Islam is a monotheistic and Abrahamic religion articulated by the Qur’an, a book considered by its adherents to be the verbatim word of God (Allah) and the teachings of Muhammad, who is considered to be the last prophet of God. An adherent of Islam is called a Muslim.
Most Muslims are of two denominations: Sunni (75–90%), or Shia (10–20%). Its essential religious concepts and practices include the five pillars of Islam, which are basic concepts and obligatory acts of worship, and the following of Islamic law, which touches on every aspect of life and society.
The five pillars are:
- Shahadah (belief or confession of faith)
- Salat (worship in the form of prayer)
- Sawm Ramadan (fasting during the month of Ramadan)
- Zakat (alms or charitable giving)
- Hajj (the pilgrimage to Mecca at least once in a lifetime)
Islamic art encompasses the visual arts produced from the seventh century onward by both Muslims and non-Muslims who lived within the territory that was inhabited by or ruled by, culturally Islamic populations. It is thus a very difficult art to define because it spans some 1400 years, covering many lands and populations. This art is also not of a specific religion, time, place, or single medium. Instead, Islamic art covers a range of artistic fields including architecture, calligraphy, painting, glass, ceramics, and textiles, among others.
Islamic art is not restricted to religious art, but instead includes all of the art of the rich and varied cultures of Islamic societies. It frequently includes secular elements and elements that are forbidden by some Islamic theologians. Islamic religious art differs greatly from Christian religious art traditions.
Because figural representations are generally considered to be forbidden in Islam, the word takes on religious meaning in art as seen in the tradition of calligraphic inscriptions. Calligraphy and the decoration of manuscript Qu’rans is an important aspect of Islamic art as the word takes on religious and artistic significance.
Islamic architecture, such as mosques and palatial gardens of paradise, are also embedded with religious significance. While examples of Islamic figurative painting do exist and may cover religious scenes, these examples are typically from secular contexts, such as the walls of palaces or illuminated books of poetry.
Other religious art, such as glass mosque lamps, Girih tiles, woodwork, and carpets usually demonstrate the same style and motifs as contemporary secular art, although they exhibit more prominent religious inscriptions.
Islamic art was influenced by Greek, Roman, early Christian, and Byzantine art styles, as well as the Sassanian art of pre-Islamic Persia. Central Asian styles were brought in with various nomadic incursions; and Chinese influences had a formative effect on Islamic painting, pottery, and textiles.
Themes of Islamic Art
There are repeating elements in Islamic art, such as the use of stylized, geometrical floral or vegetal designs in a repetition known as the arabesque. The arabesque in Islamic art is often used to symbolize the transcendent, indivisible and infinite nature of God. Some scholars believe that mistakes in repetitions may be intentionally introduced as a show of humility by artists who believe only God can produce perfection.
Typically, though not entirely, Islamic art has focused on the depiction of patterns and Arabic calligraphy, rather than human or animal figures, because it is believed by many Muslims that the depiction of the human form is idolatry and thereby a sin against God that is forbidden in the Qur’an.
However, depictions of the human form and animals can be found in all eras of Islamic secular art. Depictions of the human form in art intended for the purpose of worship is considered idolatry and is forbidden in Islamic law, known as Sharia law.
The umbrella term “Islamic art” casts a pretty big shadow, covering several continents and more than a dozen centuries. So to make sense of it, we first have to first break it down into parts. One way is by medium—say, ceramics or architecture—but this method of categorization would entail looking at works that span three continents. Geography is another means of organization, but modern political boundaries rarely match the borders of past Islamic states.
A common solution is to consider instead, the historical caliphates (the states ruled by those who claimed legitimate Islamic rule) or dynasties. Though these distinctions are helpful, it is important to bear in mind that these are not discrete groups that produced one particular style of artwork. Artists throughout the centuries have been affected by the exchange of goods and ideas and have been influenced by one another.
Four leaders, known as the Rightly Guided Caliphs, continued the spread of Islam immediately following the death of the Prophet. It was following the death of the fourth caliph that Mu’awiya seized power and established the Umayyad caliphate, the first Islamic dynasty. During this period, Damascus became the capital and the empire expanded West and East.
The first years following the death of Muhammad were, of course, formative for the religion and its artwork. The immediate needs of the religion included places to worship (mosques) and holy books (Korans) to convey the word of God. So, naturally, many of the first artistic projects included ornamented mosques where the faithful could gather and Korans with beautiful calligraphy.
Because Islam was still a very new religion, it had no artistic vocabulary of its own, and its earliest work was heavily influenced by older styles in the region. Chief among these sources were the Coptic tradition of present-day Egypt and Syria, with its scrolling vines and geometric motifs, Sassanian metalwork and crafts from what is now Iraq with their rhythmic, sometimes abstracted qualities, and naturalistic Byzantine mosaics depicting animals and plants.
These elements can be seen in the earliest significant work from the Umayyad period, the most important of which is the Dome of the Rock in Jerusalem. This stunning monument incorporates Coptic, Sassanian, and Byzantine elements in its decorative program and remains a masterpiece of Islamic architecture to this day.
Remarkably, just one generation after the religion’s inception, Islamic civilization had produced a magnificent, if singular, monument. While the Dome of the Rock is considered an influential work, it bears little resemblance to the multitude of mosques created throughout the rest of the caliphate. It is important to point out that the Dome of the Rock is not a mosque. A more common plan, based on the house of the Prophet, was used for the vast majority of mosques throughout the Arab peninsula and the Maghreb. Perhaps the most remarkable of these is the Great Mosque of Córdoba (784-786) in Spain, which, like the Dome of the Rock, demonstrates an integration of the styles of the existing culture in which it was created.
The Abbasid revolution in the mid-eighth century ended the Umayyad dynasty, resulted in the massacre of the Umayyad caliphs (a single caliph who escaped to Spain, prolonging Umayyad work after the dynasty) and established the Abbasid dynasty in 750. The new caliphate shifted its attention eastward and established cultural and commercial capitals in Baghdad and Samarra.
The Umayyad dynasty produced little of what we would consider decorative arts (like pottery, glass, metalwork), but under the Abbasid dynasty production of decorative stone, wood and ceramic objects flourished. Artisans in Samarra developed a new method for carving surfaces that allowed for curved, vegetal forms (called arabesques) which became widely adopted. There were also developments in ceramic decoration. The use of lustre painting (which gives ceramic ware a metallic sheen) became popular in surrounding regions and was extensively used on tile for centuries. Overall, the Abbasid epoch was an important transitional period that disseminated styles and techniques to distant Islamic lands.
The Abbasid empire weakened with the establishment and growing power of semi-autonomous dynasties throughout the region until Baghdad was finally overthrown in 1258. This dissolution signified not only the end of a dynasty but marked the last time that the Arab-Muslim empire would be united as one entity.
For many, the Muslim world in the medieval period (900-1300) means the crusades. While this era was marked, in part, by military struggle, it is also overwhelmingly a period of peaceable exchanges of goods and ideas between West and East. Both the Christian and Islamic civilizations underwent great transformations and internal struggles during these years. In the Islamic world, dynasties fractured and began to develop distinctive styles of art. For the first time, disparate Islamic states existed at the same time. And although the Abbasid caliphate did not fully dissolve until 1258, other dynasties began to form, even before its end.
In the tenth century, the Fatimid dynasty emerged and posed a threat to the rule of the Abbasids. The Fatimid rulers, part of the Shi’ia faction, took their name from Fatima, Muhammad’s daughter, from whom they claimed to be descended. The Sunnis, on the other hand, had previously pledged their alliance to Mu’awiya, the founder of the Umayyad dynasty. At the height of their power, the Fatimids claimed lands from present-day Algeria to Syria. They conquered Egypt in 969 and founded the city of Cairo as their capital.
The Fatimid rulers expanded the power of the caliph and emphasized the importance of palace architecture. Mosques too were commissioned by royalty and every aspect of their decoration was of the highest calibre, from expertly-carved wooden minbars (where the spiritual leader guides prayers inside the mosque) to handcrafted metal lamps.
The wealth of the Fatimid court led to a general bourgeoning of the craft trade even outside of the religious context. Centers near Cairo became well known for ceramics, glass, metal, wood, and especially for lucrative textile production. The style of ornament developed as well, and artisans began to experiment with different forms of abstracted vegetal ornament and human figures.
This period is often called the Islamic renaissance, for its booming trade in decorative objects as well as the high quality of its artwork.
The Saljuqs of Iran were great supporters of education and the arts and they founded a number of important madrasas (schools) during their brief reign. The congregational mosques they erected began using a four-iwan plan: these incorporate four immense doorways (iwans) in the center of each wall of a courtyard.
The art of the Anatolian Saljuqs looks quite different, perhaps explaining why it is often labelled as a distinct sultanate. The inhabitants of this newly conquered land in Anatolia included members of various religions (largely Buddhists and Shamen), other heritages, and the Byzantine and Armenian Christian traditions. Saljuq projects often drew from these existing indigenous traditions—just as had been the case with the earliest Islamic buildings. Building materials included stone, brick, and wood, and there existed a widespread representation of animals and figures (some human) that had all but disappeared from architecture elsewhere in Islamic-ruled lands. The craftsmen here made great strides in the area of woodcarving, combining the elaborate scrolling and geometric forms typical of the Arabic aesthetic with wood, a medium indigenous to Turkey (and rarer in the desert climate of the Middle East).
The name ‘Mamluk’, like many names, was given by later historians. The word itself means ‘owned’ in Arabic. It refers to the Turkic slaves who served as soldiers for the Ayyubid sultanate before revolting and rising to power. The Mamluks ruled over key lands in the Middle East, including Mecca and Medina. Their capital in Cairo became the artistic and economic center of the Islamic world at this time.
The period saw a great production of art and architecture, particularly those commissioned by the reigning sultans. Patronizing the arts and creating monumental structures was a way for leaders to display their wealth and make their power visible within the landscape of the city. The Mamluks constructed countless mosques, madrasas and mausolea that were lavishly furnished and decorated. Mamluk decorative objects, particularly glasswork, became renowned throughout the Mediterranean. The empire benefitted from the trade of these goods economically and culturally, as Mamluk craftsmen began to incorporate elements gleaned from contact with other groups. The growing prevalence of trade with China and exposure to Chinese goods, for instance, led to the Mamluk production of blue and white ceramics, an imitation of porcelain typical of the Far East.
The Mamluk sultanate was generally prosperous, in part supported by pilgrims to Mecca and Medina as well as a flourishing textile market, but in 1517 the Mamluk sultanate was overtaken and absorbed into the growing Ottoman empire.
What does the Taj Mahal have to do with the Tamerlane? What do Persian carpets have to do with Turkish tiles? Quite a bit, as it turns out. By the fourteenth century, Islam had spread as far East as India and Islamic rulers had solidified their power by establishing prosperous cities and robust trade in decorative arts along the all-important Silk Road. This is a complex period with competing and overlapping cultures and empires. Read below for an introduction to the later Islamic dynasties.
At its earliest stages, the Ottoman state was little more than a group formed as a result of the dissolution of the Anatolian Seljuq sultanate. However, in 1453, the Ottomans captured the great Byzantine capital, Constantinople, and in 1517, they defeated the Mamluks and took control of the most significant state in the Islamic world.
While the Ottomans ruled for many centuries, the height of the empire’s cultural and economic prosperity was achieved during Süleyman the Magnificent’s reign (r. 1520-1566), a period often referred to as the Ottoman’s ‘golden age.’ In addition to large-scale architectural projects, the decorative arts flourished, chief among them, ceramics, particularly tiles. Iznik tiles, named for the city in Anatolia where they were produced, developed a trademark style of curling vines and flowers rendered in beautiful shades of blue and turquoise. These designs were informed by the blue and white floral patterns found in Chinese porcelain—similar to earlier Mamluk tiles, and Timurid art to the East. In addition to Iznik, other artistic hubs developed, such as Bursa, known for its silks, and Cairo for its carpets. The capital, Istanbul (formerly Constantinople), became a great center for all matters of cultural importance from manuscript illumination to architecture.
The architecture of the period, both sacred and secular, incorporates these decorative arts, from the dazzling blue tiles and monumental calligraphy that adorn the walls of Topkapi Palace (begun 1459) to the carpets that line the floors of the Süleymaniye Mosque (1550-1558). Ottoman mosque architecture itself is marked by the use of domes, widely used earlier in Byzantium, and towering minarets. The Byzantine influence draws primarily from Hagia Sophia, a former church that was converted into a mosque (and is now a museum).
This powerful Central Asian dynasty was named for its founder, Tamerlane (ruled 1370-1405), which is derived from Timur the Lame. Despite his rather pathetic epithet, he claimed to be a descendent of Genghis Khan and demonstrated some of his supposed ancestor’s ruthlessness in conquering neighbouring territories.
After establishing a vast empire, Timur developed a monumental architecture befitting his power, and sought to make Samarkand the “pearl of the world.” Because the capital was situated at a major crossroads of the Silk Road (the crucial trade route linking the Middle East, Central Asia, and China), and because Timur had conquered so widely, the Timurids acquired a myriad of artisans and craftspeople from distinct artistic traditions. The resulting style synthesized aesthetic and design principles from as far away as India (then Hindustan) and the lands in between.
The result can be seen in cities filled with buildings created on a lavish scale that exhibited tall, bulbous domes and the finest ceramic tiles. The structures and even the cities themselves are often described foremost by the overwhelming use of blues and golds. While the Timurid dynasty itself was short-lived, its legacy survives not only in the grand architecture that is left behind but in its descendants who went on to play significant roles in the Ottoman, Safavid and Mughal empires.
The Safavids, a group with roots in the Sufic tradition (a mystical branch of Islam), came to power in Persia, modern-day Iran and Azerbaijan. In 1501 the Safavid rulers declared Shi’a Islam as its state religion, and in just ten years the empire came to include all of Iran.
The art of manuscript illumination was highly prized in the Safavid courts, and royal patrons made many large-scale commissions. Perhaps the most notable of these is the Shahnama (or ‘Book of Kings,’ a compilation of stories about earlier rulers of Iran) from the 1520s. While painting in this context did not have the same prominent and longstanding tradition as it does in Western art, the illustrations exhibit masterful workmanship and incredible attention to detail.
Trade in carpets was also important, and even today, people understand the appeal of Persian carpets. These large-scale, high-quality pieces were created as luxurious furnishings for royal courts. The most famous—perhaps of all time—is a pair known as the Ardabil Carpets, created in 1539-1540. The carpets were nearly identical, perfectly symmetrical and enormous. Every inch of space was filled with flowers, scrolling vines, and medallions.
The empire began to struggle financially and militarily until the rule of Shah Abbas (c. 1587-1629). He moved the capital to Isfahan where he built a magnificent new city and established state workshops for textiles, which, along with silk and other goods, were increasingly exported to Europe. The mosque architecture made use of earlier Persian elements, like the four-iwan plan and building materials of brick and glazed tiles reminiscent of Timurid architecture, with its blues and greens and bulbous domes. Even in such far-removed lands, the connections between these dynasties are evident in the art they created.
Though Islam had been introduced in India centuries before, the Mughals were responsible for some of the greatest works of art produced in the canons of both Indian and Islamic art. The empire established itself when Babur, himself a Timurid prince of Turkish and Central Asian descent, came to Hindustan and defeated the existing Islamic sultanate in Delhi.
Tracing their roots to Central Asia, the Mughals produced art, music and poetry that was highly influenced by Persian and Central Asian aesthetics. This is evident in the style and importance given to miniature paintings, created to illustrate manuscripts. The most grandiose of these was the Akbarnama, created to record the conquests of Akbar, widely regarded as the greatest Mughal emperor. The art and architecture created during his reign demonstrate a synthesis of indigenous Indian temple architecture with structural and design elements derived from Islamic sources farther West. The Mughals developed a unique architectural style which, in the years after Akbar’s reign, began to feature scalloped arches and stylized floral designs in white marble. The most famous example is the Taj Mahal, constructed by Shah Jahan from 1632-1653.
The Mughal dynasty left a lasting mark on the landscape of India and remained in power until the British completed their conquest of India in the nineteenth century. Although historians generally agree that the major Islamic dynasties end in the nineteenth and early twentieth centuries, Islamic art and culture have continued to flourish. Muslim artists and Muslim countries are still producing art. Some art historians consider such work as simply modern or contemporary art while others see it within the continuity of Islamic art.