Art History: Islamic Art
Islam took root in the early 7th century, the complexity of Islam today was present almost at the beginning of the religion as well. It reached from the Middle East to Spain.
Shows the syncretism of art history, the amalgamation of cultures and influences as seen with early christian art (mix of classical and near-eastern art). The idea of Islamic art even extends across a broad range of cultures and geographies. Some ideas of Islamic art are even frowned upon, or even forbidden by the religion itself.
One of main underlying themes of Islam is their reverence for the Word - the Qur'an - and for the language of the Word - Arabic - as reflected in the art of beautiful writing (calligraphy). From the horizontal KUFIC alphabet of early Islam to later cursive styles, Islamic art puts a great reverence toward the written word.
A second main theme of Islamic art is the mistrust of figural imagery, a lack of the human figure. This is offset by elaborate vegetable, floral, and geometric designs, paired with elaborate script.
A third theme is the equality of genres - it isn't all sculptural of figural paintings as in Europe. As much emphasis is put on painting as is ceramics, weaving, metalware, carving. Many consider Islamic art enlightening and liberating because it does not adhere to these predefined notions of what makes art.
RELIGIOUS ARCHITECTURE
New kinds of buildings and styles were developed within Islam. Buildings for community prayer that were easily identified for the new faith were required. New Islamic rulers also required dwellings appropriate for their status.
DOME OF THE ROCK
The earliest major Islamic building to have survived in our time is the Dome of the Rock in Jerusalem. After the cities of Mecca and Medina, Jerusalem is the holiest Islamic site. The Temple Mount in Jerusalem marked the place where God tested Ibrahim's faith by demanding he sacrifice his firstborn son Ismail. On the same site, Islamic legend also states the Prophet was taken by Gabriel to experience both Heaven and Hell, Muhammad being the only mortal allowed to see these places before Death.
Abd al-Malik, Caliph (Khalifa), ordered the structure build around 690 CE. At highest point in city, proclaimed Jerusalem was under the control of Islam.
The ground plan reflects ancient roman layouts (central planned, domed), as well as the Holy Sepulcher. It had a ring of two ambulatories around a central bare rock - ideal for the large quantities of pilgrims that visited the location. The dome itself was a well-established symbol for Heaven, where the corinthian columns taken from local classical monuments instill a sense of permanence and grandeur to Muslim and non-Muslim alike.
THE HYPOSTYLE MOSQUE
Of all of the pillars of Islam, the religious duty of prayer proved the most important in the development of Islamic architecture. Mosque is the english translation of MASJID, meaning "place of prostration". The first mosques were built to house a city's entire male population during noonday prayer; they recall the Messenger's house in Medina, with its rectangular courtyard, surrounded by covered arcades, and a larger hypostyle hall on the QIBLA (side facing Mecca).
The structure demonstrated the Islamic belief that all were equal in the sight of God, and a lack of ordained clergy. No axiality (long aisle leading to an altar or focal point), prayer was between the individual and God, no intercession with saints or clergy. Practicality, not ceremony.
A simple MINBAR (pulpit) served to deliver sermons after noon prayer, and an empty MIHRAB (niche) in the qilba wall was added to indicate the direction of Mecca. MINARET served as a place to call to prayer, by the MUEZZIN, an individual usually selected for a powerful and beautiful voice. Some mosques had a DIKKA, upon which a muezzin would recite prayers aloud during prayer.
GREAT MOSQUE OF KAIROUAN
Based on the house of the Prophet (like all mosques). Free of a central axis, there was no need. Notice the vast amount of doors to facilitate the throngs that would enter for the five daily prayers. Each worshipper uses a simple prayer to God, there is no intermediary or a need to complicate the matter; this is reflected in the architecture.
GREAT MOSQUE OF CORDOBA
Far to the west, in Spain, where the sole surviving prince of a refuge noble house founded an independent state after 750 CE, a brilliant center of Islamic culture developed in Cordoba.
By the 10th century, the Great Mosque of Cordoba, after years of embellishments and enlargements, became one of the most beautiful Islamic worship sites. A typical Arab hypostyle hall, the interior was a forest of columns. The characteristic "horseshoe" arcades are composed of arches using alternating red and white voussoirs, and include the element of one set of arches superimposed above another. This creates the illusion of limitless space, though it is truly composed of relatively small architectural elements repeated again and again.
Compared to the Hagia Sophia, or Old St. Peter's, the space is similarly large, but there is no centralized space for the "sacred theatre" of the Christian rite. 10th century marble grilles on the qibla wall are beautiful single pieces of stone carved to appear as a single intertwined strap-like line. This beauty of such artistic geometry showed the work of God's creative hand in the universe of those praying there.
LUXURY ARTS
On the outskirts of Cordoba, Umayyads had another big palace-city, known as Medina al-Zahra. Had workshops for luxury goods such as silk goods or carved ivory. These were used to show power and were often given as royal gifts.
A small domed pyxis (ivory box), made for a 10th century Umayyad prince incorporates a wide array of Islamic royal imagery and symbolism. Includes falconry, hunting, sports, and court musicians set among lush vegetation and a kufic frieze.
PERSIAN INFLUENCE
In the west (Spain, western Mediterranean) Islamic art followed a loose Greco-Roman tradition, but in the East Islamic art was blended with the Persian sphere of culture. Focused on ceremonial pomp, warfare, royal hunting, as well as large and impressive palace buildings.
Just like the MOSQUE defined Islamic art in the west, the IWAN defined Islamic influence in the east. Originally an Iwan was an audience chamber for Persian rulers, eventually adapted to the four-iwan mosque, by placing a recess in the middle of each of the courtyard walls. From the 12th century onward, this method of building permeated mosque and religious-school structures in the east.
TOMB OF THE SAMANIDS
Earliest surviving Iranian Islamic tomb is the Tomb of the Samanids, built in early 10th century. Basic cube structure, with a dome supported by four squinches, built out of native mundane brick. Textures recalling woven reeds, kufic inscription and what look like engaged columns on the corners are all made out of simple mud clay bricks.
The Messenger had opposed all shrines and grand tombs in the religion of Islam, which were considered polytheistic or idolatry-centered. As a result this (and many other) tombs that venerated religious figures or kings are very important to art/architecture history.
FIGURAL ART
The blending of Islam and Persian culture lead to the admiration of figural imagery by the Persians, and was eventually introduced into the previously forbidden concept into Islam. Why did this become a thing? The transition of cultures with Persia felt secular, and even some religious figures, did not corrupt the viewer to idolatry. It was easier to convey a message with figures.
A favorite story in many of these enameled ceramic vessels / book illustration / metalwork was of the royal hunter Bahram Gur and his skeptical girlfriend. This dish shows the story where she questions his marksmanship and Bahram Gur pushes her off the camel (center panel, continuous narrative). Mina'i is the polychrome and metallic luster of such enameled wares.
ISLAMIC CLASSICAL AGE (800-1250 CE)
Cairo made capital, Shi'ites (Muslims who believed that only descendants of Muhammad could legitimately lead the Islamic community) in power. Opposed the Sunni (or Orthodox Islamic) belief that having the blood of the messenger was not a prerequisite for political power. Walls of the city reinforced with stone from the Pyramids. Several mosques built within the city, two of which were enormous primary mosques, with many smaller ones for local neighborhoods.
Al-Aqmar Mosque
Muqarnas, the geometric patterned niches to either side of the enterance were hallmarks of future mosques. We also see tradtional carved stone and arabic inscription.
1099 - Norman warriors conquer Jerusalem.
1187 - recapture by Salah al-Din (Saladin).
Extensive cross-contamination of Christian Europe and Islamic East occurred during these 200 years (ended about 14th century).
Sunni power resurged late, and influenced art for some time. Some back-and forth between the different (Christian, Sunni, Shi'ite) ideologies, to this day.
LATE CLASSICAL
TOMB OF OLJEYTU
Unprecedented size and scale for an Islamic tomb, built in late classical period. Center structure in the new capital of Mongol Iran. Large pointed dome, covered with turquoise tiles, was a royal tomb.
COURT OF THE LIONS
Part of the Alhambra, "The Red Palace". The structure itself was built as a metaphor for Paradise on earth. It had qualities typical of islamic palaces: gardens or courtyards surrounded by pavilions or buildings. The inscriptions on the walls are a hymn of praise dedicated to the palace itself. Much of the original (and vast) structure was lost or converted during the Renaissance - made into a palace, then a monastery. The Court of the Lions remains, perhaps the most beautiful part.
Twelve lions support a fountain - the water pressurized by the elevated mountain spring it comes from. From the basin, four channels representing the four rivers of Paradise carry water to four nearby pavilions. Muqarnas, inscriptions, horseshoe columns, geometry all present.
THE THREE LATE EMPIRES
In later Islamic times, three major empires formed the centers for Islamic artistic accomplishment. The Ottoman, Safavid, and Mughal empires.
OTTOMAN
[needs completed notes, compile from student data]
Islam took root in the early 7th century, the complexity of Islam today was present almost at the beginning of the religion as well. It reached from the Middle East to Spain.
Shows the syncretism of art history, the amalgamation of cultures and influences as seen with early christian art (mix of classical and near-eastern art). The idea of Islamic art even extends across a broad range of cultures and geographies. Some ideas of Islamic art are even frowned upon, or even forbidden by the religion itself.
One of main underlying themes of Islam is their reverence for the Word - the Qur'an - and for the language of the Word - Arabic - as reflected in the art of beautiful writing (calligraphy). From the horizontal KUFIC alphabet of early Islam to later cursive styles, Islamic art puts a great reverence toward the written word.
A second main theme of Islamic art is the mistrust of figural imagery, a lack of the human figure. This is offset by elaborate vegetable, floral, and geometric designs, paired with elaborate script.
A third theme is the equality of genres - it isn't all sculptural of figural paintings as in Europe. As much emphasis is put on painting as is ceramics, weaving, metalware, carving. Many consider Islamic art enlightening and liberating because it does not adhere to these predefined notions of what makes art.
RELIGIOUS ARCHITECTURE
New kinds of buildings and styles were developed within Islam. Buildings for community prayer that were easily identified for the new faith were required. New Islamic rulers also required dwellings appropriate for their status.
DOME OF THE ROCK
The earliest major Islamic building to have survived in our time is the Dome of the Rock in Jerusalem. After the cities of Mecca and Medina, Jerusalem is the holiest Islamic site. The Temple Mount in Jerusalem marked the place where God tested Ibrahim's faith by demanding he sacrifice his firstborn son Ismail. On the same site, Islamic legend also states the Prophet was taken by Gabriel to experience both Heaven and Hell, Muhammad being the only mortal allowed to see these places before Death.
Abd al-Malik, Caliph (Khalifa), ordered the structure build around 690 CE. At highest point in city, proclaimed Jerusalem was under the control of Islam.
The ground plan reflects ancient roman layouts (central planned, domed), as well as the Holy Sepulcher. It had a ring of two ambulatories around a central bare rock - ideal for the large quantities of pilgrims that visited the location. The dome itself was a well-established symbol for Heaven, where the corinthian columns taken from local classical monuments instill a sense of permanence and grandeur to Muslim and non-Muslim alike.
THE HYPOSTYLE MOSQUE
Of all of the pillars of Islam, the religious duty of prayer proved the most important in the development of Islamic architecture. Mosque is the english translation of MASJID, meaning "place of prostration". The first mosques were built to house a city's entire male population during noonday prayer; they recall the Messenger's house in Medina, with its rectangular courtyard, surrounded by covered arcades, and a larger hypostyle hall on the QIBLA (side facing Mecca).
The structure demonstrated the Islamic belief that all were equal in the sight of God, and a lack of ordained clergy. No axiality (long aisle leading to an altar or focal point), prayer was between the individual and God, no intercession with saints or clergy. Practicality, not ceremony.
A simple MINBAR (pulpit) served to deliver sermons after noon prayer, and an empty MIHRAB (niche) in the qilba wall was added to indicate the direction of Mecca. MINARET served as a place to call to prayer, by the MUEZZIN, an individual usually selected for a powerful and beautiful voice. Some mosques had a DIKKA, upon which a muezzin would recite prayers aloud during prayer.
GREAT MOSQUE OF KAIROUAN
Based on the house of the Prophet (like all mosques). Free of a central axis, there was no need. Notice the vast amount of doors to facilitate the throngs that would enter for the five daily prayers. Each worshipper uses a simple prayer to God, there is no intermediary or a need to complicate the matter; this is reflected in the architecture.
GREAT MOSQUE OF CORDOBA
Far to the west, in Spain, where the sole surviving prince of a refuge noble house founded an independent state after 750 CE, a brilliant center of Islamic culture developed in Cordoba.
By the 10th century, the Great Mosque of Cordoba, after years of embellishments and enlargements, became one of the most beautiful Islamic worship sites. A typical Arab hypostyle hall, the interior was a forest of columns. The characteristic "horseshoe" arcades are composed of arches using alternating red and white voussoirs, and include the element of one set of arches superimposed above another. This creates the illusion of limitless space, though it is truly composed of relatively small architectural elements repeated again and again.
Compared to the Hagia Sophia, or Old St. Peter's, the space is similarly large, but there is no centralized space for the "sacred theatre" of the Christian rite. 10th century marble grilles on the qibla wall are beautiful single pieces of stone carved to appear as a single intertwined strap-like line. This beauty of such artistic geometry showed the work of God's creative hand in the universe of those praying there.
LUXURY ARTS
On the outskirts of Cordoba, Umayyads had another big palace-city, known as Medina al-Zahra. Had workshops for luxury goods such as silk goods or carved ivory. These were used to show power and were often given as royal gifts.
A small domed pyxis (ivory box), made for a 10th century Umayyad prince incorporates a wide array of Islamic royal imagery and symbolism. Includes falconry, hunting, sports, and court musicians set among lush vegetation and a kufic frieze.
PERSIAN INFLUENCE
In the west (Spain, western Mediterranean) Islamic art followed a loose Greco-Roman tradition, but in the East Islamic art was blended with the Persian sphere of culture. Focused on ceremonial pomp, warfare, royal hunting, as well as large and impressive palace buildings.
Just like the MOSQUE defined Islamic art in the west, the IWAN defined Islamic influence in the east. Originally an Iwan was an audience chamber for Persian rulers, eventually adapted to the four-iwan mosque, by placing a recess in the middle of each of the courtyard walls. From the 12th century onward, this method of building permeated mosque and religious-school structures in the east.
TOMB OF THE SAMANIDS
Earliest surviving Iranian Islamic tomb is the Tomb of the Samanids, built in early 10th century. Basic cube structure, with a dome supported by four squinches, built out of native mundane brick. Textures recalling woven reeds, kufic inscription and what look like engaged columns on the corners are all made out of simple mud clay bricks.
The Messenger had opposed all shrines and grand tombs in the religion of Islam, which were considered polytheistic or idolatry-centered. As a result this (and many other) tombs that venerated religious figures or kings are very important to art/architecture history.
FIGURAL ART
The blending of Islam and Persian culture lead to the admiration of figural imagery by the Persians, and was eventually introduced into the previously forbidden concept into Islam. Why did this become a thing? The transition of cultures with Persia felt secular, and even some religious figures, did not corrupt the viewer to idolatry. It was easier to convey a message with figures.
A favorite story in many of these enameled ceramic vessels / book illustration / metalwork was of the royal hunter Bahram Gur and his skeptical girlfriend. This dish shows the story where she questions his marksmanship and Bahram Gur pushes her off the camel (center panel, continuous narrative). Mina'i is the polychrome and metallic luster of such enameled wares.
ISLAMIC CLASSICAL AGE (800-1250 CE)
Cairo made capital, Shi'ites (Muslims who believed that only descendants of Muhammad could legitimately lead the Islamic community) in power. Opposed the Sunni (or Orthodox Islamic) belief that having the blood of the messenger was not a prerequisite for political power. Walls of the city reinforced with stone from the Pyramids. Several mosques built within the city, two of which were enormous primary mosques, with many smaller ones for local neighborhoods.
Al-Aqmar Mosque
Muqarnas, the geometric patterned niches to either side of the enterance were hallmarks of future mosques. We also see tradtional carved stone and arabic inscription.
1099 - Norman warriors conquer Jerusalem.
1187 - recapture by Salah al-Din (Saladin).
Extensive cross-contamination of Christian Europe and Islamic East occurred during these 200 years (ended about 14th century).
Sunni power resurged late, and influenced art for some time. Some back-and forth between the different (Christian, Sunni, Shi'ite) ideologies, to this day.
LATE CLASSICAL
TOMB OF OLJEYTU
Unprecedented size and scale for an Islamic tomb, built in late classical period. Center structure in the new capital of Mongol Iran. Large pointed dome, covered with turquoise tiles, was a royal tomb.
COURT OF THE LIONS
Part of the Alhambra, "The Red Palace". The structure itself was built as a metaphor for Paradise on earth. It had qualities typical of islamic palaces: gardens or courtyards surrounded by pavilions or buildings. The inscriptions on the walls are a hymn of praise dedicated to the palace itself. Much of the original (and vast) structure was lost or converted during the Renaissance - made into a palace, then a monastery. The Court of the Lions remains, perhaps the most beautiful part.
Twelve lions support a fountain - the water pressurized by the elevated mountain spring it comes from. From the basin, four channels representing the four rivers of Paradise carry water to four nearby pavilions. Muqarnas, inscriptions, horseshoe columns, geometry all present.
THE THREE LATE EMPIRES
In later Islamic times, three major empires formed the centers for Islamic artistic accomplishment. The Ottoman, Safavid, and Mughal empires.
OTTOMAN
[needs completed notes, compile from student data]