Table Of ContentART OF ISLAM
Gaston Migeon & Henri Saladin
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Authors : Gaston Migeon and Henri Saladin
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ISBN: 978-1-78042-993-9
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Gaston Migeon and Henri Saladin
Art of Islam
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Contents
Introduction 7
I. Architecture 9
A – The Near and Middle East . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
B – North Africa and Spain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
C – Iran and the Persian School . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
D – The Ottoman School . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
E – Muslim India . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89
II. Fine Arts 101
A – Sculpture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103
B – Metal Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123
C – Metalwork and Rock Crystals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151
D – Mosaics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155
III. Manufactured Products 161
A – Ceramics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163
B – Enamelled Glas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .187
C – Textiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .193
D – Carpets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203
IV. The Art of the Book 207
A – Arab Manuscripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .215
B – Egyptian Korans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .221
C – Persian Manuscripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .223
D – Indo-Persian Miniatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .229
E – Turkish Manuscripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .245
Conclusion 247
Bibliography 252
List of Illustrations 253
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Introduction
W ithin a century, the Arab conquests that spread rapidly into the East, North Africa and
Spain upset the social fabric of all the subjugated peoples by imposing not only a new
religion and organisation, but also new customs and practices. One religion alone
orchestrated the spread of a single statute. Although still reeling in the aftermath of barbarian conquests
and torn by sectarian conflicts among Christians, the ruined former Roman provinces became the cradle
of a new world, the Muslim world, which for centuries was more civilised than most countries in Europe.
Since Muhammad had promised his followers that they would possess the kingdoms of the world, the
enjoyment of material things was viewed as a gift and a reward, not as a despicable pleasure to be shunned
by the faithful. Consequently, Muslim leaders sought to surround themselves with luxury and decorated
their cities and palaces. The ostentation of caliphs became proverbial, and throughout their empire
imposing monuments sprang up whose opulence and elegance remained legendary in the East.
The Muslim civilisation, forged by the efforts of many different people, was not composed solely of
Arabs. Consistent with the models that influenced it and the places where it grew, it also included
Greeks, Persians, Syrians, Egyptians, Spaniards and Indians. Considering all origins together, however,
Arabs, although never so far accurately defined, unquestionably made up the greatest number. This
background notwithstanding, they were able to fuse these greatly diverse elements into one
homogeneous blend and build a civilisation that bears the mark of their genius. The art of Felix Arabia,
ancient Yemen, cannot be left out of a list of countries that influenced early Islamic art. The primary
result of Islamic conquests was a kind of blend of Eastern and Western artistic traditions.
This vast Muslim world, whose pilgrimages to Mecca reflected the nomadic nature of their culture,
made persistent efforts towards unification, transmission and mixing of the various traditions in their
empire, resulting in a constant evolution of the arts. During periods of peace, the pilgrimage, obligatory
for every faithful Muslim, brought together people from various countries. Naturally, people of the
same trade preferred to meet together and interact with one another. The trip to Mecca was long and
expensive for craftsmen from far-flung countries, and the poorest had to stop and work along the way
in order to obtain the necessary resources. During such relatively long stays in the cities, the most
assiduous could learn construction techniques and manufacturing skills. Upon returning home, they
would try to imitate the new techniques they had seen.
Consequently, the rich and powerful Muslim world established a considerable trade system
throughout the Mediterranean, along caravan routes, the Red Sea, and the Persian Gulf. During long
periods of peace, under the great caliphs, the luxury and wealth of individuals facilitated trade.
Immense bazaars were set up in every big city, and caravansaries appeared even in the middle of deserts.
Islamic maritime art rivalled that of the Byzantine Empire or Italy. This situation was very advantageous
to the renewal and proliferation of artistic techniques. The distinction between the splendour of the
early centuries of Islam and the barbarism of the Christian world until the crusades is extraordinary.
Introduction 7
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Architecture
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Description:Annotation Following the ideals of beauty found in Islamic art, the book shows high-quality representations of numerous monumental masterpieces, such as the Al-Aqsa mosque in Jerusalem, the Taj Mahal in Agra or the Alhambra in Granada, all of which embody the strik
