- stranded yarns and in a smaller number of knots; their initial patterns were imitating popular Asia Minor styles, particularly those of Uşak, with a central medallion, decorated corners and lively colours. Soon, they turned to imitating Persian style, which proved much more popular in the western markets, particularly that of the United States.

A maqsura was also created by the first Umayyad caliph Muawiyah I in the Umayyad Mosque of Damascus, where the so-called "Mihrab of the Companions (of the Prophet)" belonged to the "Maqsura of the Companions". Other maqsuras were also built in the same mosque at later points. The oldest maqsura in the Islamic world to be preserved in situ is the wooden maqsura of the Great Mosque of Kairouan, commissioned by the Zirid ruler al-Mu῾izz ibn Badis and dating from the first half of the 11th century (though later restored in the 17th century). It is located directly to the right of the mosque's minbar, and is notable for its woodwork which includes an elaborately carved Kufic inscription dedicated to al-Mu'izz.

The area is also covered by three richly- crafted domes above. Maqsuras continued to be built for some mosques throughout the Islamic world afterwards, though the term also came to denote other kinds of rooms or spaces which do not appear to have been necessarily reserved for the ruler. No clear early examples of maqsuras survive in Iran, but the earliest preserved example appears to be a richly-decorated balcony in the 10th-century Great Mosque of Na'in. The term maqsura is later applied to the domed space in the front of the mihrab in the Great Mosque of Qazvin and maybe also in the Great Mosque of Isfahan (to which Nizam al-Mulk added a large dome in the late 11th century).

The Mausoleum of Sultan Qalawun in Cairo is considered by many to be the second most beautiful mausoleum, succeeded only by the Taj Mahal in India. Al-Nuwayri (an Arab Historian), has said in his book Nihayet al Irab (The Utmost Desire), that the Mausoleum was not intended to become a burial site, but a Mosque and a school, and that it was first used as a tomb when he died, and hosted his body. His body was kept in the Cairo Citadel for two months until the tomb was ready to replace the Citadel's Burial location, later when Qalawun's son died, he too was buried in the Mausoleum. The mihrab of the mausoleum is often considered as the most lavish of its kind.

As often as Zechariah entered Mary's prayer chamber, he found her provided with food and he would ask her where she received it from, to which she would reply that God provides to whom He wills. Scholars have debated as to whether this refers to miraculous food that Mary received from God or whether it was normal food. Those in favor of the former view state that it had to be miraculous food, as Zechariah being a prophet, would have known that God is the provider of all sustenance and thus would not have questioned Mary, if it was normal food. Imam Ja'far al-Sadiq narrates that when Maryam was grown, she would go into the mihrab and put on a covering so no one saw her.

The minbar (pulpit) of the mosque, kept next to the mihrab, follows in the artistic style and tradition of previous Almohad minbars and of the Almoravid-era Minbar of the Kutubiyya Mosque. Its form seems to be inspired in particular by the minbar of the Kasbah Mosque (a mosque which was also repaired and restored by Sultan Abdallah al-Ghalib). It is made of a combination of different-coloured woods including cedar and ebony, and its decoration mixes marquetry, ivory or bone inlay, and panels with sculpted reliefs to form both geometric and plant motifs. Scholars have argued that while the quality of its craftsmanship does not live to its predecessors, it does show originality and a continued effort to adopt new forms into the decorative schema.

Al-Maqrizi called this “mosque is one of the most sublime mosques in Egypt (smith).” It is located opposite the Khanqah. The foundation is said to have been built for Shaykh Akmal al-Din al-Rumi, who was the principal of twenty Sufis attached to it and was ultimately buried within the khanqah. The mosque has an unusual layout and instead of increasing wall thickness to maintain internal symmetry, as was the standard practice, the prayer hall has an irregular shape with walls that are not parallel. The walls shadow the layout of the surrounding streets and “this unconventional layout allows the mausoleum to communicate with the sanctuary through a window” (Cairo of the Mamluks) This window replaced the mausoleum’s mihrab.

"In 1841 Montefiore obtained for the Jews the key of the Tomb, and to conciliate Moslem susceptibility, added a square vestibule with a mihrab as a place of prayer for Moslems." According to the 1947 United Nations Partition Plan for Palestine, the tomb was to be part of the internationally administered zone of Jerusalem, but the area was occupied by The Hashemite Kingdom of Jordan, which prohibited Jews from entering the area. Following the Israeli occupation of the West Bank in 1967, though not initially falling within Area C, the site has come under the control of the Israeli Ministry of Religious Affairs.Michael Dumper, The Politics of Sacred Space: The Old City of Jerusalem in the Middle East Conflict, Lynne Rienner Publishers, 2002p.147.

It is unknown if the first Kutubiyya Mosque had a minaret, though some historians have suggested that a former bastion of the Almoravid kasbah (Ksar el-Hajjar) on the mosque's northeastern corner may have been converted into the mosque's first minaret, whose remains might have been visible even as late as the beginning of the 19th century. It is unclear when exactly the first Kutubiyya Mosque disappeared, but its layout is well-known thanks to modern excavations starting in 1923. The excavated foundations of the mosque, as well as the outline of its mihrab and qibla wall, are still visible today on the second mosque's northwestern side. Also visible today nearby are the uncovered vestiges of the Ksar el-Hajjar to which the mosque was adjoined.

Prominent examples of mosques with vernacular Minangkabau designs are Bingkudu Mosque, founded in 1823 by the Padris, and Jami Mosque of Taluak, built in 1860. In West Sumatra, there is also a tradition of multi-purpose religious architecture known as surau which is often built in vernacular Minangkabau style as well, with three- or five-tiered roofs and woodcarvings engraved in the facade. Vernacular style mosques in Kalimantan is influenced by the Javanese counterparts, exemplified by the Banjar architecture which employs three- or five-tiered roof with the steep top roof, compared to the relatively low-angled roof of Javanese mosque, and the employment of stilts in some mosques, a separate roof on the mihrab. Prominent examples including Heritage Mosque of Banua Lawas and Jami Mosque of Datu Abulung, both in South Kalimantan.

This grand mosque stands at the center of a külliye (complex of a hospital, school, library and/or baths around a mosque) which comprises a medrese (Islamic academy teaches both Islamic and scientific lessons), a dar-ül hadis (Al-Hadith school), a timekeeper's room and an arasta (row of shops). In this mosque Sinan employed an octagonal supporting system that is created through eight pillars incised in a square shell of walls. The four semi domes at the corners of the square behind the arches that spring from the pillars, are intermediary sections between the huge encompassing dome ( diameter with spherical profile) and the walls. While conventional mosques were limited by a segmented interior, Sinan's effort at Edirne was a structure that made it possible to see the mihrab from any location within the mosque.

When the Ottomans conquered Albania, they plundered the church and turned it into a mosque, by adding a dikka, a mihrab and a large minaret. The mosque was named after the Ottoman Sultan Selim I. The trouble that Skanderbeg caused to the Ottoman Empire's military forces was such that when the Ottomans found the grave of Skanderbeg in the St. Nicolas they opened it and made amulets of his bones, believing that these would confer bravery on the wearer. The St. Nicolas' Church was rebuilt by the Ottomans elsewhere in return as a gesture of tolerance towards Christians. The Selimiye mosque was one of the last buildings from the Middle Ages in Lezhë and did not survive during the dictatorship of Enver Hoxha, who destroyed all mosques in Lezhë.

The stone canopy above the more visible known entrance to the caves The caves under the enclosure are not themselves generally accessible; the waqf have historically prevented access to the actual tombs out of respect for the dead. Only two entrances are known to exist, the most visible of which is located to the immediate southeast of Abraham's cenotaph on the inside of the southeastern section. This entrance is a narrow shaft covered by a decorative grate, which itself is covered by an elaborate dome. The other entrance is located to the southeast, near the mihrab, and is sealed by a large stone, and usually covered by prayer mats; this is very close to the location of the seventh step on the outside of the enclosure, beyond which the Mamelukes forbade Jews from approaching.

The mihrab had two sets of verses from the Quran inscribed in the conch, which is still intact. The first set of verses are the three that open al-Mu’minoon: > Successful indeed are the believers – who are humble in their prayers – and > who avoid vain talk The next inscription is made up of verses 162 and 163 of al-An'am: > Say: Surely my prayer and my sacrifice and my life and my death are (all) > for Allah, the Lord of the worlds – No associate has He; and this am I > commanded, and I am the first of those who submit. These inscriptions are the only surviving piece of decoration that has been definitively traced to the Fatimids. alt=Five keel shaped arches (and part of a sixth) are visible.

Nonetheless, the mosque still shares many similarities to other Almohad or medieval mosques in the region, as its construction was more or less contemporary with the Koutoubia Mosque in Marrakech, the Hassan Tower in Rabat, and the Almohad Mosque of Seville (replaced by a cathedral but preserving elements like its minaret, the Giralda). For example, even though the proportions of the prayer hall are much reduced, the central aisle that leads from the courtyard to the mihrab in the qibla wall and the aisle that runs along the qibla wall are emphasized architecturally in their width and decoration, a standard feature of classic Moroccan and Andalusian mosques sometimes referred to as a "T-plan" or "T-type" (because the two aisles together form a "T" shape on the floor plan).

One of the main characteristics of Banjar mosque is the three- or five-tiered roof with a steep top roof, compared to the relatively low-angled roof of Javanese mosque. Another characteristic is the absence of serambi (roofed porch) in Banjarese mosques, a traditional feature in Javanese mosques. The Banjarese mosque style is similar with the mosques of West Sumatra and are possibly related to other examples from peninsular Malaysia. Other characteristics are the employment of stilts in some mosques, a separate roof on the mihrab, the peaks of the roof are decorated with finials called pataka (the mustoko/memolo of Demak Sultanates) made of Borneo ironwood, ornaments on the corner of the roofs called jamang, and fences within the perimeter of the mosque area called kandang rasi.

Many of the muqarnas compositions are further decorated with intricate reliefs of arabesques and Arabic inscriptions in both Kufic and cursive letters. Additionally, there are several elaborately carved bronze chandeliers hanging in the nave which were gifted to the mosque during the Almohad and Marinid eras; at least three of which were made from bells (probably church bells) brought back from victories in Spain. To the right of the mihrab is the minbar (pulpit) of the mosque, which could also be stored in a small room behind a door in the qibla wall here. The minbar is most likely of similar origins as the famous Almoravid minbar of the Koutoubia Mosque, made by a workshop in Cordoba not long after the latter and installed in the Qarawiyyin Mosque in 1144 (at the end of the Almoravid works on the mosque).

Upper part of the mihrab decorated with lusterware tiles (dating from the 9th century) in the Mosque of Uqba, Tunisia Tile, Hopi Pueblo (Native American), late 19th–early 20th century A tile is a manufactured piece of hard-wearing material such as ceramic, stone, metal, or even glass, generally used for covering roofs, floors, walls, showers, or other objects such as tabletops. Alternatively, tile can sometimes refer to similar units made from lightweight materials such as perlite, wood, and mineral wool, typically used for wall and ceiling applications. In another sense, a "tile" is a construction tile or similar object, such as rectangular counters used in playing games (see tile-based game). The word is derived from the French word tuile, which is, in turn, from the Latin word tegula, meaning a roof tile composed of fired clay.

The structure plan Interior view of the southern and western side of the yard of Deir-e Gachin Caravansarai View from rooftop at night The structure of the caravanserai is a 109 in 108 meter square (approximately 12000 square meters) with four circular towers at the corners and two towers in the form of half- oval at both sides of the main entrance which is in the middle of the southern wall. The architecture of this structure is in four-iwan form which includes 44 rooms or chambers, 4 big halls (stables), mosque, private shabestan, fodder barn, gristmill, bathroom and toilet. The materials used in Deir-e Gachin are brick, lime, adobe and plaster. Rock is used only in gristmill, mihrab of the mosque and the upper part of the gate which do not exist now.

In the rectangular floor plan of the original mosque there were three aisles and rows of arches to the west, east, and south of the courtyard, while on the north side was a single aisle forming a gallery. The Wattasid-era expansion, however, added an irregular quadrilateral extension to the west, with an oblique outer wall, making the overall floor plan today asymmetrical. On the southern (qibla) wall of the prayer hall, the mihrab (niche symbolizing the direction of prayer) is aligned with the central axis of the courtyard. The original entrance of the mosque was likely located on this same axis, on the opposite northern side of the mosque; however, the Marinid-era minaret appears to have been built on this location, blocking the original entrance, and other entrances were opened up instead to the west and east.

Several medieval buildings and other remains were described in the 1930s and 1940s and revisited in the 1990s, such as a fortified courtyard building northwest of the mosque, known as al-Hisn ("the castle") dominating the village from its highest point and now part of a private building; an open cistern or pool (Arabic:birka) in the centre of the village, well preserved but now used as an orchard;Pringle, 1997, p. 20 and a domed building said to be Mamluk, probably a mosque which is in use as the village school The mosque's mihrab was flanked by marble columns topped by capitals, both from the Crusader period. The village mosque is built on the remains of a church, and in the Survey of Western Palestine the Greek inscriptions found there on a lintel decorated by a cross, are described as similar to Crusader-period ones.Conder and Kitchener, 1882, SWP II, pp.

Entry way (1900) Pilgrims around one of the wells (1900) Several centuries after its founding, the Great Mosque of Kairouan is the subject of numerous descriptions by Arab historians and geographers in the Middle Ages. The stories concern mainly the different phases of construction and expansion of the sanctuary, and the successive contributions of many princes to the interior decoration (mihrab, minbar, ceilings, etc.). Among the authors who have written on the subject and whose stories have survived Lucien Golvin, « Quelques réflexions sur la Grande Mosquée de Kairouan à la période des Aghlabides », pp. 69–77 are Al-Bakri (Andalusian geographer and historian who died in 1094 and who devoted a sufficiently detailed account of the history of the mosque in his book Description of Septentrional Africa), Al-Nuwayri (historian who died in Egypt, 1332) and Ibn Nagi (scholar and historian of Kairouan who died around 1435).

Using the lusterware technology, one of the finest examples of medieval Islamic use of ceramics as wall decoration can be seen in the Mosque of Uqba also known as the Great Mosque of kairouan (in Tunisia), the upper part of the mihrab wall is adorned with polychrome and monochrome lusterware tiles; dating from 862–863, these tiles were most probably imported from Mesopotamia.Catherine Hess, Linda Komaroff and George Saliba (2004), The arts of fire: Islamic influences on glass and ceramics of the Italian Renaissance, Getty Publications, p. 40 Transmitted via Islamic Spain, a new tradition of Azulejos developed in Spain and especially Portugal, which by the Baroque period produced extremely large painted scenes on tiles, usually in blue and white. Delftware tiles, typically with a painted design covering only one (rather small) tile, were ubiquitous in the Netherlands and widely exported over Northern Europe from the 16th century on.

Modern archeological excavations have also confirmed the existence in the first Kutubiyya Mosque of a near-legendary mechanism which allowed the wooden maqsura (a screen separating the caliph and his entourage from the rest of the crowd during prayers) to rise from a trench in the ground seemingly by itself, and then retract in the same manner when the caliph left. Another semi-automated mechanism also allowed the minbar to emerge and move forward from its storage chamber (next to the mihrab) seemingly by itself. The exact functioning of the mechanism is unknown, but may have relied on a hidden system of counterweights. The new Almohad mosque was thus imbued with great political and religious symbolism, being closely associated with the ruling dynasty, and made subtle references to the ancient Ummayyad caliphate in Cordoba, whose great mosque was a model for much of subsequent Moroccan and Moorish architecture.

Historical accounts describe a mysterious semi-automated mechanism in the Kutubiyya Mosque by which the minbar would emerge, seemingly on its own, from its storage chamber next to the mihrab and move forward into position for the imam's sermon. Likewise, the maqsura of the mosque (a wooden screen that separated the caliph and his entourage from the general public during prayers) was also retractable in the same manner and would emerge from the ground when the caliph attended prayers at the mosque, and then retract once he left. This mechanism, which elicited great curiosity and wonder from contemporary observers, was designed by an engineer from Malaga named Hajj al- Ya'ish, who also completed other projects for the caliph. Modern archaeological excavations carried out on the first Kutubiyya Mosque have found evidence confirming the existence of such a mechanism, though its exact workings are not fully established.

Central nave of the prayer hall The mosque draws heavily in its plan and other architectural elements from the ninth century Great Mosque of Kairouan, a monument that served as a model for Muslim religious architecture in Ifriqiya. However, the large portal, reserved for the caliph and his entourage, is a major turning point in Islamic architecture because it gives for the first time an aesthetic and symbolic entry to a place of worship, which previously had been totally anonymous even in the case of prestigious monuments. Inspired by the triumphal arches of Rome, but also by the entrances of the Umayyad desert castles, the monumental gate marks the beginning of a journey of honor into the mosque, ending at the back of the prayer hall. Indeed, from the main entrance, an unusual covered corridor once bisected the court and then led through the nave to the mihrab, where the Fatimid caliph exercised his functions as imam of the community.

Moreover, one of the biggest challenges to this story is a foundation inscription that was rediscovered during renovations to the mosque in the 20th century, previously hidden under layers of plaster for centuries. This inscription, carved onto cedar wood panels and written in a Kufic script very similar to foundation inscriptions in 9th- century Tunisia, was found on a wall above the probable site of the mosque's original mihrab (prior to the building's later expansions). The inscription, recorded and deciphered by Gaston Deverdun, proclaims the foundation of "this mosque" () by Dawud ibn Idris (a son of Idris II who governed this region of Morocco at the time) in Dhu al-Qadah 263 AH (July-August of 877 CE). Deverdun suggested the inscription may have come from another unidentified mosque and was moved here at a later period (probably 15th or 16th century) when the veneration of the Idrisids was resurgent in Fes and such relics would have held enough religious significance to be reused in this way.

Pool view with Diamond Head, Hawaii Sea view The Shangri La Museum for Islamic Art, Design & Culture displays a wide- ranging collection of art, furnishings, and built-in architectural elements from Iran, Morocco, Turkey, Spain, Syria, Egypt, and India - among others. Gilt and painted ceilings from Morocco, vivid ceramics from Iran (including the only complete lusterware Ilkhanid mihrab in North America), painted wooden interiors from Syria, pierced metalwork and vibrant textiles from Spain to India (including a magnificent pair of shaped carpets, made for the Mughal emperor) are among the many highlights. Its multiple buildings on the campus also include The Playhouse (a reduced-scale version of the 17th century Chehel Sotoun in Esfahan, Iran, now used for public programs and artist residencies). The outdoor landscaping has a number of gardens, including a formal Mughal garden inspired by the Shalimar Gardens, as well as terraced water features, a Hawaiian fishpond, tropical gardens and a waterfall, and fabulous vistas of the Pacific Ocean.

Mary shaking the palm tree for dates Mary was declared (uniquely along with Jesus) to be a "Sign of God" to humanity; as one who "guarded her chastity"; an "obedient one"; "chosen of her mother" and dedicated to Allah whilst still in the womb; uniquely (amongst women) "Accepted into service by God"; cared for by (one of the prophets as per Islam) Zakariya (Zacharias); that in her childhood she resided in the Temple and uniquely had access to Al-Mihrab (understood to be the Holy of Holies), and was provided with heavenly "provisions" by God. Mary is also called a "Chosen One"; a "Purified One"; a "Truthful one"; her child conceived through "a Word from God"; and "exalted above all women of The Worlds/Universes (the material and heavenly worlds)". The Quran relates detailed narrative accounts of Maryam (Mary) in two places, Quran and . These state beliefs in both the Immaculate Conception of Mary and the virgin birth of Jesus.

According to the report of her findings, which Michal gave to Dayan after having been lifted back through the shaft, there are 16 steps leading down into the passage, which is 1 cubit wide, and high. In the round chamber, which is below the entrance to the shaft, there are three stone slabs, the middle of which contains a partial inscription of Sura 2, verse 255, from the Quran, the famous Ayatul Kursi, Verse of the Throne. In 1981 Seev Jevin, the former director of the Israel Antiquities Authority, entered the passage after a group of Jewish settlers from Hebron had entered the chamber via the entrance near the mihrab and discovered the square stone in the round chamber that concealed the cave entrance. The reports state that after entering the first cave, which seemed to Jevin to be empty, he found a passage leading to a second oval chamber, smaller than the first, which contained shards of pottery and a wine jug.

A particularly rich repertoire of Arab myths and memories, as well as architecture, thus preceded the appearance of the first Islamic monument. that emphasized the city's cosmological significance within God's creation.Zayde Antrim, Routes and Realms: The Power of Place in the Early Islamic World,Oxford University Press, 2012 p.48 At the time of the Muslim conquest of the city, the victors encountered many traditions concerning the Temple Mount: Muslim beliefs regarding David (the miḥrāb Dāwūd in the Qur'an 38:20-21) and Solomon; shared beliefs that from there, on Mount Moriah (the “mountain” that the Temple Mount sits upon) Adam had been born and died;Grabar pp.38-39 shared beliefs that Mount Moriah was also where Abraham almost sacrificed one of his sons; and they absorbed the Christian belief that Zechariah, John the Baptist’s father (in the Qur'an, 'prophet of the Jewish scholars') raised a mihrab to Mary, the mother of Jesus on the site.

Mary, the mother of Jesus, is one of the most important women in the Quran, as she is the only one identified by name. Her name not only appears far more in the Quran than in the New Testament, but it is also the title of Sura 19, which discusses the annunciation, Jesus's birth and Jesus's first words, spoken before birth and in the cradle—"most other personal names used as titles of Quranic chapters are those of prophets." A hadith claims that Mary was consecrated to God, thus "escaping the pricking of the devil" at birth; this is said "to have played a role in the formation of the later Islamic doctrine of prophetic isma" (innate quality of 'impeccability', 'immunity from sin and error' of prophets). As a young girl and a virgin, Mary stayed in the Mihrab, where she received "glad tidings of a word (kalima) from God" about her giving birth to a "pure son".

Mihrab of the Mosque of Córdoba. Different areas were allocated for services in the Saint Vincent Church shared by Christians and Muslims, until construction of the Córdoba Mosque started on the same spot under Abd-ar-Rahman I. Abd al-Rahman allowed the Christians to rebuild their ruined churches and purchased the Christian half of the church of St Vincent. In May 766 Córdoba was chosen as the capital of the independent Umayyad emirate, later caliphate, of al- Andalus. By 800 the megacity of Córdoba supported over 200,000 residents, 0.1 per cent of the global population. During the apogee of the caliphate (1000 AD), Córdoba had a population of about 400,000 inhabitants,. In the 10th and 11th centuries Córdoba was one of the most advanced cities in the world, and a great cultural, political, financial and economic centre.Amir Hussain, “Muslims, Pluralism, and Interfaith Dialogue,” in Progressive Muslims: On Justice, Gender, and Pluralism, Omid Safi (ed.), p. 257 (Oneworld Publications, 2003).

Moreover, one of the biggest challenges to this story is a foundation inscription that was rediscovered during renovations to the mosque in the 20th century, previously hidden under layers of plaster for centuries. This inscription, carved onto cedar wood panels and written in a Kufic script very similar to foundation inscriptions in 9th-century Tunisia, was found on a wall above the probable site of the mosque's original mihrab (prior to the building's later expansions). The inscription, recorded and deciphered by Gaston Deverdun, proclaims the foundation of "this mosque" () by Dawud ibn Idris (a son of Idris II who governed this region of Morocco at the time) in Dhu al-Qadah 263 AH (July- August of 877 CE). Deverdun suggested the inscription may have come from another unidentified mosque and was moved here at a later period (probably 15th or 16th century) when the veneration of the Idrisids was resurgent in Fes and such relics would have held enough religious significance to be reused in this way.

According to the book written by Jailani Mosque it is claimed that there are several writings in Arabic and the direction of the Kaaba (kibla) is shown in the form of a mihrab cut into the rock and a tombstone with the words “Darvesh Mohiyadin Darvesh”, and the remains found when excavating to build the mosque, was laid to rest on the southern side of the mosque with the date Hijri 715. It claims Hituwangala to be “Kai Adi Malai” (Palm print rock) as the Saint is said to have placed his palm print in sandalwood paste.Dafther Jailany, M.L.M. Aboosally, 2002 However all structures were built in the 20th century with no archeological evidence to support the claim. In 2013 after the Mosque attempted to expand into the caves and began covering up inscriptions with cement and destroying others with concentrated acid the archeological department intervened and demolished most of the illegal constructions but the mosque remains.

A section of the hypostyle hall in the Mosque-Cathedral of Cordoba In Cordoba, the Umayyads sponsored the construction of the Great Mosque of Cordoba (now a Catholic church); its key features included an arcaded hypostyle hall with 856 columns, a horseshoe-arch mihrab facing Mecca, a vaulted dome, the Court of Oranges (containing fountains and imported citrus trees) and a minaret (later converted into a bell-tower). The Umayyads reconstructed the Roman-era bridge over the Guadalquivir River in Cordoba, while the Almohads later added the Calahorra Tower to the bridge. In Seville, Moorish rulers built the main section of the Giralda (later expanded as a bell-tower for the Seville Cathedral) as a massive minaret (resembling that of the Koutoubia Mosque in Morocco) for the Great Mosque of Seville, which also contained a Patio de los Naranjos (Court of Oranges). The Royal Alcazar of Seville, built by the Christian king Peter of Castile, displays prominent features of Mudejar and Moorish architecture, including decorative calligraphy and garden orchards with irrigation channels, jets, pools and fountains.

The area was named 'Kale khan ki sarai', a sarai, or rest house for travellers or caravans and royal route from Mughal imperial courts and Chandni Chowk to their retreat at Mehrauli some 32 km away. The sarai itself named after a Sufi saint, Kale Khan of 14th–15th century, whose resting place along with that of another Sufi saint of Delhi, resting place of Hazrat Roshan Khan is today situated inside the Delhi Airport complex. Though a Lodi era structure Kale Khan ka Gumad is also situated at Kotla Mubarakpur Complex in South Delhi, the tomb is dated to 1481 AD as per an inscription on the Mihrab inside the tomb, this Kale Khan was a courtier in the Lodi period during the reign of Bahlol Lodi Nawab Faizullah Beg, son of Nawab Qasim Jan, a courtier in reign of Mughal Emperor, Shah Alam II (r. 1728–1806), was a courtier in Bahadur Shah Zafar's reign, and built a complex later known as Ahata Kaley Sahab, so named a saint named Kaley Khan, who lived here for a while, after whom area was later named.

The coalition was widely believed to have been supported by senior Ayatollah Ali al-Sistani, the most widely respected religious figure in Iraq. Although al-Sistani offered no official endorsement, many in Iraq understood the UIA to be the “al-Sistani list.” The twenty two parties included in the coalition, which was called List 228, were: # Supreme Council for the Islamic Revolution in Iraq (SCIRI) # Badr Organisation # Islamic Dawa Party (al-Dawa) # Islamic Dawa Party—Iraq Organisation # Islamic Virtue Party # Hezbollah Movement in Iraq # Hezbollah al-Iraq # Islamic Action Organisation # Sayyid Al-Shuhadaa Organisation # Shaheed Al-Mihrab Organisation # Iraqi National Congress (INC) # Centrist Assembly Party # Islamic Fayli Grouping in Iraq # Fayli Kurd Islamic Union # First Democratic National Party # Assembly “Future of Iraq” # Justice and Equality Grouping # Islamic Master of the Martyrs Movement # Islamic Union for Iraqi Turkomans # Turkmen Fidelity Movement Many members of the Alliance had lived in exile in Iran, including Ibrahim al-Jaafari, Iraq's Prime Minister from 2005 to 2006, who led the Islamic Dawa Party. In 1980 thousands of al-Dawa supporters were imprisoned or executed after advocating replacing Saddam Hussein’s secular Ba'ath Party government with an Islamic government. The Iranian government supported their efforts and allowed members of Al-Da’wa to seek exile in Iran.