The Great Mosque of Kairouan (Arabic: جامع القيروان الأكبر), also known as the Mosque of Uqba (جامع عقبة بن نافع), is a mosque situated in the UNESCO World Heritage town of Kairouan, Tunisia and is one of the largest Islamic monuments in North Africa.
Established by the Arab general Uqba ibn Nafi in 50 AH (670/671 CE) at the founding of the city of Kairouan, the mosque occupies an area of over 9,000 square metres (97,000 sq ft). It is one of the oldest places of worship in the Islamic world, and is a model for all later mosques in the Maghreb. Its perimeter, of about 405 metres (1,329 ft), contains a hypostyle prayer hall, a marble-paved courtyard and a square minaret. In addition to its spiritual prestige, the Mosque of Uqba is one of the masterpieces of Islamic architecture, notable among other things for the first Islamic use of the horseshoe arch.
Extensive works under the Aghlabids two centuries later (9th Cent.AD/CE) gave the mosque its present aspect. The fame of the Mosque of Uqba and of the other holy sites at Kairouan helped the city to develop and expand. The university, consisting of scholars who taught in the mosque, was a centre of education both in Islamic thought and in the secular sciences. Its role at the time can be compared to that of the University of Paris in the Middle Ages. With the decline of the city from the mid-11th century, the centre of intellectual thought moved to the University of Ez-Zitouna in Tunis.
Location
Located in the north-east of the medina of Kairouan, the mosque is in the intramural district of Houmat al-Jami (literally "area of the Great Mosque"). This location corresponded originally to the heart of the urban fabric of the city founded by Uqba ibn Nafi. However, given the natural lay of the land crossed by several tributaries of the wadis, the urban development of the city spread southwards. Human factors including Hilalian's invasions in 449 AH (1057 AD) led to the decline of the city and halted development. For all these reasons, the mosque which once occupied the center of the medina when first built in 670 is now on the easternmost quarter abutting the city walls.
History
Evolution
At the foundation of Kairouan in 670, the Arab general and conqueror Uqba ibn Nafi (himself the founder of the city) chose the site of his mosque in the center of the city, near the headquarters of the governor. Around 690, shortly after its construction, the mosque was destroyed during the occupation of Kairouan by the Berbers, originally conducted by Kusaila. It was rebuilt by the Ghassanid general Hasan ibn al-Nu'man in 703. 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. During this expansion, he pulled down the mosque and rebuilt it with the exception of the mihrab. It was under his auspices that the construction of the minaret began. In 774, a new reconstruction accompanied by modifications and embellishments took place under the direction of the Abbasid governor Yazid ibn Hatim.
Under the rule of the Aghlabid dynasty, Kairouan was at its apogee, and the mosque profited from this period of stability and prosperity. In 836, Emir Ziyadat Allah I reconstructed the mosque once more: this is when the building acquired, at least in its entirety, its current appearance. At the same time, the mihrab's ribbed dome was raised on squinches. Around 862–863, Emir Abu Ibrahim enlarged the oratory, with three bays to the north, and added the cupola over the arched portico which precedes the prayer hall. In 875 Emir Ibrahim II built another three bays, thereby reducing the size of the courtyard which was further limited on the three other sides by the addition of double galleries.
The current state of the mosque can be traced back to the Aghlabid period—no element is earlier than the ninth century besides the mihrab—except for some partial restorations and a few later additions made in 1025 during the Zirid period, 1248 and 1293–1294 under the reign of the Hafsids, 1618 at the time of Muradid beys, and in the late nineteenth and early twentieth century. In 1967, major restoration works, executed during five years and conducted under the direction of the National Institute of Archeology and Art, were achieved throughout the monument, and were ended with an official reopening of the mosque during the celebration of the Mawlid of 1972.
Host stories
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 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).
On additions and embellishments made to the building by the Aghlabid emir Abu Ibrahim, Ibn Nagi gives the following account:
« He built in the mosque of Kairouan the cupola that rises over the entrance to the central nave, together with the two colonnades which flank it from both sides, and the galleries were paved by him. He then made the mihrab. »
Among the Western travelers, poets and writers who visited Kairouan, some of them leave impressions and testimonies sometimes tinged with emotion or admiration on the mosque. From the eighteenth century, the French doctor and naturalist John Andrew Peyssonnel, conducting a study trip to 1724, during the reign of sovereign Al-Husayn Bey I, underlines the reputation of the mosque as a deemed centre of religious and secular studies:
« The Great Mosque is dedicated to Uqba, where there is a famous college where we will study the remotest corners of this kingdom : are taught reading and writing of Arabic grammar, laws and religion. There are large rents for the maintenance of teachers. »
At the same time, the doctor and Anglican priest Thomas Shaw (1692–1751), touring the Tunis Regency and passes through Kairouan in 1727, described the mosque as that: "which is considered the most beautiful and the most sacred of Berberian territories", evoking for example: "an almost unbelievable number of granite columns".
At the end of the nineteenth century, the French writer Guy de Maupassant expresses in his book La vie errante (The Wandering Life), his fascination with the majestic architecture of the Great Mosque of Kairouan as well as the effect created by countless columns: "The unique harmony of this temple consists in the proportion and the number of these slender shafts upholding the building, filling, peopling, and making it what it is, create its grace and greatness. Their colorful multitude gives the eye the impression of unlimited". Early in the twentieth century, the Austrian poet Rainer Maria Rilke describes his admiration for the minaret:
« Is there a more beautiful than this still preserved old tower, the minaret, in Islamic architecture? In the history of Art, its three-storey minaret is considered such a masterpiece and a model among the most prestigious monuments of Muslim architecture. »
Architecture
General layout
The building is a vast slightly irregular quadrilateral covering some 9,000 m2. It is longer (127.60 metres) on the east side than the west (125.20 metres), and shorter on the north side (72.70 metres) than the south (78 metres). It consists mainly of an interior prayer hall to the south preceded by a large courtyard (sahn) to the north. The main minaret is centered on the north side of the courtyard.
Exterior
Enclosure
From the outside, the Great Mosque of Kairouan is a fortress-like building with its 1.90 metres thick massive ocher walls, a composite of well-worked stones with intervening courses of rubble stone and baked bricks. The corner towers measuring 4.25 metres on each side are buttressed with solid projecting supports. Structurally given the soft grounds subject to compaction, the buttressed towers added stability to the entire mosque. Despite the austere façades, the rhythmic patterns of buttresses and towering porches, some surmounted by cupolas, give the sanctuary a sense of striking sober grandeur.
Today, the enclosure of the Great Mosque of Kairouan is pierced by nine gates (six opening on the courtyard, two opening on the prayer hall and a ninth allows access to the maqsura) some of them, such as Bab Al-Ma (gate of water) located on the western façade, are preceded by salient porches flanked by buttresses and surmounted by ribbed domes based on square tholobate which are porting squinches with three vaults. However, Arab geographers and historians of the Middle Ages Al-Muqaddasi and Al-Bakri reported the existence, around the tenth and eleventh centuries, of about ten gates named differently from today. This reflects the fact that, unlike the rest of the mosque, the enclosure has undergone significant changes to ensure the stability of the building (adding many buttresses). Thus, some entries have been sealed, while others were kept.
During the thirteenth century, new gates were opened, the most remarkable, Bab Lalla Rihana dated from 1293, is located on the eastern wall of the enclosure. The monumental entrance, work of the Hafsid sovereign Abu Hafs `Umar ibn Yahya (reign from 1284 to 1295), is entered in a salient square, flanked by ancient columns supporting horseshoe arches and covered by a dome on squinches. The front façade of the porch has a large horseshoe arch relied on two marble columns and surmounted by a frieze adorned with a blind arcade, all crowned by serrated merlons (in a sawtooth arrangement). Despite its construction at the end of the thirteenth century, Bab Lalla Rihana blends well with all of the building mainly dating from the ninth century.
Courtyard
The courtyard is a vast trapezoidal area whose interior dimensions are approximately 67 by 52 metres. It is surrounded on all its four sides by a portico with double rows of arches, opened by slightly horseshoe arches supported by columns in various marbles, in granite or in porphyry, reused from Roman, Early Christian or Byzantine monuments particularly from Carthage. Access to the courtyard by six side entrances dating from the ninth and thirteenth centuries.
The portico on the south side of the courtyard, near the prayer hall, includes in its middle a large dressed stone pointed horseshoe arch which rests on ancient columns of white veined marble with Corinthian capitals. This porch of seven metres high is topped with a square base upon which rests a semi-spherical ribbed dome; the latter is ribbed with sharp-edged ribs. The intermediary area, the dodecagonal drum of the dome, is pierced by sixteen small rectangular windows set into rounded niches. The great central arch of the south portico, is flanked on each side by six rhythmically arranged horseshoe arches, which fall on twin columns backed by pillars. Overall, the proportions and general layout of the façade of the south portico, with its thirteen arches of which that in the middle constitutes a sort of triumphal arch crowned with a cupola, form an ensemble with "a powerful air of majesty", according to the French historian and sociologist Paul Sebag (1919–2004).
Details of the courtyard
The combination formed by the courtyard and the galleries that surround it covers an immense area whose dimensions are about 90 metres long and 72 metres in width. The northern part of the courtyard is paved with flagstones while the rest of the floor is almost entirely composed of white marble slabs. Near its centre is a horizontal sundial, bearing an inscription in naskhi engraved on the marble dating from 1258 AH (which corresponds to the year 1843) and which is accessed by a little staircase; it determines the time of prayers. The rainwater collector or impluvium, probably the work of the Muradid Bey Mohamed Bey al-Mouradi (1686–1696), is an ingenious system that ensures the capture (with the slightly sloping surface of the courtyard) then filtering stormwater at a central basin furnished with horseshoe arches sculpted in white marble. Freed from its impurities, the water flows into an underground cistern supported by seven-metre-high pillars. In the courtyard there are also several water wells some of which are placed side by side. Their edges, obtained from the lower parts of ancient cored columns, support the string grooves back the buckets.