Introduction: The narrative of Alexander’s Wall against Gog and Magog occupies an important place in both Islamic and Christian traditions. In Islamic sources, Alexander is often identified with Dhul-Qarnayn, a Qurʾanic figure associated with divine guidance and moral responsibility. The manuscript Daqāʾiq al-Ḥaqāʾiq reflects this perspective by emphasizing the completed construction of the wall and the divine protection associated with it. Unlike many other visual representations of the story, this manuscript omits the figures of Alexander, Gog, and Magog. Instead, it focuses on the defensive structure of the wall and associated magical devices, including mounted figures holding musical instruments atop towers. In contrast, the Catalan Atlas combines historical narrative with eschatological expectations characteristic of the medieval Christian worldview, in which history and theology are closely intertwined. Alexander is portrayed as a Christian ruler confronting apocalyptic forces with the aid of divine and supernatural powers. The image includes vivid representations of Gog and Magog and extends the narrative toward an anticipated eschatological future. Through its elaborate visual language, rich colors, and detailed imagery, the Catalan Atlas reflects a European cartographic tradition that integrates geographical knowledge with theological concepts. This study comparatively examines the representation of Alexander’s Wall against Gog and Magog in these two significant medieval works, exploring how a shared narrative was adapted within different cultural, religious, and artistic contexts.
Purposes & Questions: This study aims to compare the visual representation of Alexander’s Wall against Gog and Magog in Daqāʾiq al-Ḥaqāʾiq, a thirteenth-century Islamic manuscript attributed to Nasir al-Din Muhammad Haikali (d. 671/1272), and the Catalan Atlas (776/1375). It addresses the following question: How do these two works visually narrate the story of Alexander’s Wall, and what theological, artistic, and historical perspectives are reflected in their representations?
Methods: The research adopts a descriptive-analytical comparative approach based on the visual and symbolic examination of primary sources. Data were collected through a detailed study of the illustrations in Daqāʾiq al-Ḥaqāʾiq and the Catalan Atlas. The analysis employs a qualitative approach to interpret artistic styles, symbolic elements, and narrative structures in order to identify thematic patterns and cross-cultural influences.
Findings and Results: The findings reveal both significant similarities and notable differences between the two depictions. In both works, magical devices function as symbols of divine protection against Gog and Magog. In Daqāʾiq al-Ḥaqāʾiq, mounted figures positioned atop towers convey vigilance and supernatural intervention, whereas in the Catalan Atlas, bronze trumpets produce frightening sounds that serve a protective function. In both cases, sound operates as a symbolic mechanism of defense sanctioned by divine power. Despite these common features, the two works differ substantially in their theological orientation and narrative emphasis. The Islamic manuscript presents Alexander as Dhul-Qarnayn and highlights divine guidance, moral authority, and the completed achievement of constructing the wall. By avoiding dramatic scenes of confrontation, it adopts a restrained and reflective visual language that emphasizes divine protection through symbolic rather than narrative means. The Catalan Atlas, by contrast, incorporates apocalyptic themes and portrays Alexander as a Christian ruler engaged in a struggle against forces associated with the end of time. Gog and Magog are represented as agents of disorder, confined behind the wall until their prophesied future release. This interpretation combines the memory of Alexander’s achievements with eschatological expectation and reflects a worldview in which historical and theological narratives are closely connected. The comparison further demonstrates how a shared narrative could be reshaped to address different ideological and cultural concerns. While the Islamic image emphasizes divine order, protection, and moral authority, the European example foregrounds prophecy, eschatology, and the anticipation of future events. At the same time, both visual narratives reveal common symbolic structures that transcend cultural boundaries. The use of sound as a protective force, the conception of the wall as a divinely sanctioned barrier, and the presence of supernatural elements illustrate the circulation and adaptation of ideas across different intellectual traditions. Overall, the study highlights the role of visual representation in medieval intercultural exchange. Although each work reflects the specific religious and artistic context in which it was produced, both demonstrate how shared narratives could be reinterpreted through distinct visual strategies. The analysis contributes to a deeper understanding of interactions between Islamic and Christian traditions, demonstrating how the story of Alexander’s Wall functioned both as a point of cultural convergence and as a marker of religious and ideological difference.