Progression Of Islamic Art Essay -- essays research papers

There exist three basic components of traditional Islamic ruse calligraphy, geometrical patterns, and floral and vegetal motifs. These three stylistic tools argon beautifully rendered and masterfully integrated into complex works of art, but there is no question that tasteful expression is severely limited under these categorizations. However, this limitation stems from Islamic theology and concept of art. The main reason for the limitation imposed on visual art is the Islamic theological prohibition of figural imagery. Social laws presented in the Hadith prevented the representation of figures because any imitation was deemed idolatrous. Also, art is considered to be decorative and imitative. Script and patterns are used to decorate objects, whether they be architectural structures, prayer rugs, ceramics, and books. The geometric objects of course led to fastidious patterning and repetition. Although the Islamic community prohibited figural imagery, the communitys rapid expansi on during the centuries after its inception diluted the rigidity of traditional customs. Assimilated countries and cultures that practiced figural art before the Islamic armies came continued to do so. These assimilated artistic styles did utilize figural imagery, yet they still reflected the traditional artistic components of Islam. The introductory plaque at the entrance of the Islamic Art collection at the metropolitan Museum of Art states that Islamic art is characterized by stasis, and that even assimilated foreign styles have always retained its intrinsic quality and unique identity. The beautifully rendered book miniatures of the Shahnama of Shah Tahmasp instance this last point wonderfully. The Shahnama, translated as The Book of Kings, is an Iranian national epic penned by the poet Firdausi between 975-1010 AD. Centuries later, it became the custom for shahs to have their own personal copy of the Shahnama. This naturally transformed the quality of the book into measurement of status. The second shah of the Safavid dynasty, Tahmasp, was a great patron of the arts. Not only did he have his copy ornamented with gold, silver, rich colors, and swell calligraphy, he employed the most distinguished artists of the time to paint the two-hundred-and fifty-eight inked figural miniature paintings that accompany each page of text. Although all the miniatures are of convertible style,... ...y man. Though the painting may imply universal plight, the depiction represents a particular moment in time. Although violent, the miniature presents the moment of apprehension, the moment before the trespass of the sword and the resulting death through which one leaves the mortal realm for the divine. In fact, the uniform face heightens the tension of the painting, because the observer gets no sense of the warriors predictions of achievement or defeat. The outcome is unknown to the warriors, even though symbolically Allah knows for the result is written above in the text. Even the observer of the work knows following his or her reading. The warriors ignorance only makes the fated defeat and death more tragic. The war ends in a Sufarai victory and the national honor of pre-Islamic Iran is restored. Interestingly, Islamic history has goose egg to do with the content of the story, yet its influence is apparent in the Arabic text, geometric designs, floral motifs, and resulting implications. Though breaking the proscription of images, the Sufarai Victory Over the Haital, as well as all the miniatures in Tahmasps Shahnama, retain the intrinsic quality and unique identity of Islamic art.