Which Is the Most Highly Valued Form of Art in the Islamic World?

Islamic Fine art

Islamic 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 fine art

Key Takeaways

Central 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, among others.
• Islamic religious art differs from Christian religious fine art in that it is not-figural because many Muslims believe that the depiction of the man form is idolatry , and thereby a sin confronting God, forbidden in the Qur'an. Calligraphy and architectural elements are given important religious significance in Islamic art.
• Islamic art developed from many sources: Roman, early Christian art, and Byzantine styles ; Sassanian art of pre-Islamic Persia; Central Asian styles brought past various nomadic incursions, and Chinese influences appear on Islamic painting, pottery , and textiles.

Key Terms

• Qu'ran: The fundamental religious text of Islam, which Muslims believe to be the verbatim discussion of God (Arabic: Allah). Information technology 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., specially for an organized religion, organized religion, or creed.

Islam

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

Nigh Muslims are of two denominations: Sunni (75–xc%),[7] or Shia (ten–20%). Its essential religious concepts and practices include the v pillars of Islam, which are basic concepts and obligatory acts of worship, and the following of Islamic law, which touches on every aspect of life and lodge. The v pillars are:

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

Islamic Fine art

Islamic fine art encompasses the visual arts produced from the 7th 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 hard art to define because information technology spans some 1400 years, covering many lands and populations. This art is besides not of a specific religion, time, place, or unmarried medium. Instead Islamic fine art covers a range of artistic fields including compages, calligraphy, painting, glass, ceramics, and textiles, among others.

Islamic fine art is not restricted to religious fine art, only instead includes all of the art of the rich and varied cultures of Islamic societies. It ofttimes includes secular elements and elements that are forbidden past some Islamic theologians. Islamic religious fine art differs greatly from Christian religious fine art traditions.

Because figural representations are generally considered to exist forbidden in Islam, the discussion takes on religious pregnant in art as seen in the tradition of calligraphic inscriptions. Calligraphy and the ornament of manuscript Qu'rans is an of import aspect of Islamic art as the word takes on religious and creative significance.

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

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

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

Islamic fine art was influenced by Greek, Roman, early Christian, and Byzantine fine art styles, also 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 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 fine art is oftentimes 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 only God can produce perfection.

Arabesque inlays at the Mughal Agra Fort, Bharat: 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 animal figures, considering it is believed by many Muslims that the depiction of the human form is idolatry and thereby a sin against God that is forbidden in the Qur'an.

Even so, depictions of the human being form and animals can be found in all eras of Islamic secular art. Depictions of the human being course 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 master instance is the mosque.

Learning Objectives

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

Key Takeaways

Central Points

• A specifically recognizable Islamic architectural way emerged soon subsequently Muhammad's time that incorporated Roman building traditions with the add-on of localized adaptations of the former Sassanid and Byzantine models.
• The Islamic mosque has historically been both a place of prayer and a community coming together space . The early mosques are believed to be inspired by Muhammad's home in Medina, which was the first mosque.

Key Terms

• mosque: A identify of worship for Muslims, corresponding to a church or synagogue in other religions, oft having at least 1 minaret. In 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 Architecture

Islamic architecture encompasses a wide range of both secular and religious styles. The main Islamic architectural example is the mosque. A specifically recognizable Islamic architectural manner emerged presently later 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 community meeting space. The early on mosques are believed to be inspired by Muhammad'southward home in Medina, which was the first mosque.

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

Dome of the mihrab (9th century) in the Great Mosque of Kairouan, also known every bit the Mosque of Uqba, in Kairouan, Tunisia: This is considered to be the antecedent 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 compages, with additional influences from Byzantine, Persian, and Islamic Mamluk traditions.

Sultan Mehmed II would later on 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 past Sinan.

Edifice reached its peak in the 16th century when Ottoman architects mastered the technique of edifice vast inner spaces surmounted past seemingly weightless yet incredibly massive domes , and achieved perfect harmony betwixt inner and outer spaces, also as articulated lite 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 remainder, equally may exist observed in the Blue 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.

Architecture flourished in the Safavid Dynasty , attaining a loftier point with the building programme of Shah Abbas in Isfahan, which included numerous gardens, palaces (such as Ali Qapu), an immense boutique, and a big majestic mosque. Isfahan, the capital  of both the Seljuk and Safavid dynasties, bears the almost 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 letter there in 1598.

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

Islamic Glass Making

Glassmaking was the nearly of import Islamic luxury art of the early on Middle Ages.

Learning Objectives

Describe the fine art of Islamic glass

Key Takeaways

Key Points

• Between the eighth and early 11th centuries, the emphasis in luxury glass was on effects achieved by manipulating the surface of the glass, initially by incising into the drinking glass on a bicycle, and later by cut abroad the background to leave a pattern 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 twelfth century.

Key Terms

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

Islamic Glass

For most of the Centre Ages , Islamic luxury drinking glass was the nigh sophisticated in Eurasia , exported to both Europe and China. Islam took over much of the traditional drinking glass-producing territory of Sassanian and Ancient Roman drinking glass. Since figurative decoration played a small part in pre-Islamic glass, the change in way was not abrupt—except that the whole area initially formed a political whole, and, for example, Persian innovations were at present almost immediately taken upwardly in Arab republic of egypt.

For this reason it is often impossible to distinguish between the various centers of production (of which Arab republic of egypt, Syria, and Persia were the virtually important), except past scientific analysis of the cloth, which itself has difficulties. From various 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 effects accomplished by manipulating the surface of the glass, initially by incising into the glass on a wheel, and afterward by cutting away the background to go out a design in relief. The very massive Hedwig spectacles, but found in Europe, but normally considered Islamic (or possibly from Muslim craftsmen in Norman Sicily), are an example of this, though they are puzzlingly late in appointment.

These and other glass pieces probably represented cheaper versions of vessels of carved rock crystal (clear quartz)—themselves influenced by earlier glass vessels—and at that place is some show 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 primary production of luxury glass shifted to Egypt and Syrian arab republic. Throughout this catamenia, local centers made simpler wares, such every bit Hebron glass in Palestine.

The Luck of Edenhall: This is a 13th-century Syrian chalice, in England since the Middle Ages. For near of the Middle Ages, Islamic drinking 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 eighth century in 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 main surface, and sometimes manipulated past combing and other effects.

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

As decoration grew more elaborate, the quality of the basic glass decreased, and information technology often exhibited bubbling and a brownish-yellowish tinge. Aleppo ceased to be a major center afterwards 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. Every bit ornamentation grew more elaborate, the quality of the basic glass decreased, and it often exhibited bubbles and a dark-brown-yellow tinge. Aleppo ceased to exist a major center subsequently the Mongol invasion of 1260, and Timur appears to have ended the Syrian industry around 1400 by carrying off the skilled workers to Samarkand. Past about 1500, the Venetians were receiving large orders for mosque lamps.

Mosque lamp: Produced in Egypt, c. 1360.

Islamic Calligraphy

Calligraphic blueprint was omnipresent in Islamic art in the Middle Ages, and is seen in all types of art including compages and the decorative arts.

Learning Objectives

Explicate the purpose and characteristics of Islamic calligraphy

Key Takeaways

Cardinal Points

• In a religion where figural representations are considered an human activity of idolatry , it is no surprise that the word and its creative representation became an important aspect in Islamic art.
• The primeval form of Arabic calligraphy is Kufic script .
• Besides 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 athwart form.
• calligraphy: The art of writing letters and words with decorative strokes.

In a religion where figural representations are considered an deed of idolatry, it is no surprise that  the word and its artistic representation became an important aspect in Islamic 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.

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

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

However, calligraphic blueprint is not express to the book in Islamic fine art. Calligraphy is plant in several different types of art, such as architecture. The interior of the Dome of the Rock (Jerusalem, circa 691), for instance, features calligraphic inscriptions of verses from the Quran as well as from boosted 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 Stone: 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 non exclusive to the Quran, but too included verses of verse or recorded ownership or donation. Calligraphers were highly regarded in Islam, which reinforces the importance of the word and its religious and creative significance.

Islamic Book Painting

Manuscript painting in the late medieval Islamic world reached its height in Persia, Syria, Iraq, and the Ottoman Empire.

Learning Objectives

Discuss the origin and development of Islamic manuscript painting

Central Takeaways

Key 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 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 art of manuscript illumination achieves new heights, in detail in the Shahnameh of Shah Tahmasp, an immense re-create of Ferdowsi'south ballsy poem that contains more than 250 paintings.
• The medieval Islamic texts called Maqamat were some of the primeval coffee-table books and among the first Islamic art to mirror daily life.
• Masterpieces of Ottoman manuscript illustration include the two books of festivals, one from the end of the 16th century and the other from the era of Sultan Murad III.

Cardinal Terms

• Mongols: An umbrella term for a big group of Mongolic and Turkic tribes united nether the rule of Genghis Khan in the 13th century.
• illuminated manuscripts: A volume in which the text is supplemented by the addition of ornament, such as busy initials, borders (marginalia), and miniature illustrations.
• miniature: An illustration in an ancient or medieval illuminated manuscript.
• muraqqa: An anthology in volume form 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 often ruminates on spiritual topics.

Islamic Book Painting

Book painting in the late medieval Islamic globe reached its height in Persia, Syria, Republic of iraq, and the Ottoman Empire . The art class blossomed across the different regions and was inspired by 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 earth. Upon the decease of Genghis Khan, his empire was divided amongst his sons and dynasties formed: the Yuan in China, the Ilkhanids in Iran, and the Golden Horde in northern Iran and southern Russia.

The Ilkhanids

The Ilkhanids were a rich civilization that adult under the little khans in Iran. Architectural activeness intensified equally the Mongols became sedentary yet retained traces of their nomadic origins, such as the north–south orientation of buildings. Persian, Islamic, and East Asian traditions melded together during this period and a process of Iranization took identify, in which construction co-ordinate to previously established types, such as the Iranian-programme mosques , was resumed.

The fine 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 first gilt historic period in the 13th century, mostly inside Syria and 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 India. Because illuminated manuscripts were an art of the courtroom, and non seen in public, constraints on the depiction of the human effigy were much more relaxed and the man form is represented with frequency inside this medium.

Influence from the Byzantine visual vocabulary (bluish and gold coloring, angelic and victorious motifs, symbology of drapery) was combined with Mongol facial types seen in 12th-century book frontispieces. Chinese influences in Islamic book painting include the early adoption of the vertical format natural to a book. Motifs such equally peonies, clouds, dragons, and phoenixes were adjusted from China 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 work of literature and history, produced past the Mongol Ilkhanate in Persia. The latitude of the work has acquired it to be called the kickoff earth history and its lavish illustrations and calligraphy required the efforts of hundreds of scribes and artists.

The largest commissions of illustrated books were ordinarily classics of Western farsi poetry, such as the Shahnameh. Nether the rule of the Safavids in Islamic republic of iran (1501 to 1786), the art of manuscript illumination achieved new heights. The almost noteworthy example 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 often commissioned past majestic patrons.

Maqamat and Albums

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

In the 17th century a new type of painting developed based effectually the anthology (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 independent works.

The paintings of Reza Abbasi figure largely in this new class of volume art. The course depicts one or ii larger figures, typically idealized beauties in a garden setting, and ofttimes use the grisaille techniques previously used for background border paintings .

Mughal and Ottoman Manuscripts

The Mughals and Ottomans both produced lavish manuscripts of more recent history with the autobiographies of the Mughal emperors and purely armed forces chronicles of Turkish conquests. Portraits of rulers developed 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 style , while the best Ottoman ones are vigorously stylized . Album miniatures typically featured picnic scenes, portraits of individuals, or (in India particularly) animals, or idealized youthful beauties of either sex.

Masterpieces of Ottoman manuscript illustration include the two books of festivals, one from the end of the 16th century and the other from the era of Sultan Murad Three. These books incorporate numerous illustrations and showroom a potent Safavid influence, perhaps inspired by books captured in the form of the Ottoman–Safavid wars of the 16th century.

Islamic Ceramics

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

Learning Objectives

Talk over how developments such as can-opacified glazing and stonepaste ceramics made Islamic ceramics some of the virtually advanced of its time

Key Takeaways

Key Points

• The first Islamic opaque glazes date to around the 8th century, and another significant contribution was the development of stonepaste ceramics in 9th century 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, particularly subsequently the Mongol and Timurid invasions.
• The Hispano–Moresque style emerged in the eighth century, with more refined product happening later, presumably past Muslim potters working in areas reconquered past Christian kingdoms.

Key Terms

• Hispano–Moresque style: A mode of Islamic pottery created in Al-Andaluz, or Muslim Espana, which continued to be produced under Christian rule in styles that blended Islamic and European elements.
• lusterware: A type of pottery or porcelain having an iridescent metallic glaze.
• coat: 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 oestrus and their subsequent cooling. Near 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 commonly been unglazed, but a tin-opacified glazing technique was adult by Islamic potters. The start Islamic opaque glazes can exist constitute equally blue-painted ware in Basra, dating to around the eighth century.

Another meaning contribution was the development of stonepaste ceramics, originating from 9th century Iraq. The first industrial complex for glass and pottery production was congenital 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 outset began every bit 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 E Persia or Fundamental Asia.

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

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

Hispano–Moresque Manner

The Hispano–Moresque style emerged in Al-Andaluz, or Muslim Kingdom of spain, in the 8th 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 way 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 tin-coat.
2. Painting in metallic lusters.

Ottoman Iznik pottery produced most of the finest ceramics of the 16th century—tiles and large vessels boldly busy with floral motifs that were influenced by Chinese Yuan and Ming ceramics. These were even so 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 plant throughout the medieval Islamic world, peculiarly in Persia and Egypt.

Islamic Textiles

The virtually important textile produced in the Medieval and Early on Modernistic Islamic Empires was the rug.

Learning Objectives

Discuss the making and designs of Islamic textiles

Fundamental Takeaways

Key Points

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

Central Terms

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

Islam and the Textile Arts

The textile arts refer to the production of arts and crafts that utilise plant, creature, or constructed fibers to create objects. These objects tin be for everyday use, or they 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 Road.

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

The Ottoman Empire and Carpet Production

The art of rug weaving was particularly important in the Ottoman Empire. The Ottoman state was founded past Turkish tribes in northwestern Anatolia in 1299 and became an empire in 1453 afterward 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 practical value . They were used not merely on floors but also as 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 ofttimes rich in religious and other symbolism. Hereke silk carpets, which were made in the coastal town of Hereke, were the most valued of the Ottoman carpets considering of their fine weave. The Hereke carpets were typically used to furnish 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 past 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 textile arts.

In the sixteenth century, carpeting weaving evolved from a nomadic and peasant craft to a well-executed industry that used specialized design and manufacturing techniques on quality fibers such equally silk. The carpets of Ardabil, for example, were commissioned to commemorate the Safavid dynasty and are now considered to exist the all-time examples of classical Western farsi weaving, particularly for their employ of graphical perspective.

Textiles became a big export, and Persian weaving became i of the nearly popular imported goods of Europe. Islamic carpets were a luxury item in Europe and at that place are several examples of European Renaissance paintings that certificate the presence of Islamic textiles in European homes during that time.

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

Indonesian Batik

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

The evolution and refinement of Indonesian batik textile was closely linked to Islam. The Islamic prohibition on certain images encouraged batik design to become more abstruse 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 being in Indonesia pre-dates Islam, batik reached its high point in the purple 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 as well wearing, such as wrapping the Quran.

Javanese court batik: The development and refinement of Indonesian batik fabric 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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