Zellige, zillij or zellij is terra cotta tilework covered with enamel in the form of chips set into plaster.[1] It is one of the main characteristics of the Moroccan architecture. It consists of geometrical mosaics made of ceramic used mainly as an ornament for walls, ceilings, fountains, floors, pools, tables, etc.
History
The art of zellige flourished at the Hispano-Moresque period (Azulejo) of Morocco. The art remained very limited in use until the Merinid dynasty who gave it more importance around the 14th century and introduced blue, green and yellow colours. Red was added in the 17th century. The old enamels with the natural colours were used until the beginning of the 20th century and the colours had probably not evolved much since the period of Merinids. The cities of Fes and Meknes remain the centers of this art.
Patrons of the art used zellige historically to decorate their homes as a statement of luxury and the sophistication of the inhabitants. Zellige is typically a series of patterns utilizing colorful geometric shapes. This framework of expression arose from the need of Islamic artists to create spatial decorations that avoided depictions of living things, consistent with the teachings of Islamic law.
[edit]Forms and trends
The colour palette of the zellige started to grow rich by colors which make it possible to multiply the compositions ad infinitum (see picture above). The most current form of the zellige is the square one whose dimensions are variable. Other forms are also possible in composition: the octagonal combined with a cabochon, a star, a cross, etc. It is then moulded with a thickness of approximately 2 centimetres. There exists in simple squares of 10 per 10 centimeters or with the corners cut to be combined with a coloured cabochon. To pave the grounds, bejmat, a paving stone of 15 per 5 centimetres approximately and 2 centimetres thick, can also be used.
Themes often employ Kufic script, as it very nicely fits with the geometry of the mosaic tiles, and patterns often culminate centrally in the Rub El Hizb. The patterns evinced in the mosaics is currently of interest in academic research in mathematics. Considerable research into modeling of these patterns has taken place.
These studies require expertise not only in the fields of mathematics, art and art history, but also of computer science, computer modeling and engineering as well,[2] as this has been done in the Hassan II Mosque.
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History
The art of zellige flourished at the Hispano-Moresque period (Azulejo) of Morocco. The art remained very limited in use until the Merinid dynasty who gave it more importance around the 14th century and introduced blue, green and yellow colours. Red was added in the 17th century. The old enamels with the natural colours were used until the beginning of the 20th century and the colours had probably not evolved much since the period of Merinids. The cities of Fes and Meknes remain the centers of this art.
Patrons of the art used zellige historically to decorate their homes as a statement of luxury and the sophistication of the inhabitants. Zellige is typically a series of patterns utilizing colorful geometric shapes. This framework of expression arose from the need of Islamic artists to create spatial decorations that avoided depictions of living things, consistent with the teachings of Islamic law.
[edit]Forms and trends
The colour palette of the zellige started to grow rich by colors which make it possible to multiply the compositions ad infinitum (see picture above). The most current form of the zellige is the square one whose dimensions are variable. Other forms are also possible in composition: the octagonal combined with a cabochon, a star, a cross, etc. It is then moulded with a thickness of approximately 2 centimetres. There exists in simple squares of 10 per 10 centimeters or with the corners cut to be combined with a coloured cabochon. To pave the grounds, bejmat, a paving stone of 15 per 5 centimetres approximately and 2 centimetres thick, can also be used.
Themes often employ Kufic script, as it very nicely fits with the geometry of the mosaic tiles, and patterns often culminate centrally in the Rub El Hizb. The patterns evinced in the mosaics is currently of interest in academic research in mathematics. Considerable research into modeling of these patterns has taken place.
These studies require expertise not only in the fields of mathematics, art and art history, but also of computer science, computer modeling and engineering as well,[2] as this has been done in the Hassan II Mosque.
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