Islamic Ceramics Traditions - Report Example

Introduction Ceramics and pottery are hallmarks of civilization. They are an indication not only of the level of sophistication a society has reachedbut also a window to what drives the civilization to evolve. Islamic ceramic traditions have not figured significantly in the study of the art nor as an element of Islamic history. One of the main reasons is that there has been a limitation on the artifacts or historical records that have been available for study. Most research on the subject was developed from the works of Arthur Lane, Richard Ettinghausen and Gesa Febervari (Jenkins-Madina et al, 2002). This is in part has been attributed to the influence of science and technology in ceramics and pottery traditions which coincided with the scientific renaissance of the 10th and 11th centuries (Fehervari, 2000). The innovation of the period mark not only the development of the craft but give insights to how cultural and scientific development impact society together. Islamic Ceramics and Pottery Traditions Islamic ceramics and pottery have been traced to the 8th century, developing in key Middle Eastern civilization centers such as Iraq, Persia and Syria. Excavation indicated that most artifacts from the period were mainly utilitarian and had only used basic glazing methods. However, by the late 8th and the early 9th century, the glazing became a common practice and there was significantly increase in artistic competencies which included the introduction of lusterware production. Excavations in Basra, Damascus and Fustat show intricate ceramic painted walls using blue as a predominant color, a traditional that will eventually be a characteristic of Islamic ceramics and pottery. According to Lane (1947), the Abbasid dynasty, early supporters of Mohammed and Islam, utilized ceramics and pottery as a means to promote their political power as well as the religion, which became the foundation of the concept of an “Islamic” tradition of pottery. The period also provides documentation on the trade with China which is major influence to artisans. Aside from trade, there was also an exchange in technology and styles which reached a high during the Seljuk dynasty with the arrival of the Mongol invasion but which subsequently declined with the decline of the Mongol Empire. This level of interaction would only be augmented once more in the 15th century peaking during the Tang dynasty (Meri & Bacharach, 2005; Fehervari, 2000). One of the key features of Islamic ceramics and pottery is in the use of glazes which allowed artisans to create an opaque, metallic-like finish to their works. The pottery from the region became known for their elaborateness and intricacy in form (Meri & Bacharach, 2005). Moreover, Islamic ceramics and pottery were among the first to be “industrialized” in scale of production. Aside from creating a commercial enterprise of the craft, this also created wide-scale access to goods which in turn sustained developments in other industries such medicine, food production, chemistry and even the military through the utilization of pottery as containers for incendiary devices. Innovations Though there are some contentions whether Islamic ceramists and potters learned were offshoots of Chinese ceramic and pottery traditions, there is no denying that there are significant methods and practices that were adapted from Chinese traders and artisans. However, Islamic ceramics and pottery soon developed their own distinct traditions as artists or artisans adapted methodologies more suited to their locale. Methodology One of the key innovations in Islamic ceramics and pottery is in their glazing methods which allowed for greater utility for incorporation in architecture as well as amalgamation of other raw materials. This was also in part a reaction to the difficulties and variances in kilning requirements due to the more arid climate in Islamic centers of civilization. Innovations in glazing included methods which utilized tin to create opaque finishes and painting with metallic luster. This trend also reached Europe through Spain via the Moors. Islamic ceramists and potters are also credited for the development of stone-paste ceramics which were made from non-refactory fired clay which produced finer texture in earthenware that were in popular use (Fehervari, 2000). After the fall of the Fatimids, there was a slow-down in the development of methodologies but a renaissance was achieved during the Seljuk dynasty which ruled from the 11th to the 14th century. It was during this period that the faience lusterware was developed, a type of pottery made using a hard white frit paste which was then coated with transparent alkaline glaze (Lane, 1947). This type of pottery would also give rise to greater innovations: the improvement in the manageability of material with the new formulation improved the ability to form the body of products. This increased significantly the forms of which products could be made into as well as their overall appearance for both ordinary household materials and implements as well as for use in the refinement of architecture, sculpture and other art forms (Jenkins-Madina et al, 2002). As mentioned, the industrial production of ceramics and pottery is also credited to the Islamic artists and artisans. In response to the demand for their products locally and for trade abroad, industrial areas were developed exclusively for the production of not only a ceramics and pottery but also glass which developed as an innovation of the aforementioned products and industries. The implication is that though ceramic and pottery production remained an artistic tradition, their every day utility became the focus of production and thus, the methods to produce them. Excavations in Syria and Fustat show that these complexes utilized modern production methods as well as were centers of skills development, a concept that is parallel with the Industrialization movements in the 19th and 20th century (Lane, 1947). Design One of the most distinct features of Islamic ceramics and pottery is its use of glazing to finish and embellish their work as seen in the Fatimid Mosque in Spain. The flourishing of artistic style coincided with periods where there was a dominant Islamic or Levant-based civilization. One key example is during the reign of Seljuk dynasty: the political and social stability of the period attracted a number of artists not only from Muslim countries (Meri & Bacharach, 2005). Subsequently, these Islamic traditions were circulated back to their contributors. Though themes were not directly manifested in such works since religion was a central topic in Islamic ceramics and pottery, there was a reflection of the styles developed. The blue and white porcelain for which the Ming dynasty as well as the Yuan dynasties were associated with have a high degree of similarity with artifacts found in Anatolia until the 1th century (Jenkins-Madina et al, 2002). Another key example is in the construction of portraiture motifs on ceramics similar to 9th century Muslim pottery style Sgraffiato, a process by which glaze-coated pottery or surfaces where etched to illustrate the motifs and figures (Fehervari, 2000). Another design style, Silhouette, also has Muslim roots. The characteristic feature of the style is the use of a black background which is produced glazing fritware with a dense black slip which becomes the base of the design. The design will be glazed with either a blue-tinged or transparent finish giving the effect of opacity as well as creating depth to images with the reflection of light on the finishing glaze (Lane, 1947). These emphasized in ceramics and pottery designs the importance of light, image depth, and perspective and parallax perception. This emphasized not only the importance of the artistic value of ceramics pottery but more importantly, that designs are to be experienced on a three dimensional and multi-sensory plane. This encourages the audience to pick up a piece and turn it over around or for an individual to walk around a relief or tough the piece to experience its textures. One of the key factors that expanded the use of ceramics and pottery is because of the industrialization of production that developed in the Middle East. In some cases, such as in the case of lusterware, pieces became a symbol of social status. This stratification of ceramics and pottery to parallel social class also established a criteria for what materials where to be considered of higher quality which also has the effect of creating value beyond the utility of a piece which would be pervasive even in modern methods of valuation pieces (Jenkins-Madina et al, 2002). However, there are also some instances that the functional uses of Islamic ceramics and pottery would be the foundation of their influence. One example is in the development of maiolica earthenware jars called albarello that were used to hold apothecary supplies which were adapted widely (Fehervari, 2000). Conclusion There is a realization now that the ceramics and pottery that developed in the region is notable not only for its artistic and cultural value but also as indicators of the technological developments in Islamic countries. In particular, the innovations in ceramics and pottery in Islamic traditions are now being considered as distinct or atypical of other art movements. According to Meri and Bacharach (2005) this allowed for a geometric increase in the quality, utility and function of ceramics and pottery. Developments in Islamic ceramics and pottery were driven by science and its geo-strategic position medium for the Far East, Africa and Europe. Unlike other artisan or artistic traditions that sought to purify its traditions, Islamic artists and artisans, particular those from the 9th to 11th century, were focused on assimilating the from other cultures. Ultimately, this allowed Islamic ceramics and pottery did not only help the development of its traditions but the rest of ceramics and pottery methods and designs throughout the world. References Fehervari, Geza (2000). Ceramics of the Islamic World. New York, New York: I. B. Tauris Jenkins-Madina, Marilyn, Graber, Oleg and Ettinghausen, Richard (2002). The Art and Architecture of Islam, 650-1250. New Haven, Connecticut: Yale University Press Lane, Arthur (1947). Early Islamic Pottery. New York, New York: Faber and Faber Meri, Josef W. and Bacharach, Jere L (2005). Medieval Islamic Civilization: An Encyclopedia. London: Routledge Read More