art history

This period is the era of the last great Islamic Empires. The Ottoman Empire, which had started as a small Turkic state in Anatolia in the early fourteenth century, emerged in the second half of the fifteenth century as a major military and political force. The Safavids, who established Shia Islam as the dominant faith of Iran, ruled from 1501–1722 and were the greatest dynasty to emerge from Iran. Architecture, paintings, manuscripts and carpets all flourished under the Safavids. In the eighteenth century, a period of turmoil in Persia, the Qajar dynasty  (1779–1924) rose to power and established peace and their rule saw the beginning of modernity in Iran. The other great dynasty that oversaw a remarkable artistic and architectural output was the Mughals. Founded by Babur, the Mughals (c. 1526–1858) ruled over the largest Islamic state in the Indian subcontinent the emperors of the Mughal dynasty were patrons of some of the greatest works of Islamic art, such as illuminated man

By the tenth century, there was fragmentation and individual dynasties sprang up. These dynasties had varying degrees of control over different parts of the lands where Islam was the dominant or a major religion. They were important patrons of architecture. The Ilkhanid dynasty disintegrated in 1335 and local dynasties came to power in Iraq and Iran While artistic production and architecture flourished in Asia under different Islamic dynasties, it also bloomed in the western Islamic lands. The most famous of these dynasties is probably the Nasrids (1232-1492) of the southern Iberian Peninsula and western North Africa 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 Is

ceramics or architecture 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. Architecture was a combination of multiple cultures; a standard was not yet established 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.  he use of luster painting (which gives ceramic ware a metallic sheen) became popular in surrounding regions and was extensively used on tile for centuries.  Artisans in Samarra developed a new method for carving surfaces that allowed for curved, vegetal forms (called arabesques) which became widely adopted. Overall, the Abbasid epoch was an important transitional period that disseminated s

 the mosque in its many forms is the quintessential Islamic building. The mosque, masjid in Arabic, is the Muslim gathering place for prayer.  The style, layout, and decoration of a mosque can tell us a lot about Islam in general, but also about the period and region in which the mosque was constructed. The architecture of a mosque is shaped most strongly by the regional traditions of the time and place where it was built. As a result, style, layout, and decoration can vary greatly.  The most fundamental necessity of congregational mosque architecture is that it be able to hold the entire male population of a city or town; in many mosques this is adjoined to an open courtyard, called a sahn. Within the courtyard one often finds a fountain, its waters both a welcome respite in hot lands, and important for the ablutions (ritual cleansing) done before prayer. Another essential element of a mosque’s architecture is a mihrab—a niche in the wall that indicates the direction of Mecca,

Islamic art is a modern concept created by art historians in the 19th century to facilitate categorization and study of the material first produced under the Islamic peoples that emerged from Arabia in the seventh century. Today, the term Islamic art describes all of the arts that were produced in the lands where Islam was the dominant religion or the religion of those who ruled.  Thus, the term Islamic art refers not only to works created by Muslim artists, artisans, and architects or for Muslim patrons. It encompasses works created by Muslim artists for patrons of any faith Islamic art is not a monolithic style or movement; it spans 1,300 years of history and has incredible geographic diversity—Islamic empires and dynasties controlled territory from Spain to western China at various points in history.  Calligraphy is a very important art form in the Islamic world. The Qur’an, written in elegant scripts, represents Allah’s—or God’s—divine word, which Muhammad received directly f

 The Ardabil Carpet. Maqsud of Kashan. 1539–1540 C.E. Silk and wool.  The Ardabil Carpet is exceptional; it is one of the world's oldest Islamic carpets, as well as one of the largest, most beautiful and historically important. It is not only stunning in its own right, but it is bound up with the history of one of the great political dynasties of Iran. Carpets are among the most fundamental of Islamic arts. Portable, typically made of silk and wools, carpets were traded and sold across the Islamic lands and beyond its boundaries to Europe and China. Those from Iran were highly prized. Carpets decorated the floors of mosques, shrines and homes, but they could also be hung on walls of houses to preserve warmth in the winter. Safavids; their rule, which lasted until 1722, was one of the most important periods for Islamic art, especially for textiles and for manuscripts. The pile of the carpet is made from wool, rather than silk because it holds dye better.  The dyes use

General Carpets are woven works of art that were produced at every level of society in the Islamic world. Women have been weaving for centuries in villages and nomadic encampments all over the Middle East, Anatolia, and Central Asia, each woman passing down her techniques and designs to her daughters. These women created carpets both for sale and for their own personal use, and this tradition continues today. Carpets were also made in the royal courts of the Islamic world. These carpets were not just functional floor coverings, they were ornate works of art that indicated the status and wealth of their owners. Court carpets were used on the floors in reception halls, audience chambers, and at court-supported religious institutions. They were also presented as impressive gifts to other rulers.  Rulers had access to expensive materials, such as silk and metal-wrapped threads, and employed the most highly skilled designers and weavers in their empires to create enormous and luxurio

The Court of Gayumars, folio from Shah Tahmasp’s Shahnama. Sultan Muhammad. c. 1522–1525 C.E. Ink, opaque watercolor, and gold on paper. comes from an illuminated manuscript of the Shahnama (Book of Kings)—an epic poem describing the history of kingship in Persia (what is now Iran).  its luminous pigments, fine detail, and complex imagery, this copy of the Shahnama stands out in the history of the artistic production in Central Asia.  The Shahnama was written by Abu al-Qāsim Ferdowsi around the year 1000 and is a masterful example of Persian poetry. The epic chronicles kings and heroes who pre-date the introduction of Islam to Persia as well as the human experiences of love, suffering, and death. The epic has been copied countless times—often with elaborate illustrations  manuscript illumination was central to Safavid royal patronage of the arts. This particular manuscript of the Shahnama was begun during the first years of the 16th century for the first Safavid dynastic

Bahram Gur Fights the Karg, folio from the Great Il-Khanid Shahnama. Islamic; Persian, Il’Khanid. c. 1330–1340 C.E. Ink and opaque watercolor, gold, and silver on paper. Bahram Gur Fights the Karg is a book illumination depicting one of the many stories from the Shahnama, the Persian Book of Kings. he text of the Shahnama was composed by a poet named Firdawsi around 1000 C.E. Considered to be Iran's national epic The illustration Bahram Gur Fights the Karg depicts one such story of the brave deeds of a Persian king, Bahram Gur, who singlehandedly defeated the monstrous Karg (horned wolf). the Mongol artists who created this work were fulfilling their patrons’ strong desire to identify with the noble, virtuous, and powerful warrior-kings of ancient Persia. Bahram V was a king of the Sasanian empire that ruled Persia from the third to the seventh century, just prior to the arrival of Islam.   He was known as a great hunter of onagers, a favorite game animal in ancien

Basin (Baptistère de St. Louis). Muhammad ibn al-Zain. c. 1320–1340 C.E. Brass inlaid with gold and silver. used to baptize the children of the royal family of france not originally a french family; of Egypt and Syria  created by Mamluk artisans; extraordinary craftsmen  known for their textile and metal work; premier example  filled with figures and animals; decorative patternings  abstract pattern of sea animals on the basin; silver, gold, and black paste; eels continuous band of animals that parade around the inner wall  frieze of men on horseback; decapitated head  figures outside the bowl; men, soldiers in armor; each individual  fleur de ils; symbol of the royal family islamic inscriptions absent; made for export; non-islamic animals line the basin: leopard, camel, antelope running, jumping; movement arabic signature; signed six times; ibn al-Zain