1. 19
The Islamic World

2. 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.

3. 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

4. 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

5. 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

6. 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]

7. 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

8. 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]

9. 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

10. 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 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 Reproduced by kind permission of the Trustees of the Chester Beatty Library, Dublin. [Fig. 19-3]

11. 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

12. 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]

13. The Islamic World. [Fig. 19-5]

14. 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

15. Closer Look: Tile Mosaic Mihrab
Mihrab. c 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 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]

16. 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

17. 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]

18. 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

19. 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 –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 –1543. Gouache on paper. 14-1⁄2" × 10". The British Library London © British Library Board/Robana. [Fig. 19-8]

20. 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

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

22. 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

23. Charles Hossein Zenderoudi. VAV + HWE. 1972. Acrylic on canvas
Charles Hossein Zenderoudi. VAV + HWE 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 ]
Charles Hossein Zenderoudi. VAV + HWE 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 ]

24. 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

25. 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.

26. 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 ]
Divan-i-Khas, interior. 1570–1580. Fatehpur Sikri, Uttar Pradesh, India. Photo Jonathan M. Bloom and Sheila S. Blair. [Fig ]

27. 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

28. 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 ]
Taj Mahal, central iwan, upper portion. 1632–1648. Agra, India. Gavin Hellier/Robert Harding. [Fig ]