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Register a new userThe Kaaba Kiswah During the Mamluki Age
كسوة الكعبة في العصر المملوكي
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خليل الأحمد الحسين( باحث )
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حظيت مصر بشرف صناعة الكسكة الشريفة على مر العصور، منذ العصر الجاهلي، و على اختلاف المراحل التاريخية العربية و الإسلامية، نتيجة لشهرتها بهذه الصناعة، إلا أن هذه الكسوة شكلت رمزا سياسيا و عسكريا و حضاريا، فهي رمز من رموز السيادة على العالمين العربي و الإسلامي، و هذا ما سعى إليه سلاطين الدولة المملوكية منذ اللحظات الأولى لاعتلائهم سدة الحكم في مصر، فحافظوا و نازعوا القوى المختلفة في سبيل القبض على هذا الشرف الديني المغلف بالسيادة السياسية و العسكرية و الحضارية.
Throughout the ages, Egypt had the honour of being the country where the Kiswa (the embroidered black cloth covering the Kaaba) had been manufactured. The Kiswa had been made in Egypt – renowned for manufacturing such a textile - from the Pre-Islamic Age down to the Islamic Age and throughout the successive Arabic and Islamic historical stages. The Kiswa was looked at as a political, military, and civilizational emblem for it was an emblem of sovereignty in both the Arab and Islamic Worlds. The Mamluki sultans had endeavored to achieve such a status since the very beginning of their being in power and the rulers of Egypt. The Mamluki sultans had maintained the hounor of having this dignified religious emblem and they were involved in conflicts with other powers just to maintain their patronage of this holy emblem which denotes political, military, and cultural sovereignty.
References used
ابن خلدون، عبد الرحمن بن محمد (المقدمة) مؤسسة جمال للطباعة و النشر, ج1, ص189.
زيتون، عادل: (تاريخ المماليك) منشورات جامعة دمشق، ط 10, 2010م, ص103.
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This paper aims at showing the significance of Al-Karak Kingdom
in the Mamluki era through the artistic letter used to be issued by the
Council (Dewan El-Ensha'a), being helped by what the contemporary
historians, geographers, and travelers used t
o write about that era.
Therefore, the sources of the study come from those who had seen the
events and lived them in real. Moreover the research will point out the
importance and care which were given to the Kingdom by the kings and
emirs in all military, economic, and social aspects.
This research , whose title is ( From Eloquence in the Titles of biography
books In the Mamlukie Age) has come to examine how densely the
biographers created eloquence in a group of biography books titles ,
including the historical field in which
the biography books were
going on.
The "Mamalik" Estate has been a raised after the vanishing of
the estate of "Bani Ayobe", Egypt in the "Mamalik" era has
witnessed the coming of many different rates, and nationalities,
which lead to a new social formula.
This research, aims to i
llustrate the reality of this social formula
and the groups it contained and to show the rule of each group in
every side 0f political, economical and social life, and the
exchanged influence with each other, throughout the writings some
historians.
Does the masjid of the Al'arbaein small size of great Does the
mosque of the forty-size small size as important as the
importance of the Umayyad Mosque or the Great Nouri, for
example? And why is it called?
A question may be raised in the ears of many people, and his
answer is found in this research.
Every era has its own intellectual and social dimensions the influence of which extend to
touch the artistic topics in terms of creativity and production conditions. The religious belief
is considered as an important effect on the whole historicall
y-successive artistic process. The
oppression exercised by the religious authority on creativity has always been present, but in
forms that differ from an era to another.
Viewing the religious theme embodied in art works, we will recognize that vast area achieved
throughout ages.
At early stages art rested on primitive, mysterious magic-based beliefs. Then art introduced a
physical representation of the images of the national gods and religious beliefs that used to
give explanations about the universe and glorify kings. Clergymen, then, started to identify
the boundaries and function of art in a way that served their goals. Christian religious men
continued to employ art for the sake of their messages and teachings with a controversy over
the role and limits of art. On the other side, Islamic art expanded but it neither served belief
nor subject to any religious guidance. With certain spiritual nature, such Islamic art might
have sought to avoid prohibition fatwas.
Finally, art could not be freed from religion scopes until Renaissance had come with its
human and mental spirit.
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