Essay question

mariammoshi93

Frank-Prebles12e_CH19_PPT_accessible_lores.pptx

Home >Literature homework help >Essay question

Prebles’ Artforms

Twelfth Edition

Chapter 19

The Islamic World

Learning Objectives

19.1 Describe the architecture and ceramic arts developed in Arab lands following the spread of Islam.

19.2 Explain the importance and use of calligraphy in Islamic art in Spain.

19.3 Discuss the use of decoration and detail in Persian architecture and painting.

19.4 Discuss the significance of art and architecture in the Mughal Empire.

19.5 Describe how modern innovations and art movements influenced Islamic architecture and art in Egypt and Sudan.

Introduction (1 of 2)

Islam

Muslim

A follower of Islam

“One who submits to God”

Began in 622 CE with Muhammad’s emigration to Medina

Quickly spread from Byzantine Empire

North Africa

Spain and other parts of Europe

Introduction (2 of 2)

Artistic traditions of Muslims

Allowed conquered peoples to retain religion and culture

Frown upon representation of human figures used in a religious context

Re-creation of living things as competition with Allah (God), who created all

Muhammad prohibited from imagery

The Islamic World. [Fig. 19-1]

Arab Lands (1 of 2)

19.1 Describe the architecture and ceramic arts developed in Arab lands following the spread of Islam.

Early houses of worship

Mosques

Must be big enough to accommodate all male worshipers for Friday prayers

Include minarets (towers) that mark building’s location

Great Mosque in Kairouan, Tunisia

Mihrab points to Mecca

Great Mosque. Kairouan, Tunisia. 836–875. Photograph: © Roger Wood/CORBIS/VCG via Getty Images. [Fig. 19-2]

Arab Lands (2 of 2)

19.1 Describe the architecture and ceramic arts developed in Arab lands following the spread of Islam.

Ceramic arts

Major advance through lusterware technique

Glaze that imparts a metallic sheen

Most difficult to control

Pitcher

Thin body indicates decorative purposes, not practical ones

Script expresses praise and good wishes to the owner

Pitcher (Spouted Ewer). Kashan. Early 13th century. Luster over tin glaze. Height 6-4⁄5”. Fitzwilliam Museum, University of Cambridge, UK. Reproduced by permission of the Syndics of the Fitzwilliam Museum, Cambridge, from the Ades Loan Collection/Bridgeman Images. [Fig. 19-3]

Spain (1 of 2)

19.2 Explain the importance and use of calligraphy in Islamic art in Spain.

First conquered by Muslims in the eighth century

Distinct culture including important scientists, poets, philosophers, architects, and artists

Calligraphy

For higher learning

Used to enhance beauty of word of God

Qur'an, the sacred text of Islam

Text of the Qur‘an. North Africa or Spain. 11th century. Colors on paper. MS no. 1544. © The Trustees of the Chester Beatty Library, Dublin. [Fig. 19-4]

Spain (2 of 2)

19.2 Explain the importance and use of calligraphy in Islamic art in Spain.

Architecture

Geometric and floral design motifs that complement calligraphy

Court of the Lions, Alhambra palace

Translucent webs of intricate decoration

Light comes through small openings

“There is no victor except God” in calligraphic script

Palace itself a contained city

Court of the Lions, Alhambra. Granada, Spain. 1309–54. © Rafael Ramirez/Fotolia. [Fig. 19-5]

Persia (1 of 4)

19.3 Discuss the use of decoration and detail in Persian architecture and painting.

Carpet

Best-known Persian art in the West

Portable

Means for spreading design ideas

Decorative schemes on buildings or pottery influenced by carpet design

Persia (2 of 4)

19.3 Discuss the use of decoration and detail in Persian architecture and painting.

Tile art

Mihrab from Iran

Intricate designs satisfy urge for beauty

Aesthetically pleasing patterns

Tells story using script, not figures

Mihrab. Iran. c. 1354. Composite body, glazed, sawed to shape and assembled in mosaic. Height 11’3”. The Metropolitan Museum of Art. Harris Brisbane Dick Fund, 1939 (39.20). [Fig. 19-6]

Persia (3 of 4)

19.3 Discuss the use of decoration and detail in Persian architecture and painting.

Madrasa

Muslim theological school for history and interpretation of Qur’an and Islam

Mir-i-Arab Madrasa in Uzbekistan

Well-proportioned array of openings

Iwan, the large covered porch at center

Surfaces with floral, geometric, and epigraphic patterned tiles

Color integral to architecture

Mir-i-Arab Madrasa. Bukhara, Uzbekistan. 1535–1536. Façade. INTERFOTO/Alamy Stock Photo. [Fig. 19-7]

Persia (4 of 4)

19.3 Discuss the use of decoration and detail in Persian architecture and painting.

Paintings

Lavish illustrations of manuscripts

Most often produced in workshops with anonymous artists

Sultan Sanjar and the Old Woman

Sultan-Muhammad, revered painter of Safavid Persia

Allegory on vanity

Subtle gestures and detail

Rocks rendered in the Chinese style

Attributed to Sultan-Muhammad. Sultan Sanjar and the Old Woman. From the Khamseh (Five Poems) of Nizami, folio 181. 1539–43. Gouache on paper. 14-1⁄2” × 10”. British Library, London, UK. © British Library Board. All Rights Reserved/Bridgeman Images. [Fig. 19-8]

India: the Mughal Empire (1 of 3)

19.4 Discuss the significance of art and architecture in the Mughal Empire.

Only a minority were Muslim

Evolution of Islam farther from Arab roots

Higher level of tolerance

Akbar

Establishment of a religion to incorporate elements of all religions

Encouragement to depict figures in art

India: the Mughal Empire (2 of 3)

19.4 Discuss the significance of art and architecture in the Mughal Empire.

Akbar

Throne room, Divan-i-Khas

Ornate pillar with four passageways

Akbar sat at the center atop the pillar at the metaphor for intersection of religious systems.

Divan-i-Khas. Interior. Fatehpur Sikri, Uttar Pradesh, India. 1570–80. Photograph: Jonathan M. Bloom and Sheila S. Blair. © mrpeak/Fotolia. [Fig. 19-9]

India: the Mughal Empire (3 of 3)

19.4 Discuss the significance of art and architecture in the Mughal Empire.

Shah Jahan

Last Mughal ruler

Taj Mahal

Built for favorite wife that died in childbirth

Central iwan fronted with a pointed arch

Beauty from expensive materials and poetic arrangement of mass

Paradise motif in the inscription surrounding the doorway arch

Modern Expressions (1 of 3)

19.5 Describe how modern innovations and art movements influenced Islamic architecture and art in Egypt and Sudan.

Creators adapted modern innovations from Europe

Village of New Gourna, 1948

Small domes over prayer hall

Largest dome shelters the mihrab

Basic and clear shapes are novel

Hassan Fathy. New Gourna Village Mosque, Egypt. 1948.

B.O’Kane/Alamy Stock Photo. [Fig. 19-11]

Modern Expressions (2 of 3)

19.5 Describe how modern innovations and art movements influenced Islamic architecture and art in Egypt and Sudan.

Sudanese artists combined traditional calligraphy with abstract painting

Ibrahim el-Salahi

Studied in London

Combined Muslim motifs with modern abstraction

The Mosque

Abstract shapes based on what would be seen inside a mosque

Curving edges based on strokes of Arabic calligraphers

Colored blocks suggest carpet weaving

Ibrahim el-Salahi. The Mosque. 1964. Oil on canvas. 12-1/8” × 18-1/8”.

New York Museum of Modern Art (MoMA), Elizabeth Bliss Parkinson Fund, Acc n.: 7.2965. © 2018. Digital image: The Museum of Modern Art, New York/Scala, Florence. © 2018 Artists Rights Society (ARS), New York/DACS, London. [Fig. 19-12]

Modern Expressions (3 of 3)

19.5 Describe how modern innovations and art movements influenced Islamic architecture and art in Egypt and Sudan.

Ibrahim el-Salahi: Muslim Modernist

Exposed to calligraphic techniques through father, a cleric

One of most highly trained artists in Sudan

Interested in Arab Spring protests

Made daily sketches of his interpretation of events

Arab Spring

Shapes rising above roots

Energies of the protesters

Surrounded by shapes that limit growth

First Muslim artist to have a solo exhibition at Tate Modern in England

Ibrahim el-Salahi. 2013. Photograph: Nick Harvey/Wire Images/Getty Images. [Fig. 19-13]

Ibrahim el-Salahi. Arab Spring. 2011. Ink on paper. 4-1/4” × 5-3/4".