Enameled Glass of Egypt and Syria in the Islamic Period - Essay Example

E led Glass of Egypt and Syria in the Islamic Period [Type the document sub 3/24 Introduction The use of e led glass through art and history is one that has created definition and artistic presence through time. The glasses of medieval Egypt and Syria are one of the defining points in which this type of glass became more prevalent. These different concepts have created an evolution within glass making as well as within art. Most specifically, this has created a difference in how the culture and society of the time is represented. The enameled glass not only shows a set of artwork that represents specific techniques of the time, but also shows the different ideals and relationships that the culture held toward this artwork during this time frame. This includes changes in history, politics and culture during the time, all which allowed glasswork and artistic symbols to begin to alter and to show a different understanding of the social knowledge of the time. History of Glass Making The glass making that occurred in Egypt and Seria during the medieval times was a result of newer concepts related to society. This time period was known for the ability to conquer several lands and areas, all which were beginning to build and develop politically and within the infrastructure. The Middle Eastern area, ranging from Greece to Spain and Egypt, all were moving through these main influences within politics. Many were focused on conquering neighboring countries, as well as expanding influences. More importantly, the Islamic world began to develop, with many associating the ideas of enameled glass with the religious and philosophical thought processes within the country. The glass making in this region was divided into two time periods. The first was known as the Abbasid Era, which had the time period from 750 – 868. During this time period, Alexandria and Syrian were known for developing the different enameled glass, specifically with a focus on creating intricate pieces for royalty. More importantly, the works that were created were defined by contrasts and colors that associated with religious beliefs and the idea of sacred works during the time. The second time period was linked to Egypt during the Tulunid Era, ranging from 868 – 905. This began to alter from enameled glass to stained glass surfaces, mostly seen in accessories such as lanterns and vessels. The glass used in both these eras were known not only for their ornamentation, but were also created for practical means. There was use of the stained and enameled glass for buildings and architecture while lighting different archways were the main focus of most of the glass making. This was able to control the amount of lighting in a specific region and to protect against wind and dust throughout the year. This was combined with reaching a state of spiritual peace within the building (Carboni, 2001). Political Associations with Glass The enameled glass that was used in these specific regions not only developed with the practical and aesthetic uses for buildings. It is also associated with the political changes during the time and the defining points within this time period. Before the 8th century, glass was not used for practical use or for ornamentation. Instead, woods, metalwork and pottery were associated with artwork. By the 8th century, there were changes not only with the materials and artistic production that was used. There were also alterations in the political movements of the time. After the prophet Muhammad was recognized, new changes within the government also began to alter. The Umayyad rulers became influential in the design and construct of architecture and art, specifically with patronage and development of works during the time frame. This led to more art with enameled glass, as well as a stronger demand to use this as a representation of Islam and the political affluence of the time. It can also be noted that the movement to Syria and Egypt was one that began specifically after the changes in the Roman empire, with the glassblowing techniques coming from the conquering of this area through the Crusades and various political movements (Carboni, 2002). Cultural and Religious Associations with Glass The political affiliations and changes of leadership in Egypt and Syria was one of the changes made with glassmaking during the time. However, the use of enameled glass and what was occurring also created a change with the cultural influences of the time. This not only changed with the use of glass as a representation of royalty and religion, but also directly influenced the patterns and methods used for the different works. The first portion of glassmaking is one that was known to be pre – Islamic and was specifically affiliated with the Roman culture from the political changes during this time. The Mediterranean World during this time was known to use specific patterns and techniques that were symbolic of the culture and forms important to the region. This included vessels that had a trefoil mouth, zigzag decorations, darker colors and geometry that used several curves and ovals for representation. Geometrical patterns were also known and used during this time to create a different effect and cultural representation (Ward, 1998). After the Muslim invasion, there was an alteration in the use of color, technique and representation. During this time, the Islamic representation became more prevalent, specifically as a focus with the culture of the time. The first part to this is the ornamentation and decorative features used. Instead of the basic geometrical features, many of the glass displays changed into a representation of stories and styles that were linked to the Islamic religion. Others which carried the geometrical shapes, designs and figures, also linked to symbolic concepts during this time. The decorations were similar to mantras, which were developed with a main ornament in the middle area and surrounding ornaments that held symbols with the number of ornaments used and the placement of these specific ornaments. The decorative elements during this time period were known for the symbolism of the culture and social status of the time, specifically with the influences of Islamic concepts taking effect in this region (Wenzel, 2007). Even though the central component to the glasswork of this time period was based on the Islamic influence, there were also noted developments with cross cultures of the time period. The Mediterranean area during this time was beginning to open and expand into different regions. This began with several Islamic invasions that moved into Spain, Italy and the eastern region of Europe. This was combined with migration that occurred during this time, specifically with the Jewish movement to the areas. These allowed the techniques to begin to change in this region and directly influenced the glass production. Many of the enameled glass that was made is known to not only carry the cultural influences and symbols of Islam, but also moves into a hybrid culture of the time. Specifically, areas such as Venice and the Jewish outskirts linked into the Islamic development of enameled glass. The cross cultures that were presented in this were able to create a different focus of ornamentation and the techniques that were pertinent during the time to glass making (Momin, 2007). Materials and Technique The representation of glass not only became a component and representation of the era, but also is noted because of the development of the craft during this time frame. The main materials that were used during this time for glass production was silicates and crystalline. These were mixed under a hotter surface and were able to bond with the higher temperatures. The thicker glasses would be produced with specific temperatures, while glass blowing with thinner glass required melting temperatures combined with experimentation in density. The modifications that were noted during this time period were based specifically on the way that the heat was produced with the mixtures used as well as how the silicate was able to bond together from the mixture. The production of enameled glass altered into thinner components during this time because of this process. This was then combined with different glazes that were underneath the main ornamentation and glass, all done to provide an extra layer of protection to the glass and to allow the enameled production to become more consistent with the works (Colomban et al, 2006). The technique that followed with this included defined cuts and ways to make the enameled glass that was used. The artifacts that represent this time frame were known to be created from molds with the glass shaping around the main display. Several of the vases and different displays were able to create a defined presentation of this. The windows and cuttings that were used for practical purposes used these same molds to shape and develop the use of glass within a certain building. This was combined with direct geometrical measurements that were used to create a distinguished look and to allow light to move into a certain area at a specific time frame. Ribs and threads were then added into the overall design to create a specific effect with the glass and to allow the engraving to have a specific texture within it. The two styles that combined with this included the linear intaglio and relief cutting, specifically to create designs, geometrical forms and patterns used with animals. The engraving and the cutting used for glass was then combined with glass blowing techniques from wheel cutting. Surface textures were created with this specific technique, combined with the use of cutting for zigzags, symbols, triangles and lines. The later time frame of the Islamic period included glass carving that was more ornate and moved into the development of flora and fauna patterns for the designs. The carvings were often focused on the use of blue and green colorings for the artifacts and would be layered into the different artwork. The inner layer of blue was known as the sacred color of Islam and the green was the mystical color of paradise. Ornaments would then be layered over this, specifically which held distinctions with the Islamic culture. Arabic script and ornaments of animals were some of the common processes that were used with this and were able to show a presentation of the sacredness of the religion. This would often be combined with threads of geometry and patterns as an outer layer to further present the ornaments of the time. The enameled glass techniques that were used during this time furthered this process and were known to be used in contrast with earlier works. Many of the enameled paintings would have bright white and turquoise as the central symbol. The enamels would then be combined with brighter reds, greens and whites as an outline to the main symbols that were used. The technique used within this began with a sketch by the artist to portray the correct concepts. Typically, a thin gold layer would be added with a pen and a brush. The lines and the enamels would then move into more intricate patterns as a representation of the symbols of Islam. The artist would then fire the entire decoration for a second time to create a surface and glaze to the glass that was used (Carboni, 2001). The several techniques that were used and which were layered into the architectural glass as well as the vessels, then became a central component of the established glasswork during the medieval time frame. Artistic Representations of Glass There are several representations that are included with the glasswork, specifically which are associated with the political, cultural and societal influences of the time. Each of these shows a distinguishing set of characteristics with the artwork produced and which relate to the symbols of the time. One of the samples of the enameled glass used is from the Mamluk Gilded and Enameled Glass Bucket (see Appendix A). This particular bucket is made of a thicker glass and was crafted with some bubbles and brown tinge as the basis. This is furthered with a cylindrical tinge and raised flange. The foundation of this craft was one that was often used during the time and was based on the available materials and resources of Egypt and Syria during this time frame. The other concepts associated with this bucket show a relationship between the cultural changes of the time. The script and ornamentation on the glasswork is known from this time frame and carries specific sayings associated with the Islamic timeframe, used directly as a symbol and as a religious work of art. This is combined with the lower part of the glasswork, which has two dragonheads on each side and a blue hieroglyph animal in the middle. This shows a part of the transitional timeframe used with these presentations showing the older symbols from the Roman time frame as a part of the work. The use of the animals on the lower part that moves toward the scripts at the top then becomes a symbol of the movement from older culture to the newer Islamic acceptance of symbols. This work also uses this same transition with the use of color. The brown and whites of the bucket are richer in context, showing the pre-Islamic influence. However, the brighter whites and blues was one that was representational of Islamic influence and the brighter contrasts occurring during this time (Ribeiro, 1999). The symbol of the blue is used as the sacred concept of Islam and is used specifically with the calligraphy. The enameled paintings layer over this with whites and reds, specifically to outline the calligraphy and to brighten the concepts of the sacred in Islam. The transitions seen in this particular artwork are not only presentational in the transitional representation of culture, but also showed direct influences with the movement into the Islamic period. One of the representations of this is a vase that was produced in Syria during the 13th centuries, located at the Museum of Islamic Art in Qatar. This particular vase is one that used the enameled techniques to represent Islamic thought and symbols, while showing a transition from the earlier timeframe into the new craft work of the glasswork. The enamel that is used on this glass is one of the first presentations of how this worked within glass and was specific to creating a sense of symbolism toward the Islamic faith and the presentations that were a part of this during the time frame. The distinguishing qualities that are a part of this vase have created a specific representation of Islamic culture of this time. The first change noted is the colors used for the vase. While there are still some richer colors, the main focus is on the brighter reds and blues that became common during this time period. Similar to the other designs of this time period, this particular design was common as a presentation of the sacred symbols of Islam as well as the mystical element of paradise. The base of this is combined with a gold glaze, which was also a transition from the more subtle browns used in earlier time periods by the Roman glass works. This was noted as a framework for the culture and the Islamic symbols of the time because of the representation and symbol of color as a part of the sacred element and understanding of culture. The vase also shows ornaments, geometry and a form that is specific to this time frame and to the Islamic culture. This vase uses the use of symbolic numbers to represent the ideas of Islam and the culture. More specifically, the amount of ornamentation as well as the layers that are used within this has created a specific component to change the way that this particular glasswork is looked into. As the progression of artwork continued, so did the movement into different types of enameled glass and representations of the works. This represented the specific cultures that were influenced with the works of glass and related this to the objects that were a part of this. An example of this can be seen with the Mosque lamp that was designed in the 14th century in Egypt (see Appendix C). The object that was used was first designed for practicality, seen through the shape used. The larger bottom area and the smaller top shape could easily be hung from a specific location while allowing the light to come in from the other parts of the mosque for natural and controlled lighting. The practicality that is seen in this piece is one that was first noted with the molds of the time period, specifically for use within the different architectural buildings of the time. This specific artistic work also shows the different ornamentation and symbols of the time used through the enameled glass and the layers used. The layers underneath the main enamel are gold and white and have a glaze to them, specifically to create a brighter effect with the ornament. The outer layers show the blue and red colorings as well as the black outlines, all which were representational of the symbol of the sacred of Islam. The lamp makes use of different forms of calligraphy on the top and bottom area, both which are representational of the sacred scripts that were used during this time frame. The break in pattern is seen with the lower script, which is more geometrical in nature and which holds a consistent pattern to make the form of the lamp. The top area of the lamp combines with a different geometrical pattern which is broken by gold and red circles on each side, specifically to frame the sacred elements that are used. This particular concept is able to combine the ornate with the practical in the piece. The lamp that is shown in this artwork is not only important because of the different representations of the Islamic culture, but also because of the noted influences from other types of lamps and glasswork. This is known to relate specifically to the Italian region and directly associated with the migration that occurred during this time frame. The Malta region was known for producing layers of glass that were clearer and had the brighter colors. The ornamentation was often engraved into this to create a specific effect. In this glass work, the lower layers represent this with the brighter whites and gold that is included in this. The side handles for hanging and the molded shaped is also known to have a direct influence from the Malta region, used specifically with the practicality that is included in the artwork. This cross cultural reference is one that was common in the Egyptian and Syrian glasswork and shows a strong representation of not only the Islamic influences, but also the surrounding inspirations for glasswork during this time frame (IOS, 2008). Conclusion The concepts that were used in the enameled glass works of the medieval period in Egypt and Syria show a direct influence of what occurred during this time frame. The movement from the Roman Empire into this region was one of the direct correlations that occurred. This was combined with the political transitions and powers that began to take over the certain area. The influences combined with cultural changes, specifically with influences of the Italian and Jewish regions as well as the Islamic symbols that became a central focus during this time. The artists of this time period combined the environment to create specific techniques and a transition into glass making that was representational of these different elements. The several vases and enameled works for this time frame shows how this created a change in the artwork of the time as well as a specific influence that was a part of the artwork of the time. References Carboni, Stefano. 2001. Glass from Islamic Lands. (The al-Sabah Collection). Thames and Hudson: London/Kuwait. Carboni, Stefano. 2001. Glass of the Sultans. New York: Metropolitan Museum of Art. Colomban, Philippe, Aurelie Tournie, Ludovic Gurlet. 2006. Raman Identification of Glassy Silicates Used in Ceramics, Glass and Jewelry. Journal of Raman Spectroscopy (37). IOS. 2008. Medieval Islamic Ewers. The IOS Minaret. (3), (13). Momin, A.R. 2007. A Passage to Venice. The IOS Minaret (2), (10). Ribeiro, Maria, Mamluk Enamelled Glass in The Calouste Gulbenkian Museum. Lisbon 1999 Ward, Rachel (ed.), Gilded and Enamelled Glass from the Middle East. London: British Museum Press, 1998. Wenzel, Marian. 2007. Thirteenth Century Islamic Enamelled Glass Found in Medieval Abingdon. Oxford Journal Of Archeology (3), (3). Appendix A Appendix B Appendix C Read More