Line and Form in Islamic Art

      Regardless of material, scale and technique, the lines and geometric motifs used in Islamic art are practically always the same. Complex geometric forms are reached through applying the principle of multiplication and sub division to achieve a symmetrical repetition of an extraordinary variety of figures. Geometric motifs, are sometimes based on abstractions of the natural world, and may often have a symbolic meaning.

Decorations on textiles, fabrics and rugs are mostly composed of straight-line plain bands, zigzags and boxes. These representations often appear schematic and flat, as the use of figurative representation was highly schematic, geometric and abstracted, figures are rendered unrecognizable. The artistic schematization of fabric design carries on into the decoration of ceramics. The ceramics are often worked with very simple geometric shapes or schematized plant motifs, which are highly abstracted. In seeking to emphasize form, radial lines were used to decorate bowls, plates and other open vessels, as horizontal lines were used to decorate closed ones.

Islamic artists adopted elements from the classical tradition, but then elaborated upon them in order to create a very different visual language based on logic, order, and unity. Geometric patterns, calligraphy and vegetal patterns are the three main ornamental elements in Islamic art.  In terms of line, forms were often created using schemes based on repetitive and intertwining geometric patterns. Within the Islamic artistic tradition, the circle was regarded as the fundamental form from which squares, diamonds or rhombuses, hexagons, octagons, and complex stars were composed. The Islamic tradition, which was heavily rooted in astronomy and mathematics, was thus incorporated into the visual field as the compass and ruler became the main instruments of artistic design.

Calligraphy was viewed as the geometry of line, which sought to combine geometric shapes, in a structural manner, in order to attain complex patterns. These patterns are made of a small number of repeated shapes. Simple geometric forms such as the circle, line and square are systematically juxtaposed, combined and duplicated. The systematical arrangement of the shapes is achieved through the use of a grid; two types of grids are used, one based on the equilateral triangle and the other based on the square. Thus rather than being freehand, expressive, or emotional the lines in Islamic art are often very mathematic and objective. The firmness of the line, as it is being used a contour line or outline endows most works of art with a sense of solidity and two dimensionality and establishes it as a pattern or abstract representation rather than an illusionistic image. The artist, having to follow an already existing scheme, is dawn away from a subjective or emotional treatment of the work towards a more rigid and structured one.

                                                                                                                                      Carol Hourani

Sources:

Newman, Rochelle, and Martha Boles. The Golden Relationship: Art, Math, Nature. Book 1. Universal Patterns, 2nd rev. ed. Book 2. The Surface Plane. Bradford, Mass.: Pythagorean Press, 1992.

Baer, Eva. Islamic Ornament. Edinburgh: Edinburgh University Press, 1998.

Bloom, Jonathan M., and Sheila S. Blair. Islamic Arts. London: Phaidon Press, 1997.

Proportions in Islamic Art

          From the IX century to the X one, Islamic art didn’t reproduce faithfully enough the proportions of the human body. In a polychrome ceramic found in Nishapur (in Eastern Iran) there is a huntsman whose abdomen is quite disproportionate to the rest of his body, so are his enormous legs. He is going to kill a cheetah that is little to the possible realistic dimension. In another big cup made with the same technique in the same period, cheetahs help huntsmen riding horses or walking on foot. All figures are plain and disproportionate among themselves: the eyes of the huntsmen cover the profile of the head at all and the nose is big, but it is not protruding. Perspective is totally absent and cheetahs seeming to climb on the horses are little to real dimensions, so that they remind reptiles rather than mammals. The huntsmen on foot are covered by enormous shields which let only legs and heads are shown.

          Regarding the columns of the palace of Mas’ud the III, an Iranian king who lived between the XI and the XII century, they were realized with a technique that was different from the one of Greek and Roman columns because the base was larger. The more the column was near to the capital, the more it got stricter, but the capital was greater. Wherever inscriptions appear, they are big. Writing had an extreme importance, like a burial stone made with white marble shows. It was made in the XII century, it was found in Afghanistan and the text written on it says: “In the name of the gracious and merciful god”. In another tile to decorate walls, writing has an important role too and it is greater than decorations of the background. In a glazed ceramic made with slip painting, the wings which depart from the back of a bird are enormous, they seem to be another body and they give a greatest beauty to the bird creating an effect of movement.

          Iranian ceramists who lived during the XIII century built vases thanks to a technique called Lajvardina. They used blazed ceramic with applications of golden leaves on a blue background. This period in which they were made is called Ilkhanide. A vase is piriformis, with a long neck. The lower part is greater than the neck. On the top of the neck, there is a medium swollen. Some blazed ceramics of the previous century instead don’t present differences of dimensions between the base and the upper part.Moreover, a relief tile represents knights playing polo. It is made with ceramic with metallic and blue luster. It was found in Kashan and it was made in the XIII century.

          Eastern artists of that period were able to calculate and respect the proportions of the man to the horse and they became more able to calculate them by next century. In fact, in the images made in the XIII century and the XIV one there is an evolution of the proportions. A number of realistic hares are portrayed on a star-shaped tile. It is a ceramic painted thanks to blue luster which was found in Iran. The same technique was also used with another star-shaped tile (1291 – 1292) with a group of elephants which remind the story of the return of Isfandyar from his seven expeditions.

Angelo Viglioglia

Materials in Islamic Art (200AD-1350AD)

          Throughout the ages, Islamic art has always demonstrated great care for ornamental and decorative patterns. Thanks to skillful artisans, who were able to handle a wide range of materials, Islamic art could develop sumptuous and rich manufactures, and introduce or re-establish particular and complicated processing techniques. The main materials used to produce works of art were not only metal, glass, ivory, and wood, although scarcely present in the Islamic region, but also bronze, brass, and silver inlays. Another important material used in the production of precious textiles and cloths was silk, which was usually first manufactured in China, where silkworms grew in a more favorable climate, and then brought to the Middle East (Kleiner 350).

           Concerning the Arsacid dynasty, dating back to the second half of the 3^rd century BCE to the 3^rd century CE, a well-conserved collection of pottery is actually visible in the museum. Arsacid pottery, moreover, reveals something important about the strong regionalism which was common place in that geographical area, the southern eastern area of the Caspian Sea, and about the stylistic and formal continuity with the most ancient Iranian traditions(Ministero per i Beni e le Attività Culturali, museum's informative papers).

Ceramics and a Copper Inkwell - photograph from the Museo d'Arte Orientale, Rome

          On the contrary, the Sassanid dynasty (from the 3^rd to the 7^th century CE), used metalwork to stress the court’s splendor. Many of these works of art, such as silver or golden boxes, bowls, plates, and bottles had symbolic - mythical functions. For example, there are hypothesis claiming that they were used as gifts for political propaganda’s ends, since many have been found in areas corresponding to present Russia, very far from the production centers. Sassanid artisans also manufactured terracotta cups, which were believed to have magic powers thanks to protective inscriptions hold inside. Finally, it is important to underline the vast manufacturing of silver and golden opulent belts.

Sketch: Glass Bottle with Blue and Gold inlays - Museo d'Arte Orientale, Rome

          With particular reference to Iranian art, especially from the 9^th and 10^th centuries, it is important to point out the various typical shapes which characterized Iranian metalwork. There are numerous examples in the museum showing jugs inspired to Roman models, and tight lavender bottles, decorated with inlays and pear-shaped aspect. What is more interesting is the important variety of techniques used by Iranian potters, such as that of creating artificial slurry which replaced clay usage. The objects created with this new more resistant mix were then covered with white or blue glazing, and decorated with carved or bas-relief decorative motifs, remanding of Chinese porcelain, which were greatly appreciate in the Islamic world. Another important technique, which was introduced during the 13^th century, was that of damascene. It consisted in the creation of glittering effects through the inlay of silver, gold, and copper laminas on metal surfaces. In this way, we can admire jugs, little boxes, basins, and candlesticks made with this technique. We can find also perfume burners, mirrors, and mortars made of bronze with inlayed decorations of vegetal, floral, and epigraphic motifs(Ministero per i Beni e le Attività Culturali, museum's informative papers).

Bronze Mirror - photograph from the Museo d'Arte Orientale, Rome

Bronze perfume burners - photograph fro the Museo d'Arte Orientale, Rome


























Works Cited:

Kleiner, Fred S. Gardner's Art Through The Ages. A Global History. Ed. 13. Vol.2. Wadswarth, 2011.     Print.

Ministero per i Beni e le Attività Culturali. Sala 3: Vicino e Medio Oriente. Gli Imperi: Archemenidi, Parti, Sasanidi. Museo Nazionale D'Arte Orientale "Giuseppe Tucci".

Ministero per i Beni e le Attività Culturali.Sala 4: Arte e Archeologia Islamica.Museo Nazionale D'Arte  Orientale "Giuseppe Tucci".


Maria Plateo

Color and Technique

          Islamic art coloring and technique developed and changed through its ruling power and outside influences. The individual cultures were unified by the Islamic religion. Therefore, religion dominated Islamic art forms. Specific techniques and color schemes can be identified through changes in the Islamic empire. Overall, I observed highly saturated colors in the works. The colors include shades of brown, red, yellows, oranges, as well as bright blues and greens. Islamic art also used metals for their works. Silver, bronze, and gold is also very prevalent throughout the exhibit. Here are two examples of luxury ceramics that were popular for 12^th-13^th century Islamic culture.

Museo Nazionale d'Arte Orientale (Rome, Italy) AD 12-13th

The “Bowl with Horseman” is an example of mina’I  (“enamel”); a type of ceramic distinguished by its limited color scheme and technique native to Kashan in North Iran. A mina’I pattern contains seven different colors. This particular bowl is decorated with polychrome, vegetal design. The lusterware technique typically used in Kashan would have given the ceramic an overall brown-yellow tone that appeared metallic. The gold or bronze inlay can still be seen. It accentuates the minor details of the painting, outlining details of the horses riding wear and sleeves of the man’s outfit. The polychrome and luster technique used for this particular piece, was very time consuming and expensive. By the precious metal inlay we can tell this is a luxury ceramic. What is significant about the technique used is its effect on the color. During the lusterware method, colors were applied both before and after being glazed. The stable colors that could be fired without diminishing the color, were placed before the glazing. These colors included deep blues, greens, and purples. The colors used before the glaze seem to have been preserved better, while the red, blacks, and golds painted on after the finish have faded. Though the colors now appear more muted, the colors were more likely very rich and the lusterware added gave it a metallic shine.

          The colors are much more preserved in this ceramic. Though it is from around the same time period, we can note many differences and so infer a more specific time period. The bowl appears to be an example of fritware, a specific Islamic technique dating back to the 11^th century. It more simplistic and lighter than the first piece, thought to imitate Chinese design and influence. In the beginnings of these earthen wares, Islam used lighter colors, but as it developed more of its unique taste, the colors became darker and the designs more elaborate. The characters in this piece are much more stylized and contain a lot more design and detail. Depicted here is also a horseman. The horses both seem to be painted black with the man painted in brighter color. This makes the man and zoomorphic figures stand out from the dominant black figures. The color pattern of the ceramic is formally balanced. The colors are mirrored all around the piece. Metal inlay is not present in so it can also be assumed that this is from an earlier period before metal trading became popular in the society. 

Kaylyn Burrow

Body Ornament in Islam

          The Museo Nazionale d'Arte Orientale in Rome, displays the art of Asia from Persia to Japan, over the period from the fifth century B.C. to the present day. Its fourteen rooms are filled with an impressive array of gold jewelry and bronzes, ceramics, vases, busts, clothing, sculpture and paintings. In this blog, our focus will be on Islamic jewelry dated from 200 A.D. to 1350 A.D.

          Some of the Islamic body ornaments found in the museum include covering lamina, bracelets, earrings, necklaces, and pendants. These ornaments are usually made of silver, gold or bronze, and are often decorated with zoomorphic figures. Ornaments often recall Iranian, nomadic, Mesopotamian, and Egyptian art. In a similar manner to which Islam presents a way of life and provides a platform for the unification of culturally and ethnically diverse societies, Muslim art has basic particular and unifying characteristics. Islamic ornaments usually incorporate 4 basic elemental components of design, namely calligraphy, vegetal patterns, geometric patterns and figural representation.

          Articles of Ancient Islamic Jewelry were often made of solid gold and silver coins. These coins, which were mostly worn as necklaces, bracelets and rings, were frequently inscribed with Quranic Verses. Such jewelry was simple and void of gemstones and intricate or elaborate design. It is important to note however, that in the Islamic tradition men have always been discouraged to wear any gold ornamentation. Gemstones and other alloys were only used after Mohammad’s time as Islamic kings expanded the empire and as the Muslim culture developed.

          Although jewelry is not encouraged nor prohibited in the Quran several verses mention ornamentation, gold and other precious materials as part of the treasures of paradise. The faithful were to believed to be adorned with gold bracelets, pearls and corals at the gate of paradise. Since Islamic burials didn't include any artifacts to be buried with the dead most jewelry was recycled. However from surviving artifacts it is obvious that Arabic inscriptions, strong use of granulation and openwork filigree, fine metal wires which were soldered on metal objects in delicate designs, were fashionable.