19 The Islamic World

Learning Objectives Summarize the historical development of Islam as a world religion. Discuss art and architectural forms most common to Islamic cultures. Use terms that are particular to Islamic art and architecture. Compare characteristics of Islamic art to Christian artistic traditions in Europe. Recognize the importance of visual pattern and aesthetic pleasure in Islamic art.

Introduction Islam Muslim A follower of Islam "One who submits to God" Begins in 622 CE with Muhammad's emigration to Medina Quickly spread from Byzantine Empire North Africa Spain and other parts of Europe

Introduction Artistic traditions of Muslims Allowed conquered peoples to retain religion and culture Adaptation of extant traditions Frown upon representation of human figures used in a religious context Recreation of living things as competition with Allah (God), who created all Muhammad prohibited from imagery

Arab Lands Early houses of worship Mosques Must be big enough to accommodate all male worshippers for Friday prayers Include minarets (towers) that mark building's location Great Mosque in Kairouan, Tunisia Mihrab points to Mecca

Great Mosque. Kairouan, Tunisia. 836–875 Great Mosque. Kairouan, Tunisia. 836–875. Photograph: © Roger Wood/Corbis. [Fig. 19-1] Great Mosque. Kairouan, Tunisia. 836–875. Photograph: © Roger Wood/Corbis. [Fig. 19-1]

Arab Lands Ceramic arts Major advance through luster technique Pitcher Glaze that imparts a metallic sheen Most difficult to control Pitcher Thin body indicates decorative purposes, not practical ones Script expresses praise and good wishes to the owner

Podcast: Interview with Jonathan Bloom Pitcher (Spouted Ewer). Early 13th century. Luster over tin glaze. Height 6-4⁄5". Kashan. Reproduced by permission of the Syndics of the Fitzwilliam Museum, Cambridge, from the Ades Loan Collection. The Bridgeman Art Library. [Fig. 19-2] Pitcher (Spouted Ewer). Early 13th century. Luster over tin glaze. Height 6-4⁄5". Kashan. Reproduced by permission of the Syndics of the Fitzwilliam Museum, Cambridge, from the Ades Loan Collection. The Bridgeman Art Library. [Fig. 19-2]

Spain First land to be conquered by Muslims Distinct culture including important scientists, poets, philosophers, architects, and artists Calligraphy For higher learning Used to enhance beauty of word of God Qur'an, the sacred text of Islam

Text of the Qur'an. 11th century. Colors on paper Text of the Qur'an. 11th century. Colors on paper. North Africa or Spain. MS no. 1544. Reproduced by kind permission of the Trustees of the Chester Beatty Library, Dublin. [Fig. 19-3] Text of the Qur'an. 11th century. Colors on paper. North Africa or Spain. MS no. 1544. Reproduced by kind permission of the Trustees of the Chester Beatty Library, Dublin. [Fig. 19-3]

Spain Architecture Geometric and floral design motifs that complement calligraphy Court of the Lions, Alhambra palace Translucent webs of intricate decoration Light comes through small openings "There is no victor except God" in calligraphic script Palace itself a contained city

Architectural Panorama: Alhambra Video: Alhambra, Generalife and Albayzín, Granada Court of the Lions, Alhambra. Granada, Spain. 1309–1354. Photograph: SuperStock, Inc. [Fig. 19-4] Court of the Lions, Alhambra. Granada, Spain. 1309–1354. Photograph: SuperStock, Inc. [Fig. 19-4]

The Islamic World. [Fig. 19-5]

Persia Carpet Tile art Best-known Persian art in the West Portable Means for spreading design ideas Tile art Mihrab from Iran Intricate designs satisfy urge for beauty Aesthetically pleasing patterns Tells story using script, not figures

Closer Look: Tile Mosaic Mihrab Mihrab. c. 1354. Composite body, glazed, sawed to shape and assembled in mosaic. Height 11' 3". Iran. The Metropolitan Museum of Art. Harris Brisbane Dick Fund, 1939 (39.20). Image copyright The MoMA/Art Resource/Scala, Florence. [Fig. 20-6] Mihrab. c. 1354. Composite body, glazed, sawed to shape and assembled in mosaic. Height 11' 3". Iran. The Metropolitan Museum of Art. Harris Brisbane Dick Fund, 1939 (39.20). Image copyright The MoMA/Art Resource/Scala, Florence. [Fig. 20-6]

Persia Madrasa Muslim theological school for history and interpretation of Qur'an and Islam Mir-i-Arab Madrasa in Uzbekistan Well-proportioned array of openings Iwan, the large covered porch at center Surfaces with floral, geometric, and epigraphic patterned tiles Color integral to architecture

Mir-i-Arab Madrasa, façade. 1535–1536. Bukhara, Uzbekistan Mir-i-Arab Madrasa, façade. 1535–1536. Bukhara, Uzbekistan. Photograph: David Flack. [Fig. 19-7] Mir-i-Arab Madrasa, façade. 1535–1536. Bukhara, Uzbekistan. Photograph: David Flack. [Fig. 19-7]

Persia Paintings Lavish illustrations of manuscripts Most often produced in workshops with anonymous artists Sultan Sanjar and the Old Woman Sultan-Muhammad, revered painter of Safavid Persia Allegory on vanity Subtle gestures and detail Rocks rendered in the Chinese style

Attributed to Sultan-Muhammad. Sultan Sanjar and the Old Woman Attributed to Sultan-Muhammad. Sultan Sanjar and the Old Woman. From the Khamseh (Five Poems) of Nizami, folio 181. 1539–1543. Gouache on paper. 14-1⁄2" × 10". The British Library London © British Library Board/Robana. [Fig. 19-8] Attributed to Sultan-Muhammad. Sultan Sanjar and the Old Woman. From the Khamseh (Five Poems) of Nizami, folio 181. 1539–1543. Gouache on paper. 14-1⁄2" × 10". The British Library London © British Library Board/Robana. [Fig. 19-8]

Art Forms Us: Worship and Ritual Contemplating pattern Beautiful patterns uplift us in daily life Used by modern Muslim artists in new ways Usama Alshaibi, Allahu Akbar Digital video moving patterns in new ways Connection between visual delight and religious piety

Usama Alshaibi. Allahu Akbar. 2003. Still from digital video Usama Alshaibi. Allahu Akbar. 2003. Still from digital video. PAL, black/white, sound. [Fig. 19-9] Usama Alshaibi. Allahu Akbar. 2003. Still from digital video. PAL, black/white, sound. [Fig. 19-9]

Art Forms Us: Worship and Ritual Contemplating pattern Charles Hossein Zenderoudi Large works consisting of Persian syllables repeated hundreds of times Meditation exercise VAV + HWE Based on words that mean "by he," or God Calligraphy constructs painting in concentric circles Pilgrims around holy shrine in Mecca

Charles Hossein Zenderoudi. VAV + HWE. 1972. Acrylic on canvas Charles Hossein Zenderoudi. VAV + HWE. 1972. Acrylic on canvas. 78-3⁄4" × 78-3⁄4". Private collection. Photo © Christie's Images/The Bridgeman Art Library © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 19-10] Charles Hossein Zenderoudi. VAV + HWE. 1972. Acrylic on canvas. 78-3⁄4" × 78-3⁄4". Private collection. Photo © Christie's Images/The Bridgeman Art Library © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 19-10]

India: The Mughal Empire Only a minority were Muslim Evolution of Islam farther from Arab roots Higher level of tolerance Akbar Establishment of a religion to incorporate elements of all religions Encouragement to depict figures in art

India: The Mughal Empire Akbar Throne room, Divan-iKhass Ornate pillar with four passageways Akbar sat at the center atop the pillar at the metaphor for intersection of religious systems.

Closer Look: Private Audience Hall, Fatehpur Sikri Divan-i-Khas, interior. 1570–1580. Fatehpur Sikri, Uttar Pradesh, India. Photo Jonathan M. Bloom and Sheila S. Blair. [Fig. 19-11] Divan-i-Khas, interior. 1570–1580. Fatehpur Sikri, Uttar Pradesh, India. Photo Jonathan M. Bloom and Sheila S. Blair. [Fig. 19-11]

India: The Mughal Empire Shah Jahan Last Mughal ruler Taj Mahal Built for favorite wife that died in childbirth Central iwan fronted with a pointed arch Beauty from expensive materials and poetic arrangement of mass Paradise motif in the inscription surrounding the doorway arch

Architectural Simulation: Taj Mahal Closer Look: Taj Mahal Web Resource: Taj Mahal Taj Mahal, central iwan, upper portion. 1632–1648. Agra, India. Gavin Hellier/Robert Harding. [Fig. 19-12] Taj Mahal, central iwan, upper portion. 1632–1648. Agra, India. Gavin Hellier/Robert Harding. [Fig. 19-12]