detail from: KRK Art dizajn

ART RECOGNITION (3)

Simo Jelača, Ph.D.

ISLAMIC ART

Islamic art emerged alongside the rise of Islam in the 7th century. In 610, Muhammad ibn Abdullah began preaching the message of monotheism in Mecca. After fleeing to Medina in 622—an event that marks the beginning of the Islamic calendar—he established the first Muslim community. Within a century, Islam had spread across vast territories, shaping the cultural and artistic identity of the regions it reached.

The earliest phase of Islamic art is associated with the Umayyad dynasty (661–750), during which the first monumental mosques with minarets were constructed and richly decorated with mosaic inscriptions. From the 11th century onward, the Almoravids and Almohads in North Africa and Spain developed the distinctive Moorish style. In Iran and Egypt, the Seljuks and later dynasties fostered artistic exchange, particularly in miniature painting and carpet weaving, both of which reached exceptional refinement. Ottoman architecture later synthesized these traditions into a unified imperial aesthetic.

Islamic creativity found its strongest expression in architecture and the applied arts. Figurative painting and sculpture were generally discouraged. The Turks brought their artistic traditions to the Balkans after 1371; among the earliest surviving monuments is the Murat II Mosque in Skopje, while the Gazi Husrev-beg Mosque in Sarajevo (16th century) stands as one of the finest examples.

Architecture

Faith, daily prayer, and pilgrimage to Mecca profoundly shaped Islamic architectural forms. Between the 7th and 9th centuries, the Islamic empire encompassed Syria, Mesopotamia, Iran, North Africa, Egypt, and Spain. Its capitals—Medina, Damascus, and later Baghdad—became centers of architectural innovation. Major monuments from this period include the mosques of Jerusalem, Damascus, Cairo, and Marrakesh. From the 16th century onward, the Ottoman Empire, centered in Constantinople (Istanbul), dominated Islamic architectural development. In India, monumental works such as Akbar’s Mosque and the Taj Mahal in Agra represent another flourishing center.

Islamic architecture is characterized by its groundedness, human scale, and intricate ornamentation. Turks and Mongols emphasized the integration of buildings with gardens, creating harmonious relationships between nature and architecture. The arch and the dome became universal elements. In Samarra (Iraq), the famous spiral minaret with an external ramp was constructed. No other architectural tradition developed such a rich variety of arches. After the conquest of Constantinople in 1453, the Ottomans perfected a sophisticated system of cascading domes. Stalactite-like muqarnas became a signature decorative motif.

Islamic palaces were built both in cities and in desert settings, often adjacent to mosques. Public buildings included caravanserais, baths, hospitals, and bazaars. Sacred architecture encompassed mosques, minarets, madrasas, fortified monasteries, and mausoleums. Although Muslims may pray anywhere, communal prayer—especially the Friday noon sermon—is central. The Umayyads, upon moving their capital to Damascus, encountered Byzantine architecture and adopted the basilica plan. All mosques are oriented toward Mecca. Ottoman mosques typically feature four minarets, while Egyptian mosques often have only one. The madrasa, originating in Persia, served as a school for Quranic study. A representative example of Ottoman architecture is the Sultan Ahmed Mosque (the Blue Mosque) in Istanbul.

Decoration and Applied Arts

Islamic decorative arts reflect the shared heritage of nomadic cultures—Bedouins, Turks, and Mongols—who favored abstraction. Islamic ornament incorporates Greek, Roman, and Central Asian elements. The same motifs appear in carpets, bookbindings, and architectural decoration. Calligraphy, especially Quranic verses, is a central artistic element. Geometric patterns, chessboard designs, and stylized plant motifs are common in textiles and ceramics. The Arabic script lends itself naturally to ornamentation, and the name of Allah often appears alongside motifs of birds, boats, lamps, and mythical creatures. Turkish artisans, inspired by gardens, developed elaborate floral and palm-leaf designs.

Metalwork

Metalwork occupies a prominent place in Islamic decorative arts. Techniques such as engraving, casting, and stamping were widely practiced. Silver objects were often crafted in the form of small figurines. Major centers of inlay work included Cairo, Mosul, and Damascus, each with its own artistic school. Craftsmen produced mosque lamps, Quran stands, and household items. Mongol influence is evident in helmets, shields, sabers, and battle axes. Yataghans were made in Herat, as well as in Indian and Turkish workshops. Gold was used for luxurious bookbindings, while ivory carving followed Byzantine models. Woodcarving flourished in Egypt and Persia, especially in garden architecture. Glassmaking—using enamel, gilding, and crystal engraving—was highly developed, particularly in Syria.

Ceramics

Islamic ceramics form a bridge between ancient and European ceramic traditions. The Egyptians mastered glazing techniques early on, while Mesopotamia developed low-temperature enamel (majolica). Islamic ceramics were produced for both architectural decoration and everyday use. Persia, Samarra, and Susa were early centers. Many works imitate Chinese porcelain, especially the cups and plates of Samarkand. In medieval Cairo, artisans produced enameled ceramics with blue designs on light backgrounds. Cobalt glazes were widely used in Iran. Ceramic tiles with geometric and floral mosaics adorned monumental buildings. Islamic ceramics often sought to emulate Chinese pictorial realism. Ottoman ceramics—especially large wall tiles with floral motifs—are highly prized today.

Miniature Painting

Books held a special place in Islamic culture, and every believer owned a Quran. Public libraries were richly stocked, and calligraphy was a highly esteemed art. Miniaturists worked under the patronage of rulers and sultans. Early centers developed in Mosul and Baghdad. Miniatures featured carefully drawn figures and compositions influenced by Chinese painting. The most celebrated miniaturist was Behzad, who refined Islamic themes in the Persian style. Safavid miniatures influenced carpet design, achieving remarkable decorative richness. Indian miniature painting, shaped by European influences, attained greater realism. Chinese art profoundly shaped Islamic aesthetics, contributing to the rise of the brilliant Indo-Persian artistic tradition.

Carpets

Carpet weaving, rooted in prehistoric traditions, flourished among nomadic peoples of Persia, Afghanistan, Asia Minor, and the Caucasus. From these regions, the craft spread to China, Turkestan, Southeast Europe, and Africa. Carpets were originally used to cover the walls of sanctuaries and later became essential for Muslim prayer. Persia provided the greatest impetus to this art, producing carpets of exceptional quality. Persian craftsmen later brought their expertise to India.

All carpets feature a border framing a central field divided into decorative sections. Prayer carpets are a distinctive type. Carpets are classified into knotted, woven, and s-chain types. Knot density ranges from 1,500 to 3,000 knots per square meter for wool carpets, and from 4,000 to 8,000 for wool-and-silk carpets. Each region, tribe, and city developed its own motifs, colors, wool types, and weaving techniques. Persian carpets—especially those from Herat, Isfahan, Kashan, Kirman, and Tabriz—are renowned for their beauty. In India, major centers include Agra, Lahore, and Amritsar.

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