What Particular Features of Islamic Art and Architecture Identify Them as Being Islamic - Assignment Example

What particular features of Islamic art and architecture identify them as being “Islamic”? College Name of the Student: Name of the Instructor: Name of the course: Code of the course: Submission date Author note: Introduction Islamic art is a combination term that refers to all forms of art, particularly visual ones that have dominated the cultural and architectural landscape of places where Islam has been a major segment of society. Islamic cultures across the world have influenced such forms of art and architecture that have been the most efficient as identifying sources of the Islamic culture. It should, though, not be construed that all Islamic art was either created or encouraged by only Muslims since history is replete with instances which testify that Islamic art was encouraged even by Jewish, Christian and Hindu artists who were either linked with or bore some level of patronage to their Muslim counterparts. Islamic art, thus, cannot be confined to a particular period or a given style but in general to almost one-fifth of the world, ranging specifically from India to Spain, that has been traditional Islam heartland. Islamic art and architecture, as a result of this, can be said to be as old as Islam itself; which is around 1400 years old (Blair and Bloom, 1994). Consequently, Islamic art has travelled the world over these fourteen centuries wherever Islam has travelled and left its influence, or where it has travelled, spread and left the footprints of the religion behind. By 21st century the art has gone as far as Islam has i.e., sub-Saharan Africa, North Africa, the Near East, West Asia and Southeast Asia. The last one being a region that has the maximum Muslim population and thus the maximum landmarks drawn from Islamic art. As on date North America and Europe too can be counted as global destinations which bear some relics of Islamic art; not to speak of other one-quarter places in the world where Islamic art and architecture has spread (Hillenbrand, 1999). Even as Islamic art and architecture is usually used in connection with modern art, the fact that it is called Islamic is because it certainly derives a number of its characteristics from religious expressions of Islam. The term, by and large, has nevertheless been used as a general one; something that art scholars have questioned time and again. It is because Islamic art does not refer to a specific era or specific people and places. This is why Islamic art has been categorised into several different categories like North African, Syrian and Egyptian; traditionally termed as either Maghribi or Mamluk. In all, however, there are certain common features that give Islamic art and architecture its special character. Islamic art does not necessarily relate to architecture but assumes many different proportions in different art forms. This is what primarily differentiates it from Western art as it follows a totally different hierarchy. Different art forms are related to anything from metalware to woodwork; glass art to ceramics and textiles to bookmaking (Baer, 1993). Western art does not give these such a major importance as these are pushed back being called 'decorative', 'minor', or 'portable' art forms. Particular features Islamic art and architecture is bound by some common features, which run across it wherever it has flourished. Most of these are drawn from Islamic values of privacy, simplicity and use of abstract elements for ornamentation. Islam has put a strong focus on family privacy; something that has had a profound effect on its home and other designs. The designs were of particular interest in places where there was public or private interaction. In home design, for example, family quarter and the bedrooms became to be developed as such that they become a home's deepest part. Entrance halls were designed as such that they would not be accessible by straight gallery. Taking the home design into consideration again, central courtyards became the focal points of any Islamic design (Rice, 1984). A look at Mughal forts and palaces in India and neighbouring countries, wherever Islam has pervaded, also reveals the significance of the central courtyard. It provided vitality to the adjoining points of access and also ensured privacy to some and openness to some. Islamic architecture can, thus, be said to be based on the principle of introversion vs. extroversion. Central courtyards in Islamic architecture is considered as a very important feature as it provided residents full view of what was happening outside without being seen from the courtyard occupants. This was done mainly to keep women of a household or a palace or a fort in mind; since Islam does not allow women to be seen in full public view (Stierlin, 1983). It also links itself to simplicity as one more feature that has been encouraged in Islam. Islamic architecture, as a result of owing some of its characteristics to simplicity, can be termed as unpretentious. This concept runs across all types of architecture that bear any connection with being as "Islamic". Most of the Islamic architecture, on account of being simple, does not look 'showy' or 'extravagant' from outside. The eerie element of simplicity lurks in almost every nook and corner. Islamic architecture’s key features can also be termed as humble since Muslims consider it more important as being rewarded in afterlife than this short one. Since Islamic art and architecture is supposed to be simple, it does not encourage widespread use of ornamentation. There is more emphasis in abstraction than ornamentation. There is frequent use of branches and plant leaves as against human or animal figures as is common with other art forms. Calligraphy is sort-of wed to Islamic architecture and Arabic calligraphy has come to be known as a mainstay of ornamentation in Islamic architecture; be it palaces, mosques or even homes. Most of the Islamic architecture is based on climatic and comfort adaptation, which means that at its point of development the designers have laid special emphasis on innovative methods to develop solutions for harsh climates. This has arisen out of need because Islam has mostly been dominant in hot and arid climate zones, like Arab Peninsula. This necessitated adequate movement of breeze and air through inner confines of the buildings; a need that gave rise to small openings within walls that sent in jets of air for cooling (Hillenbrand, 1999). Yet another important feature of Islamic art and architecture that has led it to develop its typical Islamic identity is being both vernacular and regional at the same time. The greatest feature has been in its adaptation to varied regions in choosing the available materials and techniques in the region in which it wanted to establish itself. Throughout the world it has attained this distinction of being known as 'space architecture', which means optimum use of space for living. Creating living spaces has been its main objective to which services, circulation elements and walls have been just complimentary elements. Gothic and Baroque architecture in Europe finds a parallel in this type of architecture. Apart from this the use of arches and domes has been considered as typically Islamic in nature, even as the same owe their origin to Byzantine legacy. A common feature among various Islamic pieces of architecture has been the use of decorated squinches, pointed arches and timber works known popularly as 'mafroukas (Krautheimer, 1965). Islamic buildings, like mosques, in particular have been developed as special symbols of Islam. The lateral oblong halls have been built with a special purpose of accommodating more people in the first rows usually behind Imam. ‘Mihrab’, ‘sahns’ or central courts and ‘ewans’ have been traditionally the same across all mosques in the world. Minarets and ablution quarter, again, a common feature. Mosques, as a rule rather than an exception, have to be Mecca-facing to direct prayers at Mecca. Takiyya or meditation chambers have been a common feature in Islamic architecture, specifically in mosques, over which there was greater influence of Muslim Sufis. Outdoors to these mosques are developed in a way that they resemble heavens and their landscaping based religiously on what is outlined in Quran. On its way it has taken bits and pieces of every culture in which it has developed, including Persian, Ottoman, Turkistan, Indo-Islamic, Sino-Islamic and Sahelian-Islamic architecture (Bloom and Blair, 2009). Conclusion In Islamic art and architecture Islamic values assume the centrality of structures. They, in a way, form the intellectual base for the same. While the values like privacy, simplicity and less use of ornamentation drive the decisions on design, the exclusivity also shifts to a greater extent to optimal use of spaces. The architecture is also determined on the local climatic conditions and availability of methods and materials. On the flip side, as has been seen above, it is not necessary that Islamic art and architecture is Islamic in its entirety. Some of the concepts are borrowed too, but since they have been used extensively in Islamic architecture, they have attained an Islamic tinge. Ancient structures in Egypt and Byzantine eras have greatly influenced Islamic architecture, which can be found in palaces, tombs, mosques and forts even today. The art and architecture as seen today has taken shape from the birth of Islam and flourished and influenced by the regions in which it has established itself. References Bloom, J.M., and Blair, S. (2009). The Grove Encyclopedia of Islamic Art & Architecture. Oxford: Oxford University Press. Baer, E. (1983). Metalwork in Medieval Islamic Art. Albany: State University of New York Press. Blair, S.S., and Bloom,J. M. (1994). The Art and Architecture of Islam: 1250-1800. New Haven, Conn. and London: Yale University Press. Hillenbrand, R. (1999). Islamic Art and Architecture. London: Thames and Hudson. Hillenbrand, R. (1999). Islamic Art and Architecture. London: Thames & Hudson World of Art series. Krautheimer, R. (1965). Early Christian and Byzantine Architecture . Yale University Press Pelican History of Art. London: Penguin Books Ltd. Rice, D.T. (1984). Islamic Art. London: Thames and Hudson. Stierlin, H. (1983). Encyclopedia of World Architecture. London: Macmillan Press. Read More