This paper examines the Dome of the Rock, one of Islam's holiest sites and oldest surviving Muslim buildings, located on Jerusalem's Temple Mount. It traces the structure's religious origins in Islamic tradition and its connection to earlier Jewish and Christian sacred history, documents its repeated destruction and reconstruction through earthquakes and Crusader occupation, and analyzes its distinctive architectural features, including the octagonal interior form, marble walls, and elaborate mosaic decorations. The paper emphasizes how the mosque's geometric design and ornamental elements—including tilework, wood carvings, and plant-based motifs reflecting Islamic prohibitions against depicting living figures—reflect both Islamic artistic principles and historical influences from Byzantine and Persian civilizations.
In Jerusalem, east of the modern city center in the Old Town, on Mount Moriah rises an extraordinary building of brilliant turquoise blue, resembling a magic castle. The Mosque of Caliph Omar, often called the Dome of the Rock, stands as one of the world's most important Muslim holy sites and a miracle of Islamic civilization. The structure is crowned with a massive golden dome topped by a crescent moon. The dome symbolizes the sacred rock at the summit of Mount Moriah, which according to traditional belief marks the center of the world. Built on the site of the legendary Temple of King Solomon, one of the ancient world's greatest temples, the Dome of the Rock remains one of the oldest surviving buildings in the Muslim world.
An ancient legend holds that the Temple Mount in Jerusalem represents the first "terra firma," created by God. The site's history extends back to biblical times. According to tradition, it was on Mount Moriah that Abraham prepared to sacrifice his son Isaac. Later, David's son Solomon constructed the temple that housed the legendary Ark of the Covenant. Stone fragments from Solomon's temple remain visible to this day.
Following the advent of Islam, Caliph Abd al-Malik designated this location as a pilgrimage site for Muslims, commemorating the "night journey" of Muhammad (Grabar, 1973). The Dome of the Rock also marks the place from which Muhammad ascended to heaven on his miraculous steed al-Baraka. According to Islamic tradition, the construction of the mosque served to demonstrate Muslim reverence for the Prophet and Caliph Omar, while affirming shared ancestry with Jews and Christians through their common patriarch, Abraham.
The Dome of the Rock has been destroyed and rebuilt many times throughout its history, emerging more magnificent after each restoration. An earthquake in 1060 caused the mosque's roof to collapse, which Muslims interpreted as a dire omen. Their fears materialized in 1099 when Crusaders arrived and desecrated the mosque with the blood of Muslim worshippers. Under Christian rule, Jerusalem remained until 1187, when the armies of Sultan Salah al-Din compelled the Crusaders to withdraw. However, in 1229, German Emperor Frederick II temporarily reclaimed Jerusalem for Christian control. By 1250, Muslims regained unchallenged possession of the mosque, removing all Christian symbols that had been introduced.
The geometric forms of the Mosque of Omar differ remarkably from traditional Islamic mosques and instead recall early Christian churches. The symbolism embedded in its exterior carries Christian overtones. As Burckhardt (2009) explains, "The circle, having no beginning and no end, reflected perfection, the eternal, and also the heavens. The square, having four sides like the four points of a compass, reflected the earth. The architectural form of circular dome over square base thus physically articulated the relationship between the human and divine realms."
The mosque's architecture exemplifies grand design. According to Baldwin (1971), the inner octagonal form features eight stone pillars with two marble columns between them, connected at the top by rounded arches. Carved wooden bridges decorated with gold-plated mosaic patterns span these spaces. Colored glass in yellow, blue, and pink creates soft interior tones, while "pearly" light suffuses the entire space. The walls rise in marble to approximately half their height, with arches above resembling antique brocade fabric adorned with gold and pearl-like tones on a green background.
The mosque contains multiple ornamental forms and decorative arts, with mosaics, marble, wood ornaments, glazed ceramic tiles, and inscriptions serving as the most important elements. These decorative features simultaneously function as aesthetic elements and documentary records, embedding religious imagery and theological texts.
According to Grabar (1973), the mosaic decorations employ three primary colors—green, blue, and gold—along with additional hues. These designs precisely embody the spirit of the Islamic world and Islamic faith, reflecting the Islamic prohibition against depicting human or animal forms. Instead of figural imagery, artisans employed varied ornamental elements, particularly plant-based themes.
The mosque's decoration also symbolizes the Islamic state's victory over the two great powers of the era: Byzantium and Persia. This triumph is encoded in two crowns depicted in the interior—the Byzantine crown on the inner surface of the octagon, and the Persian crown with wings displayed on the inner surface of the dome's neck.
The Dome of the Rock mosque stands as one of the world's most significant monuments of Islamic architecture, possessing value far beyond its religious function. It represents the oldest surviving example of Islamic architectural achievement while simultaneously displaying extraordinary artistic beauty in its ornaments and decorations, bearing traces of Islamic and other civilizations. The structure attracts researchers, pilgrims, and visitors from across the globe, all of whom are moved by the symmetry and harmony of its architectural and decorative elements. It is justly considered a world miracle, embodying the convergence of multiple cultural and religious traditions within a single sacred space.
"Mosaic, marble, and ceramic ornaments reflecting Islamic theology"
Baldwin, E. (1971). The Dome: A Study in the History of Ideas. Princeton University Press.
You’re 94% through this paper. Sign up to read the remaining 1 section.
Sign Up Now — Instant Access Already a member? Log inAlways verify citation format against your institution’s current style guide requirements.