The Astrolabe:
What would Medieval Islam have been without it?
Thomas Larcombe
Objects as History: Paris.PC2.Fa15
Fig. 1 Astrolabe of 'Umar ibn Yusuf ibn 'Umar ibn 'Ali ibn Rasul al-Muzaffari, Rasulid period (1228–1454),
dated A.H. 690 / A.D. 1291, Yemen. Brass; cast and hammered, pierced, chased, inlaid with silver; case (a):
Max. W. 7 5/8 in. (19.4 cm), Diam. 6 1/8 in. (15.6 cm), D. 1/4 in. (0.6 cm) Bequest of Edward C. Moore,
1891 (91.1.535a–h)
The astrolabe, historically, is a tool used by astronomers, navigators and astrologers. As an inclinometer, the
mechanism can isolate locations and predict positions depending on the sun, planets and stars. Originating
from ancient Greece and Rome, the piece has evolved over time as a coveted accessory. The astrolabe
gained in popularity amongst medieval islam due to scientific and technological advances, and the piece I
will be looking into is the astrolabe of 'Umar ibn Yusuf ibn 'Umar ibn 'Ali ibn Rasul al– Muzaffari, located
from Yemen and dating to A.H. 690/A.D. 12911. Islamic Astrolabes hold the knowledge of its predecessors
as well as the advances made within astronomy and astrology in the medieval islamic period. The object
was a key element to governing religious practices, as well as providing safe travel upon trading routes
within central Asia and Europe, as well as influencing further advances in navigation and surveying
throughout history.
The physical characteristics of such object consist of elaborate and intricate engravings, carved upon
interchangeable rings and rotatable platforms with ridges the size of a fingertip to allow adjustment. Each
ring displays detailed lines and inscriptions that can change meaning at the slightest rotation, hence forth
that each factor of this object would be defined by its neighbour, providing a final measurement at a certain
point. Made from brass, the object appears in shades of caramelised gold, measuring 19.4cm in width,
15.6cm in diameter and 0.6cm in depth. The overall form of the astrolabe is ornate and has defined strong
lines of rigidity. The original material appears polished and would have been melted down and moulded to
precision, providing the utmost accuracy in readings.
It is circular as a whole, with an added fluid
embellishment upon the edge to provide accessibility for the object to be portable by chain. Averaging from
0.2kg to 2.0kg, astrolabe’s were extremely portable in their weight, and as a part of their design they would
have the attached ring above to coincide with becoming an accessory one would wear on a daily basis. From
my own personal thoughts, this object is completely stunning in its design and clockwork like
manoeuvrability, and from my conclusions can see that it is some sort of mechanism used for measurement
or placement. The object is held in the Metropolitan Museum of Art in New York in Gallery 454 showing
Egypt and Syria from the 10th century to the 16th as a part of the Islamic Art section. The object was
provided by Edward C. Moore in 1891 as a part of the Edward C. Moore collection.
"Astrolabe of 'Umar ibn Yusuf ibn 'Umar ibn 'Ali ibn Rasul al-Muzaffari [Yemen]" (91.1.535a-h) In
Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://
www.metmuseum.org/toah/works-of-art/91.1.535a-h. (May 2012)
1
In early Islam, science and technology began to flourish, sourcing ideas from Iran, India, Rome and Greece2 .
Their society became fascinated with new findings and advances making the culture robust and defined.
Surveying became apparent in such ancient times thus leading to the birth of the astrolabe later on, taking
great importance in the rise of the great civilisations that were the Romans and Greeks; further deriving
from the Egyptians in such areas that were vital to the civilisation’s growth:
Surveying no doubt began at the humblest of levels, and for millennia evolved only slowly. Its functions
would encompass the recording of the boundaries of plots of land, estimating their area and, if new-won
land was being distributed, dividing it fairly; where irrigation or drainage was involved, ensuring that the
gradient of water channels was adequate; in architecture, particularly of prestige buildings, establishing a
reasonably horizontal level for foundations and sometimes, especially for religious monuments, the
appropriate orientation. All these activities, as at every stage in the history of surveying, were based on
geometry. At first this was doubtless entirely empirical and of the simplest kind; and at first the surveyors
employed the simplest of tools. The real breakthrough to more complex requirements, to a deeper
understanding of geometrical theory, and to procedures and instruments of considerably greater
sophistication and precision, was due to the Greeks and Romans in the third and second centuries bc,3
These components were what led to the elevation of the inclinometers and such instruments. Much like the
way in which surveying tools and mathematics allowed the greeks to build sewage systems and architectural
advances, the astrolabe was key to the medieval Islam’s function as a culture. One aspect that scientists
made prestigious advances in was in the field of astronomy, cultivating the movement of heavenly bodies,
and continued to develop models of the universe and the movement of the planets within it. Islamic art and
metalwork also paralleled and intertwined within technology to create such items as the astrolabe, requiring
highly skilled craftsman to conjure4. This piece dates to A.H. 690/ A.D. 1291 from Yemen, it also holds a
signature and inscriptions on the back stating its creator as the Rasulid prince al-Ashraf ‘Umar ibn Yusuf,
who later became the Sultan of Yemen (r.1295-96). The inscription is in Arabic nashkhi script and translates
to “This astrolabe is the work of ‘Umar ibn Yusuf ibn ‘Ali ibn Rasul al- Muzaffari directly [by himself] and
by his instruction in the year A.H. 690.' Astrolabes required durable materials and extensive skill to craft,
likely that being an education of the higher class; as shown in this object as being created and possessed by
a prince. The astrolabe’s condition shows the quality of care taken to keep such a mechanism alive, showing
very little signs of age if not any at all. One would think that such a beautiful item would be made out of a
Sardar, Marika. "Astronomy and Astrology in the Medieval Islamic World." Heilbrunn Timeline of Art
History. Accessed December 8, 2015.
2
Lewis, M. J. T. "Chapter 1: The Basic Elements." In Surveying Instruments of Greece and Rome, P.13.
Cambridge University Press, 2001.
3
Komaroff, Linda. Pen-case and Candlestick: Two Sources for the Development of Persian Inlaid
Metalwork. Metropolitan Museum of Art I988 METROPOLITAN MUSEUM JOURNAL 23. 89 - 102.
4
Fig. 2 Showing the back of the Astrolabe of 'Umar ibn Yusuf ibn 'Umar ibn 'Ali ibn Rasul al-Muzaffari, with
the inscription in the bottom left quadrant stating: “This astrolabe is the work of ‘Umar ibn Yusuf ibn
‘Umar ibn ‘Ali ibn Rasul al-Muzaffari directly [by himself] and by his instruction in the year A.H. 690 [1291
A.D.
more luxurious metal like gold, however, that would mean that its durability would decrease immensely as
this was a tool that was meant to be used on a daily basis, and gold being one of the softest metals simply
would not provide; especially as this was a tool that required accuracy. The inlays of silver add the touch of
class to the object, being a higher than average metal whilst also being sturdy. Astrolabes could have been
traded off to those who were in need of one, but to know how to use such a tool is a skill in itself; proving
that these objects were only for the highly educated. The intended environment would be that of a scene
requiring navigation or even general time keeping. The object allows itself to be carried constantly, being a
public setting, furthermore leading itself almost as the medieval islamic pocket-watch. The nature of the
setting defined the object solely by whether if it was outside or inside, as its universal purpose was to
provide readings of measurement whether it be the time of day or the specific coordinates of one’s location.
It all relied on the accessibility of the sky, meaning that if the object was within closed doors; it would
simply be a decorative stopped watch. The astrolabe requires visible stars and planetary sightings in order to
provide. The object became more commonly known as a timepiece for prayer, in that it would provide
accurate timings for the morning and evening prayer within the islamic culture, as well as providing Qibla,
the direction in which people would be in to the face the city of Mecca, specifically the Ka’abah:
At this time, scientists translated studies in Sanskrit, Pahlavi, and Greek into Arabic, and, for the first time,
recorded Arab Bedouin traditions. The Indian Sanskrit and Persian Pahlavi sources taught medieval
astronomers methods for calculating the position of heavenly bodies, and for creating tables recording the
movement of the sun, the moon, and the five known planets. The Bedouin traditions contained knowledge
on the fixed stars, the passage of the sun and moon through the zodiacal signs and lunar mansions, and the
seasons and associated phenomenon. This body of knowledge was refined in part because of the specific
requirements of Islam; the religion required the ability to correctly determine the time and direction of
Mecca for prayer, the moment of sunrise and sunset for fasting during Ramadan, and for fixing the
appearance of the moon that marked the start of a new month.5
This shows the placement of the astrolabe within the societal hierarchy; a tool providing control of the lower
class in indicating the specifics of expected occurrences in the religion, dictating the schedules of everyday
life. Within a culture that relied so heavily on religion in day to day life, the astrolabe was a key tool not
only the upperclass, but to the whole society.
Fig.3 showing the portability of the object through its hoop, allowing it to be worn as an accessory in
everyday life. Each astrolabe is fitted with this design as it was expected to have your astrolabe with you
when going about one’s day.
Sardar, Marika. "Astronomy and Astrology in the Medieval Islamic World." Heilbrunn Timeline of Art
History. Accessed December 8, 2015 http://www.metmuseum.org/toah/hd/astr/hd_astr.htm.
5
Within medieval islam, sourcing materials was never an issue as the middle east was known for its trading
and importing of goods, as well as inhabiting mines for coveted metals used for creating tools like the
astrolabe. These would have been collected by workers in the mines, delivered to workshops where they
would have been melted down and combined to make materials like brass and bronze. They built a strong
connection with Europe in their trades, mainly Venice:
The artistic consequences of the dynamic relationship that Venice forged with its Islamic trading partners,
especially the Mamluks of Egypt and Syria, the Ottomans of Turkey, and the Safavids of Iran, were felt
over nearly a thousand- year period. The same merchant galleys that carried spices, soap, cotton, and
industrial supplies from the bazaars of the Islamic Near East to the markets of Venice also brought with
them luxurious carpets, velvets, silks, glass, porcelain, gilded bookbindings, illustrated manuscripts, and
inlaid metalwork. 6
Because of the vast trading routes and efficiency of transport, the trading of goods was immaculate,
providing both Europe and the Middle East growth in their economies; thus leading to the opportunity of the
astrolabe. Implying not so much a reliance on the astrolabe, but an indication that without it there would
have been not nearly half the amount of profit the culture was cultivating. Islam had already established
multiple trajectories over Africa by the mid-seventh century A.D. only a few decades after the Prophet
Muhammad moved with his followers from Mecca to Medina on the neighbouring Arabian Peninsula (622
A.D./1 A.H.).7 This vast growth in the culture indicates the importance of such instruments and their
technological advances.
The astrolabe’s importance in Medieval Islam was significant, not to the extent of dependance in that if the
instrument never existed the civilisation would crumble, but would just cease to improve and thrive as the
world was at the time. The empire’s profit margin would rapidly decrease to almost nothing. Whilst also
slowing production due to the time it would take for the people to find the direction of mecca every morning
and evening. Thus, in conclusion, one can say that the astrolabe was impactful; leading to the rise and
spread of Islam across Europe and Africa.
Carboni, Stefano, Trinita Kennedy, and Elizabeth Marwell. "Venice and the Islamic World, 828–1797."
Heilbrunn Timeline of Art History. Accessed December 8, 2015.
6
Department of Arts of Africa, Oceania, and the Americas. "Trade and the Spread of Islam in Africa". In
Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://
www.metmuseum.org/toah/hd/tsis/hd_tsis.htm (October 2001)
7
Bibliography
"Astrolabe of 'Umar ibn Yusuf ibn 'Umar ibn 'Ali ibn Rasul al-Muzaffari [Yemen]" (91.1.535a-h) In
Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://
www.metmuseum.org/toah/works-of-art/91.1.535a-h. (May 2012)
"Astrolabe | Instrument." Encyclopedia Britannica Online. Accessed November 25, 2015. http://
www.britannica.com/science/astrolabe-instrument.
• This article provides the ground level understanding of an Astrolabe from an esteemed Encyclopaedia site,
working hand in hand with “Using an Astrolabe”.
Carboni, Stefano, Trinita Kennedy, and Elizabeth Marwell. "Venice and the Islamic World, 828–1797."
Heilbrunn Timeline of Art History. Accessed December 8, 2015. http://www.metmuseum.org/toah/hd/vnis/
hd_vnis.html
Sardar, Marika. "Astronomy and Astrology in the Medieval Islamic World." Heilbrunn Timeline of Art
History. Accessed December 8, 2015 http://www.metmuseum.org/toah/hd/astr/hd_astr.htm.
Charette, Francois and Al-Misri, Muhammad Ibn Muhammad. Mathematical Instrumentation in FourteenthCentury Egypt and Syria : The Illustrated Treatise of Najm Al-Din Al-Misri. Brill Academic Publishers, 0.
• Showing in the highest detail the mathematical instruments used in places surrounding central Europe of
the islamic faith. This provides context to how the use of such mathematics made its way to central islamic
nations.
King, David A. In Synchrony with the Heavens, Studies in Astronomical Timekeeping and Instrumentation
in Medieval Islamic Civilization, Volume 2 : Instruments of Mass Calculation (Studie X-XVIII). Brill,
N.H.E.J., N.V. Koninklijke, Boekhandel En Drukkerij, 2005.
• A more in depth respected book on Astronomy in Medieval Islam, most likely intended for high education
of training individuals in specific specialties.
Komaroff, Linda. Pen-case and Candlestick: Two Sources for the Development of Persian Inlaid Metalwork.
Metropolitan Museum of Art I988 METROPOLITAN MUSEUM JOURNAL 23. 89 - 102.
• This goes into detail about the processes of metalwork and the crafting of such objects in medieval islamic
times; giving a helpful insight into why the materials used were used and where they came from, as well as
who used them and why these objects needed such care.
Korzhumbayeva, Aigerim. "Muslim Astronomers in the Islamic Golden Age." Electrum Magazine RSS.
Accessed November 25, 2015. http://www.electrummagazine.com/2012/11/muslim-astronomers-in-theislamic-golden-age/.
Lewis, M. J. T. Surveying Instruments of Greece and Rome. Cambridge: Cambridge University Press, 2001.
• Providing insight into the background of surveying instruments, showing where the astrolabe originated
and how to transcended to become such an important aspect of a culture. Linking with “Mathematical
Instrumentation in Fourteenth-Century Egypt and Syria” as it provides contextual knowledge in areas
surrounding and including that of the Astrolabe.
Department of Arts of Africa, Oceania, and the Americas. "Trade and the Spread of Islam in Africa". In
Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://
www.metmuseum.org/toah/hd/tsis/hd_tsis.htm (October 2001)
Yalman, Suzan. "The Birth of Islam." Heilbrunn Timeline of Art History. Accessed December 8, 2015.
https://www.metmuseum.org/toah/hd/isla/hd_isla.html