The architectural identity of Mamluk religious monuments stems from the major purpose that individuals erected their own memorials, therefore adding a high degree of individuality. Each building reflected the patron’s individual tastes, choices, and name. Mamluk architecture is oftentimes categorized more by the reigns of the major sultan, than a specific design. Interestingly, the mamluk elite were often more knowledgeable in the art of buildings than many historians. Since the Mamluks had both wealth and power, the overall moderate proportions of Mamluk architecture—compared to Timurid or classical Ottoman styles—is due to the individual decisions of patrons who preferred to sponsor multiple projects. The sponsors of the mosques of Al-Zahir Baybars, al-Nasir Muhammad, Faraj, al-Mu’ayyad, Barsbay, Qaytbay and al-Ghawri all preferred to build several mosques in the capital rather than focusing on one colossal monument. Patrons used architecture to strengthen their religious and social roles within the community.
While the organization of Mamluk monuments varied, the funerary dome and minaret were constant leitmotifs. These attributes are prominent features in a Mamluk mosque’s profile and were significant in the beautification of the city skyline. In Cairo, the funerary dome and minaret were respected as symbols of commemoration and worship. Patrons used these visual attributes to express their individuality by decorating each dome and minaret with distinct patterns. Patterns carved on domes ranged from ribs and zigzags to floral and geometric star designs. The funerary dome of Aytimish al-Bajasi and the mausoleum dome of Qaytbay’s sons reflect the diversity and detail of Mamluk architecture. Therefore the creativity of Mamluk builders was effectively emphasized with these leitmotifs.
Expanding on the Fatimids concept of street-adjusted mosque facades, the Mamluks developed their architecture to enhance street vistas. In addition, new aesthetic concepts and architectural solutions were created to reflect their assumed role in history. By 1285 the essential features of Mamluk architecture were already established in the complex of Sultan Qalawan. However, it took three decades for the Mamluks to create a new and distinct architecture. By 1517, the Ottoman conquest brought Mamluk architecture to an end without a term of decadence.
The Mamluk utilized chiaroscuro and dappled light effects in their buildings. Mamluk history is divided into two periods based on different dynastic lines: the Bahri Mamluks (1250–1382) of Qipchaq Turkic origin from southern Russia, named after the location of their barracks on the Nile and the Burji Mamluks (1382–1517) of Caucasian Circassian origin, who were quartered in the citadel. The Bahri reign defined the art and architecture of the entire Mamluk period. Mamluk decorative arts—especially enameled and gilded glass, inlaid metalwork, woodwork, and textiles—were prized around the Mediterranean as well as in Europe, where they had a profound impact on local production. The influence of Mamluk glassware on the Venetian glass industry is only one such example.
The reign of Baybars's ally and successor, Qala’un (r. 1280–90), initiated the patronage of public and pious foundations that included madrasas, mausolea, minarets, and hospitals. Such endowed complexes not only ensured the survival of the patron's wealth but also perpetuated his name, both of which were endangered by legal problems relating to inheritance and confiscation of family fortunes. Besides Qala’un's complex, other important commissions by Bahri Mamluk sultans include those of al-Nasir Muhammad (1295–1304) as well as the immense and splendid complex of Hasan (begun 1356).
The Burji Mamluk sultans followed the artistic traditions established by their Bahri predecessors. Mamluk textiles and carpets were prized in international trade. In architecture, endowed public and pious foundations continued to be favored. Major commissions in the early Burji period in Egypt included the complexes built by Barquq (r. 1382–99), Faraj (r. 1399–1412), Mu’ayyad Shaykh (r. 1412–21), and Barsbay (r. 1422–38).In the eastern Mediterranean provinces, the lucrative trade in textiles between Iran and Europe helped revive the economy. Also significant was the commercial activity of pilgrims en route to Mecca and Medina. Large warehouses, such as the Khan al-Qadi (1441), were erected to satisfy the surge in trade. Other public foundations in the region included the mosques of Aqbugha al-Utrush (Aleppo, 1399–1410) and Sabun (Damascus, 1464) as well as the Madrasa Jaqmaqiyya (Damascus, 1421).
In the second half of the fifteenth century, the arts thrived under the patronage of Qa’itbay (r. 1468–96), the greatest of the later Mamluk sultans. During his reign, the shrines of Mecca and Medina were extensively restored. Major cities were endowed with commercial buildings, religious foundations, and bridges. In Cairo, the complex of Qa’itbay in the Northern Cemetery (1472–74) is the best known and admired structure of this period. Building continued under the last Mamluk sultan, Qansuh al-Ghawri (r. 1501–17), who commissioned his own complex (1503–5); however, construction methods reflected the finances of the state. Though the Mamluk realm was soon incorporated into the Ottoman empire (1517), Mamluk visual culture continued to inspire Ottoman and other Islamic artistic traditions.
