The History of Islamic Art - Essay Example

The History of Islamic Art The research of Islamic art and its history is important and should be understood by design practitioners, whatever their particular speciality for a number of reasons described below. According to the web site Salaam (2012) Islamic art is a contemplative medium , designed to encourage a sense of encounter with Allah. The author describes how there have been several attempts to trace its origins back into earlier history, to Byzantine times perhaps, or to the art of the Copts. He claims that such seeking is pointless because it emerged out of a totally different mind-set. On the other hand Hussain ( 2012) seems happy to admit the possible influence of other art forms and it cannot have come out of nothing, even if one only considers the techniques used. Most other art, especially in the west, is an attempt to describe nature and man himself, even what he is thinking, but Islamic art has a very different purpose. The author of the Salaam article sees other art forms as essentially inferior to the art of Islam, just as man’s work is always inferior to that of God’s. The author goes on to challenge the idea that earlier works belong to the past and have little relevance for the present age. He states that great examples of Islamic art such as the great mosques in Cordoba or Cairo, or the beauty of the Taj Mahal from the Muslim Mogul empire, are just as important today as when they were first created, because they are still as capable as they always were of bringing people closer to God. This fits in with the Persian proverb ‘History is a mirror of the past and a lesson for the present.’ According to Dimand ( 1947, page 7) in the time of Muhammad, the prophet of Islam, the Arab peoples had little or no art of their own. He goes on to describe how, as they expanded their influence and conquered Mesopotamia, Syria, Egypt, and Iran, they came into contact with the already established decorative art of these areas. From these encounters a distinctive Islamic style gradually evolved, derived mainly from two artistic sources, the East Christian and the Sasanian art from the last pre-Islamic dynasty of Iran. Dimand describes how in these early days “decorative motives derived from East Christian art and from Sasanian art are found side by side.” (1947, page 7). Symmetry and repetitions, especially in geometric patterns, are an important aspect of much Islamic art with various basic forms such as the circle, triangle and the square, are combined, copied , interlaced, and arranged in many complex combinations, as well as stylised vegetative forms, known as arabesques. These patterns and designs from the period of the beginnings of Islam onwards. These styles were cultivated, but especially during the period from the 10th to the14th centuries C.E. Such symmetry was felt to represent the essence of the ‘language of the universe’ ( Hussain , 2012). It is an art not of form, rather one of a concept. There are those who would say that it is too diverse, from Japan to Morocco and beyond, to have one title ‘Islamic art’, The Grove Encyclopaedia of Islamic Art (2009, page vii) describes it as ‘neither fish nor fowl’ because it is not purely religious or secular art and nor is it the art of a particular time period, people group or place. Even water is used as an expressive art ( Gardner, 2010), The use of water is one of the most important elements of traditional gardens by Islamists according to Esposito ( 2004, page 46). For instance Pools of water were often carefully placed in order to reflect adjacent buildings, such as pavilions. Water often runs from one pool to another next to paved walkways. Glass making is another skill that was used to express Islamic ideals ( Esposito, 2004, page 52) but despite varieties of form there remains this one idea behind it all. The Institute of Arabic and Islamic Studies ( undated) points out that because the Koran is not in narrative form , as for the instance the Christian gospels are, so there is no need for religious art which depicts people, or saints, in order to tell stories. Such distinctive art forms spread from the Islamic origins in Arabia to every country where Islam penetrated. There are obvious differences over time and according to place and local culture, but there is also a synthesis and continuity of intent. Often the art is two dimensional, as in tiles and calligraphy ,but there are also three dimensional forms. Islam quickly spread from its originally geographical position within Arabia. By the 8th century it had reached southern Spain in the west and the far side of India in the east. The 8th to the 13th centuries are known as the Abbasid period with Baghdad becoming the main centre of Islam. Islamic art was not just narrowed to architecture, but included textiles, carpets as well as cloths, many of which were exported and sold into non-Islamic areas, especially in the west. Another aspect was ceramics, usually in the form of more expensive objects. Although the earliest Islamic art did include some plant forms, these fell out of use in this stricter period, but such iconoclastic ideas softened somewhat during other periods and in some places. The Iraqi influence began to fade and the period from the 10th to the 12th centuries overlaps it and is referred to as the Fatimid period. The Fatamids had a luxurious court with lots of gold work and rock crystal carving. Al-Fustat in old Cairo became a centre for skills such as the carving of wood and ivory as well as the production of glass, metal work and ceramics. There were some human representations , but these were in stylised forms, and are not included in purely religious art works, although The Institute of Arabic and Islamic Studies (undated) points out that although it is often stated that Islam forbids the representation of living beings, the Koran actually says very little about this, and nor do the traditions of the Prophet. On the other hand Siddiqui ( undated) states that there are ‘ strict injunctions against such depictions of humans or animals which might result in idol-worship.’ So it seems that this idea has its variations, and without knowing more about Islam it is impossible for an outsider to know who is correct, if either side is. This is rather different from Jewish ideas, based upon Exodus 20 v 4 which forbids graven images :- Or any likeness of anything that is in heaven above, or that is in the earth beneath, or that is in the water under the earth. This, according to the Jewish ideas , was so that they could not worship anything other than God ( Exodus 20 v 3) , whereas Islam feels its art brings them closer to the one true God. The Seljuks were another group who ruled in Persia ( Iran) and across the fertile crescent during the 11th and12th centuries. During this time there were attempts to reproduce the skill of Chinese ceramists as well as the rediscovery of an earlier Egyptian technique which enabled them to produce beautiful colours in their ceramics. Also many early Muslims were nomadic, as some still are, this was the period of building many fine edifices, some of which can still be seen. A Muslim remains one not just when he is in the mosque, but all the time and so this art was not restricted to religious art , but extended to every area of life, ( Hussain 2012) . She also states that the aim ‘to portray the meaning and essence of things’ what might be described perhaps as their spirit, rather than just their outward physical shape. Islam is so integral to every part of a Muslim's life and is what makes a hard existence beautiful. For this reason , Islamic art is used to make everyday life and the necessities of life beautiful. There is no such thing as ‘Fine art’ but all crafts, including what could be described as the decorative arts, have equal validity, with calligraphy having a somewhat higher status, because it is calligraphy that it used in the Koran to tell out the message of God and the aim is to elevate and glorify the words of God.. Because of the importance of the Koranic scriptures, the use writing as a decorative form is highly esteemed and it is often used to embellish architecture. There is a hadith which says “Allah is beautiful and he loves beauty." And so Muslims seek to please their God. Siddique (undated) quotes the Prophet as having said ‘"God likes that when you do anything, you do it excellently.’ Hussain ( 2012) explains how these art forms bring to mind the infinite. Some see them simply as beautiful patterns, whereas others see them as symbolic in spiritual and mystic terms. Hankin ( 1965) describes in great detail how the complex patterns were designed and drawn. Circles for instance are endless and can therefore be seen as being infinite, as God is believed to be. Celts also used similar symbols to represent the circle of life ( Miller, 1998). The use of repeated very complex geometric designs produce the impression of continuous repetition , and this too helps to emphasise the idea of Allah’s infinite nature. At the same time you can see the whole, the infinite, in the small individual pattern. On the other hand these geometric pattern usually have a small flaw or difference, which serves to remind man of the imperfection of their efforts, as compared to God the perfect. Certain symbols have particular significance. The star is one example, no matter how many arms it has , 4, 12, 16 or more, all these come from a central source. This points to three things; the centrality of God; Mecca as a centre of Islam and the direction towards which Muslims direct their prayers; and thirdly how Islam has spread throughout the world out from Arabia. A new documentary with its title ‘ Mirror of the Invisible World’ ( Director, Gardner, 2012) explores how Islamic art across 14000 years and through many countries, shows the hidden , mystical and spiritual life of God and his creation. In India for instance , in the 19th century , the last Mughal emperor Shah Zafar was both a fine poet but at the same time was skilled in calligraphy, capable of fashioning holy phrases from the Koran into drawings of such natural forms as faces, trees and flowers, As Islam did spread it of course encountered a variety of cultures and the ideas of these people has had its effect, and presumably will continue to do so as for instance in such parts of the Islamic diaspora as the East End of London . The Institute of Arabic and Islamic Studies ( undated) gives the example of the more historical differences between the Islamic art of Iran, where plant and animal forms are common and enjoyed, as described by Dimand (1947, page 91) perhaps even within mosques, whereas among North African Muslims this would not be the case. Unlike western art schools where it is thought to be important to ascertain a provenance, often the names of the artists and craftsmen and women is now unknown, but their works are seen, whether unsophisticated or of the highest artistic standards, as being prototypes, patterns and models on which other later artists and craftsmen could pattern their own works, or from which they received the inspiration and impetus for further related work. The traditional Islamic arts persist today and are both alive and respected and valued throughout Islamic society, whether in the genre of religious art or in everyday objects such as a fruit bowl or wall decoration. , and Islamic architecture and decorative arts are still very much alive and valued in many parts of the Muslim world. Despite widespread industrialisation , handwork remains an important part of the decoration of both mosques and Muslim houses, especially in the form of decoration featuring calligraphy based upon the Koran scriptures. This is the view propagated by some scholars. Yet in 2010 ( Shah, 2010) a Pakistani beauty queen became part of a move asking Muslims to reclaim their ‘to encourage Muslims to reclaim their artistic and cultural heritage.’ so some at least feel a need to look back to what they see as a better time for Islamic art. Professor Tahmena Bokhari is described as speaking at a conference entitled "Free Muslims: Autonomy and Creativity" the aim of which was to challenge “those who seek to close down the Muslim mind by claiming Islam forbids artistic expression, leisure and cultural activities.” Professor Bokhari expressed the view that the creative arts are necessary in order to stimulate young minds. In 1999 Ali ( page 13) described how it is only in very recent times that western art culture has come to appreciate what Islamic art has to offer. Despite this late start on the part of non-Islamic scholars and artists, Islamic art has much to teach students of design, in aspects such as how a piece can be considered as being capable of inspiring others to use their own skills in response. Thompson and Begum ( undated) believe that western society now better appreciates the art of Islam but at the same time rejects and has little respect for the religion behind it. Despite its long history there are those who feel that the true values of Islamic art are in danger ( Mortada, 2003, page xiii) who believes that modernisation may involve forgetting basic principles and so abandoning values necessary for cultural cohesion This is perhaps because the art of Islam is very different from much western art in both its purpose and its execution, although this wider western culture has had, and continues to have, an influence. All art and craft is considered in Islam to be of equal value, from garden design to glass blowing, interior design to fabrics, so is relevant to all designers, whatever their particular genre and style. It is art with certain restrictions as to what and how things can be depicted. This seeming limitation has brought about great creativity, more perhaps than might have been evident if total freedom was allowed. It covers such a wide range of design, and with its emphasis upon repetition, stylisation and symmetry that its study has relevance to students of art, interior design, ceramics, textiles and even theology, each aspect having something to reveal to those who study them. Islamic art is the mirror to the culture which forms it and reflects both its theological, cultural and world views. References Ali, W., The Arab Contribution to Islamic Art: From the Seventh to the Fifteenth Century, Cairo, The American University in Cairo Bible, King James Version Dimand, M. A Handbook of Mohammadan Art, New York, Hartsdale House, 1947 Esposito, J., The Islamic World : Past and Present, Oxford, Oxford University Press, 2004 Gardner, R, Mirror of an Invisible World, UPF, 2012, http://www.upf.tv/films-menu/upf-islamic-art-film.html Hankin, E., On some discoveries of the methods of design employed in Mohammedan arts, Journal of the Society of Art, 17th March 1965, page 461 and following, http://www.patterninislamicart.com/ia/l/han_001.jpg Hussain ,Z., Introduction to Islamic Art , BBC Religions,2012, http://www.bbc.co.uk/religion/religions/islam/art/art_1.shtml Islamic Art, Salaam, 12th September 2012, http://www.salaam.co.uk/themeofthemonth/march02_index.php Miller,F., Celtic Tree of Life , 1998, http://www.joellessacredgrove.com/Celtic/art.html Mortada, H, Traditional Islamic Principles of Built Environment, London, Routledge Curzon, 2003 Shah, N., Tahmena Bokhari advocates for Revival of the Arts in the Muslim World. OEN,23rd February 2010, http://www.opednews.com/articles/Tahmena-Bokhari-advocates-by-Nadeem-Shah-100222-600.html Siddiqui, E. Islamic Art, undated, http://www.colostate.edu/Orgs/MSA/find_more/islart.html The Grove Encyclopaedia of Islamic Art, Oxford, Oxford University Press, 2010 The Institute of Arabic and Islamic Studies, Art , undated, http://www.islamic-study.org/art.htm Thompson, M. and Begum, N., Islamic Textile Art and how it is Misunderstood in the West - Our Personal Views, Salon du Tapis d'Orient, undated, http://www.turkotek.com/salon_00101/salon.html Read More