The Evolution of Style in Islamic Art

 One would enquire in vain for the masters who brought this system to its flowering or those
who later opened up new ways for its development. This art is totally anonymous and it
would contradict the artist’s noblest charge, which was the liberation of the spirit from the
transitoriness of worldly ties.

Dish With epigraphic decoration. The Kufic inscription reads: ‘Science has first a bitter taste, but at the end it tastes sweeter than honey’

Consistency and Variety

Islamic art has a recognisable aesthetic signature that somehow manages to express itself across an entire range of productions. The ‘language’ of this art, once established, was readily assimilated by each of the different nations and ethnicities that were brought within the Islamic sphere.

Assimilated and built upon, because every region, at every period, produced its own versions of this super-national style. This extraordinary consistency of styles and artistic preferences in the Islamic world clearly derive from a deeper, social consistency.

Muslims have always held to the same basic system of belief, with its customary forms of religious observation, and all, despite national and ethnic differences, have identified themselves as Muslim first and foremost. Historically, this strong sense of identity and continuity has tended towards a high degree of social, and artistic, conservatism.

As a result many forms and artistic concepts remained unchanged over the centuries. on the other hand, Islamic art has constantly demonstrated its capacity for the creative reinterpretation of accepted forms. Much of the art of Islam, whether in architecture, ceramics, textiles or books, is the art of decoration—which is to say, of transformation.

The aim, however, is never merely to ornament, but rather to transfigure. Essentially, this is a reflection of the Islamic preoccupation with the transitory nature of being. Substantial structures and objects are made to appear less substantial, materials are de-materialised.

The vast edifices of mosques are transformed into lightness and pattern; the decorated pages of a Qur’¯an can become windows onto the infinite. Perhaps most importantly, the Word, expressed in endless calligraphic variations, always conveys the impression that it is more enduring than the objects on which it is inscribed.

Image only for reference, not an actual representation on early Islamic Art

Symmetry and Geometry

 Another familiar characteristic of this art, which must also express something fundmental to the Islamic spirit, is its predilection for orderly, symmetrical arrangements in general and for purely geometrical decorative forms in particular. The influence of both philosophical and religious ideas on this aspect of Islamic art were examined earlier, but the abstract, ideational nature of symmetry and geometry clearly fit with the Islamic taste for idealistic otherworldliness.

From a purely doctrinal viewpoint, geometrical designs, being free of any symbolic meaning, could convey a general aura of spirituality without offending religious sensibilities. In addition, the purity and orderliness of patterns and symmetries are able to evoke a sense of transcendent beauty which, at best, would free and stimulate the intellect.

 There is a certain disregard for scale in Islamic art that derives from this perception. Similar kinds of patterning, for instance, might be found on a huge tile panel or on a bijou ornament. This is because decorative effects, in an Islamic context, are never mere embellishments, but always refer to other, idealised states of being. In this view, scale is almost irrelevant.

For similar reasons Islamic ornemanistes usually opted for acentric arrangements in patterning, avoiding obvious focal points—a preference that resonates with the Islamic perception of the Absolute as an influence that is not ‘centred’ in a divine manifestation (as in Christianity), but whose presence is an even and pervasive force throughout the Creation.

Image only for reference, not an actual representation on early Islamic Art

A further analogy can be drawn between the patiently created repeats of the ‘infinite’ pattern (in all its varieties), and the familiar and unvarying customs of Muslim religious observances.

In an Islamic context repetition is not tedious; on the contrary, it connects to the world of the spirit.

Whether in a religious setting or not, the work of Muslim artist/craftsmen always manages to convey a certain integrity, even nobility. In fact the distinction between art and craft is largely irrelevant in the Islamic world, but even when their works demonstrated surpassing skill and inspiration, the practitioners tended to remain anonymous. This is not surprising; in a culture whose ideal was submission to the will of Allah, it was quite natural to submit creative individuality to a perceived higher notion of beauty .

This pattern is common and widespread, it is found on the side of many minbars in Cairo in particular (Tiling Search Web Site 2017, data162/P077). The earliest example appears to be in Syria dated to 1163; the model for this reproduction is from 1335. This design features in (Bourgoin 1879, Plate 77)

 Earlier Islamic Art

 The replacement of the Umayyad dynasty by the Abbasid (in 750) saw the removal of the capital eastwards to Baghdad, and later to Samarra.
These two great cities were enormously important for the development of Islamic art and culture but, sadly, little has survived of either from the early period. From the fragments of architectural decoration that have been recovered there appears to have been a steady move away from naturalistic treatments, towards more abstract and repetitive forms.

The long- established Eastern traditions of plasterwork and brickwork were adopted as the principal architectural materials in the Islamic East, and were to remain so for the following centuries .

 Stylistic Maturity; 11th–12th Centuries

 The Abbasid Caliphate began to lose political power, and its Empire to fragment, at the turn of the 10th century.
The most serious consequences of this political turmoil, for Islamic culture as a whole, were the accompanying religious controversies and multiplicity of doctrines. In time, in a reverse of the status quo of earlier centuries, Shi’ism became the dominant creed among the various secessionist dynasties, and for a period this interpretation looked set to dominate the Islamic world. But early in the 11th century there began a Sunni revival, which had both religious and cultural aspects.

This movement, which saw itself as a restoration of traditionalism, was accompanied by an artistic revival that established many of the enduring forms of Islamic art and architecture—in particular, its canon of decorative art. The Sunni revival, which began in Baghdad, gradually spread through the Islamic world.
As it did so, it became associated with a range of new artistic and architectural forms, which became an identifying mark, a sort of symbolic language. These new stylistic terms were adopted by the Ghaznavids in Khorasan, the Seljuks in Iran, the Zangids in Northern Syria, and the Ayyubids in Egypt.

The ‘classic’ style of Islamic ornament which used distinctive epigraphic, geometric and abstract vegetal elements first came to maturity during this period. This decorative canon was eventually taken up in every part of the Islamic world.

 The Islamic Decorative Canon

 The three elements of the Islamic decorative canon began to appear as early as the Umayyad period, but they crystallised into their classic forms during the ‘Sunni Revival’ . Calligraphy gives a visible form to the revealed word of the Qur’¯an and is therefore considered the most noble of the arts (Moustafa and Sperl, 2014).

 It manages to combine a geometric discipline with a dynamic rhythm. Interestingly, none of its many styles, created in different places at different periods, has ever completely fallen into disuse. In the Islamic world it takes the place of iconography, being widely used in the decorative schemes of buildings. Geometric patterns have always had a particular appeal for Muslim designers and craftsmen. They convey a certain aura of spirituality, or at least otherworldliness, without relating to any specific doctrine.

In an Islamic context they are also quite free of any symbolic meaning. Above all they provide craftsmen with the opportunity to demonstrate his skill and subtlety of workmanship, and often to dazzle and intrigue with its sheer complexity.

Vegetal ‘Arabesque’ compositions are as ubiquitous in Islamic decoration as geometric patterns. It is difficult, without other indications, to determine where or when a particular composition of this genre might have originated. Like geometrical designs, these too are found across the entire range of media from book illustration to plasterwork, in ceramics, woodwork, metalwork and ivory-carving, even in carpets and textiles.

Islamic decorative canon

The Craft Group

In Islamic Art here was no distinction between ‘art’ and ‘craft’ in the medieval Islamic world, just as there was no sharp division between the notions of beauty and utility. The idea of the brilliant, lone individualistic artist was also absent.

These are modern concepts. In fact, architectural and artistic productions generally tended to be the work of groups of anonymous craftsmen, whose occupations were usually hereditary and based within guilds or similar craft groups.

 However, given that the subject area of ‘the decorative arts of Islam’ has such an extensive geographical and historical reach, and involved a great variety of craft skills, generalisations of any kind about this broad subject may be misleading. Among such a diverse range of artistic traditions there were bound to be huge variations in working practices, social status, and indeed of expressive intent, in so many and varied creative processes. As we have indicated, by comparison with life in the modern world, medieval Islamic society was highly conservative.

 Accordingly, working practices, just like the designs and motifs that were used, often persisted for generations with little change. There was no formal training; skills were acquired in the workshops, and were often handed down from father to son.

The apprentice/master relationship was usually regularised however, and there is evidence that craft groups were formed into guilds (which had similarities with the trade guilds of medieval Europe). It also seems to have been the case that some of these guilds (in some periods at least) were affiliated to religious groups.

Details of this kind are naturally difficult to uncover, as they tended to be bound up with the mystique and protectiveness of what were essentially closed professions. It is of more than passing interest though, that these religious connections were usually associated with Sufi fraternities, whose mystical outlook had been imbued with Neoplatonic concepts. The production of specialised goods, and the particular skills involved, were often localised, but these skills often took artisans far away from their home. Occasionally these movements were less than voluntary.

In the turmoil of war craft skills were generally prized as a form of booty and artisans could be carted off to the victor’s base, sometimes en masse. Since the ruling power was usually the greatest patron of arts and architecture, it often happened that new artistic movements were initiated in this way. The dynasty founded by Timurlane was perhaps the most famous example of this effect.

It occasionally happened that skilled craftsmen were welcomed as refugees after fleeing invasions and wars. The relative security of Fatimid Egypt attracted many Middle Eastern artisans during the turbulent 11th and 12th centuries, much to the cultural benefit of Cairo. The transfer of skills and knowledge as a result of migrations and conquest is of course a time-honoured process.

Huge numbers of skilled artisans from various traditions were brought into the Islamic fold as a result of the early conquests, and in the course of time these skills became part of the background of Islamic culture. But there was one craft technology in particular that was acquired in this way that had a profound effect on the course of Islamic civilisation on many levels (including the visual arts). This was the manufacture of paper.

 The Role of Paper in Islamic Art and Architecture