All of the Following Except for Are Associated With Islamic Art and Architecture

Islamic Art

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

Learning Objectives

Identify the influences and the specific attributes of Islamic fine art

Fundamental Takeaways

Central Points

• Islamic art is non art of a specific religion, fourth dimension, identify, or of a single medium . Instead information technology spans some 1400 years, covers many lands and populations, and includes a range of artistic fields including architecture, calligraphy , painting, drinking glass, ceramics , and textiles, among others.
• Islamic religious fine art differs from Christian religious art in that it is non-figural because many Muslims believe that the delineation of the human being 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 adult from many sources: Roman, early Christian fine art, and Byzantine styles ; Sassanian art of pre-Islamic Persia; Central Asian styles brought by various nomadic incursions, and Chinese influences appear on Islamic painting, pottery , and textiles.

Cardinal Terms

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

Most Muslims are of ii denominations: Sunni (75–90%),[7] or Shia (10–20%). Its essential religious concepts and practices include the five pillars of Islam, which are basic concepts and obligatory acts of worship, and the following of Islamic police force, which touches on every attribute of life and lodge. The five pillars are:

1. Shahadah (conventionalities or confession of faith)
2. Salat (worship in the form of prayer)
3. Sawm Ramadan (fasting during the month of Ramadan)
4. Zakat (alms or charitable giving)
5. Hajj (the pilgrimage to Mecca at least one time 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 fine art to define considering it spans some 1400 years, covering many lands and populations. This art is also not of a specific religion, time, place, or single medium. Instead Islamic art covers a range of creative fields including architecture, calligraphy, painting, glass, ceramics, and textiles, amongst 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 ofttimes 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 mostly considered to be forbidden in Islam, the word takes on religious pregnant in fine art as seen in the tradition of calligraphic inscriptions. Calligraphy and the decoration of manuscript Qu'rans is an important attribute of Islamic fine art as the word takes on religious and artistic significance.

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

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

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

Islamic art was influenced by Greek, Roman, early on Christian, and Byzantine art styles, likewise equally 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

There are repeating elements in Islamic 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 ofttimes used to symbolize the transcendent, indivisible and infinite nature of God. Some scholars believe that mistakes in repetitions may exist intentionally introduced as a show of humility by artists who believe just God can produce perfection.

Arabesque inlays at the Mughal Agra Fort, India: Geometrical designs in repetition, know equally 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 or animate being figures, considering information technology is believed by many Muslims that the depiction of the man form is idolatry and thereby a sin against God that is forbidden in the Qur'an.

Withal, depictions of the human form and animals tin can be found 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 law, known as Sharia constabulary.

Islamic Compages

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

Learning Objectives

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

Fundamental Takeaways

Key Points

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

Cardinal Terms

• mosque: A place of worship for Muslims, corresponding to a church or synagogue in other religions, oft having at least one 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 tower of an Islamic mosque, from which the muezzin recites the adhan (call to prayer).

Islamic Architecture

Islamic compages encompasses a wide range of both secular and religious styles. The master Islamic architectural example is the mosque. A specifically recognizable Islamic architectural style emerged soon afterward Muhammad's fourth dimension that incorporated Roman edifice traditions with the addition of localized adaptations of the former Sassanid and Byzantine models.

Early Mosques

The Islamic mosque has historically been both a identify of prayer and a customs coming together space. The early mosques are believed to be inspired by Muhammad's dwelling house in Medina, which was the offset 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, it contains all of the architectural features that distinguish early mosques: a minaret , a large courtyard surrounded past porticos , and a hypostyle prayer hall.

Dome of the mihrab (9th century) in the Great Mosque of Kairouan, also known equally 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 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, Farsi, and Islamic Mamluk traditions.

Sultan Mehmed 2 would afterwards 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 equally the mosque synthetic 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 even so incredibly massive domes , and accomplished perfect harmony betwixt inner and outer spaces, too as 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 residuum, 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 high point with the building program of Shah Abbas in Isfahan, which included numerous gardens, palaces (such every bit Ali Qapu), an immense bazaar, and a large imperial mosque. Isfahan, the capital letter  of both the Seljuk and Safavid dynasties, bears the about prominent samples of the Safavid compages, such as the the Imperial Mosque, which was constructed in the years later Shah Abbas I permanently moved the capital at that place in 1598.

Purple Mosque, Isfahan, Islamic republic of iran: Isfahan, the capital of both the Seljuk and Safavid dynasties, bears the well-nigh prominent samples of the Safavid architecture.

Islamic Glass Making

Glassmaking was the almost important Islamic luxury art of the early Center Ages.

Learning Objectives

Draw the art of Islamic drinking glass

Primal Takeaways

Cardinal Points

• Between the eighth and early 11th centuries, the emphasis in luxury drinking glass was on effects achieved by manipulating the surface of the glass, initially past incising into the drinking glass on a wheel, and later on past cutting abroad the groundwork to exit a design in relief .
• Lustre painting uses techniques like to lustreware in pottery and dates back to the 8th century in Egypt; information technology became widespread in the 12th century.

Key Terms

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

Islamic Glass

For most of the Center Ages , Islamic luxury glass was the nigh sophisticated in Eurasia , exported to both Europe and China. Islam took over much of the traditional glass-producing territory of Sassanian and Aboriginal Roman drinking glass. Since figurative ornamentation played a small part in pre-Islamic glass, the change in style was not sharp—except that the whole area initially formed a political whole, and, for example, Persian innovations were now almost immediately taken up in Egypt.

For this reason information technology is frequently impossible to distinguish between the various centers of product (of which Egypt, Syrian arab republic, and Persia were the most important), except by scientific analysis of the textile, which itself has difficulties. From various documentary references, glassmaking and drinking glass-trading seems to have been a specialty of the Jewish minority.

Between the 8th and early 11th centuries, the accent in luxury drinking glass was on effects achieved past manipulating the surface of the drinking glass, initially past incising into the drinking glass on a cycle, and later by cutting away the groundwork to leave a pattern in relief. The very massive Hedwig glasses, only found in Europe, just unremarkably considered Islamic (or possibly from Muslim craftsmen in Norman Sicily), are an case 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 by earlier drinking glass vessels—and at that place is some bear witness that at this period drinking glass and hard-stone cutting were regarded as the same craft. From the 12th century, the glass industry in Persia and Mesopotamia declined, and the chief production of luxury drinking glass shifted to Arab republic of egypt and Syria. Throughout this period, 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 almost of the Center Ages, Islamic glass was the well-nigh sophisticated in Eurasia, exported to both Europe and Cathay.

Lustre painting

Lustre painting, by techniques similar to lustreware in pottery, dates back to the 8th century in Egypt, and involves the awarding of metal pigments during the glass-making process. Another technique used by artisans was decoration with threads of glass of a different color, worked into the principal surface, and sometimes manipulated by combing and other furnishings.

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

As decoration grew more elaborate, the quality of the basic drinking glass decreased, and information technology often exhibited bubbles and a brownish-yellow tinge. Aleppo ceased to be a major middle after the Mongol invasion of 1260, and Timur appears to accept ended the Syrian drinking glass industry effectually 1400 by carrying off the skilled workers to Samarkand. Past 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 human. As decoration grew more elaborate, the quality of the basic glass decreased, and it often exhibited bubbles and a brownish-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 conveying 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 Center 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

Cardinal Points

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

Key Terms

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

In a religion where figural representations are considered an act of idolatry, it is no surprise that  the discussion and its artistic representation became an of import aspect in Islamic art. The near important religious text in Islam is the Quran, which is believed to exist the word of God. In that location are many examples of calligraphy and calligraphic inscriptions pertaining to verses from the Quran in Islamic arts.

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

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

However, calligraphic blueprint is not express to the book in Islamic art. Calligraphy is found in several unlike types of art, such as compages. The interior of the Dome of the Rock (Jerusalem, circa 691), for case, features calligraphic inscriptions of verses from the Quran too every bit from additional sources. Every bit in Europe in the Middle Ages , religious exhortations such as Quranic verses may exist included in secular objects, especially coins, tiles, and metalwork .

Interior view of the Dome of the Rock: 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 art and its employ in several different media.

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

Islamic Book Painting

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

Learning Objectives

Discuss the origin and development of Islamic manuscript painting

Fundamental Takeaways

Key Points

• The art of the Persian volume was born nether the Ilkhanid dynasty and encouraged past the patronage of aristocrats for large illuminated manuscripts .
• Islamic manuscript painting witnessed its starting time golden historic period in the 13th century when information technology was influenced by the Byzantine visual vocabulary and combined with Mongol facial types from twelfth-century book frontispieces.
• Under 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'due south epic verse form that contains more than 250 paintings.
• The medieval Islamic texts called Maqamat were some of the earliest coffee-table books and among the showtime Islamic art to mirror daily life.
• Masterpieces of Ottoman manuscript illustration include the 2 books of festivals, one from the terminate of the 16th century and the other from the era of Sultan Murad Three.

Key Terms

• Mongols: An umbrella term for a large grouping of Mongolic and Turkic tribes united under the dominion of Genghis Khan in the 13th century.
• illuminated manuscripts: A book in which the text is supplemented by the addition of decoration, such as decorated initials, borders (marginalia), and miniature illustrations.
• miniature: An illustration in an aboriginal or medieval illuminated manuscript.
• muraqqa: An anthology in volume form containing Islamic miniature paintings and specimens of Islamic calligraphy, ordinarily from several different sources, and perhaps other matter.
• Maqamat: The plural for Maqāma, an Arabic literary genre of rhymed prose with intervals of poesy that often ruminates on spiritual topics.

Islamic Book Painting

Book painting in the belatedly medieval Islamic earth reached its height in Persia, Syria, Iraq, and the Ottoman Empire . The fine art class blossomed across the different regions and was inspired past a range of cultural reference points.

The evolution of book painting offset began in the 13th century, when the Mongols, under the leadership of Genghis Khan, swept through the Islamic globe. Upon the death of Genghis Khan, his empire was divided among his sons and dynasties formed: the Yuan in Communist china, the Ilkhanids in Islamic republic of iran, and the Aureate Horde in northern Iran and southern Russia.

The Ilkhanids

The Ilkhanids were a rich civilization that developed under the little khans in Iran. Architectural action intensified as the Mongols became sedentary however retained traces of their nomadic origins, such as the north–due south orientation of buildings. Persian, Islamic, and East Asian traditions melded together during this period and a process of Iranization took place, in which construction according 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 volume painting witnessed its get-go golden age in the 13th century, by and large within Syrian arab republic and Iraq.

Miniatures

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

Influence from the Byzantine visual vocabulary (blueish and gold coloring, angelic and victorious motifs, symbology of mantle) was combined with Mongol facial types seen in 12th-century volume frontispieces. Chinese influences in Islamic book painting include the early on adoption of the vertical format natural to a book. Motifs such every bit peonies, clouds, dragons, and phoenixes were adapted from Red china besides, 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 breadth of the work has caused it to exist called the offset world 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 Farsi poetry, such equally the Shahnameh. Under the dominion of the Safavids in Iran (1501 to 1786), the art of manuscript illumination achieved new heights. The about noteworthy instance of this is the Shahnameh of Shah Tahmasp, an immense re-create of Ferdowsi's epic verse form that contains more 250 paintings.

The Court of Gayumars, from the Shahnameh of Shah Tahmasp: Illuminated manuscripts of the Shahnameh were ofttimes 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 earliest coffee-table books. They were among the kickoff 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 type of painting developed based around the anthology (muraqqa). The albums were the creations of connoisseurs who bound together single sheets of paintings, drawings, or calligraphy by diverse artists; they were sometimes excised from earlier books and other times created every bit independent works.

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

Mughal and Ottoman Manuscripts

The Mughals and Ottomans both produced lavish manuscripts of more than contempo 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 in Persia, where they became very popular.

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

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 past 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 past other cultures.

Learning Objectives

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

Primal Takeaways

Key Points

• The kickoff Islamic opaque glazes appointment to around the eighth century, and another pregnant 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 past Islamic potters, peculiarly after the Mongol and Timurid invasions.
• The Hispano–Moresque style emerged in the 8th century, with more refined production happening later, presumably by Muslim potters working in areas reconquered past Christian kingdoms.

Key Terms

• Hispano–Moresque mode: A style of Islamic pottery created in Al-Andaluz, or Muslim Spain, which continued to be produced under Christian rule in styles that composite Islamic and European elements.
• lusterware: A type of pottery or porcelain having an iridescent metallic 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 activeness of estrus 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, but a tin-opacified glazing technique was developed by Islamic potters. The first Islamic opaque glazes can be found as blueish-painted ware in Basra, dating to effectually the 8th century.

Another significant contribution was the development of stonepaste ceramics, originating from 9th century Iraq. The showtime industrial complex for glass and pottery production was congenital in Ar-Raqqah, Syria, in the eighth century. Other centers for innovative pottery in the Islamic globe 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 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 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 past Islamic potters, especially afterwards the Mongol and Timurid invasions. Until the Early on Modernistic period, Western ceramics had little influence, but Islamic pottery was highly sought after in Europe, and was often copied.

An instance of this is the albarello, a type of earthenware jar originally designed to hold apothecary ointments and dry drugs. The development of this blazon of chemist's shop 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 Style

The Hispano–Moresque fashion emerged in Al-Andaluz, or Muslim Espana, 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 fashion introduced two ceramic techniques to Europe:

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

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

The medieval Islamic world also painted pottery with animal and human imagery . Examples are found throughout the medieval Islamic world, specially in Persia and Egypt.

Islamic Textiles

The most of import textile produced in the Medieval and Early Mod Islamic Empires was the carpet.

Learning Objectives

Talk over 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 Road .
• When the Islamic dynasties formed and grew more powerful they gained control over textile production in the region, which was arguably the nigh important craft of the era.

Cardinal Terms

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

Islam and the Textile Arts

The textile arts refer to the product of arts and crafts that apply plant, animal, 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 than powerful they gained command over textile product in the region, which was arguably the almost important arts and crafts of the era. The virtually important textile produced in Medieval and Early Modern Islamic Empires was the carpet.

The Ottoman Empire and Carpeting Production

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

Stretching across Asia, Europe, and Africa, the Empire was vast and long lived, lasting until 1922 when the monarchy was abolished in Turkey. Within the Ottoman Empire, carpets were immensely valued as decorative furnishings and for their applied value . They were used non just on floors but also as wall and door hangings, where they provided additional insulation.

These intricately knotted carpets were made of silk, or a combination of silk and cotton wool, and were oftentimes rich in religious and other symbolism. Hereke silk carpets, which were made in the littoral town of Hereke, were the almost valued of the Ottoman carpets considering 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.

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 fine art is contributed to several aesthetic traditions, specially to the cloth arts.

In the sixteenth century, rug weaving evolved from a nomadic and peasant craft to a well-executed industry that used specialized blueprint and manufacturing techniques on quality fibers such equally silk. The carpets of Ardabil, for example, were commissioned to commemorate the Safavid dynasty and are at present considered to be the best examples of classical Farsi weaving, peculiarly for their utilize of graphical perspective.

Textiles became a large consign, and Persian weaving became one of the almost popular imported appurtenances of Europe. Islamic carpets were a luxury item in Europe and at that place are several examples of European Renaissance paintings that document the presence of Islamic textiles in European homes during that time.

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

Indonesian Batik

Islamic cloth production, notwithstanding, was not limited to the carpet. Imperial factories were founded for the purpose of textile product that too included cloth 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 go more than abstract and intricate. Realistic depictions of animals and humans are rare on traditional batik, only serpents, puppet-shaped humans, and the Garuda of pre-Islamic mythology are all commonplace.

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

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