Islamic art was born in the 7th century within the Omeya dynasty; some a hundred years after the Prophet Muhammad ibn Abdallah began to preach the Islamic message. So “Islamic art” refers to the art produced since then in all Islamic countries, thus covering an extensive – and varying – land in the Middle East, Northern Africa and even Europe (Al Andalus).
During the Omeya dynasty the first distinctive elements were born and spread: mosque, horseshoe arch, minaret, mosaic and vine and shell as ornamental motifs. From then on, influences from many different neighbouring and invading cultures were incorporated (but not limited to these):
- The essentialism and stylization of embellishments, iwan, mausoleums, ceramics (Sassanid)
- Depiction of human figure, nerved dome on a octagonal basis. Artisan workshops appear (Fatimid)
- Ornamental calligraphy, ceramic as architectural covering (Seleucid Turks)
- Bulbous dome (or onion dome), monumental iwan, tubular minarets, Chinese decorative motifs and miniatures (Persian Mongols)
- Small palaces in the middle of gardens, lodges and marble marquetry (Indian Mongols)
- Excellence was achieved in miniature and carpeting (Safavids)
Perhaps architecture is the most used art, unlike in European and Western traditions were painting and sculpture clearly dominated. This difference steams from their own way to approach the world: Nature is ephemeral, and thus of useless representation, in any of its forms. Besides, the depiction of human images is expressly forbidden, as they could become cult objects in a clearly monotheist religion.
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Architecture
The link between natural surroundings and architectural works is always a must. Buildings do not aim for elevation (except for minarets). It consciously avoids the sensation of solidness and fullness. Buildings were part of squares outside and, after the Mongolian and the Turkish periods, small pavilions inside a scrupulously planned garden were preferred over the “grand palace”.
In short, distinctive elements of Islamic architecture are:
- An extensive variety of arches both taken from other cultures and self-developed: pointed arch, round arch, horseshoe arch, lanceolate arch, trefoil arch, basket-handle arch, stalactite arch, zigzag arch, etc.
- Domes build on a high ring, which rests on a square basis. Several kinds of unions were created to unite the dome with the inferior structure: shells, little arches, half oranges, etc.
- Specific elements: Minarets (originally, watchtowers), Mihrab (prayer niche which indicates the direction to Mecca), central fountains, four-iwan plan (with three subordinate halls and a principal one facing Mecca), pishtag (formal gateway to the iwan).
- Precious and elaborated decorations
Decoration
Decoration was itself the true leitmotiv of Islamic art and closely linked to architecture and is to be found in every corner. Horror vacui (or cenophobia) is a specific characteristic of this art, meaning that all available space must be filled.
Most common motives used include:
- Calligraphy is used to embellish sacred buildings with fragments of the Koran. The use of pictures was forbidden in Mosque architecture, although they were used (both human and animal) in secular architecture.
- Other Arabesque shapes: geometric patterns and foliage
- Mocárabe and Muqarnas, a unique space-enclosing system
Image: Alhambra in Granada. Source: Wikimedia Commons
Carpets
Poor likeness to painting and sculpture might be related to the ancient Nomad need for having only useful and easy to transport goods, which were often richly decorated. Thus, carpets are an essential part of Islamic art (though introduced to their culture by Central Asian Nomads).
All carpets include a border of variable width and one or more parallel lines. The central area can be divided into several squares or be decorated using symbolic and stylized motives following a geometric pattern. Sometimes a central medallion exists.
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More information on Islamic art: islamic-arts.org/
Written by Beltaneh for the Art History Project
