The Altarpiece from a Monastery

Khirbat al-Mafjar, also called Hisham’s Palace, is located in Jericho, Palestine. The structure follows the trend of Umayyad architecture by being incredibly Byzantine. The floors are covered in mosaic work that encapsulates the combination of Sasanian imagery with Byzantine techniques.

The stucco work present is also an obvious continuation of art trends. In the broader space of the building, there is imagery representing the crown of Kisra, a famous Sasanian king. The crown is represented in the stepped crenelations and in some parts of the mosaic work. Some of the most famous aspects of the palace are both found in the bathhouse. This room has many different designs in mosaic, including a tree of life and a sun with a fruit and a knife on either side.

Background on the Building

As is the case with most palaces, Khirbat al-Mafjar and its architectural inclusions served as a status symbol. Aspects like the stuccowork were made to resemble the carpets. This puts Khirbat al-Mafjar not only as a continuation of the cultures previously mentioned, but it also ties it into the further context of the silk road. Arguments have been made that they were stylistically influenced by the textile trade that made its way to Umayyad ruled areas via the silk road. This means that the artwork shares connections with lands as far reaching as China.¹

Description

Continuing on to the stucco frieze heads, these are located at the entrance of the palace. The faces are all unique to one another, showcasing a variety of different hairstyles and clothing. The clothes that they wear are distinctly byzantine in fashion as is the curlyness of their hair. Each of the faces are looking in differing directions further showing the differences that their varying facial features do. The bases for the heads are wrapped in pearl bands that loop around each other. At the loops, there are flowers present.

Analysis

It has been suggested that these faces are meant to be a representation of paradise. This is, of course, an abstract representation of heaven. Evidence for this interpretation comes from the fact that the medallions have eight point daisies. The number eight in Islam is highly symbolic and oftentimes is pointed in relation to their being eight levels of heaven, with Allah’s throne as being the top most layer. The number is also believed to be associated with eternity and/or self-destruction. In this instance, it is likely meant to represent heaven as being eternal. There are other representations of heaven found within Khirbat al-Mafjar, so it stands to reason that this would be a continuation of the structure’s theme.²

Bibliography

• Georgieva, Siyana. “The Complex Roots of the Figures Modellate in Stucco inside the Khirbat Al-Mafjar - Some Observations.” Anastasis: Research in Medieval Culture & Art 11, no. 1 (2024): 83–119.
• Taragan, Hana. “Textiles in Cross Cultural Encounters The Case of the Umayyad Palace at Khirbat Al Mafjar.” Al Masaq, (2019): 1-17.