Sample Art Paper on The Lion-Gazet E Mosaic at Khirbat Al-Mafjar

In the article titled "The Lion-Gazet E Mosaic at Khirbat Al-Mafjar," Doris Behrens-
Abouseif claims that Khirbat Palace has for a long period been exceptional and a good example
of how Umayyad arts have developed. 1 Besides, the author depicts the sculptress applied showed
the early Islamic period metalwork while the media portray the opposite: the figures were
dancers and entertainers at the palace. The palace gained lots of popularity because of the well
maintained mosaic floors and the entire Muslim culture and arts. This paper explains how the
author provides the meaning and purpose of different mosaic skills as far as religion and culture
is concerned. Besides, credible evidence and real images to argue the author's facts and compare
the different myths and articles on the development of the arts are discussed.
The Umayyad palaces, which survived, show ample evidence for the kinds of decoration
famous in the Khirbat Al-Mafjar. The site portrays main rooms such as a palace, a mosque, a
bath, and an audience hall that is ornamented uniquely. Walid II built the castle before his
throne. The major interior decoration at the palace is the stucco sculptures. Nude women are
figured with skirts twisted with belts and unique hairstyles where the outfit is designed with
jewelry. The statue at the bathhouse entrance and standing with lions shows the caliph image and
how he's armed. The location of the audience hall, also known as Diwan, was separate to show
his division from political pressures. The setting in the audience hall is welcoming and calm with
guests' screening to pave the way to those with appointments. The forecourt room on the eastern
side offered enough space for royal sports activities. The center of the monument allows the
construction and discovery of the monumental domed kiosk remains. The architectural feature

1 Behrens-Abouseif, Doris. "The lion-gazelle mosaic at Khirbat al-Mafjar." Muqarnas
Online 14, no. 1 (1997): 11-18.

introduction makes it easy for the audience to understand heaven's dome and its relation to
The decoration aspect plays an imperative role in describing the setting of the palace.
There are lots of themes that the author executes in the collaboration of the Muslim and
Byzantine artisans. The decoration scheme comprises various themes and techniques that
describe different architectural methods that form an amazing setting. The mosaic panel was
similar to those used in the Umayyad Mosque of Damascus (715 CE) with the Muslim art such
as lion and gazelles applied for carpet designing. The complete marble and carved stucco are
widely used in the reception room, and other regions showed the sensitive geometric window
grilles for plaster carvings.
The protection of the stair wall is achieved by using stucco and geometrical grilles
inserted in different rooms. The mosaics' maintenance is attractive and is made of colored
limestone, which is organized in thirty panels varying with the geometrical patterns. The mosaic
scheme, representing the article theme, is shown in a series of carpets that are integrated in an
organized way. The lion's mosaic art attacking a gazelle below the blooming tree is an indication
of unending highly-valued mosaics arts in the Islamic era. 2 Khirbat Al-Mafjar's decorations are
amazing and beautiful, showing a summary of the Umayyad era patronage's cross-cultural
currents. The decorations also show a reaction of visual language, which is similar to the
Byzantine mosaic floor, Sasanian and the stucco techniques.

2 Behrens-Abouseif, Doris. "The lion-gazelle mosaic at Khirbat al-Mafjar." Muqarnas
Online 14, no. 1 (1997): 11-18.


Behrens-Abouseif, Doris. "The lion-gazelle mosaic at Khirbat