Why Does Islmaic Art Not Portray People in a Religious Context

Islamic Art

Islamic fine 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 art

Fundamental Takeaways

Key Points

• Islamic art is not art of a specific religion, time, place, or of a unmarried medium . Instead information technology 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 art differs from Christian religious fine art in that it is non-figural considering 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 fine art developed from many sources: Roman, early Christian fine art, and Byzantine styles ; Sassanian art of pre-Islamic Persia; Cardinal Asian styles brought by various nomadic incursions, and Chinese influences appear on Islamic painting, pottery , and textiles.

Key Terms

• Qu'ran: The primal religious text of Islam, which Muslims believe to be the verbatim give-and-take 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 single god, deity, spirit, etc., specially for an organized faith, organized religion, or creed.

Islam

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

Virtually Muslims are of two denominations: Sunni (75–xc%),[7] or Shia (ten–twenty%). 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:

1. Shahadah (conventionalities or confession of faith)
2. Salat (worship in the class 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 once in a lifetime)

Islamic Art

Islamic art encompasses the visual arts produced from the seventh century onward past 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 information technology spans some 1400 years, covering many lands and populations. This art is also not of a specific faith, fourth dimension, 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, merely instead includes all of the fine art of the rich and varied cultures of Islamic societies. It ofttimes includes secular elements and elements that are forbidden by some Islamic theologians. Islamic religious fine art differs greatly from Christian religious art traditions.

Considering figural representations are by and large considered to be forbidden in Islam, the word takes on religious significant in art every bit seen in the tradition of calligraphic inscriptions. Calligraphy and the decoration of manuscript Qu'rans is an important aspect of Islamic art every bit the word takes on religious and creative significance.

Islamic architecture, such as mosques and deluxe 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 drinking glass mosque lamps, Girih tiles, woodwork, and carpets unremarkably demonstrate the aforementioned style and motifs as gimmicky secular art, although they exhibit more prominent religious inscriptions.

A calligraphic panel by Mustafa Râkim (late 18th–early 19th century): Islamic art has focused on the depiction of patterns and Arabic calligraphy, rather than on figures, because it is feared past many Muslims that the delineation of the human being form is idolatry. The panel reads: "God, at that place is no god merely He, the Lord of His prophet Muhammad (peace be upon him) and the Lord of all that has been created."

Islamic fine art was influenced past Greek, Roman, early Christian, and Byzantine fine art styles, besides 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 effect on Islamic painting, pottery, and textiles.

Themes of Islamic Art

In that location are repeating elements in Islamic fine art, such as the employ of stylized , geometrical floral or vegetal designs in a repetition known as the arabesque . The arabesque in Islamic fine art is often used to symbolize the transcendent, indivisible and space nature of God. Some scholars believe that mistakes in repetitions may be intentionally introduced as a prove of humility past artists who believe simply God tin 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 infinite nature of God.

Typically, though non entirely, Islamic art has focused on the depiction of patterns and Arabic calligraphy, rather than homo or animate being figures, because it is believed past many Muslims that the delineation of the human being form is idolatry and thereby a sin confronting God that is forbidden in the Qur'an.

Notwithstanding, depictions of the human form and animals can be constitute in all eras of Islamic secular fine art. Depictions of the human form in art intended for the purpose of worship is considered idolatry and is forbidden in Islamic constabulary, known as Sharia police force.

Islamic Architecture

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

Learning Objectives

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

Key Takeaways

Key Points

• A specifically recognizable Islamic architectural style emerged before long after Muhammad's time that incorporated Roman edifice 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's home in Medina, which was the offset 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 (telephone call to prayer).

Islamic Architecture

Islamic compages encompasses a wide range of both secular and religious styles. The main Islamic architectural instance is the mosque. A specifically recognizable Islamic architectural style emerged presently later Muhammad's time that incorporated Roman building traditions with the improver 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 mosques are believed to be inspired past Muhammad'southward home in Medina, which was the first mosque.

The Great Mosque of Kairouan (in Tunisia) is one of the all-time preserved and most meaning examples of early on cracking mosques. Founded in 670, it 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 Dandy Mosque of Kairouan, also known as the Mosque of Uqba, in Kairouan, Tunisia: This is considered to exist the ancestor of all the mosques in the western Islamic globe.

Ottoman Mosques

Ottoman mosques and other architecture offset 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 Two would subsequently fuse European traditions in his rebuilding programs at Istanbul in the 19th century. Byzantine styles as seen in the Hagia Sophia served as 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 building vast inner spaces surmounted by seemingly weightless yet incredibly massive domes , and accomplished perfect harmony between inner and outer spaces, besides 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 balance, as 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 loftier point with the edifice program of Shah Abbas in Isfahan, which included numerous gardens, palaces (such as Ali Qapu), an immense bazaar, and a large imperial mosque. Isfahan, the capital  of both the Seljuk and Safavid dynasties, bears the near prominent samples of the Safavid architecture, such equally the the Imperial Mosque, which was synthetic in the years after 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 nigh prominent samples of the Safavid compages.

Islamic Glass Making

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

Learning Objectives

Describe the art of Islamic glass

Cardinal Takeaways

Fundamental Points

• Between the 8th and early 11th centuries, the accent in luxury drinking glass was on effects achieved past manipulating the surface of the glass, initially by incising into the glass on a wheel, and afterwards by cut away the groundwork to get out a blueprint in relief .
• Lustre painting uses techniques similar to lustreware in pottery and dates back to the eighth century in Egypt; it became widespread in the 12th century.

Cardinal Terms

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

Islamic Drinking glass

For most of the Centre Ages , Islamic luxury glass was the most sophisticated in Eurasia , exported to both Europe and Prc. Islam took over much of the traditional glass-producing territory of Sassanian and Ancient Roman drinking glass. Since figurative decoration played a small function in pre-Islamic glass, the change in style was not abrupt—except that the whole area initially formed a political whole, and, for instance, Western farsi innovations were at present almost immediately taken up in Egypt.

For this reason it is oftentimes impossible to distinguish between the diverse centers of product (of which Egypt, Syria, and Persia were the most important), except past scientific analysis of the material, which itself has difficulties. From diverse documentary references, glassmaking and 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 furnishings accomplished by manipulating the surface of the glass, initially past incising into the glass on a bicycle, and after past cut away the background to leave a design in relief. The very massive Hedwig spectacles, only found in Europe, just ordinarily considered Islamic (or possibly from Muslim craftsmen in Norman Sicily), are an example of this, though they are puzzlingly late in date.

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

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

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 drinking glass-making process. Another technique used by artisans was decoration with threads of drinking glass of a unlike color, worked into the main surface, and sometimes manipulated by combing and other effects.

Gold, painted, and enameled glass were added to the repertoire, equally were shapes and motifs borrowed from other media , such equally pottery and metalwork . Some of the finest work was in mosque lamps donated past a ruler or wealthy homo.

Equally decoration grew more than elaborate, the quality of the basic glass decreased, and it often exhibited bubbling and a brownish-yellow tinge. Aleppo ceased to be a major center after the Mongol invasion of 1260, and Timur appears to have ended the Syrian drinking glass industry around 1400 by carrying off the skilled workers to Samarkand. By about 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. As decoration grew more elaborate, the quality of the basic glass decreased, and information technology often exhibited bubbling and a brownish-xanthous tinge. Aleppo ceased to be a major centre after the Mongol invasion of 1260, and Timur appears to have ended the Syrian manufacture around 1400 by conveying off the skilled workers to Samarkand. By about 1500, the Venetians were receiving large orders for mosque lamps.

Mosque lamp: Produced in Arab republic of egypt, c. 1360.

Islamic Calligraphy

Calligraphic design was omnipresent in Islamic art in the Eye 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

Key Points

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

Primal Terms

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

In a religion where figural representations are considered an human activity of idolatry, it is no surprise that  the discussion and its artistic representation became an of import aspect in Islamic art. The nigh important religious text in Islam is the Quran, which is believed to be the discussion 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 as the earliest form of Arabic calligraphy .

The earliest grade of Arabic calligraphy is Kufic script, which is noted for its angular grade.  Standard arabic is read from correct to left and only the consonants are written.  The blackness ink in the image above from a 9th century Quran marks the consonants for the reader.  The red dots that are visible on the page notation the vowels.

Nonetheless, calligraphic design is non limited to the book in Islamic art. Calligraphy is plant 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 as well as from additional sources. As in Europe in the Eye Ages , religious exhortations such every bit 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; information technology 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 verse or recorded buying 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 late medieval Islamic world reached its height in Persia, Syria, Republic of iraq, and the Ottoman Empire.

Learning Objectives

Hash out the origin and development of Islamic manuscript painting

Primal Takeaways

Key Points

• The art of the Farsi book was born under the Ilkhanid dynasty and encouraged past the patronage of aristocrats for large illuminated manuscripts .
• Islamic manuscript painting witnessed its offset gold age in the 13th century when it was influenced past the Byzantine visual vocabulary and combined with Mongol facial types from 12th-century book frontispieces.
• Nether the rule of the Safavids in Islamic republic of 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 epic poem that contains more 250 paintings.
• The medieval Islamic texts chosen Maqamat were some of the earliest coffee-tabular array books and among the first Islamic art to mirror daily life.
• Masterpieces of Ottoman manuscript illustration include the ii books of festivals, one 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 large group of Mongolic and Turkic tribes united nether the rule of Genghis Khan in the 13th century.
• illuminated manuscripts: A book in which the text is supplemented past the addition of decoration, such as decorated initials, borders (marginalia), and miniature illustrations.
• miniature: An analogy in an ancient or medieval illuminated manuscript.
• muraqqa: An album in book form containing Islamic miniature paintings and specimens of Islamic calligraphy, normally from several different sources, and perchance other matter.
• Maqamat: The plural for Maqāma, an Arabic literary genre of rhymed prose with intervals of poetry that ofttimes ruminates on spiritual topics.

Islamic Volume Painting

Book painting in the belatedly medieval Islamic world reached its height in Persia, Syria, Republic of iraq, and the Ottoman Empire . The art form blossomed across the unlike regions and was inspired by a range of cultural reference points.

The evolution of volume painting outset began in the 13th century, when the Mongols, nether the leadership of Genghis Khan, swept through the Islamic world. Upon the death of Genghis Khan, his empire was divided amid his sons and dynasties formed: the Yuan in Red china, the Ilkhanids in Iran, and the Gilded Horde in northern Iran and southern Russia.

The Ilkhanids

The Ilkhanids were a rich civilization that developed nether the little khans in Iran. Architectural activeness intensified every bit the Mongols became sedentary nonetheless retained traces of their nomadic origins, such every bit the north–south orientation of buildings. Persian, Islamic, and East Asian traditions melded together during this period and a procedure of Iranization took place, in which construction according to previously established types, such as the Iranian-plan 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 equally the Jami' al-tawarikh by Rashid-al-Din Hamadani. Islamic volume painting witnessed its first aureate age in the 13th century, mostly inside Syria and Iraq.

Miniatures

The tradition of the Persian miniature (a pocket-size painting on paper) developed during this flow, 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 not seen in public, constraints on the delineation of the homo figure were much more relaxed and the man form is represented with frequency within this medium.

Influence from the Byzantine visual vocabulary (blue and gold coloring, celestial and victorious motifs, symbology of drapery) 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 volume. Motifs such every bit peonies, clouds, dragons, and phoenixes were adapted from China likewise, 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 past the Mongol Ilkhanate in Persia. The latitude of the work has acquired it to be called the start 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 verse, such every bit the Shahnameh. Under the dominion of the Safavids in Iran (1501 to 1786), the fine art of manuscript illumination achieved new heights. The most noteworthy instance of this is the Shahnameh of Shah Tahmasp, an immense copy of Ferdowsi'due south epic verse form that contains more 250 paintings.

The Courtroom of Gayumars, from the Shahnameh of Shah Tahmasp: Illuminated manuscripts of the Shahnameh were often commissioned past majestic 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 amidst the first texts in Islamic art to hold a mirror to daily life, portraying humorous stories and showing piffling 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 bound together single sheets of paintings, drawings, or calligraphy by various artists; they were sometimes excised from earlier books and other times created as contained works.

The paintings of Reza Abbasi figure largely in this new form of book art. The class depicts 1 or two larger figures, typically idealized beauties in a garden setting, and frequently apply 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 machine chronicles of Turkish conquests. Portraits of rulers developed in the 16th century, and later in Persia, where they became very popular.

Mughal portraits, ordinarily in profile, are very finely drawn in a realist style , while the best Ottoman ones are vigorously stylized . Album miniatures typically featured picnic scenes, portraits of individuals, or (in India peculiarly) animals, or arcadian youthful beauties of either sexual activity.

Masterpieces of Ottoman manuscript analogy 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, mayhap inspired by books captured in the form 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 every bit tin-opacified glazing and stonepaste ceramics made Islamic ceramics some of the nigh advanced of its time

Fundamental Takeaways

Primal Points

• The first Islamic opaque glazes date to around the 8th century, and another significant contribution was the evolution of stonepaste ceramics in 9th century Iraq.
• Lusterwares with iridescent colors were either invented or considerably developed 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 mode emerged in the 8th century, with more refined production happening later, presumably by Muslim potters working in areas reconquered past Christian kingdoms.

Fundamental Terms

• Hispano–Moresque way: A mode of Islamic pottery created in Al-Andaluz, or Muslim Spain, which continued to exist produced nether Christian rule in styles that blended Islamic and European elements.
• lusterware: A type of pottery or porcelain having an iridescent metal glaze.
• glaze: The vitreous coating of pottery or porcelain, or a transparent or semi-transparent layer of paint.
• ceramics: Inorganic, nonmetallic solids created by the action of heat and their subsequent cooling. Most mutual 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 by other cultures . Early on pottery had usually been unglazed, but a tin-opacified glazing technique was developed by Islamic potters. The showtime Islamic opaque glazes tin can exist found equally blue-painted ware in Basra, dating to around the 8th century.

Another significant contribution was the development of stonepaste ceramics, originating from ninth century Iraq. The first industrial complex for glass and pottery production was built in Ar-Raqqah, Syrian arab republic, 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 blazon of pottery or porcelain that has an iridescent metallic glaze. Luster first began as a painting technique in glassmaking , which was and 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 Eastward Persia or Central Asia.

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

An example of this is the albarello, a blazon of earthenware jar originally designed to hold apothecary ointments and dry out drugs. The development of this blazon of chemist's shop jar had its roots in the Islamic Heart East. Hispano–Moresque examples were exported to Italia, inspiring the primeval Italian examples, from 15th century Florence.

Hispano–Moresque Style

The Hispano–Moresque mode emerged in Al-Andaluz, or Muslim Spain, in the eighth century, under Egyptian influence. More refined production happened much later, 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 2 ceramic techniques to Europe:

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

Ottoman Iznik pottery produced about 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 yet in earthenware, since porcelain was non made in Islamic countries until modern times.

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

Islamic Textiles

The almost important material produced in the Medieval and Early Modern Islamic Empires was the rug.

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 Middle 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 command over textile production in the region, which was arguably the almost important craft of the era.

Fundamental Terms

• textile arts: The product of arts and crafts that utilize plant, animal, or constructed fibers to create objects.

Islam and the Cloth Arts

The textile arts refer to the production of craft that use establish, animal, or synthetic fibers to create objects. These objects tin be for everyday apply, or they tin 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 Road.

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

The Ottoman Empire and Rug Production

The fine art of carpeting weaving was peculiarly important in the Ottoman Empire. The Ottoman state was founded by Turkish tribes in northwestern Anatolia in 1299 and became an empire in 1453 afterwards 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 non but on floors merely also equally 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 frequently rich in religious and other symbolism. Hereke silk carpets, which were made in the coastal boondocks of Hereke, were the almost valued of the Ottoman carpets because of their fine weave. The Hereke carpets were typically used to replenish royal palaces.

Carpeting 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 by 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 fabric arts.

In the sixteenth century, carpet weaving evolved from a nomadic and peasant craft to a well-executed industry that used specialized blueprint and manufacturing techniques on quality fibers such as silk. The carpets of Ardabil, for example, were deputed to commemorate the Safavid dynasty and are now considered to exist the best examples of classical Persian weaving, particularly for their employ of graphical perspective.

Textiles became a large export, and Persian weaving became i of the most popular imported appurtenances 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 fourth dimension.

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

Indonesian Batik

Islamic fabric production, even so, was not express to the carpet. Royal factories were founded for the purpose of cloth production that as well 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 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 Republic of indonesia pre-dates Islam, batik reached its high point in the royal Muslim courts, such as Mataram and Yogyakarta, whose Muslim rulers encouraged and patronized batik product. Today, batik has undergone a revival, and cloths are used for other purposes besides wearing, such as wrapping the Quran.

Javanese courtroom batik: The development and refinement of Indonesian batik textile 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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