阿拉伯语中马赛克的术语是 fusayfisaa。这一阿拉伯语词是拜占庭希腊语术语 Ψηφιδωτό 的音译，马赛克艺术在拜占庭帝国时期取得了辉煌的发展。拜占庭风格的马赛克装饰了巴勒斯坦行省（巴勒斯坦第一、第二和第三行省）的教堂、犹太会堂和神庙，自4世纪起，这些建筑以精美的墙面、天花板和地面马赛克加以装饰。无论是由查士丁尼一世（527–565年）在埃利亚·卡皮托利纳（耶路撒冷）修建的新教堂（Νέα Ἐκκλησία），还是作为君士坦丁时期大型巴西利卡建造的伯利恒圣诞教堂，都装饰有马赛克。伯利恒圣诞教堂原有的马赛克地面带有典型的罗马几何图案，今天部分得以保存。正如我们已经指出的，希腊文中的国名 Παλαιστινη（巴勒斯坦）一词，曾出现在著名的马达巴马赛克地图上，该地图年代为公元560至565年，所描绘的城镇当时属于拜占庭的巴勒斯坦第一行省。类似的拜占庭风格阿拉伯马赛克也出土于倭马亚王朝希沙姆的宫殿（Qaṣr Hisham），该遗址位于耶利哥镇以北5公里处的 Khirbat al-Mafjar，是重要的早期伊斯兰考古遗址。该遗址发掘出土的许多文物现藏于东耶路撒冷被占领区的洛克菲勒博物馆（原巴勒斯坦考古博物馆）。

The Arabic term for mosaics is fusayfisaa. The Arab term is a transliteration of the Byzantine Greek term Ψηφιδωτό and mosaic art spectacularly flourished during the Byzantine Empire. Byzantine-style mosaics decorated the churches, synagogues and temples of Provincia Palaestina (Prima, Secunda and Tertia) which, from the 4th century onwards, were exquisitely embellished with wall, ceiling and flour mosaics. Both the Nea Church (Νέα Ἐκκλησία) in Aelia Capitolina (Jerusalem), erected by Justinian I (527–565),3 and the Church of the Nativity in Bethlehem, built as a great Constantinian basilica, were decorated with mosaics. The original mosaic floor of the Church of the Nativity, with its typical Roman geometric motifs, is partially preserved today. As we have already shown, the very name of the country Palaestina, in Greek (Παλαιστινη), was found on the famous Madaba Mosaic Map, dated 560‒565 AD, in a town which at the time was part of the Byzantine province of Palaestina Prima. Similar Arab Byzantine-style mosaics were found at the Umayyad Hisham’s Palace (Qaṣr Hisham) at Khirbat al-Mafjar, an important early Islamic archaeological site located 5 kilometres north of the town of Jericho. Many of the finds from the excavations at the site are now held in the Rockefeller Museum (formerly Palestine Archaeological Museum) in occupied East Jerusalem.

巴勒斯坦的马赛克(墙面、天花板和地面)工艺在阿尤布王朝和马穆鲁克王朝于耶路撒冷推行的建筑计划的推动下同样繁荣,并进一步发展壮大。十字军之后的时代,阿尤布王朝和马穆鲁克王朝将巴勒斯坦的重心重新调整并转向国家内陆,山区城市(希布伦、耶路撒冷、纳布卢斯、萨法德)随之再度兴起,这一变化在穆贾尔丁·乌莱米的《耶路撒冷与希布伦的光辉历史》一书中有所体现。穆贾尔丁不仅反复提到"Filastin"一词,还指出了巴勒斯坦地区社会与文化认同的演变,尤其是与希布伦城(及希布伦山地区)和耶路撒冷城(及耶路撒冷山地区)相联系的巴勒斯坦地方艺术与认同。这两座城市之间紧密的社会、经济、文化和艺术联系形成于阿尤布、马穆鲁克和奥斯曼时期并繁荣发展,延续了数百年,并一直留存至现代。它们表明,巴勒斯坦内部的因素如何促成了巴勒斯坦境内强烈的地方认同的形成。这些认同与巴勒斯坦穆斯林作家和卡迪的著作一样,极大地推动了"巴勒斯坦"概念的形成,使Filastin的历史与记忆得以延续:其中包括15世纪的穆贾尔丁,以及17世纪的海尔丁·拉姆利和图穆尔塔什。

The Palestine mosaic (wall, ceiling and floor) industry also flourished and grew further under the impact of the Ayyubid and Mamluk building programmes in Jerusalem. The reorientation and re-centring of Palestine in the post-Crusader era by the Ayyubids and Mamluks towards the interior of the country and the rise again of the cities of the mountain (al-Khalil, al-Quds, Nablus, Safad) as a consequence are reflected in work of Mujir al-Din al-ʿUlaymi, The Glorious History of al-Quds and al-Khalil. Mujir al-Din not only repeatedly refers to the term Filastin but also points to the evolution of regional social and cultural identities in Palestine and in particular Palestinian regional arts and identity linked to the cities of al-Khalil (and the area of Jabal al-Khalil) and al-Quds (the area of Jabal al-Quds). These close social, economic, cultural and artistic links between the two cities, which were formed and flourished during the Ayyubid, Mamluk and Ottoman periods, have endured for centuries and survived into the modern period; and they point to the way internal Palestinian factors contributed to the formation of strong regional identities within Palestine, identities which, like the works of Palestinian Muslim writers and qadis – Mujir al-Din in the 15th century and Khair al-Din al-Ramli and al-Tumurtashi in the 17th century – contributed greatly to the concept of Palestine by keeping the history and memories of Filastin alive.

在阿尤布王朝和马穆鲁克时期,巴勒斯坦在社会、文化和建筑方面受到开罗和大马士革的影响。但与此同时,纳布卢斯、耶路撒冷和希布伦等主要巴勒斯坦城市也向大马士革和开罗输出了大量本地制造的商品(例如参见 Ibn Battuta 2005: 57)。然而遗憾的是,巴勒斯坦内在的能动性以及其生产和创造能力,常常被历史学家忽视或一笔带过。这些历史学家往往专注于帝国的编年史,更愿意评论阿尤布王朝和马穆鲁克时期耶路撒冷伊斯兰艺术与建筑背后的外部影响,未能从内部审视巴勒斯坦的历史,也看不到巴勒斯坦人自主的能动性。例如,历史学家常指出耶路撒冷的坦基济亚学院(Tankiziyyah Madrasah)的风格与大马士革的坦基济亚学院相似(参见 Rosen-Ayalon 2006: 119, 155),却未能看到巴勒斯坦境内独立的艺术流派的兴起。事实上,独特的巴勒斯坦工艺传统和艺术流派在马穆鲁克时期发展起来,体现在希布伦的玻璃工业以及巴勒斯坦马赛克学派之中。这些传统一直延续到近代。在马穆鲁克时期的13世纪,希布伦发展出了繁荣且声誉很高的玻璃工业,包括被称为“zujaj al-khalili”(希布伦玻璃)的玻璃饰品;希布伦古城至今仍有一个名为“玻璃吹制者区”的街区,而希布伦玻璃至今仍是该城的旅游景点。传统上,玻璃是用当地原料熔制的,其中包括来自死海的碳酸钠。希布伦制作的彩色玻璃窗和大型玻璃艺术品,也装饰着耶路撒冷古城的圆顶清真寺(岩石圆顶)(al-Ju'beh 2008)。希布伦的玻璃灯和玻璃装饰品还出口到埃及、叙利亚、阿拉伯半岛和非洲。 在现代，这座城市因其玻璃制品而闻名于整个阿拉伯世界，也为前往巴勒斯坦的西方旅行者所熟知。1873年维也纳世界博览会上，这座城市也以玻璃装饰品参展。4

During the Ayyubid and Mamluk periods Palestine came under social, cultural and architectural influences from Cairo and Damascus. But also the key Palestinian cities such as Nablus, al-Quds and al-Khalil exported much of their locally manufactured goods to Damascus and Cairo (see, for instance, Ibn Battuta 2005: 57). Unfortunately, however, the internal Palestinian agency and the productive and creative capacities of Palestine are often ignored or glossed over by historians who are frequently preoccupied with imperial chronologies and prefer to comment on the external influences behind the Islamic art and architecture of Ayyubid and Mamluk Jerusalem, failing to see Palestinian history from within or the autonomous agency of the Palestinians. For instance, historians often point to the aesthetics of the Tankiziyyah Madrasah in Jerusalem, whose style resembles the Tankiziyah Madrasah in Damascus (see e.g. Rosen-Ayalon 2006: 119, 155), but fail to see independent Palestinian schools of arts emerging within Palestine. Indeed, distinct Palestinian craft traditions and schools of arts developed during the Mamluk period and these are found in the glass industry of al-Khalil and the Palestinian School of Mosaics. These traditions have survived into the modern period. In the 13th century during the Mamluk period al-Khalil developed a flourishing and highly respected glass industry, including glass jewellery known in Arabic as zujaj al-khalili; the Old City of al-Khalil still includes a district named the ‘Glass-Blower Quarter’ and Hebron glass continues to the present time to serve as a tourist attraction for the city. Traditionally, the glass was melted using local raw materials, including sodium carbonate from the Dead Sea. Stained glass windows and great works of art in glass produced in al-Khalil also adorn the Dome of the Rock in the Old City of Jerusalem (al-Ju’beh 2008). Al-Khalil’s glass lamps and glass ornaments were exported to Egypt, Syria, Arabia and Africa. The city became well known for its glass production throughout the Arab world and to Western travellers to Palestine in the modern period. It was also represented with glass ornaments at the World Exposition of 1873 in Vienna.4

正如希布伦的玻璃制品工业所体现的那样，历史上巴勒斯坦的其他延续性同样可以从马赛克艺术中得到说明。这门艺术在巴勒斯坦和中东地区有着悠久的历史，可追溯到公元前三千年的美索不达米亚宫殿与神庙建筑。古代中东的马赛克艺术，是用许多小块彩色玻璃、石子（卵石马赛克）或其他材料拼合而成的图案与图像，用于装饰艺术品或室内装饰。带有图案和画面的马赛克在古典时代广为流行。

As in the glasswork industry of al-Khalil, other continuities of historic Palestine can be illustrated by the mosaic art which has a long history in Palestine and the Middle East, starting with palaces and temple buildings in Mesopotamia in the 3rd millennium BC. The ancient mosaic art of the Middle East consisted of patterns and images made from the assembly of small pieces of coloured glass, stone (pebble mosaics) or other materials, used in decorative arts or as interior decoration. Mosaics with patterns and pictures became widespread in classical times.

伊斯兰时代的巴勒斯坦与整个沙姆地区继承了晚期古代的物质遗产和拜占庭马赛克艺术,这些物质与文化遗产被广泛应用于宏伟宗教建筑和宫殿的营造之中,其范围涵盖倭马亚时期的巴勒斯坦(Filastin)与沙姆。这些建筑包括耶路撒冷最早的伊斯兰大型宗教建筑——岩石圆顶清真寺,于公元691年建成,以及大马士革的倭马亚清真寺,于715年建成。岩石圆顶及其相邻的锁链圆顶也体现了巴勒斯坦最为壮观的伊斯兰遗产,这一遗产在阿尤布王朝、马木留克王朝和奥斯曼帝国时期持续数百年启发着一代又一代的工匠与艺术家。卡塔琳娜·加洛尔(Katharina Galor)与汉斯武尔夫·布勒德霍恩(Hanswulf Bloedhorn)论述了马木留克时期独立的巴勒斯坦马赛克与玻璃制作流派的兴起:

Islamic Palestine and al-Sham as a whole inherited the material heritage and Byzantine mosaic art of Late Antiquity and this material and cultural heritage was deployed widely in the construction of monumental religious buildings and palaces in Umayyad Filastin and al-Sham. These buildings included the first great Islamic religious buildings in Jerusalem, the Dome of the Rock, completed in 691 AD, and the Umayyad Mosque in Damascus, completed in 715. The Dome of the Rock and the neighbouring Dome of the Chain also embodied some of the most spectacular Islamic heritage of Palestine, a heritage which continued to inspire generations of craftsmen and artists for centuries under the Ayyubids, Mamluks and Ottomans. Katharina Galor and Hanswulf Bloedhorn comment on the emergence of an independent Palestinian school of mosaics and glasswork during the Mamluk period:

彩色与镀金玻璃、彩色釉料、绿松石色彩陶、珍珠母以及彩色石材和大理石的马赛克，装饰了部分马穆鲁克时期的建筑。其中最令人印象深刻的墙面马赛克位于塔恩基济耶学院（al-Madrasa al-Tankiziyya）。其米哈拉布（mihrab）覆盖着窄条多色大理石，两侧是再利用的十字军时期带柱头的柱子，这明显类似于圣石圆顶（Dome of the Rock）墙面马赛克的某些特征，尤其是其珍珠母镶嵌。这门在后期重新兴起的艺术似乎从七世纪圣石圆顶的马赛克中汲取了灵感。历史资料表明，在马穆鲁克时期，圣石圆顶和链子圆顶的墙面马赛克都曾进行过修复。尽管叙利亚和埃及也有相似类型的墙面马赛克，但耶路撒冷似乎是一个真正的巴勒斯坦流派的发源地，并延续了数个世纪。（Galor and Bloedhorn 2013: 230）

Mosaics of colored and gilded glass, colored paste, turquoise faience, and mother-of-pearl, as well as colored stone and marble, embellished some of the ... Mamluk buildings. The most impressive wall mosaic is located in al-Madrasa al-Tankiziyya. It mihrab is covered with narrow strips of polychrome marble, flanked by reused Crusader columns with capitals, clearly analogous to certain features of Umayyad wall mosaics in the Dome of the Rock, in particular with its mother-of-pearl inlay ... It appears that this late re-emerging art draw its inspiration from seventh-century mosaics in the Dome of the Rock. Historical sources indicate that restorations of wall mosaics were carried out during the Mamluk period in both the Dome of the Rock and the Dome of Chain. Although Syria and Egypt have similar types of wall mosaics, Jerusalem appears to have been the home of a genuine Palestinian school that lasted for centuries. (Galor and Bloedhorn 2013: 230)

巴勒斯坦玻璃制品、马赛克和手工艺品的质量受到严格管制,马木路克时期的这一管制制度遗产至今仍留存于巴勒斯坦的口语词汇中,如"Hisbe",也留存于巴勒斯坦的家族姓氏中,如 Muhtasib 家族,这是希伯伦(al-Khalil)城一个显赫的穆斯林家族。巴勒斯坦玻璃制品、马赛克和手工艺品的质量受到严格管制,马木路克时期的经济管制制度遗产至今仍留存于巴勒斯坦的口语词汇中,如"Hisbe",也留存于巴勒斯坦的家族姓氏中,如 Muhtasib 家族,这是希伯伦(al-Khalil)城一个显赫的穆斯林家族。 伊斯兰巴勒斯坦的 muhtasib 制度属于前资本主义的"道义经济"(借用英国历史学家 E. P. 汤普森的说法),受伊斯兰教法中社会正义和公共利益原则的影响,并在近东地区广泛推行。muhtasib 是由马木路克苏丹任命的重要官员,其职责包括管理物价,监督和检查巴勒斯坦、埃及和沙姆地区的集市与贸易。这些多样的职责还包括确保公共事务的处理符合伊斯兰教法(沙里亚)的伦理要求。 在中世纪的城市中心,瘟疫频繁流行,而卫生条件以及为城市公共浴室和公共饮水喷泉持续供应清洁水源,是伊斯兰土木工程在巴勒斯坦乃至整个穆斯林世界取得的重大成就。muhtasib 依据成文的官方手册,监督集市的卫生状况,管理度量衡、货币、农产品和制成品的价格、公共场所的安全以及公开售卖的食品。他们还确保工匠和建筑工人遵守其行业规定的规格和建造标准(Ibn al-Ukhuwah 1976;Broadbridge 1999;Hill, D. 1984)。

The quality of Palestinian glasswork, mosaics and crafts was tightly regulated and this legacy of the Mamluk system of regulation has survived in modern Palestinian vernacular terms such as Hisbe and in Palestinian family names such as the Muhtasib, a leading Muslim family in the city of al-Khalil (Hebron). The quality of Palestinian glasswork, mosaics and crafts was tightly regulated and this legacy of the Mamluk system of economic regulation has survived in modern Palestinian vernacular terms such as Hisbe and in Palestinian family names such as the Muhtasib, a leading Muslim family in the city of al-Khalil (Hebron). The muhtasib system in Islamic Palestine was part of the pre-capitalist ‘moral economy’ (to borrow an expression by English historian E. P. Thompson), influenced by sharia principles of social justice and the public good and widely promoted in the Near East. The muhtasib was an important official appointed by the Mamluk sultan whose duties included the regulation of prices and supervision and inspection of bazaars and trade in Palestine, Egypt and al-Sham. These varied duties also included ensuring that public business was conducted in accordance with the ethical requirements of the sharia (Islamic law). Recurrent epidemics were a regular phenomenon in the urban centres of the Middle Ages and hygienic conditions and the continuous supply of clean water, for public baths and public drinking fountains in the cities, were major achievements of Islamic civil engineering in Palestine throughout the Muslim world. Relying on written official manuals, the muhtasib supervised the regulation of hygienic conditions in the bazaars, weights and measures, money, prices of produce and manufactured goods, safety of public places and food sold publicly. They also ensured that craftsmen and builders adhered to the specification set for their craft and construction standards (Ibn al-Ukhuwah 1976; Broadbridge 1999; Hill, D. 1984).