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Islamic Art

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

Learning Objectives

Identify the influences and the specific attributes of Islamic fine art

Key Takeaways

Key Points

• Islamic art is non art of a specific religion, time, identify, or of a single 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, amid others.
• Islamic religious art differs from Christian religious art in that it is non-figural because many Muslims believe that the depiction of the human form is idolatry , and thereby a sin against God, forbidden in the Qur'an. Calligraphy and architectural elements are given of import religious significance in Islamic art.
• Islamic art adult from many sources: Roman, early on Christian art, and Byzantine styles ; Sassanian art of pre-Islamic Persia; Central Asian styles brought past various nomadic incursions, and Chinese influences appear on Islamic painting, pottery , and textiles.

Central Terms

• Qu'ran: The primal religious text of Islam, which Muslims believe to exist the verbatim discussion of God (Standard arabic: Allah). It is widely regarded equally the finest piece of literature in the Arabic language.
• arabesque: A repetitive, stylized pattern based on a geometrical floral or vegetal design.
• idolatry: The worship of idols.
• monotheistic: Believing in a single god, deity, spirit, etc., particularly 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 exist 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.

Nigh Muslims are of two denominations: Sunni (75–ninety%),[7] or Shia (ten–20%). 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 constabulary, which touches on every aspect of life and club. 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 to the lowest degree one time in a lifetime)

Islamic Art

Islamic art encompasses the visual arts produced from the seventh century onward by both Muslims and non-Muslims who lived within the territory that was inhabited by, or ruled by, culturally Islamic populations. It is thus a very difficult art to define considering it spans some 1400 years, roofing many lands and populations. This fine art is also not of a specific faith, time, identify, or unmarried medium. Instead Islamic art covers a range of artistic fields including compages, calligraphy, painting, glass, ceramics, and textiles, among others.

Islamic 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 past some Islamic theologians. Islamic religious fine art differs greatly from Christian religious art traditions.

Considering figural representations are generally considered to be forbidden in Islam, the discussion takes on religious meaning in art as seen in the tradition of calligraphic inscriptions. Calligraphy and the ornamentation of manuscript Qu'rans is an important attribute of Islamic art as the word takes on religious and artistic significance.

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

Other religious art, such as glass mosque lamps, Girih tiles, woodwork, and carpets usually demonstrate the same fashion and motifs every bit contemporary secular art, although they exhibit more prominent religious inscriptions.

A calligraphic console by Mustafa Râkim (late 18th–early 19th century): Islamic fine art has focused on the delineation of patterns and Arabic calligraphy, rather than on figures, considering it is feared by many Muslims that the depiction of the human grade is idolatry. The panel reads: "God, at that place is no god but 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 on Christian, and Byzantine art styles, as well as 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

There are repeating elements in Islamic fine art, such as the employ of stylized , geometrical floral or vegetal designs in a repetition known equally the arabesque . The arabesque in Islamic art is ofttimes used to symbolize the transcendent, indivisible and space nature of God. Some scholars believe that mistakes in repetitions may be intentionally introduced every bit a show of humility by artists who believe merely God can produce perfection.

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

Typically, though not entirely, Islamic art has focused on the depiction of patterns and Arabic calligraphy, rather than human or brute figures, because information technology 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.

However, depictions of the human form and animals tin can exist found in all eras of Islamic secular art. Depictions of the man class in art intended for the purpose of worship is considered idolatry and is forbidden in Islamic law, known as Sharia law.

Islamic Architecture

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

Learning Objectives

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

Key Takeaways

Key Points

• A specifically recognizable Islamic architectural way 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 place of prayer and a community meeting space . The early mosques are believed to be inspired by Muhammad'due south dwelling 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 Standard arabic: masjid.
• mihrab: A semicircular niche in the wall of a mosque, that indicates the qibla (direction of Mecca), and into which the imam prays.
• minaret: The tall slender belfry of an Islamic mosque, from which the muezzin recites the adhan (phone call to prayer).

Islamic Compages

Islamic architecture encompasses a wide range of both secular and religious styles. The chief Islamic architectural instance is the mosque. A specifically recognizable Islamic architectural way emerged soon after Muhammad's 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 customs coming together space. The early on mosques are believed to be inspired past Muhammad'southward habitation in Medina, which was the commencement mosque.

The Great Mosque of Kairouan (in Tunisia) is one of the best preserved and almost significant examples of early on keen mosques. Founded in 670, it contains all of the architectural features that distinguish early mosques: a minaret , a big courtyard surrounded by porticos , and a hypostyle prayer hall.

Dome of the mihrab (9th century) in the Great Mosque of Kairouan, also 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 compages starting time emerged in the cities of Bursa and Edirne in the 14th and 15th centuries, developing from before Seljuk Turk architecture, with additional influences from Byzantine, Western farsi, 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 equally peculiarly important models for Ottoman mosques, such as the mosque synthetic by Sinan.

Building reached its tiptop in the 16th century when Ottoman architects mastered the technique of building vast inner spaces surmounted by seemingly weightless yet incredibly massive domes , and achieved perfect harmony betwixt inner and outer spaces, as well as articulated low-cal and shadow.

They incorporated vaults , domes, square dome plans, slender corner minarets, and columns into their mosques, which became sanctuaries of transcendently artful and technical balance, as may be observed in the Blueish Mosque in Istanbul, Turkey.

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

Compages flourished in the Safavid Dynasty , attaining a high point with the edifice programme of Shah Abbas in Isfahan, which included numerous gardens, palaces (such as Ali Qapu), an immense bazaar, and a large regal mosque. Isfahan, the capital letter  of both the Seljuk and Safavid dynasties, bears the most prominent samples of the Safavid architecture, such as the the Majestic Mosque, which was synthetic in the years later on Shah Abbas I permanently moved the uppercase in that location in 1598.

Imperial Mosque, Isfahan, Islamic republic of iran: Isfahan, the capital of both the Seljuk and Safavid dynasties, bears the almost prominent samples of the Safavid architecture.

Islamic Drinking glass Making

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

Learning Objectives

Depict the art of Islamic glass

Key Takeaways

Key Points

• Between the 8th and early 11th centuries, the accent in luxury glass was on effects accomplished by manipulating the surface of the drinking glass, initially by incising into the glass on a wheel, and later by cut away the background to leave a design in relief .
• Lustre painting uses techniques like to lustreware in pottery and dates back to the 8th century in Egypt; it became widespread in the twelfth century.

Key Terms

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

Islamic Drinking glass

For nearly of the Middle Ages , Islamic luxury glass was the almost sophisticated in Eurasia , exported to both Europe and China. Islam took over much of the traditional glass-producing territory of Sassanian and Ancient Roman drinking glass. Since figurative decoration played a pocket-size role in pre-Islamic glass, the change in style was non sharp—except that the whole expanse initially formed a political whole, and, for example, Farsi innovations were now near immediately taken up in Arab republic of egypt.

For this reason it is often incommunicable to distinguish between the various centers of production (of which Egypt, Syria, and Persia were the most of import), except by scientific analysis of the cloth, which itself has difficulties. From diverse documentary references, glassmaking and drinking glass-trading seems to have been a specialty of the Jewish minority.

Between the eighth and early 11th centuries, the emphasis in luxury glass was on effects achieved by manipulating the surface of the drinking glass, initially by incising into the glass on a bike, and later by cutting abroad the background to go out a blueprint in relief. The very massive Hedwig spectacles, just plant in Europe, just unremarkably considered Islamic (or possibly from Muslim craftsmen in Norman Sicily), are an example of this, though they are puzzlingly late in engagement.

These and other glass pieces probably represented cheaper versions of vessels of carved rock crystal (clear quartz)—themselves influenced by before glass vessels—and there is some prove that at this flow glass and hard-stone cut were regarded as the same craft. From the 12th century, the glass industry in Persia and Mesopotamia declined, and the main production of luxury glass shifted to Arab republic of egypt and Syrian arab republic. Throughout this period, local centers made simpler wares, such as Hebron drinking glass in Palestine.

The Luck of Edenhall: This is a 13th-century Syrian beaker, in England since the Middle Ages. For well-nigh of the Heart Ages, Islamic drinking glass was the nigh sophisticated in Eurasia, exported to both Europe and People's republic of china.

Lustre painting

Lustre painting, by techniques similar to lustreware in pottery, dates dorsum to the 8th century in Egypt, and involves the application of metallic pigments during the drinking glass-making process. Another technique used past artisans was ornament with threads of glass of a unlike color, worked into the main surface, and sometimes manipulated past combing and other effects.

Gilt, 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 work was in mosque lamps donated by a ruler or wealthy man.

As decoration grew more than elaborate, the quality of the basic glass decreased, and it often exhibited bubbling and a brownish-xanthous tinge. Aleppo ceased to exist a major center after the Mongol invasion of 1260, and Timur appears to have ended the Syrian glass industry around 1400 by carrying off the skilled workers to Samarkand. Past almost 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 man. Every bit ornamentation grew more than elaborate, the quality of the bones glass decreased, and it oft exhibited bubbling and a brownish-yellowish tinge. Aleppo ceased to be a major middle after the Mongol invasion of 1260, and Timur appears to have ended the Syrian industry effectually 1400 past 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 pattern was omnipresent in Islamic art in the Centre Ages, and is seen in all types of fine art including compages and the decorative arts.

Learning Objectives

Explain the purpose and characteristics of Islamic calligraphy

Key Takeaways

Central Points

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

Key Terms

• Kufic script: The earliest form of Standard arabic calligraphy, noted for its angular grade.
• calligraphy: The fine art of writing letters and words with decorative strokes.

In a organized religion where figural representations are considered an human activity of idolatry, it is no surprise that  the give-and-take and its artistic representation became an important aspect in Islamic fine art. The most important religious text in Islam is the Quran, which is believed to be the word of God. At that place are many examples of calligraphy and calligraphic inscriptions pertaining to verses from the Quran in Islamic arts.

ninth century Quran: This early Quran demonstrates the Kufic script, noted for its angular form and equally the earliest form of Arabic calligraphy .

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

However, calligraphic design is not limited to the book in Islamic art. Calligraphy is found in several unlike types of art, such as compages. The interior of the Dome of the Rock (Jerusalem, circa 691), for example, features calligraphic inscriptions of verses from the Quran too equally from additional sources. Every bit in Europe in the Middle Ages , religious exhortations such as Quranic verses may be included in secular objects, especially 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 use in several different media.

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

Islamic Volume Painting

Manuscript painting in the late medieval Islamic earth reached its peak in Persia, Syria, Republic of iraq, and the Ottoman Empire.

Learning Objectives

Discuss the origin and evolution of Islamic manuscript painting

Key Takeaways

Primal Points

• The art of the Farsi book was born under the Ilkhanid dynasty and encouraged by the patronage of aristocrats for big illuminated manuscripts .
• Islamic manuscript painting witnessed its first aureate age in the 13th century when information technology was influenced by 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 particular in the Shahnameh of Shah Tahmasp, an immense copy of Ferdowsi's ballsy verse form that contains more than than 250 paintings.
• The medieval Islamic texts called Maqamat were some of the primeval coffee-table books and amidst the first Islamic art to mirror daily life.
• Masterpieces of Ottoman manuscript illustration include the two books of festivals, one from the terminate of the 16th century and the other from the era of Sultan Murad Iii.

Key Terms

• Mongols: An umbrella term for a large 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 ornamentation, such every bit decorated initials, borders (marginalia), and miniature illustrations.
• miniature: An illustration in an ancient or medieval illuminated manuscript.
• muraqqa: An anthology in book form containing Islamic miniature paintings and specimens of Islamic calligraphy, normally from several different sources, and perhaps other matter.
• Maqamat: The plural for Maqāma, an Arabic literary genre of rhymed prose with intervals of poetry that oftentimes ruminates on spiritual topics.

Islamic Book Painting

Book painting in the late medieval Islamic world reached its elevation in Persia, Syria, Iraq, and the Ottoman Empire . The fine art course blossomed across the unlike regions and was inspired past a range of cultural reference points.

The evolution of book 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 Communist china, the Ilkhanids in Iran, and the Golden Horde in northern Iran and southern Russian federation.

The Ilkhanids

The Ilkhanids were a rich culture that developed nether the little khans in Iran. Architectural activity intensified as the Mongols became sedentary yet retained traces of their nomadic origins, such as the n–south orientation of buildings. Western farsi, Islamic, and East Asian traditions melded together during this period and a process of Iranization took identify, in which construction according to previously established types, such equally the Iranian-programme 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 starting time gilt historic period in the 13th century, mostly within Syria and Republic of iraq.

Miniatures

The tradition of the Persian miniature (a small painting on paper) developed during this period, and it strongly influenced the Ottoman miniature of Turkey and the Mughal miniature in Bharat. Because illuminated manuscripts were an art of the court, and not seen in public, constraints on the depiction of the human figure were much more than relaxed and the homo form is represented with frequency inside this medium.

Influence from the Byzantine visual vocabulary (blueish and gold coloring, angelic and victorious motifs, symbology of mantle) was combined with Mongol facial types seen in 12th-century volume frontispieces. Chinese influences in Islamic volume painting include the early adoption of the vertical format natural to a book. Motifs such as peonies, clouds, dragons, and phoenixes were adapted from Cathay every bit well, and incorporated into manuscript illumination.

Mongol soldiers, in Jami al-tawarikh by Rashid-al-Din Hamadani: The Jāmi al-tawārīkh is a piece of 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 commencement 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 Persian poetry, such as the Shahnameh. Under the dominion of the Safavids in Iran (1501 to 1786), the art of manuscript illumination achieved new heights. The most noteworthy instance 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 deputed by royal 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 java-table books. They were among the offset texts in Islamic fine art to hold a mirror to daily life, portraying humorous stories and showing trivial adherence to prior pictorial traditions.

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

The paintings of Reza Abbasi effigy largely in this new form of book fine art. The form depicts one or 2 larger figures, typically arcadian beauties in a garden setting, and oft use the grisaille techniques previously used for background border paintings .

Mughal and Ottoman Manuscripts

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

Mughal portraits, normally in profile, are very finely drawn in a realist manner , while the best Ottoman ones are vigorously stylized . Anthology miniatures typically featured picnic scenes, portraits of individuals, or (in India especially) animals, or idealized youthful beauties of either sexual practice.

Masterpieces of Ottoman manuscript illustration include the ii books of festivals, ane from the end 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 by books captured in the course 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

Discuss how developments such as tin-opacified glazing and stonepaste ceramics made Islamic ceramics some of the most avant-garde of its time

Key Takeaways

Key Points

• The first Islamic opaque glazes date to effectually the 8th century, and another pregnant contribution was the evolution of stonepaste ceramics in 9th century Iraq.
• Lusterwares with irised colors were either invented or considerably developed in Persia and Syrian arab republic from the 9th century onward.
• The techniques, shapes, and decorative motifs of Chinese ceramics were admired and emulated by Islamic potters, especially later the Mongol and Timurid invasions.
• The Hispano–Moresque style emerged in the eighth century, with more refined production happening later, presumably by Muslim potters working in areas reconquered by Christian kingdoms.

Key Terms

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

Islamic Ceramics

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

Some other meaning contribution was the evolution of stonepaste ceramics, originating from ninth century Iraq. The first industrial complex for glass and pottery product was built in Ar-Raqqah, Syria, in the eighth century. Other centers for innovative pottery in the Islamic world included Fustat (from 975 to 1075), Damascus (from 1100 to effectually 1600), and Tabriz (from 1470 to 1550).

Lusterware

Lusterware is a type of pottery or porcelain that has an iridescent metal glaze. Luster first began as a painting technique in glassmaking , which was then 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 past other cultures. This dish is from East Persia or Key Asia.

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

An instance of this is the albarello, a type 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 Eye East. Hispano–Moresque examples were exported to Italy, inspiring the earliest Italian examples, from 15th century Florence.

Hispano–Moresque Style

The Hispano–Moresque style emerged in Al-Andaluz, or Muslim Spain, in the eighth century, under Egyptian influence. More than refined product happened much later, presumably past Muslim potters who worked in the areas reconquered past the Christian kingdoms.

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

1. Glazing with an opaque white can-glaze.
2. Painting in metal lusters.

Ottoman Iznik pottery produced most 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 still in earthenware, since porcelain was not made in Islamic countries until modern times.

The medieval Islamic world also painted pottery with animal and human imagery . Examples are found throughout the medieval Islamic earth, particularly in Persia and Arab republic of egypt.

Islamic Textiles

The well-nigh important textile produced in the Medieval and Early Modernistic Islamic Empires was the carpet.

Learning Objectives

Discuss the making and designs of Islamic textiles

Key Takeaways

Central Points

• The production and trade of textiles pre-dates Islam , and had long been important 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 textile product in the region, which was arguably the most important arts and crafts of the era.

Key Terms

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

Islam and the Cloth Arts

The textile arts refer to the product of arts and crafts that employ plant, animal, or synthetic fibers to create objects. These objects can be for everyday use, or they can be decorative and luxury items. The production and merchandise 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 command over fabric product in the region, which was arguably the most of import craft of the era. The most of import material produced in Medieval and Early Modernistic Islamic Empires was the carpeting.

The Ottoman Empire and Rug Production

The fine art of rug weaving was particularly important in the Ottoman Empire. The Ottoman country was founded by Turkish tribes in northwestern Anatolia in 1299 and became an empire in 1453 later on 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 every bit decorative effects and for their applied value . They were used non merely 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 fabricated in the coastal town of Hereke, were the most valued of the Ottoman carpets because of their fine weave. The Hereke carpets were typically used to furnish 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.

Farsi Carpets

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

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

Textiles became a large export, and Persian weaving became one of the almost popular imported appurtenances of Europe. Islamic carpets were a luxury item 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 Rug is the finest instance of 16th century Persian carpet production.

Indonesian Batik

Islamic textile production, however, was not limited to the carpet. Royal factories were founded for the purpose of textile product that also included cloth and garments.

The development and refinement of Indonesian batik cloth was closely linked to Islam. The Islamic prohibition on certain images encouraged batik design to get more abstract and intricate. Realistic depictions of animals and humans are rare on traditional batik, simply serpents, boob-shaped humans, and the Garuda of pre-Islamic mythology are all commonplace.

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

Javanese court batik: The development and refinement of Indonesian batik material was closely linked to Islam.

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

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