Why Are Repetitive Geometrical Shapes and Vegetal Patterns Used in Islamic Art?
Islamic Fine art
Islamic fine art encompasses visual arts produced from the 7th century onwards by culturally Islamic populations.
Learning Objectives
Identify the influences and the specific attributes of Islamic art
Cardinal Takeaways
Key Points
- Islamic art is not art of a specific religion, fourth dimension, identify, or of a single medium . Instead it spans some 1400 years, covers many lands and populations, and includes a range of creative fields including architecture, calligraphy , painting, glass, ceramics , and textiles, among others.
- Islamic religious art differs from Christian religious art in that information technology is not-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 important religious significance in Islamic art.
- Islamic art developed from many sources: Roman, early Christian fine 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.
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 as 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 unmarried god, deity, spirit, etc., particularly for an organized faith, faith, or creed.
Islam
Islam is a monotheistic and Abrahamic organized religion articulated by the Qur'an, a book considered by its adherents to be the verbatim discussion of God (Allah) and the teachings of Muhammad , who is considered to exist the terminal prophet of God. An adherent of Islam is chosen a Muslim.
Virtually Muslims are of two denominations: Sunni (75–xc%),[vii] 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 post-obit of Islamic law, which touches on every attribute of life and society. The five pillars are:
- Shahadah (conventionalities or confession of faith)
- Salat (worship in the form of prayer)
- Sawm Ramadan (fasting during the month of Ramadan)
- Zakat (alms or charitable giving)
- Hajj (the pilgrimage to Mecca at least in one case in a lifetime)
Islamic Fine art
Islamic art encompasses the visual arts produced from the 7th 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 because it spans some 1400 years, roofing many lands and populations. This fine art is as well not of a specific organized religion, time, identify, or single medium. Instead Islamic art covers a range of artistic fields including architecture, calligraphy, painting, glass, ceramics, and textiles, among others.
Islamic art is not restricted to religious art, but instead includes all of the art of the rich and varied cultures of Islamic societies. It oftentimes includes secular elements and elements that are forbidden by some Islamic theologians. Islamic religious art differs greatly from Christian religious art traditions.
Because figural representations are generally considered to be forbidden in Islam, the word takes on religious meaning in fine art as seen in the tradition of calligraphic inscriptions. Calligraphy and the decoration of manuscript Qu'rans is an of import aspect of Islamic art equally the discussion takes on religious and creative significance.
Islamic architecture, such as mosques and palatial gardens of paradise, are also embedded with religious significance. While examples of Islamic figurative painting practise exist, and may cover religious scenes, these examples are typically from secular contexts, such every bit the walls of palaces or illuminated books of poetry.
Other religious fine art, such as glass mosque lamps, Girih tiles, woodwork, and carpets unremarkably demonstrate the aforementioned manner and motifs as contemporary secular fine art, although they exhibit more than prominent religious inscriptions.
A calligraphic console by Mustafa Râkim (late 18th–early 19th century): Islamic fine art has focused on the depiction of patterns and Arabic calligraphy, rather than on figures, because it is feared by many Muslims that the depiction of the human form is idolatry. The console reads: "God, at that place is no god but He, the Lord of His prophet Muhammad (peace exist 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, as well as the Sassanian fine art of pre-Islamic Persia. Central Asian styles were brought in with various nomadic incursions; and Chinese influences had a formative upshot on Islamic painting, pottery, and textiles.
Themes of Islamic Fine art
In that location are repeating elements in Islamic fine art, such as the use 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 show of humility by artists who believe merely God can produce perfection.
Arabesque inlays at the Mughal Agra Fort, Bharat: Geometrical designs in repetition, know every bit Arabesque, are used in Islamic art to symbolize the transcendent, indivisible, and infinite nature of God.
Typically, though not entirely, Islamic fine art has focused on the depiction of patterns and Arabic calligraphy, rather than human being or animal figures, because it is believed by many Muslims that the depiction of the human grade is idolatry and thereby a sin against God that is forbidden in the Qur'an.
Nonetheless, depictions of the human being form and animals tin can exist found in all eras of Islamic secular art. Depictions of the human being form in art intended for the purpose of worship is considered idolatry and is forbidden in Islamic police force, known as Sharia law.
Islamic Compages
Islamic compages encompasses a wide range of styles and the principal case is the mosque.
Learning Objectives
Describe the development of mosques, and their dissimilar features during different periods and dynasties
Primal Takeaways
Key Points
- A specifically recognizable Islamic architectural style emerged before long after Muhammad's time that incorporated Roman building traditions with the improver of localized adaptations of the old 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'southward 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 1 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 broad range of both secular and religious styles. The chief Islamic architectural case is the mosque. A specifically recognizable Islamic architectural style emerged soon afterwards Muhammad'south time that incorporated Roman building traditions with the add-on 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 space. The early on mosques are believed to be inspired by Muhammad's dwelling house in Medina, which was the first mosque.
The Great Mosque of Kairouan (in Tunisia) is 1 of the best preserved and nigh pregnant examples of early smashing mosques. Founded in 670, information technology contains all of the architectural features that distinguish early mosques: a minaret , a big courtyard surrounded past 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 architecture first emerged in the cities of Bursa and Edirne in the 14th and 15th centuries, developing from earlier Seljuk Turk architecture, with additional influences from Byzantine, Persian, and Islamic Mamluk traditions.
Sultan Mehmed II would afterwards fuse European traditions in his rebuilding programs at Istanbul in the 19th century. Byzantine styles as seen in the Hagia Sophia served equally particularly of import models for Ottoman mosques, such as the mosque constructed by Sinan.
Edifice reached its peak in the 16th century when Ottoman architects mastered the technique of building vast inner spaces surmounted by seemingly weightless all the same incredibly massive domes , and accomplished perfect harmony betwixt inner and outer spaces, equally well equally articulated light and shadow.
They incorporated vaults , domes, foursquare dome plans, slender corner minarets, and columns into their mosques, which became sanctuaries of transcendently aesthetic and technical rest, equally may be observed in the Bluish Mosque in Istanbul, Turkey.
The Bluish Mosque, Istanbul, Turkey: The Blue Mosque represents the culmination of Ottoman construction with its numerous domes, slender minarets and overall harmony.
Compages flourished in the Safavid Dynasty , attaining a high point with the building program of Shah Abbas in Isfahan, which included numerous gardens, palaces (such as Ali Qapu), an immense bazaar, and a big imperial mosque. Isfahan, the capital of both the Seljuk and Safavid dynasties, bears the most prominent samples of the Safavid compages, such as the the Imperial Mosque, which was constructed in the years after Shah Abbas I permanently moved the capital in that location in 1598.
Purple Mosque, Isfahan, Iran: Isfahan, the uppercase of both the Seljuk and Safavid dynasties, bears the about prominent samples of the Safavid architecture.
Islamic Glass Making
Glassmaking was the most important Islamic luxury art of the early Middle Ages.
Learning Objectives
Describe the fine art of Islamic glass
Key Takeaways
Key Points
- Betwixt the 8th and early 11th centuries, the emphasis in luxury glass was on furnishings achieved by manipulating the surface of the glass, initially by incising into the glass on a bicycle, and later by cut away the groundwork to leave a design in relief .
- Lustre painting uses techniques similar to lustreware in pottery and dates back to the eighth century in Arab republic of egypt; information technology became widespread in the twelfth century.
Key Terms
- luxury arts: Highly decorative goods fabricated of precious materials for the wealthy classes.
- glassmaking: The craft or industry of producing glass.
Islamic Glass
For most 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 glass. Since figurative decoration played a pocket-sized part in pre-Islamic drinking glass, the change in style was not precipitous—except that the whole area initially formed a political whole, and, for example, Persian innovations were now almost immediately taken up in Arab republic of egypt.
For this reason it is often incommunicable to distinguish betwixt the various centers of product (of which Egypt, Syria, and Persia were the almost important), except by scientific analysis of the material, which itself has difficulties. From various documentary references, glassmaking and glass-trading seems to take been a specialty of the Jewish minority.
Between the 8th and early 11th centuries, the accent in luxury drinking glass was on effects achieved by manipulating the surface of the glass, initially by incising into the drinking glass on a wheel, and later on by cutting away the groundwork to leave a design in relief. The very massive Hedwig spectacles, only found in Europe, but normally considered Islamic (or perchance from Muslim craftsmen in Norman Sicily), are an example of this, though they are puzzlingly tardily in appointment.
These and other glass pieces probably represented cheaper versions of vessels of carved stone crystal (clear quartz)—themselves influenced past earlier glass vessels—and in that location is some bear witness that at this period drinking glass and hard-rock cutting 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 Syria. 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 chalice, in England since the Middle Ages. For nearly of the Heart Ages, Islamic glass was the about sophisticated in Eurasia, exported to both Europe and Prc.
Lustre painting
Lustre painting, by techniques similar 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 dissimilar color, worked into the master surface, and sometimes manipulated by 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 work was in mosque lamps donated past a ruler or wealthy man.
As decoration grew more elaborate, the quality of the basic drinking glass decreased, and it oft exhibited bubbles and a brownish-yellow tinge. Aleppo ceased to exist a major center later on the Mongol invasion of 1260, and Timur appears to accept ended the Syrian glass manufacture around 1400 by carrying off the skilled workers to Samarkand. By about 1500, the Venetians were receiving big orders for mosque lamps.
Some of the finest piece of work was in mosque lamps donated by a ruler or wealthy man. As ornamentation grew more than elaborate, the quality of the basic glass decreased, and it oftentimes exhibited bubbling and a chocolate-brown-yellow tinge. Aleppo ceased to be a major center later the Mongol invasion of 1260, and Timur appears to have ended the Syrian industry around 1400 by carrying off the skilled workers to Samarkand. By about 1500, the Venetians were receiving big orders for mosque lamps.
Mosque lamp: Produced in Egypt, c. 1360.
Islamic Calligraphy
Calligraphic design was omnipresent in Islamic art in the Middle Ages, and is seen in all types of art including architecture and the decorative arts.
Learning Objectives
Explicate the purpose and characteristics of Islamic calligraphy
Key Takeaways
Key Points
- In a religion where figural representations are considered an act of idolatry , information technology is no surprise that the word and its artistic representation became an important aspect in Islamic art.
- The earliest form of Arabic calligraphy is Kufic script .
- Besides Quranic verses, other inscriptions include verses of poetry, and inscriptions recording ownership or donation.
Primal Terms
- Kufic script: The earliest form of Standard arabic calligraphy, noted for its angular form.
- calligraphy: The art of writing letters and words with decorative strokes.
In a faith where figural representations are considered an act 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 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 on Quran demonstrates the Kufic script, noted for its angular form and every bit the earliest form of Arabic calligraphy .
The primeval form of Standard arabic calligraphy is Kufic script, which is noted for its angular form. Standard arabic is read from correct to left and but the consonants are written. The blackness ink in the paradigm in a higher place from a 9th century Quran marks the consonants for the reader. The crimson dots that are visible on the page note the vowels.
Withal, calligraphic design is not limited to the book in Islamic art. Calligraphy is found in several different types of art, such as compages. The interior of the Dome of the Rock (Jerusalem, circa 691), for case, features calligraphic inscriptions of verses from the Quran as well as from additional sources. Equally in Europe in the Heart Ages , religious exhortations such equally Quranic verses may be included in secular objects, especially coins, tiles, and metalwork .
Interior view of the Dome of the Stone: The interior of The Dome of the Stone features many calligraphic inscriptions, from both the Quran and other sources; it demonstrates the importance of calligraphy in Islamic fine art and its apply in several different media.
Calligraphic inscriptions were non exclusive to the Quran, but too 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 pinnacle in Persia, Syria, Iraq, and the Ottoman Empire.
Learning Objectives
Discuss the origin and evolution of Islamic manuscript painting
Key Takeaways
Cardinal 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 it 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 fine art of manuscript illumination achieves new heights, in item in the Shahnameh of Shah Tahmasp, an immense copy of Ferdowsi's epic poem that contains more than than 250 paintings.
- The medieval Islamic texts called Maqamat were some of the earliest coffee-table books and amongst the first Islamic art to mirror daily life.
- Masterpieces of Ottoman manuscript illustration include the two books of festivals, 1 from the cease of the 16th century and the other from the era of Sultan Murad III.
Cardinal 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 decoration, such as busy initials, borders (marginalia), and miniature illustrations.
- miniature: An illustration in an aboriginal or medieval illuminated manuscript.
- muraqqa: An album in volume class containing Islamic miniature paintings and specimens of Islamic calligraphy, commonly 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 oft ruminates on spiritual topics.
Islamic Book Painting
Book painting in the late medieval Islamic earth reached its height in Persia, Syrian arab republic, Iraq, and the Ottoman Empire . The fine art form blossomed across the unlike regions and was inspired by a range of cultural reference points.
The development of book painting offset began in the 13th century, when the Mongols, under the leadership of Genghis Khan, swept through the Islamic earth. Upon the death of Genghis Khan, his empire was divided among his sons and dynasties formed: the Yuan in China, the Ilkhanids in Iran, and the Golden Horde in northern Iran and southern Russian federation.
The Ilkhanids
The Ilkhanids were a rich civilization that adult under the little khans in Iran. Architectural action intensified as the Mongols became sedentary withal retained traces of their nomadic origins, such as the n–southward orientation of buildings. Persian, Islamic, and E Asian traditions melded together during this menstruum and a procedure of Iranization took place, in which structure according to previously established types, such every bit the Iranian-programme mosques , was resumed.
The art of the Farsi 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 kickoff golden historic period in the 13th century, by and large within Syria and Iraq.
Miniatures
The tradition of the Western farsi miniature (a pocket-sized painting on paper) adult during this catamenia, 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 man figure were much more relaxed and the human form is represented with frequency within this medium.
Influence from the Byzantine visual vocabulary (blueish and aureate coloring, angelic and victorious motifs, symbology of mantle) was combined with Mongol facial types seen in 12th-century book 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 Red china too, and incorporated into manuscript illumination.
Mongol soldiers, in Jami al-tawarikh by Rashid-al-Din Hamadani: The Jāmi al-tawārīkh is a work of literature and history, produced by the Mongol Ilkhanate in Persia. The latitude of the work has caused it to be chosen the first earth 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 poesy, such as the Shahnameh. Under the rule of the Safavids in Islamic republic of iran (1501 to 1786), the art of manuscript illumination achieved new heights. The most noteworthy example of this is the Shahnameh of Shah Tahmasp, an immense copy of Ferdowsi's ballsy poem that contains more than 250 paintings.
The Court of Gayumars, from the Shahnameh of Shah Tahmasp: Illuminated manuscripts of the Shahnameh were often commissioned by royal patrons.
Maqamat and Albums
The medieval Islamic texts called Maqamat that were copied and illustrated past Yahya ibn Mahmud al-Wasiti, were some of the primeval java-table books. They were among the first texts in Islamic art to hold a mirror to daily life, portraying humorous stories and showing little adherence to prior pictorial traditions.
In the 17th century a new blazon of painting developed based around the album (muraqqa). The albums were the creations of connoisseurs who jump together unmarried sheets of paintings, drawings, or calligraphy by diverse artists; they were sometimes excised from before books and other times created as independent works.
The paintings of Reza Abbasi figure largely in this new form of book art. The course depicts one or two larger figures, typically idealized beauties in a garden setting, and often utilise 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 military chronicles of Turkish conquests. Portraits of rulers developed in the 16th century, and later on in Persia, where they became very pop.
Mughal portraits, normally in profile, are very finely drawn in a realist way , while the best Ottoman ones are vigorously stylized . Album miniatures typically featured picnic scenes, portraits of individuals, or (in India peculiarly) animals, or idealized youthful beauties of either sex.
Masterpieces of Ottoman manuscript illustration include the two books of festivals, 1 from the end of the 16th century and the other from the era of Sultan Murad III. 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
Hash out 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 around the 8th century, and some other meaning contribution was the evolution of stonepaste ceramics in 9th century Republic of iraq.
- Lusterwares with iridescent colors were either invented or considerably adult in Persia and Syria from the 9th century onward.
- The techniques, shapes, and decorative motifs of Chinese ceramics were admired and emulated by Islamic potters, especially after the Mongol and Timurid invasions.
- The Hispano–Moresque style emerged in the eighth century, with more refined production happening after, presumably by Muslim potters working in areas reconquered by Christian kingdoms.
Fundamental Terms
- Hispano–Moresque style: A style of Islamic pottery created in Al-Andaluz, or Muslim Spain, which continued to exist 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 paint.
- ceramics: Inorganic, nonmetallic solids created past the activity of heat and their subsequent cooling. Most 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 by other cultures . Early pottery had usually been unglazed, just a tin can-opacified glazing technique was adult past Islamic potters. The first Islamic opaque glazes can be found as blueish-painted ware in Basra, dating to effectually the eighth century.
Some other significant contribution was the development of stonepaste ceramics, originating from 9th century Iraq. The first industrial complex for glass and pottery production 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 around 1600), and Tabriz (from 1470 to 1550).
Lusterware
Lusterware is a type of pottery or porcelain that has an iridescent metallic glaze. Luster first began every bit a painting technique in glassmaking , which was then translated to pottery in Mesopotamia in the 9th century.
tenth 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 Central Asia.
The techniques, shapes, and decorative motifs of Chinese ceramics were admired and emulated by Islamic potters, peculiarly after the Mongol and Timurid invasions. Until the Early Modern flow, Western ceramics had little influence, but Islamic pottery was highly sought later in Europe, and was often copied.
An case of this is the albarello, a type of earthenware jar originally designed to agree apothecary ointments and dry out drugs. The development of this type of pharmacy jar had its roots in the Islamic Centre East. Hispano–Moresque examples were exported to Italy, inspiring the earliest Italian examples, from 15th century Florence.
Hispano–Moresque Way
The Hispano–Moresque fashion emerged in Al-Andaluz, or Muslim Espana, in the 8th century, under Egyptian influence. More refined production happened much subsequently, presumably by Muslim potters who worked in the areas reconquered by the Christian kingdoms.
The Hispano–Moresque style mixed Islamic and European elements in its designs and was exported to neighboring European countries. The style introduced two ceramic techniques to Europe:
- Glazing with an opaque white tin-coat.
- Painting in metallic lusters.
Ottoman Iznik pottery produced almost of the finest ceramics of the 16th century—tiles and big vessels boldly decorated with floral motifs that were influenced by Chinese Yuan and Ming ceramics. These were still in earthenware, since porcelain was non made in Islamic countries until modern times.
The medieval Islamic world besides painted pottery with animal and human being imagery . Examples are plant throughout the medieval Islamic earth, particularly in Persia and Egypt.
Islamic Textiles
The most important textile produced in the Medieval and Early Modernistic Islamic Empires was the carpeting.
Learning Objectives
Discuss the making and designs of Islamic textiles
Key Takeaways
Primal Points
- The production and trade of textiles pre-dates Islam , and had long been important to Eye Eastern cultures and cities, many of which flourished due to the Silk Route .
- When the Islamic dynasties formed and grew more than powerful they gained control over textile product in the region, which was arguably the about important craft of the era.
Key Terms
- fabric arts: The production of arts and crafts that use found, fauna, or synthetic fibers to create objects.
Islam and the Textile Arts
The fabric arts refer to the product of arts and crafts that use constitute, animate being, or constructed fibers to create objects. These objects can exist for everyday use, or they tin can be decorative and luxury items. The production and trade of textiles pre-dates Islam, and had long been important to Middle Eastern cultures and cities, many of which flourished due to the Silk Route.
When the Islamic dynasties formed and grew more powerful they gained control over textile production in the region, which was arguably the most important craft of the era. The most important cloth produced in Medieval and Early Modern Islamic Empires was the carpet.
The Ottoman Empire and Carpeting Production
The art of carpet weaving was especially important in the Ottoman Empire. The Ottoman land 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. Inside the Ottoman Empire, carpets were immensely valued as decorative furnishings and for their applied value . They were used not just on floors but also equally wall and door hangings, where they provided boosted insulation.
These intricately knotted carpets were fabricated 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 littoral 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.
Western farsi 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, carpet weaving evolved from a nomadic and peasant craft to a well-executed industry that used specialized pattern and manufacturing techniques on quality fibers such as silk. The carpets of Ardabil, for case, were commissioned to commemorate the Safavid dynasty and are at present considered to exist the best examples of classical Persian weaving, especially for their use of graphical perspective.
Textiles became a big 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 fourth dimension.
The Ardabil Carpeting, Persia, 1540: The Ardabil Carpet is the finest example of 16th century Western farsi carpeting product.
Indonesian Batik
Islamic textile product, however, was not limited to the carpet. Majestic factories were founded for the purpose of textile product that besides included cloth and garments.
The evolution and refinement of Indonesian batik fabric was closely linked to Islam. The Islamic prohibition on sure images encouraged batik design to get 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 Republic of indonesia pre-dates Islam, batik reached its high bespeak in the royal 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 likewise wearing, such as wrapping the Quran.
Javanese court batik: The development and refinement of Indonesian batik cloth was closely linked to Islam.
Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/introduction-to-islamic-art/