The Initial Stages of Islamic Art - Essay Example

Inserts His/her Inserts Inserts Grade Inserts Here (Day, Month, Year) Islamic Art Islamic Art represents the art which is being produced from the 7th century onwards by different people who lived within Islamic states, which were ruled and inhabited by Muslims. Islamic Art can be classified into various fields such as architecture, calligraphy, painting and ceramics etc. this art does not pertain to religion only. Islamic art is an art which basically expresses an encounter with the divine presence. The term Islamic refers not only to the religious conviction, but to the affluent and diverse Islamic ethnicity as well. Islamic art often adopts worldly elements and elements that are frowned upon, if not prohibited, by some Islamic theologians. The initial stages of Islamic art: The period of swift development of the Islamic epoch forms a convincingly accurate beginning for the label of Islamic art. Diverse Art conceptions have found in the history such as: Umayyad art Abbasid art Spain and the Maghreb Egypt and Syria Iran and Central Asia. Fatimid period (969-1175): The Fatimids manifestly had a taste for carefully made-up gold work and complicatedly engraved vessels of rock crystal, a type of translucent, monochrome quartz whose exterior can be luminously polished. The glass working was also a highly urbanized art form. The lavishness of the Fatimid court fueled resurgence in the ornamental arts, which made Cairo the most significant cultural core in the Islamic world. Nearby, Old Cairo, known as al-Fustat, became a chief center for the manufacturing of pottery, glass, and metalwork, and rock-crystal, ivory, and wood carving, textile factories run by management officials created tiraz fabrics in the name of the caliph somewhere else in the Egyptian district, particularly the Nile Delta. The artwork from this era exemplifies the inventiveness and resourcefulness of Fatimid craftsmen. The procedure of lusterware on ceramic, developed in the beginning in Iraq, was invigorated in Egypt and Syria. Some lusterware pieces from this age are signed by their makers, a sign of the admiration in which the craftsmen were kept. Wood statuette and jewelry were executed with equivalent dexterity and creativity. Fatimid artists created new enhancing motifs and made better use of figural forms, both human and animal. Figures were stylized but vigorous, while customary vegetal and geometric ornaments maintained their conceptual excellence. Artists of this time revitalized or sustained previous techniques but gave them their own distinguishing stamp. The Abbasid period (8th-13th): in the Abbasid rule, which succeeded the Umayyads (661–750), the central spot of Islamic political and artistic living shifted eastward from Syria to Iraq, where, in 762, Baghdad, the circular City of Peace (madinat al-salam), was founded as the new center. The former two centuries of Abbasid rule saw the appearance and spreading of a new Islamic approach of art where the introduction of purely Islamic forms and techniques took place. Textiles: Of the numerous varied arts that prospered in the Abbasid period, textiles played a particularly momentous character in civilization, one that sustained in succeeding periods. Textiles were omnipresent in Islamic lands, allocated as clothes, domestic furnishings, and convenient architecture (tents). The production of and buying and selling in textiles were exceedingly classy and lucrative industries that built upon Byzantine and Sasanian background. Often made with expensive supplies such as silk and gold and silver wrapped yarn and adorned with composite designs, textiles were lavish goods suggestive of wealth and social standing. Islamic textiles were also broadly exported to the West, where their eminence is underscored by their effect on European languages. Did you know that the English words "cotton" and "taffeta" are obtained, respectively, from Arabic and Persian? Pottery: The skill of pottery was profoundly developed in the ninth century with the growth of the method of luster painting. Luster painting is an impressive means of ornamenting pottery, perhaps in replication of valuable metal, which was first developed in Iraq and later on spread to Egypt, Syria, Iran, and Spain. The manufacture of luster-decorated pottery was intricate, expensive, and protracted, demonstrating that such objects were regarded as lavish commodities. Lusterware can differ in color from a rich gold to a deep reddish brown. Architectural Ornament: One more city north of Baghdad, called Samarra replaced the capital for a concise phase (836–892). The location of Samarra is mainly considerable for understanding the art and structural designing of the Abbasid period. In this new capital, a new technique of carving surfaces, the alleged beveled approach, as well as a replication of conceptual geometric or pseudo-vegetal methods, later to be known in the West as "arabesque", were extensively used as wall embellishment and became accepted in other medium such as wood and metalwork. The architectural adornment, rendered in stucco, wood, or stone is one of the most significant arts of the ninth century. This technique was soon adopted by artists in many parts of the Islamic kingdom including Egypt. Wood on account of its scarcity and price was ornamented with concern and used in contexts usually held in reserve for lavish materials. By the mid-ninth century Abbasid political harmony had begun to deteriorate, and by the tenth century Abbasid influence was professionally limited to Iraq. in another places in the Islamic world a succession of Dynasties in Egypt, North Africa, Spain, and Iran fostered the enlargement of original approaches of Islamic art. Mameluk (1250 – 1517): Mameluk (1250 – 1517) was a slave warrior who rehabilitated to Islam and served the Muslim Arab caliphs from the 9th to the 16th centuries. They were of varied pedigree but mostly Kipchak Turks. While Mamluks were purchased, their position was above normal slaves, who were not permitted to bear armaments or execute certain tasks. Mamluks were considered to be “true lords,” with social standing above freeborn Egyptians. Over time, they became a influential military standing often defeating the Crusaders. On more than one occurrence, they detained power for themselves; for example, ruling Egypt in the Mamluk reign from 1250-1517. Ottoman Empire (1322-1923): The Ottoman Empire or Ottoman State, also known by its contemporaries as the Turkish Empire or Turkey, was an empire that lasted from 1302 to November 1, 1922 (as an imperial monarchy) or July 24, 1923 (de jure, as a state.) It was succeeded by the Republic of Turkey, which was officially proclaimed on October 29, 1923. Safavid: Safavid art refers to art in Persia (Iran) at some stage in the empire of the same name (1501-1722), a towering point for the art of the manuscript and architecture; other art at the time incorporated ceramics, metal and glass. While of course nourished by Persian traditions, the Safavid art was powerfully prejudiced by Turken culture (having due regard to the beginning of the dynasty), as well as Chinese, Ottoman and Western cultures. Mughal Empire: The Mughal Empire was an Islamic and Persianate majestic power of the Indian subcontinent which began in 1526, ruled the majority of Hindustan (South Asia) by the delayed 17th and near the beginning of 18th centuries, and finished in the mid-19th century. The Mughal Emperors were offspring of the Timurids, and at the summit of their authority around 1700, they ruled most of the Indian Subcontinent widening from modern Bangladesh in the east to Baluchistan in the west, Kashmir in the north to the Kaveri basin in the south. Its inhabitants at that time have been projected as between 110 and 130 million, over a country of over 4 million km? (1.5 million mi?). Mughal art and architecture: A distinguishing Indo-Islamic-Persian manner that thrived on the Indian subcontinent during the Mughal Empire (1526–1857). This new style united elements of Islamic art and architecture. Mughal monuments are found predominantly in north India, but there are also many remnants in Pakistan. Mughal Art and Architecture in India: The foundation of Mughal art and architecture is considered to be the “Qutab Minar” which is present in India. This was started by Qutab-ud-din Aibak in 1193 during the dynasty of Babar (the first Mughal emperor). Qutab Minar was built over the ruins of the Jain monastery/temple. It remains a prominent feature of Delhi’s Skyline. There were lots of Mughal paintings as well which were stunningly beautiful and are still present in India. Mughal painting was more of the miniatures that had emerged from the Persian miniature painting. Mughal painting was developed by the second Mughal emperor Humayun and then flourished in the reigns of Akbar, Jahangir and Shah Jahan. Mughal paintings are still being practiced by some of the Indians living in Rajasthan, particularly the areas of Jaipur. These paintings have now been slightly modernized but, still are almost like the ones which were hundreds of years back. They are almost the same designs and styles but are now being painted by artists in a modern way, to give them a unique and even a better effect. The most important piece of Mughal art and architecture is the “Taj Mahal” which is present in the Indian city of Agra. Taj Mahal, also considered to be the symbol of love, is included among the wonders of the world. Not only is its art and artitectural structure wonderful, but its history is equally unique and fascinating as its beauty is. Taj Mahal was built by Shah Jahan (the fifth Mughal ruler). He was also known as “the magnificent” as he was chosen as the crown prince during the rule of Jahangir (the fourth Mughal ruler). Unfortunately, Shah Jahan had to face a tragic grief in his life, which was the death of his young and beautiful wife “Mumtaz”. His love for her was limitless and after she died, Shah Jahan ordered for the Taj Mahal to be built in the sweet memory of his most beloved wife. Its cost has been estimated to be about 32 million rupees at that time. Its carvings and each and every corner was so beautiful and amazing that Shah Jahan got its labors’ hands cut off so that another Taj Mahal may not be built. Mughal Art and Architecture in Pakistan: Some of the Mughal art and Architecture is also present in Pakistan. In Lahore, the most historical city of Pakistan, is present a very beautiful work of Mughal art and architecture known as the Lahore fort. Lahore fort is located in the north western corner in Lahore. It manifests the rich and lavish tradition of Mughal architecture with having thirteen gates in total. Some the most eye catching sites located within the fort in clued the Sheesh Mahal, Naulkha pavilion, Alamgiri gate and Moti Masjid. It cannot be said with certainty when the Lahore Fort was originally constructed or by whom, since this information is lost to history, possibly forever. However, evidence found in archaeological digs gives strong indications that it was built before 1025 AD. Conclusion: Art is the representation of a culture and its world view. There is no case to which this declaration more unswervingly applies than to the art of the Islamic world. Not simply does its art imitate its cultural principles, but even more prominently, the way in which its believers, the Muslims, view the sacred kingdom, the universe, life, and the relationship of the parts to the whole. For the Muslim, authenticity starts with and centers around God ("Allah" in Arabic), the One, the Matchless, the Supreme ruler, the Sacred, the Enormous, the All-Knowing, the Affectionate, the Most Forgiving. All survival is subject to His will and His laws. He is the center of mindful Muslims' worship and objectives, the center of attention of their lives. Since the domination and influence are one, all things are bound together under God's Lordship as parts of an all-inclusive marvelous system, which comprises of all aspects of being and life -- whatever is both within and exterior of time and space, and accepting both the macrocosm in its most breathtaking demonstrations and the microcosm in its most microscopic forms. God generates and maintains His creation how and as He wills, and all dealings return to Him for final decision and verdict. With such a belief structure, the Muslim is persuaded of the balance and synchronization of all things in continuation, even when there appear to be mystifying disagreements and imbalances, concerning these as the indication of man's limited understanding and information. Nothing is looked upon as happening arbitrarily or by chance, for all is part of the Plan of the All-Wise, Most Merciful Planner. One of the fundamental beliefs of the Muslim is that the entirety of things, all good and evil, progress from the Lord of all being. Because of the firm injunctions against such representations of humans or animals which might result in idol-worship, Islamic art developed a exceptional temperament, utilizing a number of principal forms: geometric, arabesque, floral, and calligraphic, which are often intermingled. From early times, Muslim art has reflected this unprejudiced, pleasant-sounding world-view. Reference Islamic arts and architecture, IAAO, 2004. < www.islamicart.com> Read More