Name Four Major Art Styles Shown in the Buildings Discussed

Islamic Art

Islamic art encompasses visual arts produced from the seventh century onwards past culturally Islamic populations.

Learning Objectives

Place the influences and the specific attributes of Islamic fine art

Cardinal Takeaways

Key Points

• Islamic art is non art of a specific organized religion, fourth dimension, place, or of a unmarried medium . Instead it spans some 1400 years, covers many lands and populations, and includes a range of artistic fields including architecture, calligraphy , painting, glass, ceramics , and textiles, among others.
• Islamic religious fine art differs from Christian religious fine art in that it is non-figural considering many Muslims believe that the depiction of the human class is idolatry , and thereby a sin against God, forbidden in the Qur'an. Calligraphy and architectural elements are given important religious significance in Islamic art.
• Islamic art developed from many sources: Roman, early Christian art, and Byzantine styles ; Sassanian art of pre-Islamic Persia; Primal Asian styles brought by diverse nomadic incursions, and Chinese influences appear on Islamic painting, pottery , and textiles.

Key Terms

• Qu'ran: The central religious text of Islam, which Muslims believe to be the verbatim word of God (Arabic: Allah). It is widely regarded every bit the finest piece of literature in the Arabic language.
• arabesque: A repetitive, stylized blueprint based on a geometrical floral or vegetal blueprint.
• idolatry: The worship of idols.
• monotheistic: Believing in a single god, deity, spirit, etc., especially for an organized religion, faith, or creed.

Islam

Islam is a monotheistic and Abrahamic religion articulated by the Qur'an, a book considered by its adherents to be the verbatim word of God (Allah) and the teachings of Muhammad , who is considered to be the last prophet of God. An adherent of Islam is called a Muslim.

Most Muslims are of ii denominations: Sunni (75–90%),[7] or Shia (10–xx%). Its essential religious concepts and practices include the five pillars of Islam, which are basic concepts and obligatory acts of worship, and the following of Islamic law, which touches on every attribute of life and lodge. The five pillars are:

1. Shahadah (belief or confession of faith)
2. Salat (worship in the form of prayer)
3. Sawm Ramadan (fasting during the month of Ramadan)
4. Zakat (alms or charitable giving)
5. Hajj (the pilgrimage to Mecca at least once in a lifetime)

Islamic Art

Islamic art encompasses the visual arts produced from the seventh century onward past both Muslims and not-Muslims who lived inside the territory that was inhabited by, or ruled by, culturally Islamic populations. Information technology is thus a very difficult art to define because it spans some 1400 years, covering many lands and populations. This fine art is likewise not of a specific religion, time, place, or single medium. Instead Islamic art covers a range of artistic fields including compages, calligraphy, painting, glass, ceramics, and textiles, among others.

Islamic fine art is non restricted to religious art, but instead includes all of the art of the rich and varied cultures of Islamic societies. It frequently includes secular elements and elements that are forbidden by some Islamic theologians. Islamic religious fine art differs greatly from Christian religious art traditions.

Because figural representations are generally considered to be forbidden in Islam, the give-and-take takes on religious meaning in art every bit seen in the tradition of calligraphic inscriptions. Calligraphy and the ornamentation of manuscript Qu'rans is an of import aspect of Islamic art as the give-and-take takes on religious and artistic significance.

Islamic compages, such as mosques and palatial gardens of paradise, are also embedded with religious significance. While examples of Islamic figurative painting practice exist, and may encompass religious scenes, these examples are typically from secular contexts, such as the walls of palaces or illuminated books of poetry.

Other religious art, such equally glass mosque lamps, Girih tiles, woodwork, and carpets commonly demonstrate the same style and motifs as contemporary secular art, although they showroom more prominent religious inscriptions.

A calligraphic panel past Mustafa Râkim (belatedly 18th–early on 19th century): Islamic fine art has focused on the depiction of patterns and Standard arabic calligraphy, rather than on figures, considering it is feared past many Muslims that the depiction of the man class is idolatry. The panel reads: "God, there is no god only He, the Lord of His prophet Muhammad (peace be upon him) and the Lord of all that has been created."

Islamic art was influenced by Greek, Roman, early Christian, and Byzantine fine art styles, too equally the Sassanian art of pre-Islamic Persia. Central Asian styles were brought in with various nomadic incursions; and Chinese influences had a formative effect on Islamic painting, pottery, and textiles.

Themes of Islamic Art

At that place are repeating elements in Islamic art, such as the utilise of stylized , geometrical floral or vegetal designs in a repetition known as the arabesque . The arabesque in Islamic art is often used to symbolize the transcendent, indivisible and infinite nature of God. Some scholars believe that mistakes in repetitions may be intentionally introduced as a evidence of humility by artists who believe only God can produce perfection.

Arabesque inlays at the Mughal Agra Fort, India: Geometrical designs in repetition, know as Arabesque, are used in Islamic fine art to symbolize the transcendent, indivisible, and space nature of God.

Typically, though not entirely, Islamic art has focused on the depiction of patterns and Arabic calligraphy, rather than human or fauna figures, considering it is believed by many Muslims that the depiction of the human form is idolatry and thereby a sin against God that is forbidden in the Qur'an.

Still, depictions of the man form and animals tin can be plant in all eras of Islamic secular art. Depictions of the man form in art intended for the purpose of worship is considered idolatry and is forbidden in Islamic police, known as Sharia law.

Islamic Architecture

Islamic architecture encompasses a broad range of styles and the principal example is the mosque.

Learning Objectives

Describe the development of mosques, and their different features during unlike periods and dynasties

Central Takeaways

Key Points

• A specifically recognizable Islamic architectural style emerged soon after Muhammad's time that incorporated Roman building traditions with the addition of localized adaptations of the former Sassanid and Byzantine models.
• The Islamic mosque has historically been both a identify of prayer and a community meeting space . The early mosques are believed to be inspired by Muhammad'south home in Medina, which was the first mosque.

Key Terms

• mosque: A place of worship for Muslims, corresponding to a church or synagogue in other religions, often having at least one minaret. In Arabic: masjid.
• mihrab: A semicircular niche in the wall of a mosque, that indicates the qibla (management of Mecca), and into which the imam prays.
• minaret: The tall slender tower of an Islamic mosque, from which the muezzin recites the adhan (call to prayer).

Islamic Architecture

Islamic architecture encompasses a wide range of both secular and religious styles. The principal Islamic architectural example is the mosque. A specifically recognizable Islamic architectural style emerged soon after Muhammad'due south time that incorporated Roman building traditions with the addition of localized adaptations of the former Sassanid and Byzantine models.

Early Mosques

The Islamic mosque has historically been both a place of prayer and a community meeting infinite. The early mosques are believed to exist inspired by Muhammad'due south home in Medina, which was the first mosque.

The Great Mosque of Kairouan (in Tunisia) is i of the best preserved and most significant examples of early great mosques. Founded in 670, information technology contains all of the architectural features that distinguish early mosques: a minaret , a large courtyard surrounded by porticos , and a hypostyle prayer hall.

Dome of the mihrab (9th century) in the Slap-up Mosque of Kairouan, likewise known as the Mosque of Uqba, in Kairouan, Tunisia: This is considered to be the ancestor of all the mosques in the western Islamic world.

Ottoman Mosques

Ottoman mosques and other architecture first emerged in the cities of Bursa and Edirne in the 14th and 15th centuries, developing from before Seljuk Turk compages, with additional influences from Byzantine, Persian, and Islamic Mamluk traditions.

Sultan Mehmed II would later fuse European traditions in his rebuilding programs at Istanbul in the 19th century. Byzantine styles as seen in the Hagia Sophia served every bit particularly important models for Ottoman mosques, such as the mosque constructed by Sinan.

Building reached its peak in the 16th century when Ottoman architects mastered the technique of edifice vast inner spaces surmounted by seemingly weightless withal incredibly massive domes , and accomplished perfect harmony between inner and outer spaces, likewise as articulated light and shadow.

They incorporated vaults , domes, square dome plans, slender corner minarets, and columns into their mosques, which became sanctuaries of transcendently aesthetic and technical residuum, equally may be observed in the Blue Mosque in Istanbul, Turkey.

The Blue Mosque, Istanbul, Turkey: The Blue Mosque represents the culmination of Ottoman construction with its numerous domes, slender minarets and overall harmony.

Architecture flourished in the Safavid Dynasty , attaining a high point with the building program of Shah Abbas in Isfahan, which included numerous gardens, palaces (such every bit Ali Qapu), an immense bazaar, and a large imperial mosque. Isfahan, the capital  of both the Seljuk and Safavid dynasties, bears the most prominent samples of the Safavid compages, such equally the the Imperial Mosque, which was constructed in the years later Shah Abbas I permanently moved the capital there in 1598.

Imperial Mosque, Isfahan, Iran: Isfahan, the capital of both the Seljuk and Safavid dynasties, bears the most prominent samples of the Safavid architecture.

Islamic Drinking glass Making

Glassmaking was the most important Islamic luxury fine art of the early Middle Ages.

Learning Objectives

Depict the art of Islamic drinking glass

Fundamental Takeaways

Key Points

• Between the 8th and early 11th centuries, the emphasis in luxury glass was on furnishings achieved by manipulating the surface of the glass, initially past incising into the glass on a wheel, and after by cut away the background to leave a design in relief .
• Lustre painting uses techniques similar to lustreware in pottery and dates dorsum to the eighth century in Arab republic of egypt; it became widespread in the 12th century.

Key Terms

• luxury arts: Highly decorative appurtenances fabricated of precious materials for the wealthy classes.
• glassmaking: The arts and crafts or industry of producing glass.

Islamic Drinking glass

For most of the Heart Ages , Islamic luxury glass was the nigh sophisticated in Eurasia , exported to both Europe and Cathay. Islam took over much of the traditional glass-producing territory of Sassanian and Ancient Roman glass. Since figurative decoration played a minor office in pre-Islamic glass, the change in fashion was not abrupt—except that the whole expanse initially formed a political whole, and, for instance, Persian innovations were now almost immediately taken upwards in Egypt.

For this reason it is often impossible to distinguish between the diverse centers of production (of which Egypt, Syrian arab republic, and Persia were the well-nigh important), except past scientific analysis of the textile, which itself has difficulties. From diverse documentary references, glassmaking and glass-trading seems to accept been a specialty of the Jewish minority.

Between the 8th and early 11th centuries, the emphasis in luxury glass was on effects achieved past manipulating the surface of the glass, initially past incising into the drinking glass on a cycle, and subsequently past cutting abroad the background to go out a design in relief. The very massive Hedwig spectacles, only found in Europe, but normally considered Islamic (or possibly from Muslim craftsmen in Norman Sicily), are an instance of this, though they are puzzlingly late in date.

These and other drinking glass pieces probably represented cheaper versions of vessels of carved rock crystal (clear quartz)—themselves influenced by earlier drinking glass vessels—and in that location is some bear witness that at this catamenia glass and hard-stone cutting were regarded every bit the aforementioned arts and crafts. From the 12th century, the drinking glass industry in Persia and Mesopotamia declined, and the main production of luxury glass shifted to Egypt and Syrian arab republic. Throughout this menstruation, local centers fabricated simpler wares, such as Hebron drinking glass in Palestine.

The Luck of Edenhall: This is a 13th-century Syrian chalice, in England since the Middle Ages. For well-nigh of the Centre Ages, Islamic glass was the near sophisticated in Eurasia, exported to both Europe and Prc.

Lustre painting

Lustre painting, by techniques like to lustreware in pottery, dates back to the 8th century in Arab republic of egypt, and involves the application of metallic pigments during the glass-making process. Another technique used by artisans was decoration with threads of glass of a different color, worked into the primary surface, and sometimes manipulated past combing and other effects.

Gilded, painted, and enameled glass were added to the repertoire, as were shapes and motifs borrowed from other media , such as pottery and metalwork . Some of the finest piece of work was in mosque lamps donated by a ruler or wealthy man.

As decoration grew more elaborate, the quality of the basic glass decreased, and it oftentimes exhibited bubbles and a brownish-yellow tinge. Aleppo ceased to be a major middle after the Mongol invasion of 1260, and Timur appears to have ended the Syrian glass industry around 1400 by conveying off the skilled workers to Samarkand. By nigh 1500, the Venetians were receiving large orders for mosque lamps.

Some of the finest work was in mosque lamps donated by a ruler or wealthy human. Equally decoration grew more elaborate, the quality of the bones glass decreased, and it often exhibited bubbles and a chocolate-brown-xanthous tinge. Aleppo ceased to be a major center later on the Mongol invasion of 1260, and Timur appears to have concluded the Syrian industry around 1400 by carrying off the skilled workers to Samarkand. By about 1500, the Venetians were receiving large orders for mosque lamps.

Mosque lamp: Produced in Egypt, c. 1360.

Islamic Calligraphy

Calligraphic design was omnipresent in Islamic fine art in the Heart Ages, and is seen in all types of art including architecture and the decorative arts.

Learning Objectives

Explain the purpose and characteristics of Islamic calligraphy

Key Takeaways

Central Points

• In a religion where figural representations are considered an act of idolatry , it is no surprise that the word and its creative representation became an of import aspect in Islamic art.
• The primeval form of Arabic calligraphy is Kufic script .
• Besides Quranic verses, other inscriptions include verses of verse, and inscriptions recording ownership or donation.

Key Terms

• Kufic script: The earliest course of Arabic calligraphy, noted for its angular form.
• calligraphy: The art of writing letters and words with decorative strokes.

In a organized religion where figural representations are considered an act of idolatry, information technology is no surprise that  the give-and-take and its creative representation became an important attribute in Islamic art. The near important religious text in Islam is the Quran, which is believed to exist the word of God. There are many examples of calligraphy and calligraphic inscriptions pertaining to verses from the Quran in Islamic arts.

9th century Quran: This early Quran demonstrates the Kufic script, noted for its angular form and as the earliest form of Standard arabic calligraphy .

The earliest form of Arabic calligraphy is Kufic script, which is noted for its angular form.  Standard arabic is read from correct to left and simply the consonants are written.  The black ink in the image above from a ninth century Quran marks the consonants for the reader.  The crimson dots that are visible on the folio note the vowels.

However, calligraphic design is non express to the volume in Islamic fine art. Calligraphy is constitute in several different types of art, such as architecture. The interior of the Dome of the Rock (Jerusalem, circa 691), for example, features calligraphic inscriptions of verses from the Quran as well as from additional sources. As in Europe in the Centre Ages , religious exhortations such equally Quranic verses may be included in secular objects, peculiarly coins, tiles, and metalwork .

Interior view of the Dome of the Rock: The interior of The Dome of the Rock features many calligraphic inscriptions, from both the Quran and other sources; it demonstrates the importance of calligraphy in Islamic art and its utilise in several different media.

Calligraphic inscriptions were not exclusive to the Quran, but also included verses of poetry or recorded ownership or donation. Calligraphers were highly regarded in Islam, which reinforces the importance of the word and its religious and artistic significance.

Islamic Book Painting

Manuscript painting in the tardily medieval Islamic world reached its height in Persia, Syria, Republic of iraq, and the Ottoman Empire.

Learning Objectives

Talk over the origin and evolution of Islamic manuscript painting

Cardinal Takeaways

Fundamental Points

• The art of the Persian book was born nether the Ilkhanid dynasty and encouraged past the patronage of aristocrats for large illuminated manuscripts .
• Islamic manuscript painting witnessed its first golden age in the 13th century when information technology was influenced past the Byzantine visual vocabulary and combined with Mongol facial types from 12th-century book frontispieces.
• Under the rule of the Safavids in Iran (1501 to 1786), the art of manuscript illumination achieves new heights, in detail in the Shahnameh of Shah Tahmasp, an immense copy of Ferdowsi'southward ballsy poem that contains more than 250 paintings.
• The medieval Islamic texts chosen Maqamat were some of the earliest coffee-table books and among the starting time Islamic fine art to mirror daily life.
• Masterpieces of Ottoman manuscript analogy include the two books of festivals, i from the end of the 16th century and the other from the era of Sultan Murad III.

Key Terms

• Mongols: An umbrella term for a big group of Mongolic and Turkic tribes united under the rule of Genghis Khan in the 13th century.
• illuminated manuscripts: A book in which the text is supplemented by the addition of ornament, such as decorated initials, borders (marginalia), and miniature illustrations.
• miniature: An illustration in an ancient or medieval illuminated manuscript.
• muraqqa: An album in book course containing Islamic miniature paintings and specimens of Islamic calligraphy, normally from several dissimilar sources, and mayhap other matter.
• Maqamat: The plural for Maqāma, an Arabic literary genre of rhymed prose with intervals of poetry that often ruminates on spiritual topics.

Islamic Book Painting

Volume painting in the late medieval Islamic world reached its superlative in Persia, Syria, Iraq, and the Ottoman Empire . The fine art form blossomed beyond the dissimilar regions and was inspired by a range of cultural reference points.

The evolution of volume painting first began in the 13th century, when the Mongols, under the leadership of Genghis Khan, swept through the Islamic world. Upon the death of Genghis Khan, his empire was divided among his sons and dynasties formed: the Yuan in Prc, the Ilkhanids in Iran, and the Golden Horde in northern Islamic republic of iran and southern Russia.

The Ilkhanids

The Ilkhanids were a rich civilization that developed under the fiddling khans in Iran. Architectural activity intensified every bit the Mongols became sedentary yet retained traces of their nomadic origins, such every bit the north–s orientation of buildings. Farsi, Islamic, and Due east Asian traditions melded together during this period and a process of Iranization took identify, in which construction according to previously established types, such as the Iranian-plan mosques , was resumed.

The art of the Persian book was born under the Ilkhanid dynasty and encouraged by the patronage of aristocrats for large illuminated manuscripts, such as the Jami' al-tawarikh by Rashid-al-Din Hamadani. Islamic book painting witnessed its beginning gilt age in the 13th century, mostly inside Syria and Iraq.

Miniatures

The tradition of the Western farsi miniature (a small painting on paper) developed during this period, and it strongly influenced the Ottoman miniature of Turkey and the Mughal miniature in India. Because illuminated manuscripts were an art of the court, and non seen in public, constraints on the depiction of the human figure were much more than relaxed and the human class is represented with frequency within this medium.

Influence from the Byzantine visual vocabulary (blue and gold coloring, angelic and victorious motifs, symbology of drape) was combined with Mongol facial types seen in twelfth-century book frontispieces. Chinese influences in Islamic book painting include the early adoption of the vertical format natural to a book. Motifs such as peonies, clouds, dragons, and phoenixes were adapted from Red china equally well, and incorporated into manuscript illumination.

Mongol soldiers, in Jami al-tawarikh past Rashid-al-Din Hamadani: The Jāmi al-tawārīkh is a work of literature and history, produced by the Mongol Ilkhanate in Persia. The breadth of the work has caused information technology to be called the kickoff globe history and its lavish illustrations and calligraphy required the efforts of hundreds of scribes and artists.

The largest commissions of illustrated books were usually classics of Western farsi poesy, such as the Shahnameh. Nether the rule of the Safavids in Iran (1501 to 1786), the fine art of manuscript illumination achieved new heights. The about noteworthy case of this is the Shahnameh of Shah Tahmasp, an immense copy of Ferdowsi's epic poem that contains more than 250 paintings.

The Court of Gayumars, from the Shahnameh of Shah Tahmasp: Illuminated manuscripts of the Shahnameh were frequently commissioned by regal patrons.

Maqamat and Albums

The medieval Islamic texts called Maqamat that were copied and illustrated by Yahya ibn Mahmud al-Wasiti, were some of the earliest coffee-table books. They were amid the first texts in Islamic art to hold a mirror to daily life, portraying humorous stories and showing lilliputian adherence to prior pictorial traditions.

In the 17th century a new type of painting developed based effectually the album (muraqqa). The albums were the creations of connoisseurs who bound together unmarried sheets of paintings, drawings, or calligraphy by various artists; they were sometimes excised from earlier books and other times created equally independent works.

The paintings of Reza Abbasi figure largely in this new course of book art. The form depicts i or two larger figures, typically idealized beauties in a garden setting, and often use the grisaille techniques previously used for background border paintings .

Mughal and Ottoman Manuscripts

The Mughals and Ottomans both produced lavish manuscripts of more recent history with the autobiographies of the Mughal emperors and purely war machine chronicles of Turkish conquests. Portraits of rulers adult in the 16th century, and after in Persia, where they became very popular.

Mughal portraits, usually in profile, are very finely fatigued in a realist mode , while the best Ottoman ones are vigorously stylized . Album miniatures typically featured picnic scenes, portraits of individuals, or (in India specially) animals, or idealized youthful beauties of either sex.

Masterpieces of Ottoman manuscript illustration include the two books of festivals, ane from the finish of the 16th century and the other from the era of Sultan Murad 3. These books contain numerous illustrations and exhibit a strong Safavid influence, perhaps inspired past books captured in the class of the Ottoman–Safavid wars of the 16th century.

Islamic Ceramics

Islamic art has notable achievements in ceramics that reached heights unmatched by other cultures.

Learning Objectives

Hash out how developments such as tin-opacified glazing and stonepaste ceramics made Islamic ceramics some of the nearly advanced of its fourth dimension

Key Takeaways

Fundamental Points

• The first Islamic opaque glazes date to effectually the eighth century, and another meaning contribution was the development of stonepaste ceramics in ninth century Iraq.
• Lusterwares with iridescent colors were either invented or considerably developed in Persia and Syria from the ninth century onward.
• The techniques, shapes, and decorative motifs of Chinese ceramics were admired and emulated by Islamic potters, particularly after the Mongol and Timurid invasions.
• The Hispano–Moresque style emerged in the 8th century, with more refined production happening afterwards, presumably by Muslim potters working in areas reconquered by Christian kingdoms.

Cardinal Terms

• Hispano–Moresque style: A style of Islamic pottery created in Al-Andaluz, or Muslim Espana, which connected to be produced under Christian dominion in styles that composite Islamic and European elements.
• lusterware: A blazon of pottery or porcelain having an iridescent metallic glaze.
• glaze: The vitreous coating of pottery or porcelain, or a transparent or semi-transparent layer of pigment.
• ceramics: Inorganic, nonmetallic solids created by the action of heat and their subsequent cooling. Virtually common ceramics are crystalline and the earliest uses of ceramics were in pottery.

Islamic Ceramics

Islamic fine art has notable achievements in ceramics, both in pottery and tiles for buildings, which reached heights unmatched past other cultures . Early pottery had usually been unglazed, but a tin-opacified glazing technique was adult by Islamic potters. The first Islamic opaque glazes tin can be found every bit blue-painted ware in Basra, dating to around the 8th century.

Some other significant contribution was the development of stonepaste ceramics, originating from 9th century Republic of iraq. The first industrial circuitous for glass and pottery production was congenital in Ar-Raqqah, Syria, in the 8th century. Other centers for innovative pottery in the Islamic world included Fustat (from 975 to 1075), Damascus (from 1100 to around 1600), and Tabriz (from 1470 to 1550).

Lusterware

Lusterware is a type of pottery or porcelain that has an irised metallic glaze. Luster first began as a painting technique in glassmaking , which was so translated to pottery in Mesopotamia in the 9th century.

10th century dish: Islamic art has very notable achievements in ceramics, both in pottery and tiles for walls, which reached heights unmatched by other cultures. This dish is from East Persia or Cardinal Asia.

The techniques, shapes, and decorative motifs of Chinese ceramics were admired and emulated by Islamic potters, particularly after the Mongol and Timurid invasions. Until the Early Modern period, Western ceramics had little influence, but Islamic pottery was highly sought later in Europe, and was often copied.

An example of this is the albarello, a blazon of earthenware jar originally designed to hold apothecary ointments and dry drugs. The development of this type of pharmacy jar had its roots in the Islamic Middle East. Hispano–Moresque examples were exported to Italy, inspiring the earliest Italian examples, from 15th century Florence.

Hispano–Moresque Manner

The Hispano–Moresque style emerged in Al-Andaluz, or Muslim Espana, in the 8th century, under Egyptian influence. More refined production happened much after, presumably by Muslim potters who worked in the areas reconquered by the Christian kingdoms.

The Hispano–Moresque way mixed Islamic and European elements in its designs and was exported to neighboring European countries. The fashion introduced two ceramic techniques to Europe:

1. Glazing with an opaque white tin-glaze.
2. Painting in metallic lusters.

Ottoman Iznik pottery produced well-nigh of the finest ceramics of the 16th century—tiles and large vessels boldly decorated with floral motifs that were influenced by Chinese Yuan and Ming ceramics. These were however in earthenware, since porcelain was not fabricated in Islamic countries until modernistic times.

The medieval Islamic world besides painted pottery with beast and human being imagery . Examples are found throughout the medieval Islamic world, particularly in Persia and Egypt.

Islamic Textiles

The most important fabric produced in the Medieval and Early Modern Islamic Empires was the carpet.

Learning Objectives

Discuss the making and designs of Islamic textiles

Key Takeaways

Key Points

• The production and trade of textiles pre-dates Islam , and had long been important to Centre Eastern cultures and cities, many of which flourished due to the Silk Road .
• When the Islamic dynasties formed and grew more powerful they gained control over textile production in the region, which was arguably the most of import craft of the era.

Key Terms

• material arts: The product of arts and crafts that use plant, animal, or synthetic fibers to create objects.

Islam and the Fabric Arts

The fabric arts refer to the production of arts and crafts that use plant, fauna, or constructed fibers to create objects. These objects can exist for everyday use, or they can be decorative and luxury items. The production and merchandise of textiles pre-dates Islam, and had long been of import to Center Eastern cultures and cities, many of which flourished due to the Silk Road.

When the Islamic dynasties formed and grew more than powerful they gained control over cloth production in the region, which was arguably the well-nigh important craft of the era. The most important textile produced in Medieval and Early Modern Islamic Empires was the carpeting.

The Ottoman Empire and Carpet Production

The art of carpet weaving was specially important in the Ottoman Empire. The Ottoman state was founded by Turkish tribes in northwestern Anatolia in 1299 and became an empire in 1453 after the momentous conquest of Constantinople.

Stretching across Asia, Europe, and Africa, the Empire was vast and long lived, lasting until 1922 when the monarchy was abolished in Turkey. Within the Ottoman Empire, carpets were immensely valued as decorative furnishings and for their practical value . They were used not but on floors but also as wall and door hangings, where they provided additional insulation.

These intricately knotted carpets were made of silk, or a combination of silk and cotton, and were often rich in religious and other symbolism. Hereke silk carpets, which were made in the littoral town of Hereke, were the about valued of the Ottoman carpets because of their fine weave. The Hereke carpets were typically used to replenish royal palaces.

Carpet and interior of the Harem room in Topkapi Palace, Istanbul: The Ottoman Turks were famed for the quality of their finely woven and intricately knotted silk carpets.

Persian Carpets

The Iranian Safavid Empire (1501–1786) is distinguished from the Mughal and Ottoman dynasties past the Shia faith of its shahs, which was the majority Islamic denomination in Persia. Safavid art is contributed to several aesthetic traditions, particularly to the textile arts.

In the sixteenth century, rug weaving evolved from a nomadic and peasant craft to a well-executed manufacture that used specialized pattern and manufacturing techniques on quality fibers such as silk. The carpets of Ardabil, for instance, were deputed to commemorate the Safavid dynasty and are now considered to be the all-time examples of classical Persian weaving, particularly for their utilize of graphical perspective.

Textiles became a large export, and Persian weaving became 1 of the about popular imported goods of Europe. Islamic carpets were a luxury detail in Europe and there are several examples of European Renaissance paintings that document the presence of Islamic textiles in European homes during that time.

The Ardabil Carpet, Persia, 1540: The Ardabil Carpet is the finest example of 16th century Persian carpet production.

Indonesian Batik

Islamic textile product, all the same, was non limited to the carpet. Royal factories were founded for the purpose of textile production that too included cloth and garments.

The development and refinement of Indonesian batik cloth was closely linked to Islam. The Islamic prohibition on sure images encouraged batik blueprint to become more abstract and intricate. Realistic depictions of animals and humans are rare on traditional batik, but serpents, puppet-shaped humans, and the Garuda of pre-Islamic mythology are all commonplace.

Although its existence in Indonesia pre-dates Islam, batik reached its high point in the imperial Muslim courts, such as Mataram and Yogyakarta, whose Muslim rulers encouraged and patronized batik production. Today, batik has undergone a revival, and cloths are used for other purposes also wearing, such as wrapping the Quran.

Javanese court batik: The evolution and refinement of Indonesian batik cloth was closely linked to Islam.

footeplith1965.blogspot.com

Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/introduction-to-islamic-art/