ARCHITECTURE OF WHITE WALLS AND COLORFUL GARDENS AND KILIMS

The traditional Islamic architecture in Bosnia and Herzegovina is powerfully characterized by the tradition of “whitening walls”, primarily the outside ones, while the interior walls were regularly whitened in residential, as well as in sacral architecture, with the exception of the most significant, mostly domed mosques. These old Bosnian mosques and houses are adorned with simplicity and cleanliness, which are particularly highlighted by the whiteness of their walls, which is in turn certainly related to the spiritual message with which they address us. Since “white symbolizes the unity of all colors which are not manifested, the whiteness of undecorated walls reflects the purity, peace and the levelling of all multiplicity before the One “(Nasr, 54). Absence of monumental edifices in traditional Bosnian architecture and unobtrusiveness of its exterior appearance, typically enclosed with white walls are a visible expression of a deep belief in human beings’ dependence and poverty before Absolute Independence and Wealth of His Divine Being. White mosques and houses “remind man of his poverty before Divine Unity” (Nasr, 54) and “correspond both to the spiritual of the Blessed Prophet and to the aspect of his soul as related to submission, peace, serenity and sepulchral beatitude” (Nasr, 54).

The unique whiteness of panoramas of Bosnian cities and villages is supplemented by the whiteness of tombstones, the traditional nišans. Ivo Andrić notes that “Muslim cemeteries are constituent part of the living image of a town, as with the cemetery and the surrounding space death does not overcast life and life does not desecrate death.” Indeed, it is an echo of an Islamic spiritual message based on a deep belief in the unity of existence of hither this life and the further hereafter. Traces of this unique visual expression of Islamic sculpting artistry are still found on nišans of todays’ Muslim cemeteries. On many replicas or modern interpretations, contemporary Bosnian Muslims opt for the traditional Muslim nišan and its whiteness, remaining loyal to this art tradition, nourished in Bosnia and Herzegovina for centuries.

A strong contrast to the whiteness of walls of the traditional Bosnian architecture is provided by colorful gardens with diverse flowers and decorative plants, fountains and shadervanis, and often with running water as well. Out of sight, hidden behind high white walls, these gardens preserve the intimacy of the interior space of the traditional Muslim house, carefully protected by rules and customs of Islamic culture of living. Like their counterparts across the world of traditional Islam, these gardens have not been nourished in the honor of life in this world, although they by no means reject it, but rather honor the future hereafter. They represent “echoes of Jannah (Paradise)”, a metaphor of Jannah gardens, so picturesquely and suggestively described in the Qur’an.

In the same way in which the simple and modest outer appearance constitutes a contrast to multicolor flowery gardens, the interior of the Bosnian house is prominently characterized by the contrast between its white walls and luxuriously decoration of almost all the remaining surfaces of the interior and objects for daily use. It is a decorative universe, composed of multicolored kilims, embroidered scarves and cushions, decoration in low relief on wooden surfaces of ceilings, chests and peškuns (coffee tables which can also be used as chairs), splendid enamel decorations of metal dished, and particularly richly ornamented clothes and filigree jewelry. The way od decorating is neither accidental nor arbitrary but is rather an eloquent reflection of the spiritual vision of Islam which is embodied in distinctive decorative patterns, which in turn reflect the ideas of God’s non-representability, God’s transcendence and immanence, God’s infinity and other ideas of Islamic spiritual message which ultimately lead to Allah’s beautiful names and attributes. Essentially based on spiritual seedlings of Islam, these patterns are authentic manifestations of the traditional Islamic decorative art, which includes Ottoman art and its superior creations in Bosnia and Herzegovina.  

Interior of the traditional Bosnian house and mosque is a living image of the Islamic spiritual message and a tangible manifestation of the metaphysical ideas of Islam. It is a space of peace, harmony and balance. A space of quiet joy and suppressed happiness, which are actually reflections and echoes of Jannah states in the ambience created by human hand. By whiteness of walls and the variety of colors in gardens and on kilims, Bosnian houses and mosques reflect the spiritual message which eloquently speaks of Bosnian man’s high awareness of his human essence and true poverty before the Wealth of Divine Being, and by evoking Jannah states this poor God’s slave sincerely hopes for His Endless Mercy.

References:

• Nasr, Sayyed Hosein, Islamic Art and Spirituality, State University of New York Press, Albany, 1987.

• Andrić, Ivo, Sarajevo grad koji se rađa i umire, 1973.