What Is the Highest Form of Art for Muslims

Islamic Art

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

Learning Objectives

Identify the influences and the specific attributes of Islamic fine art

Key Takeaways

Cardinal Points

• Islamic art is non 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 creative fields including architecture, calligraphy , painting, glass, ceramics , and textiles, amid others.
• Islamic religious art differs from Christian religious art in that it is non-figural because many Muslims believe that the depiction of the homo 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 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 exist the verbatim word of God (Standard arabic: Allah). It is widely regarded every bit the finest piece of literature in the Arabic language.
• arabesque: A repetitive, stylized pattern based on a geometrical floral or vegetal pattern.
• idolatry: The worship of idols.
• monotheistic: Believing in a single god, deity, spirit, etc., particularly for an organized religion, 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.

About Muslims are of 2 denominations: Sunni (75–xc%),[7] or Shia (10–xx%). 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 attribute of life and order. The five pillars are:

1. Shahadah (belief or confession of faith)
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 in one case in a lifetime)

Islamic Art

Islamic art encompasses the visual arts produced from the seventh century onward past both Muslims and not-Muslims who lived within the territory that was inhabited by, or ruled by, culturally Islamic populations. Information technology is thus a very difficult art to define because it spans some 1400 years, covering many lands and populations. This art is also not of a specific religion, fourth dimension, 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 art is non restricted to religious art, but instead includes all of the art of the rich and varied cultures of Islamic societies. It frequently includes secular elements and elements that are forbidden past some Islamic theologians. Islamic religious art differs greatly from Christian religious fine art traditions.

Because figural representations are more often than not considered to be forbidden in Islam, the word takes on religious pregnant in art as seen in the tradition of calligraphic inscriptions. Calligraphy and the ornamentation of manuscript Qu'rans is an important aspect of Islamic art as the word takes on religious and creative significance.

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

Other religious art, such equally glass mosque lamps, Girih tiles, woodwork, and carpets usually demonstrate the aforementioned style and motifs equally contemporary secular art, although they showroom more 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 Arabic calligraphy, rather than on figures, because it is feared past many Muslims that the depiction of the human being class is idolatry. The panel reads: "God, there 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 fine art was influenced by Greek, Roman, early Christian, and Byzantine art styles, equally well as the Sassanian fine art of pre-Islamic Persia. Central Asian styles were brought in with various nomadic incursions; and Chinese influences had a determinative effect on Islamic painting, pottery, and textiles.

Themes of Islamic Fine art

There are repeating elements in Islamic fine art, such as the apply of stylized , geometrical floral or vegetal designs in a repetition known as the arabesque . The arabesque in Islamic 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 past artists who believe only God tin can produce perfection.

Arabesque inlays at the Mughal Agra Fort, India: Geometrical designs in repetition, know every bit Arabesque, are used in Islamic fine 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, because information technology is believed by many Muslims that the depiction of the human grade is idolatry and thereby a sin confronting God that is forbidden in the Qur'an.

Still, depictions of the human class and animals can be plant in all eras of Islamic secular 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 police force.

Islamic Architecture

Islamic architecture encompasses a wide range of styles and the chief case is the mosque.

Learning Objectives

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

Primal Takeaways

Key Points

• A specifically recognizable Islamic architectural style emerged before long afterwards 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 identify of prayer and a community meeting space . The early mosques are believed to be inspired by Muhammad's dwelling house 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, often 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 Compages

Islamic compages encompasses a wide range of both secular and religious styles. The principal Islamic architectural example is the mosque. A specifically recognizable Islamic architectural style emerged before long after Muhammad's time that incorporated Roman building traditions with the add-on of localized adaptations of the old Sassanid and Byzantine models.

Early Mosques

The Islamic mosque has historically been both a identify of prayer and a customs meeting space. The early mosques are believed to be inspired by Muhammad's abode in Medina, which was the offset mosque.

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

Dome of the mihrab (ninth century) in the Great Mosque of Kairouan, also known equally the Mosque of Uqba, in Kairouan, Tunisia: This is considered to be the antecedent of all the mosques in the western Islamic earth.

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 boosted influences from Byzantine, Persian, and Islamic Mamluk traditions.

Sultan Mehmed 2 would afterward fuse European traditions in his rebuilding programs at Istanbul in the 19th century. Byzantine styles every bit seen in the Hagia Sophia served as particularly important models for Ottoman mosques, such as the mosque constructed past Sinan.

Building reached its superlative in the 16th century when Ottoman architects mastered the technique of building vast inner spaces surmounted by seemingly weightless yet incredibly massive domes , and achieved perfect harmony between inner and outer spaces, besides every bit articulated lite and shadow.

They incorporated vaults , domes, square dome plans, slender corner minarets, and columns into their mosques, which became sanctuaries of transcendently artful and technical residual, 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.

Compages flourished in the Safavid Dynasty , attaining a high indicate with the building plan 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 most prominent samples of the Safavid architecture, such as the the Imperial Mosque, which was constructed in the years later on Shah Abbas I permanently moved the capital there in 1598.

Imperial Mosque, Isfahan, Iran: Isfahan, the uppercase of both the Seljuk and Safavid dynasties, bears the most prominent samples of the Safavid architecture.

Islamic Drinking glass Making

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

Learning Objectives

Describe the art of Islamic glass

Fundamental Takeaways

Key Points

• Between the eighth and early on 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 wheel, and later on by cutting abroad the background to leave a pattern in relief .
• Lustre painting uses techniques similar to lustreware in pottery and dates back to the 8th century in Egypt; it became widespread in the twelfth century.

Key Terms

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

Islamic Drinking glass

For virtually of the Eye Ages , Islamic luxury glass was the most sophisticated in Eurasia , exported to both Europe and China. Islam took over much of the traditional glass-producing territory of Sassanian and Aboriginal Roman glass. Since figurative decoration played a small role in pre-Islamic drinking glass, the modify in style was non sharp—except that the whole area initially formed a political whole, and, for example, Persian innovations were now almost immediately taken upwards in Egypt.

For this reason information technology is often impossible to distinguish between the diverse centers of production (of which Egypt, Syria, and Persia were the near important), except past scientific assay of the material, 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 drinking glass on a wheel, and later by cutting away the background to leave a design in relief. The very massive Hedwig spectacles, just found in Europe, but normally considered Islamic (or possibly from Muslim craftsmen in Norman Sicily), are an example of this, though they are puzzlingly tardily in appointment.

These and other glass pieces probably represented cheaper versions of vessels of carved rock crystal (clear quartz)—themselves influenced by earlier glass vessels—and in that location is some evidence that at this menstruum drinking glass and hard-stone cut were regarded every bit the same arts and crafts. From the twelfth century, the glass industry in Persia and Mesopotamia declined, and the master production of luxury drinking glass shifted to Egypt and Syria. Throughout this period, local centers made simpler wares, such equally Hebron glass in Palestine.

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

Lustre painting

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

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

Every bit ornament grew more elaborate, the quality of the basic glass decreased, and information technology often exhibited bubbles and a brownish-yellowish tinge. Aleppo ceased to exist a major middle later on the Mongol invasion of 1260, and Timur appears to have concluded the Syrian glass industry around 1400 past carrying off the skilled workers to Samarkand. By about 1500, the Venetians were receiving big orders for mosque lamps.

Some of the finest work was in mosque lamps donated by a ruler or wealthy human. As decoration grew more than elaborate, the quality of the basic drinking glass decreased, and information technology oftentimes exhibited bubbles and a brownish-yellow tinge. Aleppo ceased to be a major center afterwards the Mongol invasion of 1260, and Timur appears to take ended the Syrian industry around 1400 by carrying off the skilled workers to Samarkand. By virtually 1500, the Venetians were receiving large orders for mosque lamps.

Mosque lamp: Produced in Egypt, c. 1360.

Islamic Calligraphy

Calligraphic pattern was omnipresent in Islamic fine art in the Middle 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

Cardinal Takeaways

Key Points

• In a organized religion where figural representations are considered an human action 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 .
• Besides Quranic verses, other inscriptions include verses of verse, and inscriptions recording buying or donation.

Key Terms

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

In a religion where figural representations are considered an act of idolatry, information technology is no surprise that  the word and its creative representation became an important aspect in Islamic art. The most of import 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 on Quran demonstrates the Kufic script, noted for its athwart course and every bit the earliest grade of Standard arabic calligraphy .

The earliest form of Arabic calligraphy is Kufic script, which is noted for its athwart class.  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 cerise dots that are visible on the page annotation the vowels.

Yet, calligraphic design is not limited to the volume in Islamic art. Calligraphy is constitute in several dissimilar types of fine art, such as compages. The interior of the Dome of the Rock (Jerusalem, circa 691), for example, features calligraphic inscriptions of verses from the Quran too as from additional sources. As in Europe in the Middle Ages , religious exhortations such as Quranic verses may be included in secular objects, especially coins, tiles, and metalwork .

Interior view of the Dome of the Rock: The interior of The Dome of the Stone 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 dissimilar media.

Calligraphic inscriptions were non exclusive to the Quran, but as well included verses of poetry or recorded ownership or donation. Calligraphers were highly regarded in Islam, which reinforces the importance of the give-and-take and its religious and artistic significance.

Islamic Book Painting

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

Learning Objectives

Discuss the origin and development of Islamic manuscript painting

Key Takeaways

Cardinal Points

• The fine art of the Persian book was born under the Ilkhanid dynasty and encouraged past the patronage of aristocrats for large illuminated manuscripts .
• Islamic manuscript painting witnessed its kickoff aureate historic period 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 particular in the Shahnameh of Shah Tahmasp, an immense re-create of Ferdowsi's epic verse form that contains more than 250 paintings.
• The medieval Islamic texts called Maqamat were some of the earliest java-tabular array books and amidst the first Islamic art to mirror daily life.
• Masterpieces of Ottoman manuscript illustration include the 2 books of festivals, 1 from the end of the 16th century and the other from the era of Sultan Murad Iii.

Fundamental Terms

• Mongols: An umbrella term for a large group of Mongolic and Turkic tribes united under the rule of Genghis Khan in the 13th century.
• illuminated manuscripts: A book in which the text is supplemented past the addition of decoration, such every bit decorated initials, borders (marginalia), and miniature illustrations.
• miniature: An illustration in an ancient or medieval illuminated manuscript.
• muraqqa: An anthology in book grade containing Islamic miniature paintings and specimens of Islamic calligraphy, normally from several unlike 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 acme in Persia, Syria, Iraq, and the Ottoman Empire . The art form blossomed beyond the different regions and was inspired past a range of cultural reference points.

The development of volume painting first began in the 13th century, when the Mongols, under the leadership of Genghis Khan, swept through the Islamic world. Upon the expiry of Genghis Khan, his empire was divided amongst his sons and dynasties formed: the Yuan in People's republic of china, the Ilkhanids in Iran, and the Golden Horde in northern Iran and southern Russian federation.

The Ilkhanids

The Ilkhanids were a rich civilisation that developed under the little khans in Iran. Architectural activity intensified as the Mongols became sedentary yet retained traces of their nomadic origins, such equally the north–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 equally the Iranian-plan mosques , was resumed.

The art of the Persian volume was born under the Ilkhanid dynasty and encouraged by the patronage of aristocrats for large illuminated manuscripts, such equally the Jami' al-tawarikh past Rashid-al-Din Hamadani. Islamic book painting witnessed its start gold historic period in the 13th century, mostly within Syrian arab republic and Iraq.

Miniatures

The tradition of the Persian miniature (a small painting on paper) adult during this period, and information technology 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 depiction of the human being figure were much more relaxed and the man form is represented with frequency inside this medium.

Influence from the Byzantine visual vocabulary (blue 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 as peonies, clouds, dragons, and phoenixes were adapted from Mainland china as well, and incorporated into manuscript illumination.

Mongol soldiers, in Jami al-tawarikh by Rashid-al-Din Hamadani: The Jāmi al-tawārīkh is a piece of work of literature and history, produced by the Mongol Ilkhanate in Persia. The breadth of the piece of work has acquired it to be called the offset 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 Western farsi verse, such equally the Shahnameh. Under the rule of the Safavids in Iran (1501 to 1786), the fine art of manuscript illumination achieved new heights. The most noteworthy case of this is the Shahnameh of Shah Tahmasp, an immense copy of Ferdowsi'southward epic poem that contains more than 250 paintings.

The Court of Gayumars, from the Shahnameh of Shah Tahmasp: Illuminated manuscripts of the Shahnameh were oft deputed by royal patrons.

Maqamat and Albums

The medieval Islamic texts called Maqamat that were copied and illustrated past Yahya ibn Mahmud al-Wasiti, were some of the primeval coffee-table books. They were among the offset 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 adult based around the album (muraqqa). The albums were the creations of connoisseurs who jump together single sheets of paintings, drawings, or calligraphy by diverse 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 form of book fine art. The form depicts i or two larger figures, typically arcadian beauties in a garden setting, and often use the grisaille techniques previously used for background edge 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 subsequently 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 especially) animals, or idealized youthful beauties of either sex.

Masterpieces of Ottoman manuscript illustration include the two books of festivals, 1 from the end of the 16th century and the other from the era of Sultan Murad Three. These books contain numerous illustrations and exhibit a strong Safavid influence, perhaps 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 as tin-opacified glazing and stonepaste ceramics made Islamic ceramics some of the most advanced of its time

Cardinal Takeaways

Key Points

• The get-go Islamic opaque glazes appointment to around the 8th century, and another significant contribution was the development of stonepaste ceramics in ninth century Iraq.
• Lusterwares with iridescent colors were either invented or considerably developed in Persia and Syria from the ninth century onward.
• The techniques, shapes, and decorative motifs of Chinese ceramics were admired and emulated past Islamic potters, especially afterwards the Mongol and Timurid invasions.
• The Hispano–Moresque style emerged in the 8th century, with more refined production happening subsequently, presumably by Muslim potters working in areas reconquered by Christian kingdoms.

Key Terms

• Hispano–Moresque fashion: A style of Islamic pottery created in Al-Andaluz, or Muslim Spain, 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 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. Nigh 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 developed by Islamic potters. The kickoff Islamic opaque glazes tin can exist found as blue-painted ware in Basra, dating to around the eighth century.

Another significant contribution was the development of stonepaste ceramics, originating from 9th century Iraq. The first industrial complex for glass and pottery production was built in Ar-Raqqah, Syria, in the eighth century. Other centers for innovative pottery in the Islamic world included Fustat (from 975 to 1075), Damascus (from 1100 to around 1600), and Tabriz (from 1470 to 1550).

Lusterware

Lusterware is a 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.

tenth century dish: Islamic art has very notable achievements in ceramics, both in pottery and tiles for walls, which reached heights unmatched past other cultures. This dish is from East Persia or Key Asia.

The techniques, shapes, and decorative motifs of Chinese ceramics were admired and emulated by Islamic potters, especially later the Mongol and Timurid invasions. Until the Early Modern catamenia, Western ceramics had trivial influence, only Islamic pottery was highly sought afterwards in Europe, and was frequently copied.

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

Hispano–Moresque Style

The Hispano–Moresque manner emerged in Al-Andaluz, or Muslim Spain, in the 8th century, under Egyptian influence. More than refined production happened much later, presumably by Muslim potters who worked in the areas reconquered by the Christian kingdoms.

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

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

Ottoman Iznik pottery produced nearly of the finest ceramics of the 16th century—tiles and big vessels boldly decorated with floral motifs that were influenced by Chinese Yuan and Ming ceramics. These were still in earthenware, since porcelain was non made in Islamic countries until modern times.

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

Islamic Textiles

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

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 Eye Eastern cultures and cities, many of which flourished due to the Silk Road .
• When the Islamic dynasties formed and grew more than powerful they gained control over textile production in the region, which was arguably the most important craft of the era.

Key Terms

• textile arts: The production of arts and crafts that use plant, animate being, or synthetic fibers to create objects.

Islam and the Textile Arts

The textile arts refer to the production of arts and crafts that use constitute, animal, or synthetic fibers to create objects. These objects tin be for everyday use, or they can be decorative and luxury items. The product and trade of textiles pre-dates Islam, and had long been of import to Center Eastern cultures and cities, many of which flourished due to the Silk Road.

When the Islamic dynasties formed and grew more powerful they gained command over textile product in the region, which was arguably the nearly important craft of the era. The almost important textile produced in Medieval and Early Modern Islamic Empires was the carpet.

The Ottoman Empire and Carpet Production

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

Stretching across Asia, Europe, and Africa, the Empire was vast and long lived, lasting until 1922 when the monarchy was abolished in Turkey. Within the Ottoman Empire, carpets were immensely valued as decorative furnishings and for their practical value . They were used non but on floors but besides as wall and door hangings, where they provided additional 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 fabricated in the coastal town of Hereke, were the about valued of the Ottoman carpets because of their fine weave. The Hereke carpets were typically used to furnish majestic palaces.

Rug and interior of the Harem room in Topkapi Palace, Istanbul: The Ottoman Turks were famed for the quality of their finely woven and intricately knotted silk carpets.

Western farsi Carpets

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

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

Textiles became a big export, and Persian weaving became ane of the most popular imported goods of Europe. Islamic carpets were a luxury item in Europe and there are several examples of European Renaissance paintings that certificate the presence of Islamic textiles in European homes during that fourth dimension.

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

Indonesian Batik

Islamic fabric production, however, was not limited to the rug. Royal factories were founded for the purpose of textile product 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 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 existence in Indonesia pre-dates Islam, batik reached its loftier bespeak 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 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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