Islamic Architecture and Art

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The time period Islamic historically means that work that was designed in a region that was dominated by Muslims. This religion has been in existence when you consider that 600 AD in what is at present known as Saudi Arabia. The Islamic faith spread out in the seventh century first in the Arabian Peninsula, before being taken to center east and Asia as well as some parts of North Africa and Europe. The Islamic structure comprises of two important section of the building. First is the Madrasah (a combination of law and religion school). The architecture in this context has transformed over time, and it relies upon on the geographical location. In many cases, it is a structure which is four sided and contains a large central court. And the second important building is the mosque. The mosques have entrances of semi-circular arches and large central domes. The Minaret is also present; this is a narrow tower that contains come stairs that direct people a location where prayers are held. The minaret remains a symbol of Islam and can be seen from a distance. Inside the mosques, walls are decorated with forms of decorations that range from human or animal form.

Then Islamic art originated from the 7th century and was done by those people who existed at a point in time and ruled by the Islamic population. Islamic art isn’t a restricted religion but entails all the arts of varied cultures and rich Islamic community. It sometimes includes other forms secular elements. The Islamic art developed from numerous sources: Byzantine, early Christian art, and Roman style were adopted in early Islamic architecture and art. The Sassan art of the pre-Islamic Persia had a great influence on Islamic art; those styles that exist in central Asia came as a result of the nomadic Invasion, and the Chinese also had some impact on the Islamic textiles, pottery, and paintings. From the 18th century, the Islamic art elites have increasingly been influenced by the styles from Europe. The Islamic carpet remains to be significant today and even large, the designed that are adopted today coined before the 1700 century.

Calligraphy, Geometric and Vegitative Motif

The vegetal pattern used alone or together with other greater ornaments figural representation, geometric pattern and calligraphy adorn a vast number of textiles, objects manuscripts, and buildings that are produced with the Islamic states. The early century of the Islamic era has accompanied the adoption of semi-naturalistic pre-Islamic patterns and motifs followed by highly diverse and widespread by tastes of the current Muslim patrons and aesthetic interests. It was in the 20th century that a fully developed and highly abstract Islamic art arose featuring that most ubiquitous and original that is known as “arabesque.”

When the Mongol invaded Western Asia in the 19th century an after settling established a court system in Iraq in the twentieth century, so many chinese patterns and motifs were sometimes accepted in a more revised form; this was an important period because it signified the changes in the decorative Islamic art the would stand out for so many centuries. In the seventeenth and sixteenth century empires Mughals, Safavids and Ottomans and India complicated versions of established patterns were used at times using new interests in the naturalistic looking blossoms or flowers. Based on this exception of the garden patterns and motifs in the Islamic art are greatly symbolic features.

Why Calligraphy Become Part of the Islamic Art

Caligragrapghy is entirely an artistic practice of calligraphy or handwriting that is based on the alphabets in the lands and also shares a mutual cultural heritage of Islam. It includes Persian calligraphy, Ottoman, and Arabic. In the Arabic language, it is known as khatt Islami meaning construction, design and Islamic line. The primary source of the Islamic calligraphy can be traced on the Quran, excerpts from the Quran and chapters; this continues to accepted text upon which the Islamic Calligraphy can be traced. Calligraphy has transformed to become a major form of artistic expression in the culture of Islam. As the Islamic calligraphy it remains to be a greatly revered work that was set by calligraphers.

The Islamic calligraphy is presented in many mediums other than paper such as inscriptions, carpets, vessels, and tiles. Before the paper came into existence parchment and papyrus were utilized for writing. With the introduction of paper, calligrapghy was revolutionized. Coins were later on used to spread the Islamic calligraphy. In the early 692, the caliphate of Islam reformed the coin by replacing visual portrait with words. This was true for gold or dinner coins of greater value. Many of the coins were made with quotes that came from the Quran. Those persons who had embraced Islam in the tenth century were responsible for weaving inscriptions in the wider silk pattern. The textiles which were brought in Europe and were inscribed by calligraphy were taken to be prized possessions.

Calligraphy is the most fundamental and regarded element of the Islamic art. The use of Calligraphy had some significant impact and also included an underlying talismanic component. Different regions and origins vary in the way they adopt calligraphy in their entire design, showing the creative potentials of calligraphy as the ornament. Calligraphy has transformed to become an essential element in decoration. It is because of this reason that artists that artists of the Arabic script to create the pieces of writing as an ornament. The overall world can give the impression of a single letter, or random brushstrokes can grow into a decorative knot. In other examples, the calligraphy is often used with vegetal scrolls creating an interaction of decorative element.

According to the Islamic faith, an individual who has clear through and the high level of spiritual devotion could attain the skill that is needed to create the present calligraphic work. Those people who have the talent to develop these calligraphies often achieve some status in the society. The foundation of the globally recognized calligraphy was initiated by three great geniuses of 3 calligraphers from Baghdad: Orkut al-Musta’simi, Ibn al-Bawwab and Vizier Ibn Muqla. Vizier Ibn Muqla was responsible for coming up with the principles calligraphy that was in 886–940. From that point to date the present Caligraphers have adopted the theory of proportion based on three core components: circle, Alif, and dot. The relationship of the three items is determined by the width of the rhomboid dot that shaped by the nib of the pen.

Bibliography

Ahmed, Ar Sayed. 2014. “THE SPIRITUAL SEARCH OF ART OVER ISLAMIC ARCHITECTURE WITH NON-FIGURATIVE REPRESENTATIONS.” Journal Of Islamic Architecture 3 (1): 1. doi:10.18860/jia.v3i1.2538.

Alraouf, Ali A. 2012. “THE ROLE OF MUSEUM’S ARCHITECTURE IN ISLAMIC COMMUNITY: MUSEUM OF ISLAMIC ART, DOHA.” Journal Of Islamic Architecture 1 (2). doi:10.18860/jia.v1i2.1721.

Ettinghausen, Richard, Oleg Grabar, and Marilyn Jenkins. 2001. The Art And Architecture Of Islam 650-1250. 1st ed. New Haven, CT: Yale University Press.

Honour, Hugh, and John Fleming. 2017. The Visual Arts: A History. 7th ed. Laurence King Publishing.

Johnson, Walter M., Ernst Kuhnel, and Katherine Watson. 1968. “Islamic Art And Architecture.” Art Education 21 (5): 32. doi:10.2307/3191154.

Sinclair, Susan, C. H Bleaney, and Pablo García Suárez. 2012. Bibliography Of Art And Architecture In The Islamic World. 1st ed. Leiden: Brill.

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