The Full Wiki

Islamic art: Map


Wikipedia article:

Map showing all locations mentioned on Wikipedia article:

Islamic art encompasses the visual arts produced from the 7th century onwards by people (not necessarily Muslim) who lived within the territory that was inhabited by culturally Islamic populations. It includes fields as varied as architecture, calligraphy, painting, and ceramics, among others.

Typically, though not entirely, Islamic art has focused on the depiction of patterns and Arabic calligraphy, rather than on figures, because it is feared by many Muslims that the depiction of the human form is idolatry and thereby a sin against Allah, forbidden in the Qur'an.


Islamic art is not an art pertaining to religion only. The term "Islamic" refers not only to the religion, but to the rich and varied Islamic culture as well. Islamic art frequently adopts secular elements and elements that are frowned upon, if not forbidden, by some Islamic theologians.

Islamic art developed from many sources: Roman, Early Christian art, and Byzantine styles were taken over in early Islamic art and architecture; the influence of the Sassanian art of pre-Islamic Persia was of paramount significance; Central Asian styles were brought in with various nomadic incursions; and Chinese influences had an important effect on Islamic painting, pottery, and textiles."

There are repeating elements in Islamic art, such as the use of geometrical floral or vegetal designs in a repetition known as the arabesque. The arabesque in Islamic art is often used to symbolize the transcendent, indivisible and infinite nature of Allah. Mistakes in repetitions may be intentionally introduced as a show of humility by artists who believes only Allah can produce perfection, although this theory is disputed.

Most Sunni and Shia Muslims believe that visual depictions of any living beings generally should be prohibited. Nonetheless, human portrayals can be found in all eras of Islamic art. Human representation for the purpose of worship is considered idolatry and is duly forbidden in Islamic law, known as Sharia law. There are also many depictions of Muhammad, Islam's chief prophet, in historical Islamic art.


Perhaps the most important expression of Islamic art is architecture, particularly that of the mosque (four-iwan and hypostyle). Through the edifices, the effect of varying cultures within Islamic civilization can be illustrated. The North African and Spanish Islamic architecture, for example, has Roman-Byzantine elements, as seen in the Alhambramarker palace at Granadamarker, or in the Great Mosque of Cordobamarker.

The role of domes in Islamic architecture has been considerable. Domes have been used in Islamic architecture for centuries. The earliest surviving dome is part of the Dome of the Rockmarker monument, built in 691 CE. Another prominent dome is that of the 17th century Taj Mahalmarker. And as late as the 19th century, Islamic domes were incorporated into Western architecture.


Calligraphic design is omnipresent in Islamic art, and is usually expressed in a mix of Qur'anic verses and historical proclamations. Two of the main scripts involved are the symbolic kufic and naskh scripts, which can be found adorning and enhancing the visual appeal of the walls and domes of buildings, the sides of minbars, and so on. Illuminated scripts, coinage, and other "minor art" pieces such as ewers and incense holders are also often decorated with calligraphy.



Pile carpet

No Islamic artistic concept has become better known outside its original home than the pile carpet, more commonly referred to as the Oriental carpet (oriental rug). Their versatility is utilized in everyday Islamic and Muslim life, from floor coverings to architectural enrichment, from cushions to bolsters to bags and sacks of all shapes and sizes, and to religious objects (such as a prayer rug, which would provide a clean place to pray).Carpet weaving is a rich and deeply embedded tradition in Islamic societies, and the practice is seen in cities as well as in rural communities and nomadic encampments. In older times, special establishments and workshops were in existence that functioned directly under court patronage in Islamic lands.


From the eighth to eighteenth centuries, the use of glazed ceramics was prevalent in Islamic art, usually assuming the form of elaborate pottery. Tin-opacified glazing was one of the earliest new technologies developed by the Islamic potters. The first Islamic opaque glazes can be found as blue-painted ware in Basramarker, dating to around the 8th 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-Raqqahmarker, Syriamarker, in the 8th century. Other centers for innovative ceramic pottery in the Islamic world included Fustatmarker (from 975 to 1075), Damascus (from 1100 to around 1600) and Tabrizmarker (from 1470 to 1550).

Lustreware was invented in Iraqmarker by the Persian chemist Jabir ibn Hayyan (Geber) in the 8th century during the Abbasid caliphate. Another innovation was the albarello, a type of maiolica earthenware jar originally designed to hold apothecaries' ointments and dry drugs. The development of this type of pharmacy jar had its roots in the Islamic Middle East. Brought to Italy by Hispano-Moresque traders, the earliest Italian examples were produced in Florence in the 15th century.

The Hispano-Moresque style emerged in Andalusiamarker in the 8th century, under the Fatimids. This was a style of Islamic pottery created in Islamic Spainmarker, after the Moors had introduced two ceramic techniques to Europe: glazing with an opaque white tin-glaze, and painting in metallic lusters. Islamic Hispano-Moresque ware was distinguished from the pottery of Christendom by the Islamic character of its decoration; the term also includes wares produced by Christians.

The medieval Islamic world also had pottery with animal imagery. Examples are found throughout the medieval Islamic world, particularly in Persiamarker and Egyptmarker.


In the performing arts, the most popular skittle of theater in the medieval Islamic world were puppet theatre (which included hand puppets, shadow plays and marionette productions) and live passion plays known as ta'ziya, where actors re-enact episodes from Muslim history. In particular, Shia Islamic plays revolved around the shaheed (martyrdom) of Ali's sons Hasan ibn Ali and Husayn ibn Ali. Live secular plays were known as akhraja, recorded in medieval adab literature, though they were less common than puppetry and ta'zieh theater.

Karagoz, the Turkish Shadow Theatre has influenced puppetry widely in the region. It is thought to have passed from Chinamarker by way of Indiamarker. Later it was taken by the Mongols from the Chinese and transmitted to the Turkish peoples of Central Asia. Thus the art of Shadow Theater was brought to Anatoliamarker by the Turkish people emigrating from Central Asia. Other scholars claim that shadow theater came to Anatolia in the 16th century from Egyptmarker. The advocates of this view claim that when Yavuz Sultan Selim conquered Egypt in 1517, he saw shadow theatre performed during a party put on in his honour. Yavuz Sultan Selim was so impressed with it that he took the puppeteer back to his palace in Istanbul. There his 21 year old son, later Sultan Suleyman the Magnificent, developed an interest in the plays and watched them a great deal. Thus shadow theatre found its way into the Ottoman palaces.

In other areas the style of shadow puppetry known as khayal al-zill – an intentionally metaphorical term whose meaning is best translated as ‘shadows of the imagination’ or ‘shadow of fancy' survives. This is a shadow play with live music ..”the accompaniment of drums, tambourines and flutes...also...“special effects” – smoke, fire, thunder, rattles, squeaks, thumps, and whatever else might elicit a laugh or a shudder from his audience”

In Iranmarker puppets are known to have existed much earlier than 1000 CE, but initially only glove and string puppets were popular in Iran. Other genres of puppetry emerged during the Qajar era (18th-19th century BCE) as influences from Turkey spead to the region. Kheimeh Shab-Bazi is a Persian traditional puppet show which is performed in a small chamber by a musical performer and a storyteller called a morshed or naghal. These shows often take place alongside storytelling in traditional tea and coffee-houses (Ghahve-Khave). The dialogue takes place between the morshed and the puppets. Puppetry remains very popular in Iran, the touring opera Rostam and Sohrab puppet opera being a recent example.


Although the art of figurative monumental sculpture was hardly practiced at all, work in metal and ivory was often developed to a high degree of technical accomplishment. It is also necessary to mention the importance of painting, and particularly of the illumination of both sacred and secular texts.

History of Islamic art

The beginnings of Islamic art

Before the Dynasties

The period of a rapid expansion of the Islamic era forms a reasonably accurate beginning for the label of Islamic art. Early geographical boundaries of the Islamic culture were in present-day Syriamarker. It is quite difficult to distinguish the earliest Islamic objects from their predecessors in Persian or Sassanid art and Byzantine art. There was, notably, a significant production of unglazed ceramics, witnessed by a famous small bowl preserved in the Louvremarker, whose inscription assures its attribution to the Islamic period. Vegetal motifs were the most important these early productions.

Influences from the Sassanian artistic tradition include the image of the king as a warrior and the lion as a symbol of nobility and virility. The Bedouin tribal tradition represented the geographically "native" artistic hegemony.

Coinage and metalwork were imported and used for trade with the Byzantines.

Umayyad art

Mosaics from the riwaq (portico) of the Great Mosque of Damascus.
Religious and civic architecture were developed under the Umayyads, when new concepts and new plans were put into practice. Thus, the “Arab plan,” with court and hypostyle prayer hall, truly became a functional type with the construction of the Umayyad Mosque, or the Great Mosquemarker of Damascusmarker (completed in 715 by caliph Al-Walid I) on top of the ancient temple of Jupiter and in place of the basilica of St. John the Baptist, the most sacred site in the city. This building served as a point of reference for builders (and for art historians) for the birth of the Arab plan, as Byzantine Christian.

The Dome of the Rockmarker in Jerusalemmarker is one of the most important buildings in all of Islamic architecture, marked by a strong Byzantine influence (mosaic against a gold background, and a central plan that recalls that of the Church of the Holy Sepulchremarker), but already bearing purely Islamic elements, such as the great epigraphic frieze. The desert palaces in Jordanmarker and Syriamarker (for example, Mshattamarker, Qasr Amramarker, and Khirbat al-Mafjar) served the caliphs as living quarters, reception halls, and baths, and were decorated to promote an image of royal luxury.

Work in ceramics was still somewhat primitive (unglazed) during this period. Some metal objects have survived from this time, but it remains rather difficult to distinguish these objects from those of the pre-Islamic period.

'Abd al-Malik introduced standard coinage that featured Arabic inscriptions, instead of images of the monarch. The quick development of a localized coinage around the time of the Dome of the Rockmarker's construction demonstrates the reorientation of Umayyad acculturation. This period saw the genesis of a particularly Islamic art.

In this period, Umayyad artists and artisans did not invent a new vocabulary, but began to prefer those received from Mediterranean and Iranian late antiquity, which they adapted to their own artistic conceptions. For example, the mosaics in the Great Mosque of Damascus are based on Byzantine models, but replace the figurative elements with images of trees and cities. The desert palaces also bear witness to these influences. By combining the various traditions that they had inherited, and by readapting motifs and architectural elements, artists created little by little a typically Muslim art, particularly discernible in the aesthetic of the arabesque, which appears both on monuments and in illuminated Qur'ān.

Abbasid art

The Abbasid dynasty (750 A.D.- 1258Gruber, World of Art) witnessed the movement of the capital from [[Damascus]] to [[Baghdad]], and then from Baghdad to [[Samarra]]. The shift to Baghdad influenced politics, culture, and art. [[Art history|Art historian]] Robert Hillenbrand (1999) likens the movement to the foundation of an "Islamic [[Rome]]", because the meeting of Eastern influences from Iranian, Eurasian steppe, Chinese, and Indian sources created a new paradigm for Islamic art. Classical forms inherited from Byzantine Europe and Greco-Roman sources were discarded in favor of those drawn from the new Islamic hub. Even the design of the city of Baghdad placed it in the "navel of the world," as 9th-century historian al-Ya'qubi wrote.Hillenbrand (1999), p.40 [[File:GreatMosqueofKairouanTunisia.jpg|thumb|250px|left|The [[Mosque of Uqba]] also known as the Great Mosque of Kairouan was founded in 670, its actual aspect dates back to the 9th century.]] The ancient city of Baghdad cannot be excavated well, as it lies beneath the modern city. However, Samarra has been well studied, and is known for its extensive cultivation of the art of [[stucco]]. Motifs known from the stucco at Samarra permit the dating of structures built elsewhere, and are furthermore found on portable objects, particular in wood, from Egypt through to Iran. Abbasid architecture in [[Iraq]] as exemplified in the [[Fortress of Al-Ukhaidir]] (c.775-6) demonstrated the "despotic and the pleasure-loving character of the dynasty" in its grand size but cramped living quartersHillenbrand (1999).. [[Samarra]] witnessed the "coming of age" of Islamic art. Polychrome painted [[stucco]] allowed for experimentation in new styles of moulding and carving. The [[Great Mosque of Samarra]], once the largest in the world, was built for the new capital. Other major mosques built in the Abbasid Dynasty include the [[Mosque of Ibn Tulun]] in Cairo, [[Abu Dalaf]] in Iraq, the great mosque in [[Tunis]], and the [[Mosque of Uqba|great mosque]] in [[Kairouan]]. The Abbasid period also coincided with two major innovations in the ceramic arts: the invention of [[faience]], and of metallic lusterware. [[Hadith]]ic prohibition of the use of golden or silver pottery led to the development of metallic [[lusterware]], which was made by mixing sulphur and metallic oxides to ochre and vinegar, painted onto an already glazed vessel and then fired a second time. It was expensive, and difficult to manage the second round through the kiln, but the need to replace fine Chinese pottery led to the development of this technique.Hillenbrand (1999), p.54. Though the common perception of Abbasid artistic production focuses largely on pottery, the greatest development of the Abbasid period was in textiles. Government-run workshops known as ''[[tiraz]]'' produced silks bearing the name of the monarch, allowing for aristocrats to demonstrate their loyalty to the ruler. Other silks were pictorial. The utility of silk-ware in wall decor, entrance adornment, and room separation were not as important as their cash value along the "[[silk route]]." Calligraphy began to be used in surface decoration on pottery during this period. Illuminated [[Qur'an]]s gained attention, letter-forms now more complex and stylized to the point of slowing down the recognition of the words themselvesHillenbrand (1999), p.58. === The medieval period (9th–15th centuries) === Beginning in the 9th century, Abbasid sovereignty was contested in the provinces furthest removed from the Iraqi center. The creation of a [[Shi'a Islam|Shi'a]] dynasty, that of the north African [[Fatimid]]s, followed by the [[Caliph of Córdoba|Umayyads in Spain]], gave force to this opposition, as well as small dynasties and autonomous governors in Iran. ==== Spain and the Maghreb ==== [[Image:Pyxid Al Mughira OA 4068.jpg|thumb|Pyxis of al-Mughira, Madinat al-Zahra, 968, today in the Louvre.]] The first Islamic dynasty to establish itself in Spain (or [[al-Andalus]]) was that of the Spanish Umayyads. As their name indicates, they were descended from the great Umayyads of Syria. After their fall, the Spanish Umayyads were replaced by various autonomous kingdoms, the [[taifa]]s (1031-91), but the artistic production from this period does not differ significantly from that of the Umayyads. At the end of the 11th centuy, two Berber tribes, the [[Almoravid dynasty|Almoravids]] and the [[Almohad dynasty|Almohads]], captured the head of the Maghreb and Spain, successively, bringing Magrhebi influences into art. A series of military victories by Christian monarchs had reduced Islamic Spain by the end of the 14th century to the city of [[Granada]], ruled by the Nasirid dynasty, who managed to maintain their hold until 1492. al-Andalus was a great cultural center of the Middle Ages. Besides the great universities, which taught philosophies and sciences yet unknown in Christendom (such as those of [[Averroes]]), the territory was an equally vital center for art. One thinks immediately, in architecture, of the [[Mezquita|Great Mosque of Cordoba]], but other, smaller, monuments should not be forgotten, such as the Bab Mardum in [[Toledo, Spain|Toledo]], or the caliphal city of [[Medina Azahara]]. In the later period one finds notably the palace of the [[Alhambra]], in Granada. Many techniques were employed in the manufacture of objects. Ivory was used extensively for the manufacture of boxes and caskets. The [[pyxis]] of al-Mughira is a masterwork of the genre. In metalwork, large sculptures in the round, normally rather scarce in the Islamic world, served as elaborate receptacles for water or as fountain spouts. A great number of textiles, most notably silks, were exported: many are found in the church treasuries of Christendom, where they served as covering for saints’ [[reliquaries]]. From the periods of Maghrebi rule one may also note a taste for painted and sculpted woodwork. The art of north Africa is not as well studied. The Almoravid and Almohad dynasties are characterized by a tendency toward austerity, for example in mosques with bare walls. Nevertheless, luxury arts continued to be produced in great quantity. The Marinid and Hafsid dynasties developed an important, but poorly understood, architecture, and a significant amount of painted and sculpted woodwork. ==== Egypt and Syria ==== [[Image:Bassin Syrie 1.JPG|thumb|Detail of the "Baptistère de Saint-Louis," 13th-14th century, Mamluk, today in the Louvre.]] The Fatamid dynasty, which reigned in Egypt from 909 and 1171 introduced crafts and knowledge from politically troubled Baghdad to Cairo. By the year 1070 the [[Seljuk]]s emerged as the dominant political force in the Muslim world after they liberated Baghdad and defeated the Byzanties at [[Manzikert]], during the rule of [[Malik Shah]] the Seljuks excelled in arcetecture at the same time in Syria, the [[atabeg]]s (governors of Seljuk princes) assumed power. Quite independent, they capitalized on conflicts with the Frankish [[Crusades|crusaders]]. In 1171, [[Saladin]] seized Fatimid Egypt, and installed the transitory [[Ayyubid dynasty]] on the throne. This period is notable for innovations in metallurgy and the widespread manufacture of the Damascus steel swords and daggers and the production ceramics, glass and metalwork of a high quality were produced without interruption, and enameled glass became another important craft. In 1250 the [[Mamluk]]s seized control of Egypt from the Ayyubids, and by 1261 had managed to assert themselves in Syria as well their most famous ruler was [[Baibars]]. The Mamluks were not, strictly speaking, a dynasty, as they did not maintain a patrilineal mode of succession; in fact, Mamluks were freed Turkish and Caucasian slaves, who (in theory) passed the power to others of like station. This mode of government persevered for three centuries, until 1517, and gave rise to abundant architectural projects (many thousands of buildings were constructed during this period), while patronage of luxury arts favored primarily enameled glass and metalwork, and is remembered as the golden age of mideval Egypt. The Baptistery of Saint Louis, one of the most famous Islamic objects, dates to this period. ==== Iran and Central Asia ==== [[File:Bukhara - Samanid Mausoleum.jpg|thumb|The Mausoleum of the Samanids, [[Bukhara]], [[Uzbekistan]], ca. 914-43.]] In Iran and the north of India, the [[Tahirid dynasty|Tahirids]], [[Samanid]]s, [[Ghaznavid Empire|Ghaznavids]], and [[Ghurids]] struggled for power in the 10th century, and art was a vital element of this competition. Great cities were built, such as [[Neyshabur|Nishapur]] and [[Ghazni]], and the construction of the Great Mosque of [[Isfahan]] (which would continue, in fits and starts, over several centuries) was initiated. Funerary architecture was also cultivated, while potters developed quite individual styles: kaleidoscopic ornament on a yellow ground; or marbled decorations created by allowing colored glazes to run; or painting with multiple layers of slip under the glaze. The [[Seljuq dynasty|Seljuqs]], nomads of Turkic origin from present-day Mongolia, appeared on the stage of Islamic history toward the end of the 10th century. They seized Baghdad in 1048, before dying out in 1194 in Iran, although the production of “Seljuq” works continued through the end of the 12th and beginning of the 13th century under the auspices of smaller, independent sovereigns and patrons. During their time, the center of culture, politics and art production shifted from [[Damascus]] and [[Baghdad]] to [[Merv]], [[Nishapur]], [[Rayy]], and [[Isfahan]], all in Iran Hillenbrand (1999), p.89. Popular patronage expanded because of a growing economy and new urban wealth. Inscriptions in architecture tended to focus more on the patrons of the piece. For example, sultans, viziers or lower ranking officials would receive often mention in inscriptions on mosques. Meanwhile, growth in mass market production and sale of art made it more commonplace and accessible to merchants and professionals Hillenbrand (1999), p.91. Because of increased production, many relics have survived from the Seljuk era and can be easily dated. In contrast, the dating of earlier works is more ambiguous. It is, therefore, easy to mistake Seljuk art as new developments rather than inheritance from classical Iranian and Turkic sources.Hillenbrand (1999), Chapter 4 Under the Seljuqs the “Iranian plan” of mosque construction appears for the first time. Lodging places called ''khans'', or [[caravanserai]], for travellers and their animals, or caravansarais, generally displayed utilitarian rather than ornamental architecture, with rubble masonry, strong fortifications, and minimal comfort Hillenbrand, p.109. Another important architectural trend to arise in the Seljuk era is the development of mausolea including the tomb tower such as the [[Gunbad-i-qabus]] (circa 1006-7) (showcasing a Zoroastrian motif) and the domed square, an example of which is the [[tomb of the Samanids]] in the city of [[Bukhara]] (circa 943) Hillenbrand, p.100.. Innovations in the ceramic arts that date to this period include the production of minai ware and the manufacture of vessels, not out of clay, but out of a silicon paste (“frit-ware”), while metalworkers began to encrust bronze with precious metals. Across the Seljuk era, from Iran to Iraq, a unification of book painting can be seen. These paintings have animalistic figures that convey strong symbolic meaning of fidelity, treachery, and courage Hillenbrand, p.100. In the 13th century the [[Mongols]], under the leadership of [[Genghis Khan]], swept through the Islamic world. Upon the death of Genghis Khan, his empire was divided among his sons and many dynasties were thus formed: the [[Yuan Dynasty|Yuan]] in China, the [[Ilkhanate|Ilkhanids]] in Iran, and the [[Golden Horde]] in northern Iran and southern Russia. [[Image:Iskandar (Alexander the Great) at the Talking Tree.jpg|thumb|right|Iskandar at the talking tree, from an Ilkhanid Shahnameh, ca. 1330-1340, Smithsonian.]] ===== The Ilkhanids ===== A rich civilization developed under these “little khans,” who were originally subservient to the Yuan emperor, but rapidly became independent. Architectural activity intensified as the Mongols became sedentary, and retained traces of their nomadic origins, such as the north-south orientation of the buildings. At the same time a process of “iranisation” took place, and construction according to previously established types, such as the “Iranian plan” mosques, was resumed. The tomb of [[Öljeitü]] in [[Soltaniyeh]] is one of the greatest and most impressive monuments in Iran, despite many later depredations. The [[Persian miniature|art of the Persian book]] was also born under this dynasty, and was encouraged by aristocratic patronage of large manuscripts such as the ''[[Jami al-tawarikh]]'' by [[Rashid al-Din]]. New techniques in ceramics appeared, such as the lajvardina (a variation on luster-ware), and Chinese influence is perceptible in all arts. ===== The Golden Horde and the Timurids ===== The early arts of the nomads of the Golden Horde are poorly understood. Research is only beginning, and evidence for town planning and architecture has been discovered. There was also a significant production of works in gold, which often show a strong Chinese influence. Much of this work is preserved today in the [[Hermitage Museum|Hermitage]]. [[Image:Kamal-ud-din Bihzad 001.jpg|thumb|left|Construction of the fort at Kharnaq, [[Al-Hira]], painting by Behzād, 1494-45, British Museum.]] The beginning of the third great period of medieval Iranian art, that of the [[Timurid dynasty|Timurids ]], was marked by the invasion of a third group of nomads, under the direction of [[Timur]]. During the 15th century this dynasty gave rise to a golden age in Persian manuscript painting, including renowned painters such as [[Kamāl ud-Dīn Behzād]], but also a multitude of workshops and patrons. Iranian architecture and city planning also reached an apogee, in particular with the monuments of [[Samarkand]], and are marked by extensive use of exterior ceramic tiles and [[muqarnas]] vaulting within. ==== Syria, Iraq, and Anatolia ==== The Seljuq Turks pushed beyond Iran into Anatolia, winning a victory over the [[Byzantine Empire]] in the [[Battle of Manzikert]] (1071), and setting up a sultanate independent of the Iranian branch of the dynasty. Their power seems largely to have waned following the Mongol invasions in 1243, but coins were struck under their name until 1304. Architecture and objects synthesized various styles, both Iranian and Syrian, sometimes rendering precise attributions difficult. The art of woodworking was cultivated, and at least one illustrated manuscript dates to this period. [[Image:Kubadabad.jpg|thumb|Tile from the [[Kubadabad Palace]], Lake [[Beysehir]], Turkey, 1236. Karatay Museum, [[Konya]].]] [[Caravanserai]]s dotted the major trade routes across the region, placed at intervals of a day's travel. The construction of these caravanserai [[inns]] improved in scale, fortification, and replicability. Also, they began to contain central mosques. The [[Turkmen people|Turkmen]], nomads who settled in the area of [[Lake Van]], were responsible for a number of mosques, such as the [[The Blue Mosque of Tabriz|Blue Mosque]] in [[Tabriz]], and they had a decisive influence after the fall of the Anatolian Seljuqs. Starting in the 13th century, Anatolia was dominated by small Turkmen dynasties, which progressively chipped away at Byzantine territory. Little by little a major dynasty emerged, that of the [[Ottoman Dynasty|Ottomans]], who, after 1450, are referred to as the “first Ottomans.” Patronage was exercised primarilyso be seen as the forerunners of Ottoman art, in particular the “Milet” ceramics and the first blue-and-white Anatolian works. Islamic book painting witnessed its first golden age in the thirteenth century, mostly from Syria and Iraq. Influence from Byzantine visual vocabulary (blue and gold coloring, angelic and victorious motifs, symbology of drapery) combined with Mongoloid facial types in 12th-century book [[frontispiece]]s. Earlier coinage necessarily featured Arabic [[epigraph]]s, but as Ayyubid society became more cosmopolitan and multi-ethnic, coinage began to feature astrological, figural (featuring a variety of Greek, Seleucid, Byzantine, Sasanian, and comtemporary Turkish rulers' busts), and animal images. Hillenbrand suggests that the medieval Islamic texts called ''[[Maqamat]]'', copied and illustrated by [[Yahya ibn Mahmud al-Wasiti]] were some of the earliest "[[coffee table book]]s." They were among the first texts to hold up a mirror to daily life in Islamic art, portraying humorous stories and showing little to no inheritance of pictorial tradition.


India, conquered by the Ghaznavids and Ghurids in the 9th century, did not become autonomous until 1206, when the Muizzi, or slave-kings, seized power, marking the birth of the Delhi Sultanate. Later other competing sultanates were founded in Bengalmarker, Kashmirmarker, Gujaratmarker, Jaunpur, Malwa, and in the north Deccanmarker (the Bahmanids). They separated themselves little by little from Persian traditions, giving birth to an original approach to architecture and urbanism, marked in particular by interaction with Hindu art. Study of the production of objects has hardly begun, but a lively art of manuscript illumination is known. The period of the sultanates ended with the arrival of the Mughals, who progressively seized their territories.The Taj Mahalmarker was ordered to be built by Shah Jahan, a Muslim king.

The Three Empires


Ceramic tile produced in Iznik, Turkey, second half of 16th century, kept in the Louvre.
The Ottoman Empire, whose origins lie in the 14th century, continued in existence until shortly after World War I. This impressive longevity, combined with an immense territory (stretching from Anatolia to Tunisia), led naturally to a vital and distinctive art, including plentiful architecture, mass production of ceramics (most notably Iznikmarker ware), an important jeweler’s art, Turkish paper marbling Ebru, Turkish carpets as well as tapestries and an exceptional art of manuscript illumination, with multiple influences

The standard plan of Ottoman architecture was inspired in part by the example of Hagia Sophiamarker in Constantinoplemarker/Istanbulmarker, Ilkhanid works like Oljeitu Tomb and earlier Seljuks of Rum and Anatolian Beylik monumental buildings and their own original innovations. The most famous of Ottoman architects was (and remains) Sinan, who lived for approximately one hundred years and designed several hundreds of buildings, of which two of the more important are Süleymaniye Mosquemarker in Istanbul and Selimiye Mosquemarker in Edirnemarker. Apprentaces of Sinan later built the famous Blue Mosque in Istanbul and the Taj Mahal in Indiamarker.

Masterpieces of Ottoman manuscript illumination include the two “books of festivals,” one dating 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; thus they may have been inspired by books captured in the course of the Ottoman-Safavid wars of the 16th century.

The Ottomans are also known for their development of a bright red pigment, “Iznik red,” in ceramics.


Girl with parrot, scene from the Tuti-Nâma-Manuscript, 1585, Chester Beatty Library.

The Mughal Empire in India lasted from 1526 until 1858, when the English seized the country and created and exiled the last Mughal Emperor.

Various arts particularly architecture was accorded a place of honor within Mughal art, with the development of a distinctive plan and style in Islamic Architecture, which were used in the creation of various monuments the first one was the pivotal Tomb of Humayunmarker, Mughal architects later modified the style and built Fatehpur Sikrimarker during the reign of Akbar, "Minar" (Minarets) were refined during the rule of Jahangir and can be seen in his tomb in Lahoremarker, his son the Mughal Emperor Shah Jahan built famous monuments such as the Red Fortmarker and the Taj Mahalmarker, which was designed by Ustad Ahmad Lauhori and his team of Mughal, Ottoman and Safavid architects.

The arts of jewelry and hardstone carving of gemstones, such as jasper, jade, rubies, diamonds and emerelds are mentiond by the Mughal chronicler Abu'l Fazl; the series of hard stone daggers in the form of horses’ heads is particularly impressive.

The Mughals were also fine metallurgists they introduced Damascus steel and refined the locally produced Wootz steel, the Mughals also introduced the "bidri" technique of metalwork in which silver motifs are pressed against a black background. Famous Mughal metallurgists like Ali Kashmiri and Muhammed Salih Thatawi created the seamless celestial globes.

The Mughals also gave rise to a magnificent art of manuscript illumination, in which a strong European influence may be perceived, both through the utilization of perspective and the late period the use of European engravings as models. Nevertheless a strong Persian influence remains, as Persian painters founded the Mughal art of the book under the reign of Humayun. This latter had taken refuge among the Safavids after being temporarily dethroned, and upon his return brought with him certain Persian painters. The influence of Hindu artists may also be perceived, particularly in provincial productions by Mughal Nawabs (governors).

Safavids and Qajars

Iwan, Shah Mosque, Isfahan.
The Iranian Safavids, a dynasty stretching from 1501 to 1786, is distinguished from the Mughal and Ottoman Empires in part through the Shi'a faith of its shahs. Ceramic arts are marked by the strong influence of Chinese porcelain, executed in blue and white. Architecture flourished, attaining a high point with the building program of Shah Abbas in Isfahanmarker, which included numerous gardens, palaces (such as Ali Qapu), an immense bazaar, and a large imperial mosquemarker.

The art of manuscript illumination also achieved new heights, in particular in the Shah Tahmasp Shahnameh, an immense copy of Ferdowsi’s poem containing more than 250 paintings. In the 17th century a new type of painting develops, based around the album (muhaqqa). The albums were the creations of conoisseurs who bound together single sheets containing paintings, drawings, or calligraphy by various artists, sometimes excised from earlier books, and other times created as independent works. The paintings of Reza Abbasi figure largely in this new art of the book.

After the fall of the Safavids, the Qajars, a Turkmen tribe established from centuries on the banks of the Caspian Seamarker, assumed power. Qajar art displays an increasing European influence, as in the large oil paintings portraying the Qajar shahs. Steelwork also assumed a new importance. Like the Ottomans, the Qajar dynasty survived until the First World War.

Present time

Painting gallery

Image:Yahyâ ibn Mahmûd al-Wâsitî 007.jpgImage:Iran, Battle Between Kay Khusraw and Afrasiyab, by Salik b. Sa'id, 1493-1494 AD.jpgImage:Timurid Dynasty, The Prophet Elias and Khadir at the Fountain of Life, late 15th century.jpgImage:Syrischer Maler um 1315 001.jpgImage:Shaybanid Dynasty, Feast of Id, Copy of Divan by Hafiz, 1523 AD.jpgImage:Yahyâ ibn Mahmûd al-Wâsitî 005.jpgImage:Safavid Dynasty, Joseph Enthroned from a Falnama (Book of Omens), circa 1550 AD.jpgImage:Safavid Dynasty, Horse and Groom, by Haydar Ali, early 16th century.jpgImage:Ottoman Dynasty, Portrait of a Painter, Reign of Mehmet II (1444-1481).jpgImage:Ottoman Dynasty, Kneeling Angel, by Shah Quli, mid 16th century.jpgImage:Abbasid Caliphate, Outdoor Scene of A Mad Dog Biting a Man, Arabic Translation of the Materia Medica, 1224 AD.jpgImage:Il-Khanid Dynasty, Ardashir Captures Ardavan, circa 1330-1340 AD.jpgImage:Mameluk Dynasty, Folio From a Copy of Al-Jaziri's Treatise Automata (1206 AD), early 14th century copy.jpgImage:Mughal Dynasty, Sa'di in a Rose Garden, Reign of Emperor Shah Jahan, early 16th century, repainted 1645.jpgImage:Maler der Geschichte von Bayâd und Riyâd 002.jpgImage:Man Filling a Wine Cup.jpgImage:Safavid Dynasty, Battle Scene, by Mahmud Musawwir, 1525-1550 AD (2).jpgImage:Portrait of Allamah Majlisi.jpgImage:Uzbekistan, Seated Princess, by Muhammad-Sharif Musawwir, circa 1600 AD.jpgImage:Safavid Dynasty, Woman with a Spray of Flowers, circa 1575 AD.jpg


  1. Marilyn Jenkins-Madina, Richard Ettinghauset and Architecture 650-1250, Yale University Press, ISBN 0300088698, p.3
  2. Davies, Penelope J.E. Denny, Walter B. Hofrichter, Frima Fox. Jacobs, Joseph. Roberts, xx haxor was hair. Ann M. Simon, David L. Janson's History of Art, Prentice Hall; 2007, Upper Saddle River, New Jersey. Severth Edition, ISBN 0131934554 pg. 277
  3. Madden (1975), pp.423-430
  4. The Arab Contribution to Islamic Art: From the Seventh to the Fifteenth Centuries, Wijdan Ali, American Univ in Cairo Press, December 10 1999, ISBN 9774244761
  5. From the Literal to the Spiritual: The Development of the Prophet Muhammad's Portrayal from 13th Century Ilkhanid Miniatures to 17th Century Ottoman Art, Wijdan Ali, EJOS (Electronic Journal of Oriental Studies), volume IV, issue 7, p. 1-24, 2001
  6. "Islam", The New Encyclopedia Britannica (2005)
  7. O. Grabar (2006), p.87
  8. Ettinghausen (2003), p.87
  9. Davies, Penelope J.E. Denny, Walter B. Hofrichter, Frima Fox. Jacobs, Joseph. Roberts, Ann M. Simon, David L. Janson's History of Art, Prentice Hall; 2007, Upper Saddle, New Jersey. Seventh Edition, ISBN 0131934554 pg. 298
  10. Mason (1995), p. 1
  11. Mason (1995), p. 5
  12. Mason (1995), p. 7
  13. Caiger-Smith, 1973, p.65
  14. Tradition Folk The Site by Hayali Mustafa Mutlu
  15. Article Saudi Aramco World 1999/John Feeney
  16. The History of Theater in Iran: Willem Floor:ISBN 0-934211-29-9: Mage 2005
  17. Mehr News Agency 7.7.07 http://www.mehrnews
  18. Iran Daily 1.3.06
  19. Hillenbrand, Robert. Islamic Art and Architecture, Thames & Hudson World of Art series; 1999, London. ISBN 978050020305
  20. Hillenbrand, p.128-131

See also


Books and journals

  • Hillenbrand, Robert. Islamic Art and Architecture, Thames & Hudson World of Art series; 1999, London. ISBN 978050020305.


External links

Embed code:

Got something to say? Make a comment.
Your name
Your email address